GingerBlackGinger, the daring and authentic project centered around Belgian double bass player Yannick Peeters, has entered a new chapter. They are now joined by American avant-garde alto saxophonist Tim Berne. Their new album, titled Smalltalk Code, will be released in February 2026 by Challenge Records (NL). "Tim is a hero of mine, a great example when it comes to music composition. I didn't even dare ask him to join at first. This project is going to be unique; I don't know of many bands with two alto saxophones. I'm excited to see the dynamic form between Tim and Frans Van Isacker. Tim has such a strong personality, he has a great impact on our sound. The fact that Tim and Tom Rainey have played together before means there was an element of trust there from the beginning." - Yannick Peeters GingerBlackGinger is made up of Yannick Peeters (BE) on double bass (Jakob Bro, Frank Vaganée, Chris Joris, Mark Feldman, Jim Black, Joshua Redman, Hank Roberts); Frederik Leroux (BE) on guitar (Flat Earth Society, Ruben Machtelinckx, Joachim Badenhorst, Lander Gyselinck, Steven Delannoye); Frans Van Isacker (BE) on saxophone and clarinet (Tom Malmendier, Quentin Stokart, Ottla, Chantal Acda & The Atlantic Drifters); Tom Rainey (US) on drums (Fred Hersch, Ingrid Laubrock, Mary Halvorson, Mark Helias, Joey Baron, Jim Black); and now Tim Berne (US) on saxophone (Paul Motian, Bill Frisell, Hank Roberts, John Zorn, Marc Ducret, Michael Formanek, Craig Taborn). These are personalities with a vision: creative, stubborn people who won't settle for mediocrity; restless spirits who keep looking for new sounds, contexts, and like-minded people, and are therefore the ideal partners in crime for Peeters. In January 2024, the band released their debut album GingerBlackGinger. This album combines elaborate soundscapes, brief bursts of energy, and mesmerizing grooves. In May of 2025, Yannick Peeters was given carte blanche by Bozar. She took the opportunity to invite her personal musical hero Tim Berne to join the band for the recording of a new album and a live show. The result of this journey into new musical adventures is the album Smalltalk Code, to be released in February 2026 by Challenge Records (NL).

In a time when musical genres are constantly in dialogue with one another, Standard - No Standard proves that the jazz tradition is not only alive but also constantly evolving. This album, the result of a powerful collaboration between guitarist Joost Zoeteman, bassist Bart Tarenskeen, and drummer Wim de Vries, showcases how three musicians masterfully strike a balance between reverence for jazz history and a fresh, contemporary approach.

With Rain, Flowers and New Beginnings, trumpeter, composer and bandleader Maik Krahl presents a deeply personal and beautifully balanced album about growth, change and resilience. Inspired by the idea that no flower blooms without rain, the music reflects the quiet strength that can emerge from difficult seasons, transforming experience into sound with warmth, clarity and lyrical depth. Krahl's trumpet playing is marked by a rich, flexible tone, elegant phrasing and a calm emotional intensity. Across the album, he moves through spacious, melodic landscapes, playful rhythmic passages and moments of reflective stillness, always maintaining a sense of openness and natural flow. His compositions are adventurous yet grounded, shaped by contrast, silence and release. The album features an exceptional ensemble: Constantin Krahmer on piano, Jakob Kuhnemann on bass, Fabian Rosch on drums and glockenspiel, and Tamara Lukasheva on vocals. Together, they bring Krahl's music to life with sensitivity, imagination and a strong collective voice. From the opening 'Blue Dots Descending' to the closing 'The Journey of Serenity,' Rain, Flowers and New Beginnings unfolds like a musical meditation on renewal. It is an album about what is endured, what is absorbed, and what eventually blossoms.

It's a gift that has been handed to Jasper: the ability to choose a musical partner for a unique project where the sum of the parts far exceeds the normal mathematical result. The result is the epitome of synergy. These great live recordings are addictive. Not merely because of their lovely tones, thrilling turns, subtle waywardness and the restrained calm that pervades them. No, it is first and foremost the overall vibe that makes this release so special. You're literally transported to a sound world that breathes, where a liberating space prevails. Your sense of time wavers and you feel connected to the language of the players. Listening to them places you fully in the Now.

