John Hart’s collaboration with SteepleChase started in 2016 with sideman role on the late alto sax Andy Fusco’s Turmoil (SCCD 31843). The guitarist/composer/educator Hart since has kept releasing a barrage of highly acclaimed leader albums. On this his fifth outing he has assembled an impeccable quartet featuring Rich Perry on tenor and Brian Charette on B-3. “He has just released Resonance (2023) on SteepleChase, his fifth date for the legendary Danish label headed by Nils Winther. Labelmate, tenor saxophonist Rich Perry joins him along with organist Brian Charette and longtime collaborator Steve Johns handling the percussion duties. The breadth and eclecticism of Resonance’s playlist is plainly evident from Hart’s illustrious recording pedigree. We hear a refreshing mix of five originals and four standards.” (Frank Griffith – UK JAZZ NEWS) 180g Audiophile Vinyl

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

40 years ago Bill Evans and Jim Hall recorded two brilliant duo albums called “Intermodulations” and “Undercurrent”. Andy Laverne and John Abercrombie whose collaboration dates back to the late 1960s have been inspired by the Evans-Hall recordings and have been experimenting with the format. Andy LaVerne remarks, "Over the years we have collaborated as a duo many times in concerts, club dates, workshop sessions. I guess Bill and Jim set a wonderful example to us of what could be achieved by the piano/guitar instrumentation”. This LP, though it is neither re-creation nor copying of the original material, is an evolution of the predecessors. 180g Audiophile Vinyl

June 15, 1976 Long tall Dexter plunges into a blowing spree in this unusual piano-less trio format. “...It contains some of his freest solos, notably On Green Dolphin Street...” (The Penguin Guide to Jazz) C. Andrew Hovan the author of the new liner notes for the album writes: “Lullaby for a Monster”, recorded just before his triumphant homecoming, stands as a powerful reminder of an era when jazz giants roamed in abundance. A favorite among musicians, this album deserves wider recognition within Gordon’s impressive discography.” “...intense and vibrant music throughout...” (DIAPASON, France) “.... in this stripped down setting Dexter Gordon is truly on fire ...” (Soulpope – The Jazz Beat) 180g Audiophile Vinyl

SteepleChase proudly presents the 2025 audiophile reissue of Jaywalkin', the iconic 1976 album by legendary Danish jazz bassist Niels-Henning Ørsted Pedersen. Known for his impeccable technique and rich, resonant tone, Pedersen’s playing on this album is nothing short of masterful.Remastered from the original analog tapes for unparalleled sound clarity 180g heavyweight vinyl with exclusive new liner notes exploring the album’s legacy and Pedersen’s virtuosity by bassist and NHØP biographer Thomas Ovesen Featuring Philip Catherine on guitar, Ole Kock Hansen on electric piano, and Billy Higgins on drums, Jaywalkin' is a dynamic blend of swing, bossa nova, and intricate jazz improvisation. The title track "Jaywalkin'" stands as one of Pedersen’s finest performances, showcasing his effortless command over rhythm and melody. A Must-Have for Jazz Collectors

“...Witchdoctor’s Son contains the most infectious, buoyant, gleeful music...the interaction between Pukwana and Tchicai’s vastly differing phrase sensibilities is one of the joys of this recording...” (Lange, Down Beat) “...from Dyani’s most consistently inventive period...” (The Penguin Guide To JAZZ) The timeless brilliance of jazz with the remastered edition of Johnny Dyani's Witchdoctor's Son, originally recorded in 1978 brings together musicians from South Africa, Denmark, and Brazil, blending their unique styles with the rich heritage of American jazz. The presence of John Tchicai, a stalwart of the New York jazz scene, adds depth to this remarkable record. The music is deeply rooted in South African traditions, with themes composed by Johnny Dyani and Dudu Pukwana, and traditional tunes arranged by them. The spirit of Africa, especially the Xhosa world, is a constant presence throughout the album.

