The award-winning Dutch composer and bass clarinet player Joris Roelofs is also currently working on a PhD dissertation on Friedrich Nietzsche, improvisation and the notion of freedom. On the album Rope Dance he is able to combine all of this, in a suite of twelve pieces inspired by Nietzsche – ‘by far the most musical of philosophers’ according to Roelofs. It is especially the parable of the tightrope walker in the opening section of ‘Thus Spoke Zarathustra: A Book for All and None’ that has provided him with inspiration for his own ‘Light-Footed Music for All and None’. It is not surprising that Nietzsche’s thoughts about free spirits, liberated from conventional constraints and belief systems, resonate particularly well with musicians working with improvisation and across genres. Roelofs has therefore been able to gather a group of highly versatile colleagues from the Benelux jazz scene to perform his music: pianist Bram de Looze, bass player Clemens van der Feen and Martijn Vink on drums. The album also confirms the multi-faceted talents of bassoonist Bram van Sambeek, following previous recordings on BIS of classical, pre-Romantic and contemporary concertos, as well as hard rock covers with the group ORBI (the Oscillating Revenge of the Background Instruments).
Only a few, famous jazz bassists have ever gone beyond the limitations of their instruments and sought new opportunities on the cello. The cellist Valentin Radutiu turns the tables to show how well the cello suits jazz - at times taking the role of the traditional string bass, at others a resonant tenor guitar while at others giving it's voice wings. The repertoire on Remembering The Rain: A Jazz View, comes mainly from the "Great American Songbook", supplementing that glorious heritage with standards by John Lewis (MJQ) and Bill Evans, both of whom had their own anchors in classical music as well.
Stephane Gallande: A few years ago, the musicians in this band and I began a specific practice on unusual mixes of rhythmic ideas, inspired by traditions from various parts of the world, with the intention of integrating them until they became a personal vocabulary and means of expression. The result is on this album.
In Being Human, Lynne’s compositions celebrate the ways our lives are enriched by passion, courage, love, persistence, heart, soul, curiosity, faith, and joy. Responding to the negative effects of polarization in society and culture, Lynne created this album as an affirmation of love, hope, and unity. It is a musical inspiration to fully appreciate the incredible potential in each of us, and to live our lives individually and collectively as the best expression of what it means to be human.
The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.
Originally released in 1979 and reissued on CD in 1996 with bonus material, G1128 stands as a vibrant snapshot of two masterful trumpeters—John McNeil and Tom Harrell—at a pivotal moment in modern jazz. Now, for the first time, this landmark session returns in stunning 24bit/96kHz remastered fidelity on heavyweight 180g vinyl, preserving the warmth and swing of the original analog tapes.
Backed by a stellar rhythm section featuring Kenny Barron (piano), Buster Williams (bass), and Billy Hart (drums), McNeil and Harrell engage in a spirited, lyrical dialogue that’s as respectful of tradition as it is forward-looking. Their interplay is marked by mutual admiration rather than rivalry—Harrell’s bright, unflappable tone contrasts beautifully with McNeil’s introspective, saxophone-inspired phrasing.
For audiophiles, collectors, and jazz devotees alike, this is not just a reissue—it’s a rediscovery.
“...it’s never a duel of trumpets here but it’s the duet of trumpets...
When the two trumpeters share technique and inspiration, one cannot but enjoy the inevitable result...” (Alain Tercinet, JAZZ HOT).
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)
Live at the Berlin Philharmonie 1969 / Sarah Vaughan
The Lost Recordings
CD
$21.99May 21, 2021
Never before entirely released concert recorded on 9 November 1969 at the Berlin Philharmonie. These emotionally intense concerts are all the more remarkable because of the artists high wire act, a balance constantly maintained throughout between her professional savoir faire (a vocal technique at the apex of her art and her interpretive skills) and her emotional abandonment to the moment as she gives her all. The entire performance, with Vaughan pouring out her heart, seems in hindsight at once perfectly timeless in terms of its formal classicism yet thoroughly in the fleeting moment. At the end of the day, these recordings are invaluable. As Vaughan explores the most lyrical, emotional aspects of her art, she overwhelms her listeners as she bares her soul. Her virtuosity in using her imagination to deploy all her technical skills and the extraordinary range of her tessitura are restrained rather than ostentatious. She literally reaches the stars and gives us a unique lesson in music as a form of the art of living.
