Renowned Russian jazz pianist Ivan Farmakovskiy makes his highly anticipated debut on SteepleChase Records with a stunning new album. Blending his signature hard-bop style with modern jazz sensibilities, Farmakovskiy delivers a masterful performance that bridges tradition and innovation with American rhythm section of Christian McBride and Jack DeJohnette. Ivan won the 1994 bi-annual Russia Jazz Competition, the biggest contest for young Russian performers and he won another prize at the 1997 Europe Jazz Contest in Belgium.

Saxophonist and composer Lubos Soukup is one of the most prominent figures in Czech modern jazz. Based in Copenhagen since 2010, he is now moving back to Czechia after more than fifteen years and, to mark his return, releases an album, entitled Amber Rails, with his new all-Czech band and presenting his compositions inspired by gospel, blues and modern jazz. Soukup has founded and been the leader of several international collectives, mostly with a strong Danish or Scandinavian element, and has released more than ten albums of his original music. His other releases on the Animal Music label in recent years have included the successful album Zeme (Earth, 2017), featuring guest guitarist Lionel Loueke; the free-jazz album Christiania (2020), on which Soukup performs with the Czech-Danish Freetown Quartet; Levitas (2020), featuring German pianist Christian Pabst; and Machina Mundi (2022), recorded with the eponymous Scandinavian formation and featuring analogue synthesizers. Amber Rails is Soukup's first purely Czech project in a long time, featuring pianist Jiri Levicek, double bassist and composer Jaromir Honzák (whom Soukup dubs an 'honorary godfather of Czech jazz') and Jakub svejnar on drums, who is a foremost member of the experimental and free-jazz scenes. Guitarists David Doružka and Casper Hejlesen join the line-up as guests, with Hejlesen representing a connection with the Danish scene, which was Lubos Soukup's second home for more than fifteen years. One of the pieces is dedicated to Marilyn Mazur, a drummer, percussionist and a longtime collaborator of Miles Davis, who was an important influence on Soukup and from whose hands he received the prestigious Discovery of the Year prize at the 2017 Danish Music Association (Dansk Musiker Forbund).

Scott Yanow, jazz journalist/historian and author of 12 books including The Great Jazz Guitarists concluded his liner notes on Brouqui's SteepleChase debut album Mean What You Say SCCD 31979 saying 'The highly enjoyable and consistently swinging outing On the basis of his playing on Mean What You Say, Yves Brouqui deserves to be recognized as a major guitarist in modern mainstream jazz. He and the Spike Wilner Trio make for an ideal team and swing their hearts out.' And here Yves Brouqui returns to SteepleChase with Together, his second leader date. Born in Marseille, raised in Grenoble, Yves Brouqui built his chops between Paris clubs and New York's Small's alongside Grant Stewart, Peter Bernstein, and Joe Magnarelli. His second SteepleChase date reunites him with Spike Wilner (p) and Paul Gill (b), now with Joe Strasser (ds). Standards and three Brouqui originals move with unhurried assurance. Hank Mobley's This I Dig Of You sets the conversational tone. Brouqui's Steve's Here carries Monkish contours; The Pharmacist offers buoyant stop-time. Lee Morgan's The Joker and Sonny Rollins's If Ever I Would Leave You show his ease with horn repertoire on guitar. We'll Be Together Again opens with solo blues before yielding to quartet interplay. Three Little Words closes with propulsive energy. Warmth, clarity, and unforced swing.

Ron McClure has recorded over twenty albums as a leader for SteepleChase since 1980. A four-decade partnership with producer Nils Winther is something few artists on any label can match. Now at 84 McClure shows no signs of slowing. His 2025 release SCCD 31980 Live at Club Danshaku NY (a recovered 1993 tape with Don Friedman and Vic Juris) drew attention as a remarkable "lost and found" document of the New York scene. Some Kind Of Sing-Songy Stuff is something new. A dual-tenor summit a rare setting for McClure to lead here is pairing SteepleChase stalwart Rich Perry (a collaborator since SCCD 31329, 1992) with the younger Anthony Ferrara, whom McClure introduced to the label after recognizing his talent at NYU. With Mike Eckroth (piano), Steve Johns (drums), and McClure's bass anchoring the session, the album features seven reimagined earlier compositions and three new pieces, including the title track inspired by Joe Zawinul and Weather Report. The generational span (Ferrara in his 20s through McClure at 84) is a testament to jazz's living continuity. A swinging album from a master who keeps finding new things to say. 'McClure is recognised for inventive improvising, creative compositions in a wide variety of settings and immaculate tone." (Ken Dryden - The New York City Jazz Record)

