In his new album “Lookin’ Up” Dick Oatts teams up with his colleague and friend of 34 years, veteran trombonist John Mosca. Dick Oatts notes, “I’ve always liked the way alto sax and trombone blend together and I’ve always been meaning to do a CD with John but the music was never quite right for it. So I sat down over the holiday break and wrote the music around John, the alto and the trombone.” Derek Taylor of Master of a Small House describes Dick Oatts’ previous release “Two Hearts (SCCD 31694) as “testament to Oatts’ improvisatory powers”.

A brilliant sequel to the highly acclaimed Standard Issue (SCCD 31439) of 1998, this volume has a welcome addition of pianist Harold Danko on three of the five tracks. In the warm atmosphere of live house, the band gets extra energy from the appreciative audiences. Dick Oatts’ personal sound on alto sax (and tenor sax on one track) is once again a real treat for all listeners.

Ronnie Cuber (b. Dec. 25, 1941 in Brooklyn, New York), recognized as one og the most important baritone saxophonists in jazz today, has been composing, arranging and leading his own groups since 1959. His powerful command of the instrument led him to perform and record with amazing array of influential artists in almost all thinkable range of musical spectrum. Yet, this is the very first of basic jazz trio album by Ronnie Cuber, which should have a special place in his discography. “There is not one of his records that contains any half-hearted playing or musical skating. When he plays, it’s serious creative business and he tells a story. If you pick up anything under Cuber’s name, you’re guaranteed a winner …. This recording, ”Ronnie”, released on SteepleChase records, is one of the most vivid and personal saxophone playing ever done on a baritone saxophone. This CD is a shining example of Cuber’s big, beefy baritone sax tone and a fluent technique that is a one of a kind match between the gritty, down-home feeling of R&B and the advanced harmonies of bebop.” (JazzTimes on SCCD 31680 “Ronnie”)

Since his retirement in 2013 from the professorship at the prestigious Rutgers University, where he led its jazz department, pianist/composer/educator Stanley Cowell has been increasingly active on the scene both in concerts and recordings. This new album with a featured program of Christmas melodies (Xmas Suite) will be introduced to the audience at New York’s Smoke Jazz & Supper Club. “…it's a great pleasure to hear Stanley Cowell's It's Time: a finely crafted collection of mostly originals that is at once sophisticated, both aggressive and pensive, and simply fascinating to listen to.” (Greg Simmons – AAJ on “It’s Time” SCCD 31740)

“Bud was a genius piano player–the best there was of all the bebop piano players.” - Miles Davis “If I had to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell. He was in a class by himself" – Bill Evans Bud Powell 1962 is something we at SteepleChase have been obsessed with for a while. The previous release SCCD 36040 “Bud Powell 1962 Copenhagen” was from the recordings made at the Danish Radio Concert Hall and Jazzhus Montmartre. What we have here is from the same year from the fabled Golden Circle where SteepleChase’s 5-volume releases At The Golden Circle come from. The Swedish part of this release were recorded two days prior to those SteepleChase releases. Bud Powell travelled on to Oslo Norway the same year to perform some memorable tracks captured here before going back to USA for the last time.

Bud Powell was “the foundation out of which stemmed the whole edifice of modern jazz piano" (Herbie Hancock) and “the greatest be-bop piano player in the world “ (Hampton Hawes). Though his life was short and troubled (1924 – 1966), Bud found some solace and tranquillity during the years (1959 – 1963) he lived in Europe (mostly in Paris). The recordings that make up this album are from March and August of 1962 from Danish Radio Concert Hall and Jazzhus Montmartre in Copenhagen. However battered mentally and physically the man was, here’s the clear evidence of his genius more intact than generally believed.

Distinguished pianist/composer Stanley Cowell (b. 1941 Toledo, Ohio) embarked on his jazz career in the mid-60s. Ensuing his rapid raise to the prominence Stanley Cowell made indelible contribution to jazz over the next 60 years. Even though he’s been dedicating more time in educating younger generation and composing for classically oriented larger ensembles since the 80’s, he stayed close to jazz releasing 15 albums for SteepleChase. His latest album here from October 2019 finds this stately Professor Emeritus cutting loose at the famed Keystone Korner in Baltimore with his handpicked two-horn quintet plus a guest vocalist Sunny Cowell. “The Cowell album portrays a fascinating piano stylist with many ingredients under his fingers. The programming, like Cowell’s lines and contrary motion, flows beautifully…The set confirms Cowell as a melodic and harmonic delight and a clever dealer of rhythmic wild cards. It’s good to have this update.” (Kirk Silsbee – DownBeat **** SCCD 31809 Reminiscent)

