The formation of the The Chaining Loops team is the result of encounters that, for the most part, took place over several decades, within various third-party projects of extremely diverse aesthetics. Over the years, this gave Olivier and his associates many opportunities to share a wide range of experiences through different projects, during numerous concerts in France and abroad. This is how Olivier met vibraphonist David Patrois in 1991, when they were both members of harmonica player Olivier Ker Ourio's quartet, which-after winning First Prize at the Concours National de Jazz de la Defense in 1993-performed in several concerts throughout France. In 1998, Olivier met cornettist and vocalist Mederic Collignon during Paris jam sessions. Mederic went on to take part in many of the leader's projects (duo, trios, etc.), including a quartet project featuring pianist Andy Emle. As for guitarist Michael Felberbaum, Olivier first invited him to take part in the European tour New Gravitations, which took place in 2007-2008 following the release of the album Gravitations on Altrisuoni in 2007. In 2013, trombonist Gueorgui Kornazov was already part of the drummer's septet project Abstract, whose album was released in 2013 on Rewind Records. Double bassist Yoni Zelnik, for his part, has participated since 2015 in several one-off concerts in France and Germany as a member of the leader's Reciprocity project. Tenor and soprano saxophonist Frederic Borey is the newest addition to the ensemble. The name Pulse was inspired for Olivier Le Goas by the word pulsar. A pulsar is a neutron star that rotates very rapidly on it's axis. The first pulsar, known as the Cambridge pulsar 1919 (CP1919), was discovered in 1967 by Jocelyn Bell and Antony Hewish. The Pulse septet project was born during a creative residency in 2021, which benefited from support from DRAC Bretagne. This residency made it possible to develop most of the repertoire featured on the album, with the exception of the album's eponymous title track, The Chaining Loops, which is more recent and was composed in 2024. It was only in June 2024, after a session canceled in 2023, that Olivier Le Goas brought the Pulse Ensemble to Studios de la Seine in Paris to record The Chaining Loops. The album The Chaining Loops presents a special repertoire consisting of five pieces: The Chaining Loops, Direction, Friction, Fifteen Miles, and Light in the Sky. The Chaining Loops, composed largely in spring 2024, is a large-scale piece built on the interlocking of pattern blocks and the stretching of melodic lines, with song remaining the central axis. Direction, originally composed for Olivier Le Goas's group Reciprocity, presents music of a lyrical and energetic character that gradually gains in density, complexity, and unity. Friction is a suite formed by the aggregation of multiple themes, in which the main opening theme (2021) crystallizes the overall structure of the piece and is based on an interplay of blocks of forces. Fifteen Miles, dating back to 2016, is a composition that was reworked twice-first in 2021 and again a few months before the recording. It combines an initial theme imbued with a certain gravity, contrasting with a second, more light-hearted theme. Light in the Sky offers a form composed of multiple arrangements of different thematic and solo sections, in which unexpectedly emerge contours and masses of sound.

The creative willfulness is immediately apparent. Just like the playful spirit. A photograph of four athletes, visibly marked by a match, in trilogue with the group's name and the album title: Stefan Scholer Trio - "Psalm B". A strange, seemingly peculiar combination. Stefan Scholer is aware of this. He accepts the unpredictable nature of the effect. The photograph, taken in 1966 on the sidelines of a Gaelic football match in Dublin, Ireland, by the world-renowned photographer Evelyn Hofer, had a magnetic pull on him. He discovered it in a Hofer exhibition at the Museum Kurhaus in his hometown of Kleve in the far west of Germany. Subsequently, he did everything in his power to obtain permission to use it. The question of 'why?' dissolves satisfyingly in his keen explanation. The pianist and composer follows his intuition unconditionally while also closely reflecting on his decisions. In this case, he quickly arrives at a "profoundly human" element that speaks to him in the image. This, in turn, corresponds to Hofer's intention to capture naturalness. How does the album title fit that? Scholer doesn't construct any intellectual bridges. For him, the term 'psalm' has become a kind of key to a spiritual context in his work over the years, initially stemming from a specific religious connection. He opened this up a few years ago. Even in the expression of these athletes, he senses some of that. That's sufficient. And it might just ignite the curiosity and openness for the sonic content of this album, Scholer's fourth, in receptive listeners.� The introduction to the opening title track sets the tone. In Scholer's highly personal touch, one hears and feels precisely the human element that moves him. His playing is delicate yet possesses an effortless clarity. This almost songlike, narrative melodic expression recurs throughout the pieces, even in complexity. His close connection with bassist Lukas Keller and drummer Simon Braumer, both of whom also played on the previous album "Folklore," results in an unbroken flow. The pianist's leading voice is built on an open, flexible interplay - the leader is also an attentive team player. Motifs from�he world of sports are also hidden in the titles of some compositions: "Ronny & Francesko" (bobsledding) and "Bob Chigarillo" (bodybuilding), loosely based on real-life figures. Scholer draws inspiration from both, exploring themes of culture and world politics. A sense of self-will that nourishes imagination and philosophical reflection. A connection to nature, a sense of sublimity, a longing for peace (even if only in one's own neighborhood), the lingering effects of a past relationship - no matter how profound: Stefan Scholer is audibly searching for positivity, for hope. This is unmistakably present in this album like it is in the previous one. Many of us, he is convinced, have our own personal psalms. Just like the athletes on the cover. He follows his own

(2-CD set) For nearly fifty years, an entire school has sought its inspiration in the work of Charlie CHRISTIAN. Includes a 24 page booklet with both French and English notes.