Following his highly acclaimed album Glow SCCD 31997 with David Friedman, Philadelphia-based vibraphonist Tony Miceli presents here a new release that balances originals, jazz classics and an audacious reimagining of Iron Butterfly's psychedelic anthem. Joined by guitarist Elijah Cole, bassist Madison Rast and drummer Dan Monaghan - all fixtures of the Philly scene - Miceli leads the quartet featuring vibraphone-guitar pairing that gives luminous airy quality to the session. The title track, stripped to it's harmonic essence, channels a vivid energy that reminds us of Miceli's earlier work reinventing rock for jazz audiences. Throughout, Miceli offers a warm and deeply personal musical statement that affirms his evolving voice and his role as a mentor shaping Philadelphia's next generation. ' a delightful and highly recommended release.' (Andy Hamilton - Downbeat on SCCD 31997 Glow)

Nils Winther had heard Bley in duo with NHØP at the Montmartre and wanted to capture the pairing on tape. When Bley passed through Copenhagen en route to Oslo in the summer of 1973, Winther seized the moment. The result was Bley's first of nineteen SteepleChase albums - and a document of two musicians meeting as equals. By then Bley had played with Art Blakey, Mingus, and Parker; led a quintet whose other members would form Ornette Coleman's first band; and spent pivotal years in the Jimmy Giuffre Trio. NHØP, the Danish bass phenomenon, had grown from a technically gifted teenager at the Montmartre into the label's house bassist on more than thirty sessions, his deep tone and rhythmic flexibility sought by visiting Americans from Bud Powell to Baker to Gordon. Specially for this 180g audiophile vinyl version Neil Tesser penned a perceptive and insightful liner notes which makes a great read. Remastered from the original tapes. Pressed on 180g vinyl. 'Another excellent album from the never less than stimulating Mr. Bley... ' (Melody Maker) '(NHØP) complements Bley's haunting chords perfectly... The piano is appropriately well recorded and the bass is well forward... ' (The Penguin Guide to Jazz)

SPIN shows the phase in which the band is now: looking back and forward at the same time. The RONIN rhythm culture based on pattern, cycle and groove developments and refined beats is still presented and combined with playfulness and the consciousness for freedom within the clear structures. The band members' ear for chamber music like details, blending, ghost notes and micro phrasings refreshes the music live and on the record as always. But there is a new compact band sound, which creates subtle alignments with indie, post rock and ambient pop.

On Daydreaming, Italian saxophonist and composer Carla Marciano transforms memory, grief and love into an intensely personal musical journey. Dedicated to her father Giovanni, the album reflects the profound bond between father and daughter and the lifelong passion for music he inspired in her. Marciano's compositions move between intimate reflection, lyrical beauty and powerful improvisation. Her alto and sopranino saxophones are joined by her long-standing quartet (Alessandro La Corte, Aldo Vigorito and Gaetano Fasano with Dario Deidda appearing on acoustic bass). Several pieces are further enriched by the Philharmonic Orchestra of the 'Giuseppe Verdi' Theater in Salerno, conducted by Antonio Sinagra. Created during a period marked by the loss of both parents and Marciano's recovery from a serious road accident, Daydreaming is also a testimony to resilience and renewal. The music evokes childhood memories, shared songs, imagined embraces and the enduring presence of loved ones. It is an album about absence, but above all about gratitude, courage and a love that continues beyond time.