A contrafact is a method of composing a new melody and arrangement on a pre-existing musical composition using its chord progression. In jazz, one of the most famous examples is “Hot House” (Tadd Dameron) based on “What Is This Thing Called Love?” (Cole Porter). Baritone saxophonist Gary Smulyan has been intrigued by this particular way of composition for a number of years. His first album on SteepleChase last year SCCD 31844 “Alternative Contrafacts” is a superlative example of his interest. Here on this new release “Our Contrafacts” is a collection of new contrafacts by contributed by each member of the trio. “While there are occasional short solos by Wong and Green, the focus throughout is on Smulyan, who has yet to record an unworthy record or play an uninspired chorus. His passionate sound and fresh ideas make Alternative Contrafacts a set well worth picking up, particularly by straight ahead jazz collectors.” (Scott Yanow – NYC Jazz Records on SCCD 31844)

The decade long collaboration between pianist Stanley Cowell and guitarist Vic Juris as fellow faculty members at the renowned Rutgers-Mason Gross School of the Arts produced here a fantastic “new world” of sounds of contemporary jazz. The latest and most powerful version of sound design soft wear called KYMA in the hand of creative artists dazzles us with the unique real-time music with no after-production touch-ups but expanded horizon of improvisation. The rhythm section of the quartet is two enormously talented former students of Cowell: bassist Tom DiCarlo and drummer Chris Brown.

The unforgettable sound of Sarah Vaughan is captured in this collection of essential recordings. From the swinging hits, "Lullaby Of Birdland" and "It's Crazy", to her best-loved recordings, including "Misty" and "Broken-Hearted Melody", this album highlights Vaughan's impeccable phrasing, emotional depth and remarkable range. Whether backed by a trio or a full orchestra, singing hits of the day or jazz standards, every track serves to remind us why Sarah Vaughan is still known as 'The Divine One'.

Jazz critic Owen Cordle once described Dick Oatts as “an uncompromising jazz musician, one who possesses monster chops without trumpeting them.” Dick Oatts has, since his move to NYC in the late 70s, been one of the most sought-after soloists on alto sax on both the NY scene and the international stage. Dick Oatts’ sensitive and cerebral approach to music enhanced by his “monster chops” manifested here again on his 11th leader album on SteepleChase. “… maybe the best showcase we've ever heard for the alto sax work of Dick Oatts!” (Dusty Groove on Sweet Nowhere SCCD 31778)

“…The late Whitney Balliett dubbed jazz as "the sound of surprise". Well, Jack Walrath surprises us here on every selection. He deals in the unexpected and delivers it to us with a flowing flourish - and no concessions.” (Mark Gardner- from the linernotes) “Jack Walrath not only displays tremendous trumpet playing, a rich and varied approach to composition and wonderful band, he also puts something into this fantastic CD that's missing from too much new jazz: a sense of fun and humor. That's not to say that it isn't sensitive and touching at times—"An Hour Blessed" is arguably as gorgeous as anything ever recorded…” (Francis Lo Kee – allaboutjazz-New York)

Vinyl LP pressing. 2024 release. Vintage George Benson vocals float over an orchestral reimagining of beloved American Standards & Soul Classics in this incredible collaboration with renowned composer and conductor, Robert Farnon. The brand new 10-track collection, once thought to be lost to history, was recently discovered in Benson's personal vaults and remastered to their original glory. With this new release, Benson also marks a musical return to the Warner Family - where he recorded such classic hits as "On Broadway" and "Breezin".

Walrath calls this his first in 26 years on this label “Ballroom”, “…it’s swinging and you can dance to it..”… The way how jazz started. “Welcome back, Jack, to SteepleChase! It’s a terrific return, and listeners will want many more entries from this singular talent…” (Mark Gardner – from the liner notes)

Pianist/composer Stanley Cowell at age 75 is having an on-going renaissance as a performer since his retirement from Rutgers University in 2013. The group presented here is scheduled to have a three-night stint at New York City’s renowned live jazz spot Smokes in May. This is Cowell’s 15th release from SteepleChase. “…Cowell’s recording career now spans more than thirty years….an impressive consistency of purpose and the highest level of musical thought.” (Richard Cook & Brian Morton – The Penguin Guide to Jazz)

