Art Ensemble of Chicago "The Sixth Decade - From Paris to Paris" Roscoe Mitchell, Famoudou Don Moye, Roco Co´rdova, Erina Newkirk, Moor Mother, Nicole Mitchell, Hugh Ragin, Simon Sieger, Jean Cook, Eddy Kwon, Tomeka Reid, Brett Carson, Junius Paul, Silvia Bolognesi, Jaribu Shahid, Dudu` Kouate´, Enoch Williamson, Babu Atiba, Doussou Toure´, Steed Cowart

Chicago tenor sax legend Anderson performs with Hamid Drake and Harrison Bankhead.

Pianist Art Hodes' career lasted eight decades, starting in the late 20s and continuing into the 90s. Friar's Inn, near Van Buren and Wabash, was where the legendary New Orleans Rhythm Kings played Chicago in the early 20s. Their series of classic recordings for Gennett ushered in the early Chicago decade of jazz recordings. Hodes had long wanted to do a recording in honor of that early group and brought George Brunis and Volly DeFaut, both members of NORK in the 20s, to the studio for this 1972 session. On CD for the first time, this release features Barney Bigard and Barrett Deems.

The second installment of Art Hodes' recordings for the Euphonic label this contains another hour of inspired piano solos from the legend who's been described as a blues drenched jazz pianist. Hodes (1904-93) was active in the '20s so this is music played by a guy who was there when Bessie Smith was alive and recording. On this 1976 session he pays tribute to the great blues vocalist Bessie Smith. Contains the 12 songs from the original LP plus unissued tracks including St. Louis Blues After You've Gone Cakewalkin' Babies from Home & Pallet on the Floor.

Rob Mazurek's latest venture into the universe of sound is the all mighty Pulsar Quartet featuring the magic and power of Angelica Sanchez - piano; the melodic shapes of Matthew Lux - bass; the polyrhythmic galaxies of John Herndon - drums and the solar arcs of Rob Mazurek on cornet. All members of the critically acclaimed Exploding Star Orchestra, the quartet sprays, throws, erupts and caresses 7 new Mazurek compositions that expand upon the idea of melodic freedom within the realm of shifting chromatics, pop-like harmonies, pulling anthems and contrasting pedal points.

Sun Ra's second album was a Delmark release recorded in 1957, although it was originally intended for the Transition label, which did not survive long enough to release it. Personnel: Sun Ra, piano, electric piano; Art Hoyle & Dave Young, trumpets; John Gilmore, tenor sax; Pat Patrick, alto & baritone sax; Jim Herndon, tympani, timbali; Julian Priester, trombone; Charles Davis, baritone sax; Victor Sproles, bass; William Cochran, drums; Clyde Williams, vocals. (Previously deleted:4/1/02. Original release date:1/3/98)

Jazz cornet player Rob Mazurek has created a sound world that is uniquely his own, sculpting a total sound environment, by fully utilizing the beautiful instrumentation of the Exploding Star Orchestra and sounds from a variety of sources, including: rain from the Brazilian Amazon, insects at the turn of an eclipse, the hammering overdrive of bicycles in Copenhagen, stacked muted cornets run through various filters, drones built from electric eels and piano feedback, hi-frequency sinuous lines from tone generators, pitched bass guitars, and other prepared instruments. With Nicole Mitchell, Jason Adasiewicz, Greg Ward, Josh Abrams, Mike Reed. Also on LP; CD has one extended track and one bonus track not on the LP.

Chicago tenor saxophone legend and proprietor of the longest standing and most adventurous avant garde jazz club in Chicago, Fred Anderson celebrated his 80th birthday this past March and Delmark was there to capture it. All three of Fred's earlier Delmark albums were live at the Velvet but the excitement level here is unmatched as the show was sold out weeks in advance. Fred is joined by Kidd Jordan - tenor saxophone, Jeff Parker - guitar, Harrison Bankhead - bass, Chad Taylor - drums. Also available: On the Run (DMK 534), Back at the Velvet Lounge (DMK 549), Timeless (DMK 568, DVD 1568).

Jerry Bergonzi's quintessentially modern tenor sax style melds the linear, chromatic approach of such greats as Joe Henderson, Wayne Shorter and John Coltrane. Featuring pianist Bruce Barth and trumpeter Phil Grenadier, this is Bergonzi's first quintet recording for Savant Records and finds in him in fine form as a player and as a composer.

Described as being "soulful, swinging and yet utterly modern", New York based alto saxophonist Jim Snidero's music seems to encapsulate what is both unique and compelling about jazz. Snidero exercises his composing chops on INTERFACE as well, penning all the tunes on the set list and drawing an astonishing array of color from the sax-guitar-bass-drums quartet combination.

BY ANY OTHER NAME

INTERSECTING LINES

THREE FOR ALL

Jim Snidero has developed a truly unique voice on the alto sax building on the foundation of the past while pointing the way to the future. With compositions that exploit the full potential of the alto saxophone's expressive range, Snidero has gathered side artists who all seem to be joined at the hip, with each providing sensitive support for the other, shadowing or provoking every move. This is challenging, thoughtful jazz which draws you in rather than alienates and which reveals no weaknesses in an unforgiving, nowhere-to-hide lineup.

