Founded in 1951 by Erwin Lehn, The SWR Big Band has been nominated for a Grammy several times and received the German Jazz Award (Gold) in 2015. Over the course of the years, it collaborated with artists like Quincy Jones, Pat Metheny, George Benson, Gary Burton, Dee Dee Bridgewater, Curtis Stigers, Jacob Collier, Patti Austin, Roy Hargrove, Sammy Nestico, Ivan Lins, Paula Morelenbaum, Joo Kraus, Toshiko Akiyoshi, Bob Florence, Rob McConnell, Slide Hampton, Maria Schneider, Frank Foster, Bill Holman and Bob Mintzer. The album SWR Big Band live at the Elbphilharmonie from 2018 is one of the longest running bestsellers of the label. The collaboration between Sammy Nestico and The SWR Big Band began 2004, when the composer was already 80 years old. Soon it developed into a real friendship. No less than five albums have been released in the years until his death, all of them bestsellers of the SWRmusic catalogue. They additionaly made a key contribution to raising international awareness of Nestico's late creative phase. The music he wrote for The SWR Big Band sports both funky sounds and elements of fusion, combining swing, a pinch of soul and an emotional orchestral expression. The music moves artfully between reduced combo sounds and opulent textures. This sense of mutual understanding was created during the decade-plus period of collaboration between the composer and the orchestra, a collaboration built not only on notes, but also on intuition.

Danish bassist Mads Vinding, Italian pianist Dado Moroni and Italian / Swedish drummer Niclas Campagnol join forces to deliver an exceptional, previously unreleased live performance in the form of the brand new album Quiet Yesterday on Storyville Records on November 17, 2023. In 2018, these three musical virtuosos united to record a live performance at the iconic Jazzhus Montmartre in Copenhagen. This release features five standards and an original composition by Moroni titled Quiet Yesterday. Their remarkable interplay showcases the power of jazz as a universal language and the profound connection that can be forged between artists who, despite not having worked together previously, communicate effortlessly on stage. On this recording, Vinding, Moroni and Campagnol display a level of synergy that is nothing short of awe-inspiring. Their seamless collaboration evokes the impression of a well-seasoned trio, one that has honed their craft over several years. What makes this trio's performance truly extraordinary is the fact that Moroni had never recorded with either Vinding or Campagnol prior to this, yet their musical chemistry is palpable, making the music sound effortless and natural. Throughout the recording, Vinding, Moroni and Campagnol communicate with an uncanny closeness, crafting music that is subtle, emotionally resonant, spontaneous and endlessly swinging. Each member of the trio has a distinguished track record of elevating the music of others across a multitude of settings throughout their careers. Their shared commitment to pushing boundaries, avoiding clichés, and exploring new creative horizons is evident in their music. What's most remarkable is that, despite spanning three different generations, their collective chemistry feels timeless and boundless. Bassist Mads Vinding, born in 1948, is a prominent figure on the jazz scene. Over the years he has collaborated with an impressive roster of jazz greats, including Duke Jordan, Dexter Gordon, Enrico Pieranunzi, Toots Thielemans and many more. Pianist Dado Moroni, born in 1962, is one of Europe's most loved pianists. He has played as sideman with just about everyone from Clark Terry to Freddie Hubbard, but today he is considered a modern European giant that among many projects plays duo with Kenny Barron and trio with Eddie Gomez and Joe LaBarbera. Drummer Niclas Campagnol, born in 1973, comes from a long musical lineage. His versatility and musicality makes him a sought after musician that has worked with Thomas Fonnesbæk, Didier Lockwood and Antonio Farao. Quiet Yesterday is a testament to the e nduring power of jazz and the boundless creativity that can emerge when three exceptional musicians come together to create music that transcends generations. But as always it is the singing bass a stunning virtuosity of Mads Vinding that shines through. This is jazz of the highest order!

William “Count” Basie (1904 – 1984) had a long successful career over a span of six plus decades leaving an enormous legacy in the history of jazz. The existence of this live recording from Copenhagen in 1962 has never been public, not even in the most extensive bio-discography by the late journalist/author Chris Sheridan. The concert here was a part of Basie’ New Testament Orchestra’s frequent European tours in the late 50’s and early 60s, an era that’s called The Atomic Period.

Duke Jordan (1920 – 2006) was approached in NY by Marcel Romano, musical consultant of the French film Les Liaisons Dangereuse directed by Roger Vadim in 1959 to audition for the soundtracks. It laid down the groundwork for Jordan’s rise to the star composer status. All too famous “No Problem” is not included in this sketching but a few of the tunes we come to appreciate later are here in their prototypes. This recording made in a NY studio has never been heard (except maybe by Vadim). SteepleChase is proud to announce the world premier release of the album of cultural/historical significance.