With Rain, Flowers and New Beginnings, trumpeter, composer and bandleader Maik Krahl presents a deeply personal and beautifully balanced album about growth, change and resilience. Inspired by the idea that no flower blooms without rain, the music reflects the quiet strength that can emerge from difficult seasons, transforming experience into sound with warmth, clarity and lyrical depth. Krahl's trumpet playing is marked by a rich, flexible tone, elegant phrasing and a calm emotional intensity. Across the album, he moves through spacious, melodic landscapes, playful rhythmic passages and moments of reflective stillness, always maintaining a sense of openness and natural flow. His compositions are adventurous yet grounded, shaped by contrast, silence and release. The album features an exceptional ensemble: Constantin Krahmer on piano, Jakob Kuhnemann on bass, Fabian Rosch on drums and glockenspiel, and Tamara Lukasheva on vocals. Together, they bring Krahl's music to life with sensitivity, imagination and a strong collective voice. From the opening 'Blue Dots Descending' to the closing 'The Journey of Serenity,' Rain, Flowers and New Beginnings unfolds like a musical meditation on renewal. It is an album about what is endured, what is absorbed, and what eventually blossoms.

Thomas Fonnesbæk is a Danish bass player born in 1977. Fonnesbæk has made a name for himself by being featured on more than 100 recordings throughout his career. Most notably Caroline Henderson, Alex Riel and Denmark's Radio Big Band. On his new record Synethesia, he teams up with New York-based jazz pianist, composer, producer and educator, Justin Kauflin. Known as a regular Quincy Jones Artist he performs worldwide as solo artist or Justin Kauflin Trio. Synethesia will be the first time they join musical forces. Of his previous releases, critics have written: “full of surprising twists and turns and live excitement as the audience waits for the cat to land: a great album…” “[the album is] driven by dynamic flow and a high level of creativity. The scope, the swing, the harmonic insight, the elegant plasticity… are boggling.”

Guitarist John Hart returns to the classic guitar-bass-drums trio format for his seventh SteepleChase release. After several adventurous outings, New Mantra marks a melodic homecoming, reuniting Hart with longtime collaborators Bill Moring and Tim Horner. Known for his lyrical phrasing and harmonic depth, Hart emphasizes melody and clarity, crafting originals like “Think” and “Abyss” alongside fresh takes on standards such as “Stella by Starlight” and “Some Other Time.” With over 100 sideman credits and decades of leadership, Hart continues to shape modern jazz guitar — blending tradition, intellect, and soul in every note. “Resonance resonates…and how. Mucho bravos to John Hart and his bandmates for providing jazz guitar fans with a refreshing and inspired offering which exhibits the time-honoured legacy of the instrument.” (UK JazzNews on SCCD 31948 Resonance)

Since the time vibraphone was invented in 1921 (could be 1916) there has been an impressive and growing list of exceptional practitioners of this mallet instrument. And one of them is Tony Miceli whom Victor Schermer of All About Jazz describes as, “a vibraphonist of astonishing virtuosity, musical resilience, and inventiveness. His vibes playing is nothing short of phenomenal.” Miceli performs and gives masterclasses in the US and abroad. This is Tony Miceli’s leader debut album on SteepleChase.

In 1999-2000, Niels-Henning Ørsted Pedersen was given the chance to make a studio recording on the occasion of Duke Ellington's 100th birthday. For this duo session, NHØP chose Mulgrew Miller, whom he had heard, but never played with. Both were at the height of their careers, giants in their own right, and with totally different backgrounds. NHØP was born into the Danish folk high-school milieu that promoted freedom of thought and had a prolific song tradition. Growing up as the child of plantation workers in Greenwood, Mississippi, Mulgrew had his roots in gospel music and the racially divided USA of the 1960s. A Duke Ellington connoisseur, he had played with the Ellington Orchestra under direction of Mercer Ellington. Recorded live, all the tracks on this never before released concert remain in the same order as the two masters chose that evening at the North Sea Jazz Festival. They are at the peak of their abilities, combining new version of the Ellington songs they had previously recorded together with jazz standards. Niels-Henning and Mulgrew have sadly passed away, but are remembered as intelligent and insightful musicians on and off stage, but also as unconditionally generous mentors and influences for generations of musicians after themselves.