Three years ago, Careless Territories was an invitation to travel. It reflected a musical curiosity that willingly wandered across styles, moods and influences, allowing each composition to find it's own destination. Looking back, I realize that album was less about defining a musical identity than about embracing the freedom of discovering one. Straight Down the Middle was born from an almost opposite intention. Rather than broadening the horizon, I felt the desire to narrow the focus. This record is the result of a conscious decision to immerse myself in one musical language that has fascinated me for years: the modern post-bop tradition. It is a repertoire, an aesthetic and a way of thinking that continue to inspire me, yet one that remains relatively uncommon on the European jazz scene. Instead of searching for variety, I wanted to explore the richness that comes from commitment to write music that lives unapologetically within this tradition while allowing my own voice to emerge naturally. With the exception of Every Single Time, which briefly steps outside the frame, every composition on this album embraces that artistic trajectory. Hence the title: Straight Down the Middle. More than anything, this album is a tribute to the composers, improvisers and recordings that have shaped my musical imagination over the years, but also to Phil Abraham, Amaury Faye, Clement Daldosso and Raphael Pannier, whose generosity, trust and musicality brought these compositions vividly to life. If this record conveys anything, I hope it is the simple pleasure of five musicians sharing a language they deeply love, while adding, with humility, one more conversation to a tradition that continues to evolve.

On Daydreaming, Italian saxophonist and composer Carla Marciano transforms memory, grief and love into an intensely personal musical journey. Dedicated to her father Giovanni, the album reflects the profound bond between father and daughter and the lifelong passion for music he inspired in her. Marciano's compositions move between intimate reflection, lyrical beauty and powerful improvisation. Her alto and sopranino saxophones are joined by her long-standing quartet (Alessandro La Corte, Aldo Vigorito and Gaetano Fasano with Dario Deidda appearing on acoustic bass). Several pieces are further enriched by the Philharmonic Orchestra of the 'Giuseppe Verdi' Theater in Salerno, conducted by Antonio Sinagra. Created during a period marked by the loss of both parents and Marciano's recovery from a serious road accident, Daydreaming is also a testimony to resilience and renewal. The music evokes childhood memories, shared songs, imagined embraces and the enduring presence of loved ones. It is an album about absence, but above all about gratitude, courage and a love that continues beyond time.

After an artistic hiatus, Jeff Herr Corporation returns with Five Moons, a bold new chapter for the Luxembourg-based trio. Led by drummer, composer, programmer and sound designer Jeff Herr, the group's renewed line-up features Maxime Bender on tenor and soprano saxophone and Pol Belardi on electric bass and double bass. With Five Moons, the trio moves into a more modern, daring sound world, blending contemporary jazz, improvisation, electronic textures and driving grooves. The acoustic dynamic of the previous formation gives way to a powerful new identity: lyrical saxophone lines, deep bass foundations and organic, energetic drumming come together in music that is both subtle and forceful. The repertoire was written and developed during an artistic residency at the Abbaye de Neumünster between December 2024 and April 2025, as part of the band's search for a new sound integrating electronic elements. Recorded in December 2025 and January 2026 at Holtz Sound in Tuntange, Luxembourg, Five Moons captures a trio in full creative motion, where innovation, spontaneity and intense musical interaction shape every performance.

Baritone saxophonists Gary Smulyan and Frank Basile reunite their powerhouse quintet for You Are The One, a vibrant follow up to Boss Baritones (SCCD 31963) that again showcases the rare chemistry between two masters of the instrument. Drawing on a mix of classic repertoire - Thad Jones, Clark Terry, Dizzy Gillespie - and newly minted originals by both leaders, the album highlights the duo's deep command of bebop language, contrapuntal writing, and the propulsive blend only two baritones can create. Smulyan's witty muscular swing pair beautifully with Basile's lyrical clarity, while pianist Steve Ash, bassist Mike Karn, and drummer Aaron Seeber provide a responsive, hard driving foundation. You Are The One is a spirited, straight-ahead session that celebrates tradition with unmistakable joy. 'Boss Baritones is a fine example of how jazz praxes originating in the mid-to-late 20th century can-in the right hands-sound fresh and invigorating in the present day.' (David A. Orthmann - All About Jazz on SCCD 31963)