SAKOBI is a new project of the Vilem Spilka Quartet. The band consists of Radek Zapadlo on saxophone, Vilem Spilka on double bass and Martin Kleibl on drums. Since they have been together for a long time in other ensembles, they are closely connected musically. Radek Zapadlo has been successfully active on the Czech jazz scene for two dozen years, most recently alongside Matej Benko, Ondrej Ruml, playing in the Cotatcha Orchestra, his own Four in Blue formation and the aforementioned Vilem Spilka Quartet. Martin Kleibl, after an eight-year stint with the Brno Philharmonic, oscillates in genre from classical to pop, plays in the OK Percussion duo with European-class marimbist Martin Oprsal, accompanies singer Petr Bende and is the driving force behind the Vilem Spilka Quartet. For the SAKOBI project, Vilem Spilka replaced his main instrument, the guitar, with the double bass, which he began to play during the pandemic of the cover band. The trio's debut recording is released by Bivak Records. All members contributed to the album not only as players but also as composers. Zapadlo contributed the melancholic dirgeCesta za modrým sluncem (Journey to the Blue Sun), while Martin Kleibl's Na ceste (On theRoad) is typical uplifting Latin jazz. Vilem Spilka added the rest of the repertoire, his individual opuses revealing a variety of musical and non-musical inspirations-from his native Brno to Japan, to which the cryptogram in the band's name refers. In the spirit of Japanese realities, the debut album is titled Banzai!, something like a shout of Hurrra or Yeehaw! Stylistically, the album is more or less unclassifiable, drawing on the traditions of jazz and other African-American styles, as well as folk music from Moravia and beyond.

Acclaimed guitarist Craig Brann joins forces with tenor saxophone virtuoso Greg Tardy for an electrifying new release on SteepleChase. This album showcases Brann’s signature melodic storytelling and Tardy’s expressive phrasing, creating a dynamic interplay between guitar and saxophone that is both adventurous and deeply rooted in jazz tradition. “As a guitarist, Brann continually reshapes his sound… When a musician has the capacity to do just about anything, the choices he makes are critical. Here, Brann and his quintet never put a foot wrong." (Mark Corroto – All About Jazz on SCCD 31847 Lineage)

Steve Swallow who is one of the pioneers of electric double bass in jazz noted that Millhouse “is using it to help define and refine what the electric bass can do to refresh jazz music.” Eminent practitioner of this unique six-string instrument Millhouse as bassist and guitarist in one creates again on this second album with the saxophone trio format refreshing and formidable jazz. “With the rich saxophone and drum sounds the 6 strings incorporates chord playing techniques and moves around freely showing the way electric bass should be in modern jazz.'' (K. Harada- Bass Magazine on SCCD 31942 Unwinding)

NY’s venerable veteran bassist Ron McClure’s new release is a case of “Lost and Found”. The recording was made 32 years ago at Manhattan’s upper Eastside nightclub Danshaku (Baron in Japanese). McClure was hired to play a gig and formed a trio with pianist Don Friedman (1925-2016) and guitarist Vic Juris (1953-2019). The gig was privately recorded but the tape was lost. Long story short, the missing tape was found last year in a NY apartment and its sound has been restored meticulously for us to experience a fabulous night of NY jazz scene three decades ago. “McClure is recognized for inventive improvising, creative compositions in a wide variety of settings and immaculate tone.” (Ken Dryden – NYCJR on 31935 Night Quest)

On his latest album New Doors, internationally successful Viennese jazz violinist Rudi Berger connects the three worlds that have profoundly shaped him since his beginnings: the Vienna-Brazil-New York axis has provided the virtuoso with a multitude of musical companions, such as Brazilian guitarists Toninho Horta and Fabiano Chagas; fellow Brazilians Mauro Rodrigues (flute) and Oswaldo Amorim (bass); Austrians Bernhard Wiesinger (saxophone), Markus Pechmann (trumpet), and Clemens Hofer (trombone); New York pianist Peter Madsen; and British guitarist John Arman. These musicians and many more join Rudi Berger on original compositions like "I Remember Chick", "Other Side", "New Doors", and "Walk On Joe", as well as on well-known hits such as "Mercy, Mercy, Mercy", "Brigas Nunca Mais", and "Georgia On My Mind". They support him with groovy rhythms, swinging harmonies, unpretentious virtuosity, and maximum joy in playing.

She's the Poem is a series of ten poetic portraits varying from someone you could run into on the streets to an icon like Frida Kahlo. It's an ode to realness: the beautiful and the ugly, raw and unpolished. With this album, Sara Bax shows she is a composer and musician, but mostly feels like an artist through music. She wants to take you to the centre of being, she wants to make you feel the sparkles of magic that flow right there. If you put your head under water, your thoughts go still. Just like when you listen to this band. Bax utilises the power of every band member so, that the group together sounds like a single strong organ that paints the air with a rich color palette.