CONTENTS:
Charles Strouse, Lee Adams: A Lot of Livin' to Do
Lennon & McCartney: And I Love Him
Bacharach: Alfie
Burton Lane, Alan Jay Lerner: On a Clear Day
Mel Mitchell, Stanley Applebaum, Rita Mann: Passing Strangers
Erroll Garner, Johnny Burke: Misty
Gus Arnheim, Abe Lyman, Arthur Freed: I Cried for You
Rodgers, R: Babes in Arms: My Funny Valentine
Gerald Marks, Seymour Simons: All of Me
Walter Gross, Jack Lawrence: Tenderly
Howard, B: Fly Me to the Moon
Sammy Cahn, Jule Styne: Time After Time
Martin, Hugh: The Trolley Song (from Meet Me in St Louis)
Webb, Jimmy: By The Time I Get To Phoenix
Rodgers, R: No Strings: The Sweetest Sounds
Jimmy van Heusen, / Johnny Burke: Polka Dots and Moonbeams
Rube Bloom, Johnny Mercer: Day in, Day Out
Gilbert Bécaud, Pierre Delanoë, Carl Sigman: What Now, My Love
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.
Horace Parlan’s Glad I Found You is his second quintet date for SteepleChase which captures a rare meeting of inspired musicians at a peak moment, recorded in Copenhagen with Thad Jones — making a vibrant late career comeback — and the always inventive Eddie Harris. Parlan leads the quintet full of warmth, swing and spontaneous interplay. The album blends Parlan’s own tunes, soulful obscurities, and modern jazz classics like “Afternoon in Paris,” all delivered with the rhythmic looseness and deep blues feeling that defined his style. This new 24bit/96kHz remaster brings fresh clarity to one of Parlan’s most spirited SteepleChase sessions, revealing the nuance and energy of a group of masters enjoying every moment together.
“...it’s another fine addition to Parlan’s discography.” (Jazz Journal)
John McNeil (March 23, 1948 – September 27, 2024) launched his professional career with debut LP "Embarkation” SCS 1099) on SteepleChase in 1978 a few hours before he turned 30.
Age 30 was his goal to release his first and he remarked “I just made it!”
John McNeil’s There Is No Greater Love (SCCD 34007) unveils a previously unheard 1983 Odense, Denmark session, capturing the trumpeter at a creative peak during his extensive Scandinavian tour. Joined by Danish masters Jesper Lundgaard (bass) and Aage Tanggaard (drums), McNeil delivers a warm, incisive set blending standards, bebop classics, and his own “Out”. His bright, agile phrasing — long praised for its roots in Miles, Hubbard, and the Parker lineage—meets a deeply swinging Nordic rhythm team. This newly discovered trio date highlights McNeil’s lyrical clarity, spontaneous invention, and enduring place in the modern jazz tradition.