Storyville Records is pleased to announce the release of In Rome, a new album by Danish bassist Thomas Fonnesbaek alongside esteemed jazz musicians, pianist Enrico Pieranunzi, saxophonist Rosario Giuliani, drummer Roberto Gatto and singer Valentina Ranalli. The album is set for release on November 1, 2024. This recording consists of 11 original compositions, 9 by Pieranunzi, 1 by Fonnesbaek and 1 by Gatto. Thomas Fonnesbaek is considered one of the most important and distinctive bassists on the European jazz scene today. His virtuosic technique, "Nordic sound" and ability to craft cohesive solos place him in the lineage of Danish bassists like Niels-Henning orsted Pedersen, Bo Stief and Jesper Lundgaard, while also showing kinship with greats like Dutch bassist Hein van de Geyn and prominent Swedish bass players. Nevertheless, Fonnesbaek's style is uniquely his own, honed through a self-taught journey that captivates audiences with a rare ability to evoke Duende - the inexplicable power of attraction that moves listeners emotionally, a concept coined by Spanish poet Federico Garcia Lorca. For those who have had the privilege of experiencing Fonnesbaek live, they will recognize this Duende in his playing. He often takes risks that challenge both his fellow musicians and audiences, creating moments of magic. In Rome captures these moments, highlighting Fonnesbaek's collaboration with some of Europe's finest musicians. At the core of the album is the partnership between Fonnesbaek and Enrico Pieranunzi, one of Europe's most revered pianists. Pieranunzi, known for his collaborations with the likes of Chet Baker, Mark Johnson, Paul Motian, and the legendary film composer Ennio Morricone, brings his extensive jazz and classical music background to this recording. Having recorded numerous albums together, Pieranunzi and Fonnesbaek share a musical chemistry that fuels this project. Joining the trio is Roberto Gatto, a drummer celebrated in European jazz circles. His elegant, sensitive approach enhances the group's interplay, while Rosario Giuliani on saxophone and Valentina Ranalli on vocals further elevate the music. In Rome is a testament to the creativity and mastery of European jazz. This album is jazz at it's finest!

Featuring reinterpretations of famous jazz standards by artists like Joe Lovano, Lee Konitz, Bill Frisell, Charlie Haden, and his daughter Petra Haden on vocals, Paul Motian creates an audio film about scenes in New York City for closed eyes.

Twenty years after their acclaimed trilogy, Eric Rasmussen and his long-standing quartet return with School of Tristano 4—a revelatory deep dive into the compositions and aesthetics of Lennie Tristano, Lee Konitz, and Warne Marsh, paired with striking originals. Drawing from decades of study, stage experience, and personal connection, Rasmussen’s quartet reinvents this rich, often-underrepresented repertoire with stunning clarity, warmth, and spontaneity. While the album brims with telepathic interplay and ensemble finesse, Rasmussen’s alto saxophone sings with a personal voice, never imitative, always rooted in the language of deep jazz tradition but reaching forward. Guitarist Nate Radley, bassist Dave Ambrosio, and drummer Mark Ferber bring unmatched sensitivity, groove, and lyrical depth. School of Tristano 4 offers both serious jazz heads and adventurous listeners a fresh insight into classic modernist repertoire—an album that resonates with the spirit of Tristano while speaking entirely in the quartet’s own voice.

Saxophonist-composer Chris Byars, praised as a modern master of ensemble writing and conceptual storytelling, delivers new album The Dark Forest—his fifteenth release on SteepleChase and perhaps his most introspective to date. Byars’ signature Original Jazz Sextet achieves remarkable harmonic and emotional depth through intricate voicings and counterpoint. Critics have celebrated Byars as a visionary of new bop vocabulary. His previous albums like Boptics and Rhythm and Blues of the 20s drew accolades for their smart, infectious writing and engaging solo showcases. “… he knows his musicians so well, Byars is masterful in his writing, blending the reeds and trombone in intricate ensembles while letting the soloists all shine throughout.” (Ken Dryden – New York City Jazz Record on SCCD 31929)

Late bassist Milt Hinton is celebrated for a stage and studio career that intersected with countless legendary musicians - from Dizzy Gillespie and Cab Calloway to Barbra Streisand and Willie Nelson - for an incredible seven decades. Groove Dreams, a new recording by versatile bassist Peter Dominguez, honors Hinton's legacy with solo bass tunes from artists as varied as Duke Ellington, Stevi Wonder, Bill Evans, and Chick Corea. Performed on the 18th-century Italian bass Hinton played throughout his career, each song explores the nuances and deep colors of the instrument - qualities not always discernible in ensemble playing. A renowned bassist and educator in his own right, Dominguez met Hinton in 1981 and won the inaugural Milton J. Hinton Scholarship Competition that same year. More than three decades later, Dominguez was instrumental in forging a relationship between the Hinton estate and Oberlin Conservatory, where he is a professor of jazz studies and double bass. Oberlin's relationship with the Hinton estate has grown to include a scholarship fund; an extensive collection of papers, films, and personal artifacts amassed by the Hintons; a biennial summer Institute for Studio Bass; photographs taken by Hinton throughout his career; and four basses formerly owned by Hinton that continue to be played by Oberlin facutly, students and visiting artists. ''Words are not adequate to express the experience of playing Milt Hinton's bass,'' says Dominguez. ''We are ever mindful of its provenance and Milt's enduring spirit that thrives within it.''

