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)

Jim Black is the driving force in bands led by Laurie Anderson, Uri Caine, Steve Coleman and Dave Douglas. His style is characterized by sensitive jazz sounds, driving rock beats and intricate, swinging Balkan rhythms. The music of his formation AlasNoAxis is inspired by Bjork, Bill Frisell, Nirvana and Radiohead. Houseplant sometimes surprises with spherical sounds and quiet passages, without the usual jazz solo excursions. AlasNoAxis is a musical unit that, with it's harmonious but also pulsating sound waves, invites you to forget the turbulent world around us. "Speed, featured here as a tenor, takes on the role of indie rock/post-grunge singer... his breathy tone sometimes seems aimed at exuding a rather irritating or at least detached state of emotion - in keeping with Yoshitomo Nara's cover art -, which can still burst into fireworks without the saxophonist having to prove his ability... As a melodicist, Black is brilliant... The result is an increasing sense of drama, even at the medium tempos that dominate here - AlasNoAxis knows how Power can be ignited in ballads... Meanwhile, one of jazz's greatest drummers also let's off steam here and there, and no one can do it better - even if Houseplant isn't really jazz." - Dave Lynch

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.

GRAMMY-nominated drummer Nate Smith, known for his deep groove and genre-blending style, has worked with legends like Pat Metheny and Jose James, and wowed millions with his viral drum videos. Following acclaimed projects like KINFOLK: Postcards from Everywhere and Pocket Change, Smith returns with a new album, out August 29, continuing his journey through jazz, R&B, and beyond. Some of the most renowned names in the jazz scene have joined him on the project, including Lalah Hathaway, Michael League, Lionel Loueke, and more.

Originally released in 1957, Blue Train stands as one of John Coltrane's most celebrated recordings and his only session as a leader for Blue Note Records. Featuring an all-star ensemble and anchored by the iconic title track, the album showcases Coltrane's masterful improvisation, rich compositions, and growing influence on modern jazz. Widely regarded as a hard bop masterpiece, Blue Train remains an essential cornerstone of jazz history.

Released in 1965, Soul Symphony finds The Three Sounds expanding their soulful jazz sound with lush orchestral arrangements and sophisticated performances. Combining accessible melodies, strong grooves, and elegant musicianship, the album showcases the trio's unique ability to bridge jazz, blues, and popular styles while retaining their distinctive identity.

Two of jazz's most accomplished artists unite on Dedicated To You, a sophisticated collection of timeless standards and beautifully interpreted classics. Featuring Branford Marsalis' expressive saxophone work alongside Dianne Reeves' acclaimed vocal artistry, the album highlights the effortless chemistry, elegance, and emotional depth that have made both performers icons of contemporary jazz.

Originally released in 1969, Black Rhythm Happening is a vibrant and spiritually charged statement from trumpeter Eddie Gale. Blending avant-garde jazz, gospel, soul, and African-inspired rhythms, the album features expansive arrangements and a powerful sense of community and expression. A standout entry in Blue Note's adventurous late-1960s catalog, it remains a compelling and influential recording.

The last of 4 distinctive albums made by saxophonist Sam Rivers for Blue Note in 1960s, Dimensions & Extensions is fascinating for the presence of Donald Byrd who makes a rare foray into the avant-garde alongside Julian Priester, James Spaulding, Cecil McBee & Steve Ellington for a set of evocative Rivers originals. This stereo Blue Note Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on gatefold jacket.

The 2nd of Sonny Rollins' Blue Note albums found the saxophonist in esteemed company with J.J. Johnson on trombone", Horace Silver on piano", Paul Chambers on bass & Art Blakey on drums for a high-spirited bop date. Thelonious Monk joins the festivities on memorable versions of his tunes "Misterioso" & "Reflections." This mono Blue Note Tone Poet Vinyl Edition was produced by Joe Harley", mastered by Kevin Gray from the original analog master tapes", pressed on 180g vinyl at RTI", and packaged in a deluxe tip-on gatefold jacket.