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.

The Kaiju Project is a Japanese inspired jazz group formed by the half Japanese-Austrian pianist Aseo Friesacher. Their initial idea was to bring old folk songs into a new modern context, but in addition to their compositions, this group has found their very own musical direction: a perfect blend of traditional Japanese music and meditative-creative jazz.

This album is all about Tadd Dameron (1917 - 65), one of the most important American jazz composer/musicians. The master baritone saxophonist and perennial pole winner Gary Smulyan conceived the brilliant idea of recording Dameron compositions with lyrics. The vocal part is phenomenally rendered by the young talent Anaïs Reno. Three songs including the lovely This Night Of Stars have hitherto never been recorded. “While Smulyan solos brilliantly throughout, Reno is the real treat here.” (Bill Milkowski – DownBeat on SCCD 31936). “Smulyan here brings to light Dameron’s heretofore unknown Library of Congress trove of standard-quality off-Broadway gems.” (Fred Bouchard – NYCJR on SCCD 31936) 180g Audiophile Vinyl

Floð og Fjara is Gulli Gudmundsson's new project. The Icelandic bassist has been a cornerstone of the Dutch jazz scene for many years. His new trio has a chamber music-inspired setup. With pianist Jeroen van Vliet and trumpeter Koen Smits, he has found two musicians who share his pursuit of similar sound ideals.

« Je me souviens de l'epoque où Sacha Distel etait guitariste de jazz. » Georges PEREC, Je me souviens, Hachette, Paris, 1978. Alexandre "Sacha" Distel, neveu du celebre chef d'orchestre Ray Ventura, emerge comme une figure cle du jazz dans les annees 1950. Influence par son oncle et les musiciens qu'il cotoie, il apprend la guitare avec Henri Salvador. Considere comme l'un des meilleurs guitaristes francais des 1956, il collabore avec des geants du jazz tels que Dizzy Gillespie, Stan Getz et Lionel Hampton avant de connaitre le succes dans la chanson. Alexandre "Sacha" Distel, the nephew of famous French bandleader Ray Ventura, emerged as a key figure on the jazz scene in the early fifties. Under the influence of his uncle and the musicians alongside him, he learned to play the guitar with Henri Salvador and by 1956 he was considered one of the best guitarists in France. Before going on to become a successful singer, Sacha played with such jazz giants as Dizzy Gillespie, Stan Getz and Lionel Hampton.

Recorded on the same day after the quintet session (SCCD 31046 Duke’s Delight) in a New York studio in 1975 this attractive trio recording “comprises nearly 40 minutes of sheer unpretentious enjoyment.” (Mark Gardner - Jazz Journal UK) Duke Jordan’s long association with SteepleChase started with Jordan’s visit to Copenhagen in 1973. The collaboration yielded impressive hoard of highly acclaimed albums including SCCD 31011 Flight To Denmark). This session with the very best sidemen New York could offer - the veteran bassist Sam Jones and the great drummer Al Foster (who joined Miles Davis shortly after this session - enabled Jordan to display his attractive personal touch featuring Jordan’s own melodious compositions. 180g Audiophile Vinyl

It is safe to say that the latter half of Dexter Gordon’s European years (1961-1976) found him most inspired and productive. This album recorded in a Copenhagen studio in September of 1975 precedes to Gordon’s most publicised homecoming to the States. With his favourite rhythm section of Montoliu, NHØP and Billy Higgins Dexter is in his pinnacle. It is also noteworthy to know that this is the only studio recording Dexter Gordon and the formidable Catalonian pianist made together. “... Today, more than 30 years after he made his first dates for Savoy, he is playing better than ever... From the opener, Billie’s Bounce, the record settles into a beautiful groove and the interest never lets up...” (Mike Hennessey, Jazz Journal International) “…Almost all Nils Winther’s Danish SteepleChase label releases have been better than the CBS albums, and this is certainly no exception.” (Michigan State News) 180g Audiophile Vinyl