Celebrating its legacy from the 1976 LP and 1990 CD release, Stable Mable returns in May 2026 as a newly remastered 180g audiophile edition (G1040). Captured in Copenhagen just weeks after Dexter Gordon’s ambitious orchestral project SCCD 31030 More Than You Know, this session strips the setting back to its purest form: a no frills blowing date where Gordon’s imagination, authority, and melodic wit shine without disguise. Joined by Horace Parlan, Niels Henning Ørsted Pedersen, and Tony Inzalaco, Gordon navigates standards like Just Friends, Misty, Red Cross, and So What with a mix of relaxed confidence and fiery invention. His soprano reading of In a Sentimental Mood adds a rare, reflective touch. Remastered from the original tapes, this edition highlights the quartet’s clarity, swing, and interplay—an essential snapshot of Gordon’s Copenhagen years and a definitive statement of his enduring mastery. “...Dexter plays brilliantly on every track ...beautifully recorded..”(Jazz Journal 1976)

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Earl Hines' final solo piano record was reissued on CD in 1996 and it's original seven selections have been joined by five equally rewarding (and previously unreleased) numbers. 73 at the time, Hines had lost none of the adventure in his playing, as he shows on such tunes as "I'll See You In My Dreams," "Blue Skies," "Diane," and "Wolverine Blues." A half-century after he started making his original impact, Earl Hines was still one of the most exciting pianists in jazz.

The leading exponent of the trombone in traditional and big band jazz, Teagarden was also one of the first great white blues singers. He led many small bands throughout the thirties for recording sessions. At the same time he played with various big bands before forming his own in 1937. This collection comprises many of his classic recordings. Tracks include; "Basin Street Blues", "I'm Just Wild About Harry", "St. James Infirmary","Shine", "Big 'T' Blues

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In the '50s, Big Joe Turner played a major role in the popularity of the fledgling music form known as rock and roll. This compilation hints at his influence, featuring 18 tracks crafted during the latter half of the previous decade when he also was appearing with the Count Basie Orchestra.

The Miles Davis Story is a two-hour film directed by acclaimed filmmaker Mike Dibb. The film features classic performances from all eras of Miles' career, and insightful interviews with Herbie Hancock, Ron Carter, Clark Terry, Joe Zawinul and many others. Eleven years after his death in 1991, legendary trumpeter Miles Davis remains the best known and most influential jazz musician of the last 50 years. This program showcases many of Davis' most influential and timeless recordings.

American songstress Kitty Kallen had a remarkable career, starting in the swing era of the late '30s and extending beyond the rock 'n' roll explosion of the '50s into the early '60s, racking up a lengthy run of hits spanning two decades. She began her career as a singer with some of the most popular orchestras of the swing and big band years - Jack Teagarden, Jimmy Dorsey, Harry James and briefly with Artie Shaw - and with the Dorsey and James outfits enjoyed a dozen hits during the early '40s, including three No. 1s. As a solo artist she readily found a niche in the mainstream pop world of the late '40s and early '50s, scoring many more hits, with the career highlight being a No. 1 on both sides of the Atlantic with "Little Things mean A Lot" in 1954. She was able to maintain her popularity and profile on radio and TV through the '50s despite the rapid changes in popular taste, updating her style to ensure she had hits into the 1960s. This great-value 51-track collection covers the breadth of her career from her recording debut with Jack Teagarden in 1939, through to her last Top 20 hit in 1962, naturally including all her 31 Billboard and Cashbox chart entries, and provides an admirable showcase for her distinctive talent.

Nina Simone was one of those controversial figures American pop music puts forward from time to time, with the notable exception that she started her controversy earlier in the 1960s than, say, Bob Dylan. To see this African- American woman get angry about the racial situation in her country, right there on stage, was a shock to people who'd come to hear her sing "I Loves You, Porgy." Not that she cared; she figured that it was the artists job to deliver the truth, and if the truth hurt, so be it. Of course, events wound up proving her right, but she never stopped being prickly about one thing or another. This release is a 3 CD Career Retrospective (1957-1993) that includes her work for Bethlehem, Colpix, Philips, RCA, CTI and Elektra plus a DVD featuring 1970 Emmy-nominated never-before-released documentary. Features 54 songs, 8 previously unreleased tracks including some never recorded elsewhere.

Expanding on the concepts of the surprise hit Time Out, this album is all at once darkly ruminative, melodic, dissonant and engaging! Includes Bluette; Unsquare Dance; Bru's Boogie Woogie; Blue Shadows in the Street; Far More Drums, and more.

Miles' quintet (with George Coleman, Herbie Hancock, Ron Carter and Tony Williams) was a band for the ages, one that performed with an incandescent beauty remarkable even for them on February 12, 1964 at Lincoln Center. Their explorations of All of You; Stella by Starlight; All Blues; I Thought About You, and the title classic are joined by revelatory new notes by Carter!