Armenian piano virtuoso Tigran Hamasyan returns with Manifeste, out February 6, 2026-a powerful fusion of jazz, progressive rock, and Armenian folk. Recorded across five countries, the album blends rhythmic complexity, cinematic depth, and spiritual intensity, featuring longtime collaborators and the Yerevan State Chamber Choir. Manifeste is a bold declaration where the human, digital, and sacred unite in sound. Following The Bird of a Thousand Voices, Hamasyan continues his artistic exploration with Manifeste (2025)-a bold, multi-dimensional statement recorded between 2023 and 2025 across studios in Yerevan, Athens, Moscow, Los Angeles, and beyond. Entirely composed and produced by Hamasyan, Manifeste fuses his signature rhythmic complexity and spiritual depth with a more cinematic soundscape, where Armenian folk roots, progressive rock intensity, and choral mysticism intertwine. The album unfolds like a ritual sequence-from the meditative "Prelude for All Seekers" to the powerful "National Repentance Anthem. " Collaborators include longtime partners Marc Karapetian (bass) and drummers Arthur Hnatek, Arman Mnatsakanyan, Matt Garstka, and Nate Wood, alongside contributions from cellist Artyom Manukyan, trumpeter Daniel Melkonyan, guitarist Nick Llerandi, and the Yerevan State Chamber Choir conducted by Kristina Voskanyan. Each piece radiates Hamasyan's fascination with transcendence and transformation, whether through the fiery rhythmic drive of "Dardahan" and "Ultradance, " the haunting choral layers of "One Body, One Blood, " or the intimate dedications "Years Passing (For Akram)" and "A Window from One Heart to Another (For Rumi). " In Manifeste, Hamasyan brings together the human, digital, and sacred-a declaration of unity through sound, where modern technology meets ancient resonance. In addition to awards and critical acclaim, Hamasyan has built a dedicated following worldwide, as well as praise from Herbie Hancock, Brad Mehldau, and the late Chick Corea. "With startling combinations of jazz, minimalist, electronic, folk and songwriterly elements. Hamasyan and his collaborators travel musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You'll hear nothing else like this. " (NPR)
Drummer Mark Guiliana is renowned for his work with Avishai Cohen for several years from 2002 to 2009. ‘Locked in a Basement’ is his debut album as band leader and producer. Hailed by The New York Times as “a drummer around whom a cult of admiration has formed,” Mark Guiliana brings the same adventurous spirit, eclectic palette and gift for spontaneous invention to a staggering range of styles. Equally virtuosic playing acoustic jazz, boundary-stretching electronic music, or next-level rock, he’s become a key collaborator with such original sonic thinkers as Brad Mehldau, Meshell Ndegeocello, Donny McCaslin, Matisyahu, and the late, great David Bowie.
‘Lyla’ is Avishai Cohen’s first release with Razdaz Recordz. Piano legend Chick Corea appears as a special guest performing a duet with the leader. Avishai Cohen is an Israeli jazz double bassist, composer, singer, and arranger. He began playing the piano at 9 years old but changed to the bass guitar at the age of 14, inspired by bassist Jaco Pastorius. In 2002, Cohen founded his record label, Razdaz Recordz. "I've always been interested in several genres of music, including jazz, rock, pop, Latin and funk," says Cohen. "I'm always packed with ideas. I decided to start my own label because I'm involved in so many different projects." Cohen's signature sound is a blend of Middle Eastern, eastern European, and African-American musical idioms.
Multiquarium Big band feat. Biréli Lagrène: "Remembering Jaco" is a tribute to Jaco Pastorius's music, made by André Charlier (drums) and Benoit Sourisse (piano) from the Multiquarium Big band, one of the best French Big Bands. Jaco Pastorius is a big star in the Jazz-Rock scene (and beyond), an icon for the bass players all around the world, the one who brought to electric bass the possibility of becoming in some case a soloist instrument in a band. Jaco Pastorius made very famous solo albums and wrote amazing big band music. He played with Pat Metheny, Joni Mitchell but was also a very important member of the famous Jazz-rock band, Weather Report with Wayne Shorter, Joe Zawinul, Peter Erskine (who participates to this album with some spoken words!)... The virtuoso gypsy guitar player, Biréli Lagrène, has been invited to play electric fretless bass on the album. Biréli, who, as a young genius of the guitar, began to play in Montreux when he was 14, he is now 50 and played one year and a half with Jaco Pastorius on stage when he was 19 years old. Biréli is an amazing bass player, he perfectly integrated how Jaco's Music was working and pushed it beyond it's borders.
From genre-smashing composer and keyboardist Miguel Kertsman and drummer Ernie Adams comes IN THE MOMENT, a true-to-its-name album that leaps over musical boundaries and defies any label. The single-take, minimally microphoned recordings capture the raw emotional potential of music and the spontaneity of an intimate recording session. Kertsman’s vintage analog keyboards, bass pedals, and Adams’ drums work in tandem to duck and weave between musical forms, mingling with progressive rock, jazz fusion, Brazilian, Eastern, and more, all seamlessly fused together into one cohesive musical journey.