For this latest and the fifth album on SteepleChase Ronnie Cuber brought his working band to the studio to appraise the classic BeBop repertoire, “proving in the process the viability of material that has weathered more than 60 years and still sounds super hip and contemporary” (Mark Gardner). On Cuber’s previous release “RONNIE (SCCD 31680) Ken Drydon of AllAboutJazz wrote, “This is his fourth CD for Steeplechase and one of his best sessions.” and London’s Sunday Express commented, “it is the intelligence and subtlety of his playing that shines through …An astonishingly lyrical player on that most unforgiving of instruments…” “Ronnie Cuber is a baritone sax player strong enough to bring out the lyricism of the weighty instrument.” (Aaron Cohen – Downbeat)

The legendary baritone saxophonist Ronnie Cuber is, as Bill Milkowski of JazzTimes observes, “ still very much on top of his game at age 70”. One summer night of the famed Berlin JazzFest of 2008 finds Ronnie and his group in a relaxed and joyous mood backed by the responsive and enthusiastic audience. “An astonishingly lyrical player on that most unforgiving of instruments … It is the intelligence and subtlety of his playing that shines through…” (Sunday Express UK on Ronnie SCCD 31680) “…while Cuber’s ability to blow over the changes remains unquestioned, it’s his restrained approach and melodic penchant…… that come as a welcome surprise. We all knew Cuber could wail with unparalleled authority, we just didn’t know he could sing so pretty on his big horn.” (Bill Milkowski – JazzTimes on Boplicity SCCD 31734)

The Messengers expanded to a sextet with the addition of Curtis Fuller in 1961 and went into their most fruitful period. This Copenhagen live concert from 1962 could be arguably “the best edition of the Jazz Messengers ever” as liner-note author Neil Tesser suggests. Hubbart, Shorter and Fuller on the front line flexing their young muscles were all on their way to stardom. Recorded during their 1962’s European tour this album with all unissued recordings will be a valuable addition to Messengers’ legacy.

SteepleChase’ 50th anniversary “In Concert” series continues with Gerry Mulligan’s famed Concert Jazz Band from October 31, 1960 at its first concert in Europe. The Concert Jazz Band’s unique arrangements and its trademark sound of translucency are restored by the modern sound technology. The Concert Jazz Band’s live performance from their European tour have been released before except this from Copenhagen and Berlin. The Django Reinhardt piece Manoir de mes Rêves and Mulligan’s 18 Carrots for Rabbit get rare performance here.

SteepleChase is proud to announce the inaugural release of the “In Concert” series of previously unissued live recordings from Falkoner Centret in Copenhagen, where numerous prominent American bands and soloists performed for the very appreciative audiences in the late 50s. The Swing King Benny Goodman (1909-86) toured Europe in 1959 with his 10-piece band featuring vibraphonist Red Norvo and adding vocalist Anita O’Day on two tracks. This well-attended concert is from October 17, 1959. BENNY GOODMAN (cl), RED NORVO (vib), RUSS FREEMAN (p), JIMMY WYBLE (g), RED WOOTEN (b), JOHN MARKHAM (dr), JACK SHELDON (tp, voc*). FLIP PHILLIPS (ts), JERRY DODGION (as, fl), BILL HARRIS (tb), ANITA O’DAY (voc*)

Dexter Gordon’s European period (1962–1976) was mostly based in his beloved Denmark, where he led an active professional career and enjoyed a harmonious private life. Arriving in Europe after some turbulent times in the States he found new energy in performing and recording to build a large part of his discography at the top of his artistic strength. The recording output, however, during 1962 and 1964 was scarse and this album recorded in 1962 and 63 will be an adept document of the fresh start by the Towering Master of Tenor Sax. “The star billing, as always, goes to one of jazz’s master storytellers, Dexter Gordon; the performances contained here, which set the scene for the dramatic renaissance of his career, fill in one of the long missing chapters.” (from the liner notes by Neil Tesser - SCCD 36039 Soul Sister)

This album is all about Tadd Dameron (1917 - 1965), one of the most important American jazz composer/musicians. Multiple award-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 never been recorded before. “an exhibition of the finest baritone sax playing.” (M McKergow – LondonJazzNews on Alternative Contrafacts SCCD 31844)

The late journalist/author Chris Sheridan’s liner notes for Sheila Jordan’s first album for SteepleChase “Sheila” SCCD 31081 declares, “This recording is an acutely personal statement. Only rarely in the history of jazz have a singer‘s feelings been so affectingly bared ... only a few vocalists have had the grit to subordinate technique and »style« to expressiveness ... And the experience is breathtaking.” Mr. Sheridan’s assertion from 1977 still rings true and even more so. Sheila Jordan at the age 92 does not show any sign of slowing down or taking it easy. Her intensely creative power is evident throughout this album presented in a cross-generational collaboration with trioTrio consisting of three young elite instrumentalists of the New York scene. “...a spiritual experience and heart-to-heart communion ... Jordan makes these tunes all her own, with personal, almost prayer-like readings...” (Down Beat - *****) “... Sheila Jordan personifies a song like no one has since Billie Holiday.” (Unicorn Times)