Les Beatles (mais pas que) en jazz. Le duo Sara Longo / Alvise Seggi nous invite dans un voyage onirique et intime qui fait voile au gre des melodies du tandem Lennon/ McCarney. Surprenant et envoûtant. Augustin BONDOUX The Beatles in jazz. Lending sails to the melodies of Lennon and McCartney, the duo of Sara Longo and Alvise Seggi takes us on an intimate, dreamlike tour. The result? A voyage of spellbinding surprises. ACROSS THE UNIVERSE (FEAT. MATTEO GALLUS) - ELEANOR RIGBY (FEAT. DUDU KOUATe & MICHELE BONIVENTO) - CAN't BUY ME LOVE (FEAT. NICOLA ANGELUCCI) - TOMORROW NEVER KNOWS - ALL THAT MATTERS IS TODAY - FOR NO ONE - COME TOGETHER (FEAT. NICOLA ANGELUCCI) - LET IT BE - NORWEGIAN WOOD (FEAT. FILIPPO VIGNATO) - AND I LOVE HER - ENDLESS LAWNS - QUE JE T'AIME - ALFONSINA y EL MAR. SARA LONGO VOICE - ALVISE SEGGI DOUBLEBASS AND CELLO + SPECIAL GUESTS: MATTEO GALLUS VIOLIN - FILIPPO VIGNATO TROMBONE - MICHELE BONIVENTO HAMMOND ORGAN - DUDU KOUATe PERCUSSIONS - NICOLA ANGELUCCI DRUMS.

For All We Know is the pure document of a magical concert evening in the LOFT in Cologne: without cuts and without any subsequent embellishment. A piano trio that plays standards, including ubiquitous ones such as "Stella By Starlight" and "Body and Soul": a case of decent, basic jazz? By no means! "We're really creating weird stuff," pianist Thomas Ruckert said. Weird, because it is completely detached from the usual conventions of standard interpretation.

The title "Awaking" carries a double significance. On the one hand, it refers to the musical awakening that marks my artistic journey; on the other, it reflects the collective awakening that marked the end of the Corona pandemic. I hope that "Awaking" reflects not just the sound of my music, but my appreciation of all the people who have shared this creative path with me.

Here We Are finds acclaimed jazz vocalist Lori Williams at the heart of a soulful, cross-continental collaboration with top-tier European jazz artists. Born out of friendships from the Poysdorf Summer Jazz Workshop, the album blends original songs and timeless standards with Brazilian grooves, romantic ballads, and classic swing. Williams' warm, expressive voice shines across each track whether delivering heartfelt lyrics or improvising with grace and nuance. Backed by a band that listens and responds as one, Here We Are is a celebration of connection, creativity, and the joy of making music together.

Stratus is the stunning new quartet album from violinist Zach Brock and pianist Phil Markowitz, joined by Finnish jazz standouts Jaska Lukkarinen and Ville Herrala. Recorded in the peaceful setting of Sipoo, Finland, the album blends lyrical improvisation, intricate composition, and intuitive interplay into a cohesive, deeply expressive whole. From lush ballads to dynamic rhythmic journeys, Stratus showcases the quartet's chamber-like sensitivity and jazz-rooted spontaneity. Brock and Markowitz, building on their earlier collaboration Perpetuity, offer a seamless musical conversation elevated by a rhythm section that listens and leads in equal measure. A rich, genre-blurring project, Stratus is both intimate and expansive an exploration of sound grounded in trust, nuance, and shared vision.

In Germany in particular, a lot of folk culture, especially folk music, has fallen into disrepute, so that the whole thing sometimes has a not inconsiderable bitter taste. And the word "folklore" is used almost pejoratively. For me, folklore has a positive connotation in the sense of something, a fashion, tradition, festivity, discipline, an occasion, food, dance, play, music, religion,... which is able to connect different generations or social and cultural origins. The word folklore actually describes one of the target ideas, where and how the music should end up. It is meant more as a kind of wish, a "blessing wish", for the music of our trio.

This is the 11th album guitarist Doug Raney recorded for SteepleChase. Doug was born August 29, 1956 in New York. His father was the guitar legend Jimmy Raney. Doug died May 1, 2016 in Copenhagen, Denmark of heart failure at age 59. The superb rapport between the fluid swing of Doug Raney’s guitar, which is often likened to the phrasing of saxophone players and the sharp and percussive piano of Ben Besiakov made this recording “eminently interesting.” (Jazz Magazine) “A very significant, excellent album!” (Jazz Hot)

Charlie Parker’s favourite pianist and the composer of the famous “Jordu” Duke Jordan (b. April 1, 1922 in New York) ended his five-year seclusion from the jazz scene when he was invited to play and record in Denmark in 1973. This first recording by Jordan for SteepleChase turned out to be an enormous success which brought Jordan back in the spotlight. “...I am convinced that this is Duke Jordan’s finest record...” (jazz Journal International) “...a totally captivating listening experience...” (Billboard) 180g Audiophile Vinyl

“...Betty Carter and Sheila Jordan are probably the only real jazz singers in the world today... Jordan creates an entirely personal atmosphere...” (Melody Maker) “... Sheila Jordan personifies a song like no one has since Billie Holiday.” (Unicorn Times) “...Her talent is unquestionable.” (Billboard) “...a spiritual experience and heart-to-heart communion....Jordan makes these tunes all her own, with personal, almost prayer-like readings...” (Down Beat - *****)