Drummer composer Steve Johns returns to SteepleChase with Extrasensory, his most fully realized statement since his acclaimed 2024 release Mythology (SCCD 31971). Reuniting the same core ensemble - guitarist John Hart, vibraphonist/harmonica player Monte Croft, pianist Greg Murphy, and bassist Joris Teepe - Johns builds on the band's deepening chemistry, now sharpened by the fiery presence of saxophonist Troy Roberts on select tracks. The program highlights Johns' dual gifts: modern, structurally inventive writing and dynamic, deeply musical drumming shaped by decades on the New York scene. Contrafacts, reharmonized standards, soulful vocals, and vibrant originals form a wide stylistic arc, from angular modern swing to luminous ballads and earthy shuffles. Throughout, Johns shapes textures and grooves with masterful clarity, guiding a group whose intuitive interplay truly earns the album's title. Extrasensory affirms Johns as a drummer leader of imagination and unmistakable voice. 'Mythology' is an album full of imagination, stories and some fantastic playing by this amazing lineup of world-class musicians.' (A Green Review on SCCD 31971)

Tenor saxophonist Matt Garcia makes a compelling SteepleChase debut with Three's Up, revealing a mature voice shaped by deep study, hard work, and a fast rising presence on the New York scene. A Texas native now at Juilliard, Garcia brings a blend of tradition with modern clarity that reflects his years in NYO Jazz (Carnegie Hall's National Youth Orchestra), his award winning early career, and formative mentorship from artists such as Dave Pietro and Christian McBride. Joined by bassist Martin Wind and drummer Billy Drummond, he leads a vibrant trio through standards, bebop classics, and five originals that highlight his melodic focus and rhythmic drive. Pieces like 'White Silence' and 'Dance's Dance' showcase a young composer with a clear artistic identity. Three's Up introduces a tenor saxophonist whose expressive depth mark him as a significant new voice to watch.

With Traces of Light, saxophonist and composer Jan Prax presents a deeply expressive and spiritually charged new album. Known as one of Europe's most distinctive saxophonists and a protege of David Sanborn, Prax draws from jazz tradition, improvisation, and a broad musical imagination to create a sound that is vibrant, soulful, and unmistakably his own. Joined by Carl-Henri Morisset on piano, Riccardo Del Fra on double bass, and Zhitong Xu on drums, Prax leads a quartet built on trust, intuition, and shared musical purpose. Across nine original compositions, the album moves through tension, stillness, searching energy, and lyrical release. From the opening lift of 'Elevation' and the smouldering intensity of 'Cold Flame' to the reflective beauty of 'Hope in Bloom,' 'Reverie,' and the title track, the music breathes, expands, and glows with emotional clarity. At it's heart, Traces of Light is an album about connection, compassion, and presence. It is music shaped by fire and finesse, but also by openness and vulnerability and a journey toward light, shared by kindred spirits.