Joe Locke recorded this album in 1991, when his name as a new vibraphonist was gaining serious momentum on the NY scene. Following his highly acclaimed debut album “Present Tense” (SCCD 31257) and the ensuing “Longing” (SCCD 31281) from SteepleChase this third album showcases Locke’s lyricism in a ballad collection accompanied by the master Kenny Barron. “if your mood of the moment is to surround yourself with something soft and lovely, Locke and Barron will make things beautiful.” (Cadence) 180g Audiophile Vinyl

Billy Harper (b. 1943) is one of the most prominent figures in today’s jazz scene. He rose to his stardom through his stints with Gil Evans’ Orchestra, Art Blakey’s Jazz Messengers and the Thad Jones- Mel Lewis Orchestra. Harper started leading his own group in the late 70s and has been touring all over the world with his group since. Of this New York studio recording Chinyére Nealé wrote in the linernotes, “Nils Winther of SteepleChase has wanted to record Billy for fifteen years. Finally, destiny has made this recording possible.” French magazine COMPACT described this CD as “a real treasure which will bring you pleasure till the last day of your life.” 180g Audiophile Vinyl

Doug Raney was 22 years old when this highly acclaimed debut leader album was recorded in Copenhagen with veteran Duke Jordan on piano, Danish Hugo Rasmussen (bass) and the one and only Billy Hart on drums. During his relatively short life (1956 – 2016) Doug followed his legendary guitarist father Jimmy Raney’s footsteps but established himself as a definitely unique artist on his own at the early stage of his life. He called Denmark his home and resided in Copenhagen until his untimely death at the age of 59. “That talent, in some cases, can be transmitted intact from father to son is a proposition that Introducing Doug Raney seems to prove...a lovely album...” (Larry Kart, Chicago Tribune) “...What a dashing, gallant debut! ...Young Raney is blessed with extraordinary talent. Highly recommended.” (Yoshio Maki, Swing Journal) “...Doug Raney possède une très belle technique, une musicalité suprême, un goût exquis, une extraorinaire intuition harmonique....” (Maurice Cullaz, Jazz Hot) 180g Audiophile Vinyl

Oscar Pettiford. The Clash Art Blakey. A Tribe Called Quest. Charles Mingus (with Eric Dolphy). Only People Do The Killing. Cannonball Adderley. Primus. The Ornette Coleman Quartet. When Moritz Koser, bassist and composer from Frankfurt/Main, talks about points of reference and important influences, it goes all the way through music history. Gnar Gnar Rad, the quartet from Frankfurt, is his band. "Gnar Gnar Rad" is the album debut: a strong statement with which he effortlessly bridges the gap between jazz history and current trends.

Storyville Records proudly presents the previously unreleased album, Michel Petrucciani Trio - Jazz Club Montmartre - CPH 1988 on two separate vinyl LPs containing the first and second set, by the legendary French pianist Michel Petrucciani. Recorded during a memorable performance at Copenhagen's Jazzhus Montmartre on July 3rd, 1988, the albums capture Petrucciani in the company of two jazz icons, Gary Peacock on bass and Roy Haynes on drums. While the trio only came together for a brief European tour in the summer of 1988, the chemistry they shared on stage was undeniable. The trio, propelled by a studio session the previous autumn, radiates synergy, as they explore six of Michel's original compositions with a sense of grace and spontaneity. On these recordings, listeners will rediscover Petrucciani's unique lyrical universe, as well as his reverence for modern jazz icons, paying tribute to Bill Evans, Keith Jarrett, and Paul Bley with special arrangements of classics like Someday My Prince Will Come, Mr. K.J. and Turnaround. From the explosive energy of She Did It Again to the introspective beauty of Autumn Leaves, Petrucciani's virtuosic playing reveals a rare sense of urgency, joy, and an unrelenting passion for life. As Gary Peacock and Roy Haynes were at the height of their careers - Haynes playing with Chick Corea and Peacock with Keith Jarrett - they were drawn to Petrucciani, recognizing the greatness of his artistry. Together, they formed a trio, bound by a shared intuition and respect for one another, and this performance at Montmartre is a testament to that fleeting moment of jazz brilliance. This concert took place at the midpoint of Petrucciani's meteoric career, 12 years after his Paris debut and 11 years before his untimely passing. Despite the physical challenges posed by glass bone disease (osteogenesis imperfecta), Petrucciani's fierce determination, boundless love for music, and infectious laughter inspired all who knew him. Now, more than 35 years after that magical evening in Copenhagen, we invite listeners to close their eyes and step back in time. July 3rd, 1988 it could have been last night, or it could be tomorrow morning! A monument over one of the most creative and joyful pianists in jazz ever! BIOGRAPHY Michel Petrucciani (1962-1999) was one of the most brilliant pianists to emerge from Europe's jazz scene. Despite his short stature due to glass bone disease, he rose to international acclaim, performing with the likes of Charles Lloyd, Wayne Shorter, Joe Lovano, Tony Williams, Stephane Grappelli and many other greats. Known for his lyrical style, rhythmic power, and infectious joie de vivre, Petrucciani's legacy continues to enchant listeners around the world.