Following the critical acclaim of The Talisman (SCCD 31955), alto saxophonist Dave Pietro returns with The Butterfly Effect, his second release on SteepleChase—a label that has become a vital platform for his richly inventive voice. A veteran of ensembles led by Maria Schneider, Toshiko Akiyoshi, and Gil Evans, Pietro continues to command attention as a composer and bandleader whose work is both intellectually rigorous and emotionally resonant. Returning collaborators include pianist Gary Versace, whose kaleidoscopic soloing adds depth and color, and bassist Jay Anderson, whose expressive lines anchor the group with elegance. Trumpeter Scott Wendholt and drummer Adam Cruz round out the lineup, each contributing dynamic performances that elevate Pietro’s compositions. His writing is marked by intricate counterpoint, unexpected harmonic shifts, and a deep sensitivity to ensemble interplay. Pietro’s music balances complexity with clarity. The Butterfly Effect is more than a follow-up—it’s a statement of artistic evolution. Where The Talisman introduced Pietro’s voice to a broader audience, this new release deepens the narrative, offering a compelling blend of lyrical beauty, structural sophistication, and improvisational fire. “Pietro has great chops and a profound imagination, and possesses a warm, accessible, lyrical sound...” ( Lee Lowenfish - New York Jazz Newsletter)

Fireflight Mimmi Fulmer (soprano voice), Elizabeth Falconer (koto, bass koto), Dane Richeson (percussion), Les Thimmig (tenor saxophone, bass clarinet), Michael Kocour (piano) 'Taking of the World by Sturm' 'Bassist-composer Hans Sturm stirs up a torrent of creative virtuosity in his recent Innova release Fireflight: Sun Suite. The jazz/new music crossover album is permeated by the haunting sounds of Elizabeth Falconer's traditional and progressive koto playing, which is well nigh in the same league as Miya Masaoka's (in one stretch Falconer sounds remarkably like an oud). Mimmi Fulmer is the glowing and smoky soprano, and she sings wonderfully in consort with the innovative drummer Dane Richeson, who is comfortable with all manner of percussion East and West.' Mark Alburger, Journal of 21st Century Music 'At one moment it sounds like ancient tribal ritual music, and the next, it evokes scenes of natural phenomena - awe inspiring vistas and picturesque landscapes. This group paints pictures with sound that challenge the imagination and mind of the listener... a feast of musical textures and moods, and an imaginative approach to ensemble playing' Todd Coolman, Bass World I have frequently been inspired by a moving sunrise or sunset and was struck by the thought of what it might feel like to not just witness an event of such great beauty, but to be a physical part of it - as if one could become part of the air and light. This thought inspired a series of poems and stories exploring the idea of becoming a disembodied part of the atmosphere, somehow one with the day. These explorations raised the thought of how magical the various parts of the day must have been to early human observers left unburdened by scientific explanations, the incandescent light bulb, and climate controlled environments. Words suggested sounds and ultimately led to the creation of the Sun Suite depicting a single solar cycle. The Sun Suite is comprised of four sections; Sunrise, Daylight, Sunset, and Night which are in turn divided into a total of eight movements. The Sun Suite begins with an Invocation, starting softly with Tibetan Prayer Bowls and moving into a percussion and double bass improvisation that sets the mood for the composition. Invocation is followed by Habanero Sunrise. The Sunrise movement has a Latin American feel and likens the beginning of a hot day to sensuous images of the Sun both as a woman and as hot peppers. Sunrise segues into Fireflight, a movement featuring the bass koto, double bass and voice in a layered melody. The Fireflight movement attempts to impart sonic images of birds awakening in the early morning. Fireflight in turn segues into Daylight and Ellipse. These two short movements were written as duets for soprano and double bass. Sunset follows Ellipse and begins with an extended introduction featuring the Brazilian berimbau, then adding the double bass and finally the koto. This movement features four themes which are tossed about between the instruments and the voice in an effort to give the impression of the complex colorful air found at sunset. Starshower is an instrumental movement and features the clay udu drum along with koto and double bass. The final movement of the Sun Suite is the Night parable, a whimsical children's story about the moon which ends quite softly with the opening Latin vamp from Sunrise, completing the sun's cycle. If the Sun Suite is to be considered ethnic world music, then Smoke and Fire must be considered jazz inspired compositions. Written for soprano Mimmi Fulmer during the summer of 1996