A halo is something like an aura. Cologne-based singer Anette Von Eichel certainly doesn't want to put a halo on her new album, but a halo is also a luminous phenomenon, such as a moonlit ring or a wreath of light, as often seen in nature and everyday life, and which can be interpreted as a revelation of whatever nature. This title couldn't be more fitting for Anette Von Eichel's collection of songs on her new album, and in more ways than one. All of these songs share a nocturnal quality, in which light emerges from the darkness. In the sequence of her songs, we experience a dreamlike journey of a resurrection of the morning twilight from the night.   In a metaphorical sense, it makes a huge difference whether you listen to the album for the first, second, or third time, because an impressive process of transcendence takes place. What at first simply sounds like a series of clearly defined songs in their respective forms gradually transforms into a kind of vocal and musical mass of light, which acts as a parallel phenomenon to reality. This spectral shift culminates in a halo of light that dissolves all forms and contours, a concept perfectly captured by the album title. "When I write a song, it's a conscious process, but the subconscious naturally plays a major role," Anette Von Eichel explains, describing this transformation from her perspective. "With this album in particular, I hope to give people the opportunity to take a step back from their everyday lives and experience a similar transformation while listening."   Listening to the album, regardless of the lyrics, inevitably evokes the feeling that someone is telling a story. From the osmosis of voice and music emerges a flow that inescapably draws the ear into it's vortex. Pianist Sebastian Sternal, bassist Henning Sieverts, and drummer Jonas Burgwinkel become the material and metaphysical vehicles of these stories, which Anette Von Eichel brings to the stage of her song theater with breathtaking versatility. She starts with the lyrics when writing and tries to discover the sound hidden behind the words. "The word enters into a symbiosis with the interaction of our band," the composer explains, describing this phenomenon of the text dissolving into sound. The songs possess a great flexibility, expressed through nuanced improvisation, which allows the songs to grow not only with each performance but, as already mentioned, with each listen.   "Halo" is the third album Anette Von Eichel has recorded with Sternal, Sieverts, and Burgwinkel in six years. The ease of their interplay, the constant negotiation between collective density and individual detachment, and the spontaneous use of open sections reach a new peak here. Eichel's signature style, unmistakable in it's trinity of classic jazz vocals a la Carmen McRae and Betty Carter, singer-songwriter influences in the tradition of Joni Mitchell, and the timbre of French chansons, sounds like standards that have been in the air for decades. They may feature strong melodies and complex rhythms, but the song as a whole always takes center stage, with which the individual elements must harmonize.   There aren't many singers whose voices, both spoken and sung, exhibit such a striking difference as Anette Von Eichel's. When she sings, she doesn't simply slip into a different persona; she confronts hidden inner worlds that couldn't manifest in her everyday use of her voice. This creates an immediate magic, where the sound of her voice is inextricably linked to the specific emotions of the song. "I'm interested in drawing out all the emotions hidden within my voice," says Anette Von Eichel. "When I sing, I delve much deeper into myself and can uncover far more nuances." Which brings us back to the interplay of light and shadow. She slips into roles, often shifting perspectives even within a single song, employing unconventional vocal techniques like sighs or creaks, and using breath as a creative element.   "Halo" is built from light, and yet this album, like few others, creates a pressure equalization that is transmitted from the four musicians to the listener in an almost hypnotic way. The more one embarks on this journey into the twilight and the nuances of human experience, the more liberating the effect. "Halo" is a passionate declaration of the poetic clarity of ambiguity. Let us refrain at this point from pathos-laden phrases like healing, spirituality, or the pulse of life, and instead take the album objectively and soberly for what it is: precisely the right statement for our time. by Wolf Kampmann

With their neww album Tolstoy, Too Noisy Fish, the trio of Peter Vandenberghe (piano, compositions), Kristof Roseeuw, and Teun Verbruggen, opens a new chapter full of freedom and adventure. The moves effortlessly between composition and improvisation, between order and chaos, between what is planned and what emerges in the moment. Too Noisy Fish first made it's mark in the Belgian jazz landscape in 2011, when the rhythm section of the Flat Earth Society Orchestra decided to start pushing boundaries as a trio too. They created four albums, including 'Too Many Fish: 10 Years Too Noisy Fish', a record celebrating the ten year anniversary of the trio by inviting musician and artist friends to join them in the studio and on stage. With their upcoming album, they are once again establishing themselves as a singular trio. The band shows how music can be at once profound and light, sharp and open-hearted, fully in line with the seeming contradictions that are rife in Tolstoy's work. Each piece is a journey, unpredictable, honest, and full of twists, with freedom and adventure as the compass, and no fixed destination. The compositions breathe literature: melodies unfold like sentences, rhythms collide like characters, harmonies pose questions rather than giving answers. Too Noisy Fish remains true to it's distinctive sound world: incisive, playful, unsettling, yet always imbued with deep human warmth. On Tolstoy, the music moves freely through space, silence, humor, and melancholy. An album about the lust for life, choices, and the endless search for meaning; in sound, in silence, in freedom.