Storyville Records proudly presents the previously unreleased live double album, Michel Petrucciani Trio - Jazz Club Montmartre - CPH 1988, by the legendary French pianist Michel Petrucciani. Recorded during a memorable performance at Copenhagen's Jazzhus Montmartre on July 3rd, 1988, the album captures Petrucciani in the company of two jazz icons, Gary Peacock on bass and Roy Haynes on drums. While the trio only came together for a brief European tour in the summer of 1988, the chemistry they shared on stage was undeniable. The trio, propelled by a studio session the previous autumn, radiates synergy, as they explore six of Michel's original compositions with a sense of grace and spontaneity. On this recording, listeners will rediscover Petrucciani's unique lyrical universe, as well as his reverence for modern jazz icons, paying tribute to Bill Evans, Keith Jarrett, and Paul Bley with special arrangements of classics like Someday My Prince Will Come, Mr. K.J. and Turnaround. From the explosive energy of She Did It Again to the introspective beauty of Autumn Leaves, Petrucciani's virtuosic playing reveals a rare sense of urgency, joy, and an unrelenting passion for life. As Gary Peacock and Roy Haynes were at the height of their careers-Haynes playing with Chick Corea and Peacock with Keith Jarrett-they were drawn to Petrucciani, recognizing the greatness of his artistry. Together, they formed a trio, bound by a shared intuition and respect for one another, and this performance at Montmartre is a testament to that fleeting moment of jazz brilliance. This concert took place at the midpoint of Petrucciani's meteoric career, 12 years after his Paris debut and 11 years before his untimely passing. Despite the physical challenges posed by glass bone disease (osteogenesis imperfecta), Petrucciani's fierce determination, boundless love for music, and infectious laughter inspired all who knew him. Now, more than 35 years after that magical evening in Copenhagen, we invite listeners to close their eyes and step back in time. July 3rd, 1988.it could have been last night, or it could be tomorrow morning! A monument over one of the most creative and joyful pianists in jazz ever!

A piece of music history comes alive on Friday, May 10, as Storyville Records releases a new recording capturing the legendary Duke Ellington live in Copenhagen, Denmark, 1958. This recording, Copenhagen 1958 (Bonus: After Hours 1950), offers a rare glimpse into Ellington’s genius during a pivotal period in jazz history. In the late autumn of 1958, Ellington and his orchestra embarked on a whirlwind tour across Europe, leaving a trail of musical brilliance in their wake.

Among the highlights of this tour were two electrifying concerts held at Copenhagen’s iconic sports center, KB Hallen, on November 7. Although the original tapes have been lost to time, segments of these historic performances were broadcasted on separate occasions. Now, these broadcast recordings serve as the foundation for this release, transporting listeners back to a time when Ellington’s music redefined the jazz landscape.

The album opens with Ellington’s signature tune, "Take the A Train," over the vibrant energy of "Newport Up" to the soulful strains of "My Funny Valentine," each track showcasing the orchestra’s talent and Ellington’s innovative compositions. The orchestra was in great form in the late '50s, with the mixture of veterans like Johnny Hodges and Harry Carney, and modernists like Jimmy Hamilton, Clark Terry, and Paul Gonsalves.

One of the highlights is the rendition of "Diminuendo and Crescendo in Blue," featuring Paul Gonsalves’ legendary solo. In addition to the live recordings from the 1958 tour, this album also includes bonus tracks from after-hours settings in 1950; three tracks from a jam session at the dance restaurant Sct. Thomas in Copenhagen and two solo Ellington tunes recorded at a social charity event in Aarhus.

Copenhagen 1958 stands as evidence of Ellington’s enduring musical legacy, demonstrating that his music remains as pertinent and influential today as it was during its inception!