The Guesthouse is about collaboration, inclusion, and the essence of welcoming which is the essence of an open door. It's my most ambitious project to date, sonically and compositionally. It involves so many incredibly talented people: some are in the front, playing music together with me, offering their insight, time, effort, and love, and some incredibly talented and hardworking people are behind the scenes, facilitating, allowing, and inspiring me to keep pushing forward. Musically speaking, the color palette on The Guesthouse is huge. It introduces many musical guests that I admire deeply: MARO, Immanuel Wilkins, Michael Mayo, and many more. It includes lyric writing for the first time, electronic instruments, guitars, trumpets, flutes, flamenco musicians, in-depth production work, my quartet, solo piano, odd meter explorations, improvisations, songs with no time, strings, two pianos conversing and more and more and more.. I dove as deep as I could into these deep waters. The result is my attempt to turn the creative chaos that lives in mind mind into one coherent artistic statement, always having a simple melody as a thread that tells the story of this collective. Shai Maestro Shai Maestro (b. 1987) is one of the most inventive and influential pianists of his generation. Since debuting with his own trio in 2011, he has developed a distinctive musical voice that is fluid, expressive, and profoundly lyrical. His artistry has made him a defining figure in contemporary jazz, merging improvisation, composition, and global influences into a sound that is both cinematic and deeply personal. Maestro began studying classical piano at the age of five and discovered jazz at eight through the recordings of Keith Jarrett and Oscar Peterson. At nineteen, he joined bassist Avishai Cohen's trio, co-writing the acclaimed Gently Disturbed and performing worldwide. In 2011, he formed his own trio, recording six albums that solidified his reputation as a singular voice in modern jazz. His years with ECM Records, under the guidance of Manfred Eicher, placed him among the lineage of pianists such as Keith Jarrett, Paul Bley, and Chick Corea. With drummer Ofri Nehemya and bassist Jorge Roeder, he recorded his first ECM album "The Dream Thief", later joined by trumpeter Philip Dizack for the second - "Human", both expanding the expressive language of the modern jazz quartet. Today, Maestro continues to evolve artistically with a new quartet featuring keyboardist Gadi Lehavi, drummer Ofri Nehemya, and bassist Jorge Roeder. Gadi, the new wild card in the group, brings a distinctive energy and vision; his presence as another pianist opens fresh possibilities for dialogue, texture, and experimentation between two keyboards. This lineup functions as a powerful, cohesive engine driving Maestro's musical exploration, blending jazz improvisation with modern production into a sound that is organic, cinematic, and forward-looking. In 2025, Maestro signed a long-term partnership with the Paris-based label naive records, a defining milestone that opened an expansive new chapter in his artistic life. The collaboration with naive marked a moment of renewal and bold creative ambition, setting the stage for a period of profound exploration. The first fruit of this partnership was his solo piano album, Solo: Miniatures & Tales. Introspective and deeply personal, it revealed the most intimate side of Maestro's artistry; a work of quiet reflection, nuance, and restraint. This album stands in deliberate contrast to the broader, outward-looking vision of his forthcoming project, The Guesthouse, highlighting the duality at the heart of Maestro's creative world: the tension between introspection and expansion. In March 2026, Maestro will release The Guesthouse, a record that features Portuguese singer MARO alongside Immanuel Wilkins, and Michael Mayo. The album represents a bold leap forward, combining the sensitivity of modern jazz with electronic sound design and the harmonic depth of classical music. The Guesthouse creates a lush, cinematic space where boundaries dissolve, embodying Maestro's exploration of openness and collaboration.