Vice Versa was created out of the need of Belgian pianist Bram de Looze's (LABtrio, Joey Baron, Thomas Morgan, Hank Roberts) to collaborate with artists who he feels are natural extensions to his sound. He quickly found kindred spirits in New York master drummer Eric McPherson (Jackie McLean, Andrew Hill, Pharoah Sanders, Fred Hersch) and Berlin bassist Felix Henkelhausen (Jim Black, Nate Wooley, Lotte Anker), two compositional masterminds with a boundless sense of rhythmic inventiveness. The versatile and exploratory trio sets the bar for expressive interpretation and inventive creativity high. They traverse different approaches in which musical rules change without losing momentum. This leads to an interesting musical synthesis where the spirit of traditional jazz language emerges during intuitive musical excursions within free improvisation and contemporary music. Their debut album 'Vice Versa' came out in 2023 on Dox Records to great acclaim. In January of 2025, while Bram de Looze was the Artist in Residence at Brussels Jazz Festival in Flagey, they recorded their second album live on stage, witnessed by a sold out Studio 1. This album will be released by Challenge Records (NL) in February of 2026.

Vice Versa was created out of the need of Belgian pianist Bram de Looze (LABtrio, Joey Baron, Thomas Morgan, Hank Roberts) to collaborate with artists who he feels are natural extensions to his sound. He quickly found kindred spirits in New York master drummer Eric McPherson (Jackie McLean, Andrew Hill, Pharoah Sanders, Fred Hersch) and Berlin bassist Felix Henkelhausen (Jim Black, Nate Wooley, Lotte Anker), two compositional masterminds with a boundless sense of rhythmic inventiveness. The versatile and exploratory trio sets the bar for expressive interpretation and inventive creativity high. They traverse different approaches in which musical rules change without losing momentum. This leads to an interesting musical synthesis where the spirit of traditional jazz language emerges during intuitive musical excursions within free improvisation and contemporary music. Their debut album Vice Versa came out in 2023 on Dox Records to great acclaim. In January of 2025, while Bram de Looze was the Artist in Residence at Brussels Jazz Festival in Flagey, they recorded their second album live on stage, witnessed by a sold-out Studio 1. This album will be released by Challenge Records (NL) in February of 2026.

The two-time winner of Grammy Awards, alto saxophonist Gary Bartz (b. Baltimore, Sept. 26, 1940) studied music at the Julliard School in New York. He then worked with many prominent players like Max Roach, Art Blakey, Blue Mitchell, McCoy Tyner in the 60s. His international fame came when he joined Miles Davis in the early 70s. He made his SteepleChase recording debut with Jackie McLean in 1973 (“Ode To Super” SCCD 31009). 15 years later he went into a studio in Copenhagen with the band he was touring with in Europe (except Butch Lacy replacing Joanne Brackeen on piano) to make this second album for SteepleChase. Bartz received the BNY Mellon Jazz 2015 Living Legacy Award. He is Professor of Jazz Saxophone at Oberlin College. “…one of the best of Bartz’ recent releases, while it emphasizes leader’s powerful playing, the well-balanced ensemble performances are quite enticing.” (Sato – Swing Journal on SCS 1234)

Markus Burger: It has been a joy to work with such an extraordinary ensemble-my long-time duo partner, Jan von Klewitz, and the legendary rhythm section of Peter Erskine and Bob Magnusson. Together, we've created music that reflects the landscapes, people, and moments that have shaped me. This album was recorded after a memorable tour through Alaska and the Pacific Northwest, and those breathtaking regions undoubtedly influenced the music.

Celebrating its legacy from the 1976 LP and 1990 CD release, Stable Mable returns in May 2026 as a newly remastered 180g audiophile edition (G1040). Captured in Copenhagen just weeks after Dexter Gordon’s ambitious orchestral project SCCD 31030 More Than You Know, this session strips the setting back to its purest form: a no frills blowing date where Gordon’s imagination, authority, and melodic wit shine without disguise. Joined by Horace Parlan, Niels Henning Ørsted Pedersen, and Tony Inzalaco, Gordon navigates standards like Just Friends, Misty, Red Cross, and So What with a mix of relaxed confidence and fiery invention. His soprano reading of In a Sentimental Mood adds a rare, reflective touch. Remastered from the original tapes, this edition highlights the quartet’s clarity, swing, and interplay—an essential snapshot of Gordon’s Copenhagen years and a definitive statement of his enduring mastery. “...Dexter plays brilliantly on every track ...beautifully recorded..”(Jazz Journal 1976)