GRACE

For his Savant Records' debut, tenor saxman JD Allen went back in the studio with colleagues Gregg August and Rudy Royston, both of whom have been his regular partners on the bandstand and in the studio since 2008. They go about their business with a robust and focused melodic articulation propelled by great rhythmic drive. You will not find this trio beating a dead horse into submission. The original tracks are short, they get in, make a statement, essay some variations, and get out-short and sweet and intense. An interesting, exciting and thought-provoking release from JD Allen and company.

Every new recording by tenor saxophonist JD Allen serves to solidify his reputation as one of the finest, most adventurous young musicians playing today. With a gently swinging, very personal vibrato he weaves his way into territory that he has charted for himself. With pianist Orrin Evans, JD takes US on a intensely personal journey through an ever-changing landscape of jazz as he sees it with playing that earned Allen a blaze of critical attention signaling his ascension to the upper ranks of the contemporary jazz world.

You encounter nothing but sheer musicality when it comes to the Boston saxophonist Jerry Bergonzi. But Bergonzi's no-nonsense approach to music cannot mask the fact that he is one of the most remarkable jazz saxophonists on the planet. Here Bergonzi is backed by his usual colleagues, Dave Santoro and Andrea Michelutti plus he is joined by pianist Bruce Barth. Featuring a program mostly of Bergonzi's quirky compositions the musicians work together with a uniformity of intent and vision that perfectly personifies the title, CONVERGENCE.

Young tenor sax genius is at it again with help from pianist Harold Mabern, Jim Rotundi on trumpet, John Webber on bass, George Fludas on drums & Steve Davis on trombone. (Previously deleted:11/1/07. Original release date:1/13/98)

PROTOTYPE

The release of a Mark Murphy recording renders hyperbole superfluous. Other people have said it all: Murphy is "a hipster's hipster," writes the New York Post. Featuring his latest effort Links, Mark performs classic tunes and original lyricst and otehr adventurous choices make this mark's finest record to date.

DEAD CENTER

WOODY SHAW LIVE 2

MOOD SWINGS

As difficult times often beget new beginnings, the COVID-19 quagmire gave birth to alto saxophonist Eric Alexander. To some, a tenor-to-alto switch may not seem to be a newsworthy matter, but for the initiated it's the stuff of headlines. An inveterate tenor at the apex of the scene for more than three decades, Eric put the alto away in his teen years and never looked back. "But with the dearth of opportunities to play during the pandemic, I started to work on it," he confesses. After successfully pitching the idea of using his second saxophone-with-strings project as a debut on alto, the present recording is quite simply astounding. Working with his regular rhythm section and adding ace string arrangements, this altoist delivers one revelatory performance after another.

CHICAGO FIRE

Playing jazz is a lot like love itself. It is as much about poignancy as it is about joy. It is Jeremy Pelt's understanding of this dichotomy of passion and restraint that makes this album so compelling. The set list is as all-encompassing as a love affair - from the straight-ahead feeling of "I Can't Escape from You" to the breathless stillness of his muted trumpet on "There'll Be Other Times." His sly, half-valve effects on "Blues in Sophistication" show an impish delight while Henry Mancini's "Slow Hot Wind" throbs with an ever so discreet Latin feel. This may be considered a "with strings" record but Pelt does not let this descend into a vibrato-laden string sound. There is an unusually classical feel to this album with the string quartet supporting, reinforcing and commenting on Pelt's playing rather than sugar-coating it. Buddy Rich once said, "Jazz should be treated the same as classical music." He was right. He "got it" and, as evidenced herein, so does Jeremy Pelt.

Album highlights jazz guitarist's uncanny ability to revisit jazz standards & imbue them with new life & ideas; this session was recorded at the famed Van Gelder Studios & features Ronnie Matthews, Mark Sherman, Yoron Israel & others.

Tomorrow's Another Day may be trumpeter and composer Jeremy Pelt's most experimental recording to-date, with greater emphasis on the dynamic aspects of sound. This thought-provoking record gets a huge lift from the participation of drummer/technologist Deantoni Parks, who previously has lent his remarkable talents to such visionaries as Meshell Ndegeocello and Andre 3000. Pelt's newest band features Jalen Baker (vibes), Wintz (gtr), Leighton McKinley Harrell (bs) and Allan Mednard (dms), with Frank LoCrasto (pno) on two tracks. The ensemble seamlessly works together to produce a unique galaxy of sounds which have the ability to evoke gritty scenes that pulse with primal energy or surge transcendently skyward. Through it all, it is the trumpet and creative presence of Pelt which provides a sense of ballast to the myriad sounds and textures, with an intensely personal and mesmerizing weave of arguably some of the most stunningly imaginative and communicative work he has given us so far.

Woody Shaw is widely revered across the globe as the last major innovator to significantly revolutionize modern jazz trumpet playing. Shaw's innovations vastly extended the harmonic and technical vocabulary of the instrument and remain largely unparalleled in the world of music. Shaw is also remembered as one of the great, modern jazz composers to have developed a distinct musical sound and identity through his original compositions. Here is a program of Woody Shaw playing his own works with some of his favorite sidemen.