After two years of solo touring, Yaron Herman presents his new album Radio Paradise. He returns with an exceptional ensemble, joining forces with two of the finest saxophonists in the world: Maria Grand, a rising international star, and Alexandra Grimal, a major figure in improvised music. This album takes us on a quest for lyricism, depth and sincerity, with elegant melodies and powerful rhythms, in a project that is both spiritual and deeply moving. "When I started working on this album, the first thing that came to my mind was melody. I have been writing a lot over the last few years, mostly in my notebooks, for myself. On the road or at home, anything from long lines to short fragments. With time, (and hard work) these "motifs" started to take shape and turn into "songs". While playing them, exploring what they could become, I realized I was looking for a sound that wasn't "just» the piano. These melodies required another voice. Saxophonists Maria Grand and Alexandra Grimal have different approaches, yet both have a mysterious, powerful and lyrical quality that I was looking for. Those qualities, combined with Haggai Cohen Milo's beautiful tone and rhythmic versatility and the playing and precious ideas throughout the Process of my longtime musical brother, Ziv Ravitz, made these songs truly come to life. In the studio we were fortunate to have the experience and perspective of producer Daniel Yvinec who encouraged us to push the music further, taking risks. I imagined each composition as a different scenario, a landscape offering a fertile ground from which improvisation could grow. Improvisation: a quest for the sweet spot between freedom and constraint. The playfulness of it all. Providing the tools but not the final edifice, providing the canvas but not dictating what to paint on it. That's how Radio Paradise happened. We stumbled upon the title in the studio, while discussing how opposites complete each other, and how our role as artists is to try and reconcile that which seems in opposition. To find the space where music flows effortlessly, and from the heart." YARON HERMAN
Last year, Tigran Hamasyan composed his greatest work, inspired by a traditional Armenian tale of the same name: The Bird of a Thousand Voices, is rediscovering this story in a transmedia project, consisting of an innovative livestaged play (world premiere at the Holland Festival on June 8, 2024), two ambitious cinematic fiction music videos, a documentary music video and an online game. The original story of the firebird has been orally transmitted over the centuries and cultures. The folk tale requires a multi-layered, transdisciplinary approach to provide an artistic context for this fascinating story. The mystical bird of a thousand voices is a beautiful metaphor of our times: a world in search of connection and harmony, faced with ecological, psychological and spiritual crises. Any form of recognition and new means of transmitting this beautiful music of the ancient traditions of the Caucasus is therefore important and sets the tone for world curiosity and diversity. "The Bird Of A Thousand Voices" is part of this context. Tigran is one of the most remarkable jazz pianists and composers of his generation. He combines improvisation with the rich traditional music of his native Armenia. Ten years ago, Tigran and award-winning filmmaker Ruben Van Leer met during a collaboration at the Cite de la Musique in Paris, creating "Shadow Theater", a visual musical experience (see ARTE broadcast). They went on to create several music videos together (see Cave of Rebirth & Fides Tua). Armenian culture, geopolitically situated between globalized powers such as Russia, Turkey and Azerbaijan, has been under pressure for centuries. Most recently, in September 2023, Azerbaijan took over Armenian territory. Right after, almost the entire population was expelled from the mountainous region of Nagorno-Karabakh as part of an "ethnic cleansing", in the words of the European Parliament. Azerbaijan is now expressly ordering the burning of ancient historical manuscripts in Armenian monasteries. Deluxe vinyl 2LP box set with 3 superb illustrated booklets (80 pages in total).
Eternal Child, Avishai Cohen's new album, will be released in May and showcases the full depth of his artistry as a bassist and composer. Years later, he reunites with drummer Jeff Ballard on selected tracks, recalling their strong musical connection forged alongside Chick Corea. Recorded at the renowned Studio de Meudon in Paris, Eternal Child stands as a major new chapter in Cohen's work.
Daydreaming My Beloved Father Giovanni (double-vinyl)
Challenge Records
Vinyl
$26.99Nov 06, 2026
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.
Ephemer takes it's title from the Greek word for something that lasts only a short time: fleeting, transient and impermanent. It is a fitting image for the music of bassist, composer and bandleader Vroni Frisch, whose quartet thrives on the tension between carefully shaped compositions and moments that can exist only once. With Gregor Schor on reeds, Manuel Seng on piano and Rhodes, Tobias Frohnhofer on drums and Frisch on six-string electric bass, the VRONI FRISCH BAND moves freely between contemporary jazz, lyrical chamber-like passages, cinematic colours and powerful grooves. Frisch's writing leaves room for contrast: music can be smooth and delicate one moment, rough and untamed the next. At the centre are strong melodies, rich harmonies and intricate rhythms, while improvisation gives each piece the freedom to take an unexpected turn. Across nine original compositions, Ephemer captures that balance of structure and openness. Tracks such as 'Why,' 'Stream,' 'Lugano,' 'Drab' and the expansive 'Megalodon' reveal a band equally comfortable with subtle interplay and grand gestures. The result is music that feels composed without becoming fixed: constantly shifting, developing and responding in the moment. For Frisch, whose work spans jazz, improvised music, art-pop and large ensemble composition, the quartet has become a focused space in which to bring together these different musical experiences.
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