New York’s ace trumpeter Joe “Mags” Magnarelli’s third outing on SteepleChase is condensed to a quartet format with trumpet as the sole frontline giving the leader new dimension and depth to define his voice. His previous release (SCCD 31939 New York-Osaka Junction) received enthused remarks “…he is particularly outstanding, demonstrating a brilliant clarity that could be called the height of sophistication.” (Catfish-Records, Japan) and “Magnarelli has always been a jazzman-of-all-work, good in small groups like this one and great at starring in big bands and he's on fire here” (JazzWise-Peter Vacher UK)

RVB Quartet They bring a mix between rock and jazz which results in a refreshing sound. Interaction, improvisation and groove are the main ingredients that ensure vibrant compositions and crisp live performances. Hamabiwa The quartet feels like kings when they can play like children and let loose on their instruments. Hazel, Bibi, Marius (the little one) and Walt are the inspiration for this album.

Experience Louis Armstrong at the height of his powers with this definitive 1959 Copenhagen concert, captured just months before his life changing heart attack. Drawn from newly restored Danish radio tapes, SCCD 36513 showcases Armstrong’s All Stars in explosive form—fiery “Tiger Rag,” soulful “Basin Street Blues,” a powerful “Black and Blue/Do You Know What It Means” medley, and joyous favorites like “Mack the Knife” and “When the Saints Go Marching In.” Featuring Velma Middleton, Trummy Young, Peanuts Hucko, Billy Kyle, Mort Herbert, and Danny Barcelona, this release reveals Armstrong’s unmatched stamina and emotional depth. Liner notes are by Ricky Riccardi, the Grammy winning Director of Research Collections at the Louis Armstrong House Museum and one of the world’s leading Armstrong scholars. A major archival addition to the Armstrong discography, presented with SteepleChase’s renowned audio restoration.

George Colligan’s debut album Activism returns in a newly pressed 180g LP edition (G1382), celebrating its 1996 arrival as one of the most confident first statements of its era. At just 25, Colligan emerged as one of New York’s most in demand pianists, and this trio recording captures the full force of that promise. Joined by bassist Dwayne Burno and drummer Ralph Peterson, he approaches works by Wayne Shorter, Duke Pearson, Horace Silver, Thelonious Monk, Fats Waller, and Freddie Hubbard with the assurance of a seasoned bandleader. Critics immediately recognized the album’s vitality—its positive, vigorous, and resourceful spirit—and The Washington Post praised Colligan’s commanding touch and fearless conception. Nearly three decades later, Activism stands as a remarkable debut from a musician whose artistic voice arrived fully formed. “....this album is all about a remarkable arrival of a musician whose conception epitomises Activism in the best sense - positive, vigorous, outgoing and resourceful....” (Mark Gardner)

BASta! Is the solo project of double bass player and composer Joris Vanvinckenroye, in which he explores and pushes the limits of the double bass. In this project, using looping and effect pedals, Joris creates an almost orchestral sound, using the full range of his instrument-from the deepest basses to the highest notes. These layered compositions weave complex rhythms and melodies into a rich and compelling soundscape.

SteepleChase Records proudly presents the debut album of drummer Matt Garrity, a long-standing figure in the New York jazz scene whose artistry has matured over three decades of collaboration with legends such as Joe Lovano, Vincent Herring, and Joel Forrester. Suits And Scotches captures the essence of Garrity’s musical journey, featuring original compositions and fresh interpretations of jazz standards performed by his seasoned quartet which delivers a cohesive and swinging set that reflects both tradition and innovation. Garrity’s path diverged from the 1990s “Young Lions” wave, yet his commitment to the craft never wavered. After relocating to Woodstock, NY, (originally from Ithaca, NY) he founded Barnstock, a vibrant performance space that has become a Hudson Valley jazz hub. Encouraged by bassist Ambrosio and connected to SteepleChase producer Nils Winther, Garrity finally steps forward as a leader and composer. “Drummer Matt Garrity, always fluidly shifting from staccato fill patterns to soft accompaniments in just the way the composition seems to need.” -All Music Guide