From the 1930's through the 1960's, Central Avenue was the heart of "the Harlem of the West," a vibrant cauldron of Black culture - especially music - via the nightclubs, record stores and street life that drew Hollywood stars and music lovers from all over Los Angeles - as highlighted in the major film "Devil With a Blue Dress,"starring Denzil Washington. The Central Avenue scene, fueled by ground-breaking independent Black-owned record labels, fostered a mix of jazz, blues, rhythm 'n' blues and proto rock 'n' roll that evoked a special mood of good times and love both lost and and found. Such artists as Charles Mingus, Charles Brown, Dexter Gordon, Nat "King" Cole, and Jimmy Witherspoon emerged as stars from the scene. This compilation brings together twelve tracks - most of them hits - by artists who defined the Central Avenue scene of the Forties and Fifties. Included are the rare original versions of the hits "I Wonder" by Cecil Gant and "Pink Champagne" by Joe Liggins and His Honeydrippers.

Somethin' Else (Blue Note Essentials Series) is a landmark 1958 jazz album by alto saxophonist Cannonball Adderley, featuring an all-star lineup that includes Miles Davis (trumpet), Hank Jones (piano), Sam Jones (bass), and Art Blakey (drums). Widely regarded as one of the greatest hard bop recordings of all time, the album blends soulful blues, sophisticated improvisation, and memorable compositions, highlighted by classics such as "Autumn Leaves," "Love for Sale," and the title track. This Blue Note Essentials Series edition celebrates a timeless jazz masterpiece that remains essential listening for both longtime fans and new listeners alike.

On Sujoud, oud virtuosos Nizar Rohana and Yasamin Shahhosseini bring two distinct musical traditions into intimate conversation. Rooted respectively in Arab (particularly Egyptian and Levantine) and Persian music, their playing moves beyond dialogue toward a shared language: one in which composed structures and spontaneous expression continually meet. Rohana's original compositions and arrangements explore the full sonic range of two ouds, their individual voices remaining unmistakable while intertwining with remarkable sensitivity. Percussionist Ruven Ruppik adds colour, momentum and subtle rhythmic energy, deepening the music without disturbing it's spaciousness. The title Sujoud refers to an act of bowing in awe. Here, it becomes both a gesture of reverence and a symbol of perseverance. Created during years marked by conflict and separation, the album carries a quiet but resolute message of hope. It's music is dedicated to those enduring hardship, especially children searching for a path through darkness. With it's balance of precision and freedom, humility and intensity, Sujoud is a deeply human album: a meeting of traditions, personalities and inner worlds, shaped by attentive listening and mutual trust.

With This is not David Bowie, the Yuri Honing Acoustic Quartet does not present a traditional tribute, but a personal reflection on what Bowie represented: freedom, transformation, and the courage to cross boundaries. For Yuri Honing, Bowie was an early source of inspiration not only musically, but above all through his uncompromising drive to reinvent himself. That same spirit runs through Honing's own work, shaped by jazz, improvisation, visual art, literature, pop, rock, classical music, non-Western traditions, and electronics. The quartet reapproaches Bowie's music through it's own language. Using fragments of compositions, harmonies, atmospheres, and ideas as starting points, the musicians create new interpretations in which melodies may remain recognizable or only the spirit of a song lingers. This project is therefore not about imitation or nostalgia. It is about curiosity, imagination, and the ongoing search for new artistic connections. Just as Bowie continually opened new worlds, the Yuri Honing Acoustic Quartet explores how music can keep moving forward without losing it's identity.

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.

Selection - Produced by Trio X of Sweden A collection of music from previous album releases Vinyl mastering - Alar Suurna Vid Froso kyrka, Roslagsvår, Lacrimosa - Mastered by Martin Igelstrom Somaoh, Atonement, Nå skrufva fiolen, Naomi - Mixed and Mastered by Lars Nilsson, Nilento Elsas brudmarsch, Månnes polska - Mixed by Hans Surte Norin, Mastered by Martin Igelstrom

Of this unique recording of a father-and-son team, Chicago Tribune of June 8, 1980 summed up quite eloquently, 'Duets is an unassuming title for one of the loveliest recordings of this or any other year - a SteepleChase album on which guitarist Jimmy Raney joins his guitarist-son, Doug Raney, in a musical dialog so closely knit that often it is hard to tell which Raney is taking the lead...' Originally released in 1980, now newly remastered in 24 bit/96 kHz and pressed on 180g vinyl this edition reveals the warmth, nuance, and subtle interplay that make Duets one of the most distinguished entries in the Raney legacy and a timeless SteepleChase classic. 'In closing I would like to say that I feel that this album and »Stolen Moments« are unquestionably some of my best work to date.' (Jimmy Raney December 1979 - liner notes)