Seven Steps to Heaven is the product of two separate sessions recorded during Miles' search for a new sound in early 1963. Victor Feldman, a young Herbie Hancock and an even younger Tony Williams play with George Coleman and Ron Carter on Basin Street Blues; I Fall in Love Too Easily; So Near, So Far; Joshua ; the title track, and more.

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For his 36th recording as a leader, world-renowned vibraphonist Joe Locke has assembled a tightly knit quartet which brings to life a set of diverse and emotionally powerful original compositions, laying the framework for stellar contributions from special guests Adam Rogers (guitar), Dave Binney (alto), and vocalists Raul Mid�n and Alina Engibaryan. With Locke calling this recording "the total expression of who I am as a musician and human being," subjects of love, loss, history and social awareness are laid out in six new works from Joe's pen and two blues-imbued covers by Bob Dylan and Blind Willie Johnson."Locke's core quartet doesn't just lift his music off the written page, they make it leap out of the speakers, filling the room with an energy that's almost uncontainable..." - All About Jazz

Thomas Marriott has, in a series of 10 beautifully executed and well received albums on Origin, more than proved his jazz credentials with formidable technique & fluency, celebration of the tradition and a deep joy of extemporaneous risk-taking. On this recording, however, Thomas strips things down to their essence, taking all he has accrued and employing it to delve deep into the heart, leaving us with only his beautiful sound and the truth of the stories being told. Wanting to create something beyond a jazz ballads album, Thomas and his producer, vibist Joe Locke, imagined something more operatic in nature, with each song resembling a free-standing aria. They teamed with pianist/composer Ryan Cohan to arrange and orchestrate this collection of ten classic & modern jazz compositions, popular tunes and several original works by Locke and Cohan, creating a sumptuous, glowing palette over which the melodies and solos can soar."Thomas Marriott's trumpet sound is as lush and inviting as it comes." - DOWNBEAT

As early as 1976, Nat Hentoff wrote: "Once in a great while, a musician emerges with such authority and such seemingly effortless originality that his place in the front ranks of his instrument is unquestioned." Hentoff was not speaking of promise or potential, but actual performance, and forty-two years later, with My Faith, My Life, bassist David Friesen has added immeasurably to his stature. With it's two CD suites complementing each other so fully, it's an epochal achievement - a testament to the offers of faith, matched with a purposeful life. Disc One is a 13-piece solo performance on his Hemage Bass, which calls attention to the intimacy and immediacy of his compositions. The solo piano of Disc Two highlights Friesen's supple touch on an instrument he's not generally known for. Closing the set, the composition "My Faith, My Life" sums it all up: a credo, affirmation, reverence - lower register continuity laced with sublime melody: a hymn to the Source of all song, with a fitting Amen at the close."One of the most eminent exponents of the instrument, he maintains an astonishing level of virtuosity." - LOS ANGELES TIMES

Miles Davis and Gil Evans' Porgy and Bess Is a Landmark of Arrangement, Performance, and Emotion: 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing Mastered from the Original Master Tapes, Mobile Fidelity Reissues Play with Reference-Level Tonality, Depth, and Openness: Strictly Limited to 3,000 Numbered Copies on Hybrid SACD Davis' First Great Quintet Delivers Soul, Sweetness, Spirituality, and Intensity: Unsurpassed Jazz Dance Includes the Eternal 'Summertime' and Harmonic 'Prayer' If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. Davis and Evans' adaptation of Porgy and Bess remains of a piece, an American touchstone that immediately separated itself from the multiple other versions released during the same period. And that's saying nothing of the soulful playing-legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of these definitive editions. Mastered from the original tapes and strictly limited to 3,000 numbered copies on hybrid SACD, Porgy and Bess attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's meticulous reissues. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evansconducted orchestra emerges with room-filling bloom, color, and dynamics. At once sweet and spiritual, sure and steady, graceful and exuberant, happy and sad, Porgy and Bess is a phenomenal jazz dance that has never been equaled. You can't afford not to hear it in the finest-possible fidelity.

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Don Cherry was one of the relatively few big band vocalists of the late '40s who not only built a successful career as a solo performer through the era of traditional middle-of-the-road popular music during the early '50s but made the successful transition to have hits in the years after rock 'n' roll had transformed the pop landscape. He also found time to enjoy a parallel career as a top class amateur golfer and was in contention to win the 1960 US Open. This great-value 75-track 3-CD set comprises selected A and B sides for Decca and Columbia from across the first and most successful decade of his career, from his recording debut with the Victor Young orchestra in 1950 through to the end of the 1950s, by which time he had had made his final appearance in the pop Hot 100. It includes his Top 5 hits "Thinking Of You" and "Band Of Gold" along with all his other chart entries from this era. It includes performances with the orchestras of Artie Shaw, Camarata, Gordon Jenkins, Percy Faith, Norman Leyden and Ray Conniff, and it offers not only a fascinating insight into the development of his style through a dynamic decade in popular music but also an enjoyable showcase for his versatile but distinctive vocal talent.

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