The two-time winner of Grammy Awards, alto saxophonist Gary Bartz (b. Baltimore, Sept. 26, 1940) studied music at the Julliard School in New York. He then worked with many prominent players like Max Roach, Art Blakey, Blue Mitchell, McCoy Tyner in the 60s. His international fame came when he joined Miles Davis in the early 70s. He made his SteepleChase recording debut with Jackie McLean in 1973 (“Ode To Super” SCCD 31009). 15 years later he went into a studio in Copenhagen with the band he was touring with in Europe (except Butch Lacy replacing Joanne Brackeen on piano) to make this second album for SteepleChase. Bartz received the BNY Mellon Jazz 2015 Living Legacy Award. He is Professor of Jazz Saxophone at Oberlin College. “…one of the best of Bartz’ recent releases, while it emphasizes leader’s powerful playing, the well-balanced ensemble performances are quite enticing.” (Sato – Swing Journal on SCS 1234)

Chicago’s grand tenor man Earle Lavon "Von" Freeman Sr. (October 3, 1923 – August 11, 2012) was a revered and most loved elder of the jazz scene in the Windy City. Von has been on producer Nils Winther’s top priority list of the musicians he wanted to record. The dream came true in the late spring of 1992, when Von was 72. Von’s powerful tenor is tastefully supported by his trusted rhythm section of Jodie Christian (piano), Eddie De Haas bass) and Wilbur Campbell (drums).. “This is an excellent introduction to the Chicago style of tenor playing and to four extremely creative musicians at their peaks.” (Cadence)

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).

When Producer Nils Winther heard for the first time Kevin Hays at Ron McClure1990 session for SCCD 31279 “Never Forget”, he knew immediately he found an exceptional talent. Hays cut his first leader album for the label three months after the McClure date at the age of 22. His second leader album Ugly Beauty (originally released in 1992) returns here in a stunning 24bit/96kHz remaster as G1297, reaffirming its place as a landmark in the pianist’s early career. Recorded with bassist Larry Grenadier and drummer Jeff Williams, the album marked Hays’s first trio outing—an ensemble format that would become central to his artistic identity. The program blends jazz standards with Hays’s original The Well, showcasing his lyrical touch, harmonic depth, and rhythmic drive. The session captures Hays’s youthful brilliance while foreshadowing the maturity and originality that define his later work. More than three decades on, Ugly Beauty remains fresh, vital, and deeply engaging—a timeless document of three master musicians in inspired dialogue. “Hays’ development will be interesting to watch...” (Cadence) “...Voilà, à coup sûr, un pianiste dont on reparlera..” (Jazz In Time)

Just in Time, is a long-overdue spotlight on one of jazz’s most quietly influential pianists. Recorded in 1989 with Bob Cranshaw on bass and Kenny Washington on drums, this trio session captures Willis’s lyrical touch, harmonic depth, and rhythmic sophistication in full bloom. Willis’s career began with a voice solo in Aaron Copland’s The Second Hurricane under Leonard Bernstein, but jazz soon claimed him. By 19, he was playing with Jackie McLean and Hugh Masekela, and later with Stan Getz, Cannonball Adderley, and Blood, Sweat & Tears. His style—rooted in Bill Evans, Wynton Kelly, and Herbie Hancock—melds cerebral modernism with soulful hard bop. The album features a mix of standards and originals, including the swinging title track, the introspective “Soul Search,” and the Monk-inspired “T’s Bag Blues.” His Latin-tinged “Te Quiero Mi Hermano” and homage to Herbie Hancock on “One Finger Snap” reveal a pianist deeply attuned to rhythm and tradition. Critic Russ Musto writes, “Considering the pianist’s continuous growth in forty years of playing, I’d say its timing is prime. I’ll take it now. And look to the future for more.” Willis himself praises Cranshaw’s ballad work and calls Washington “perhaps the finest young drummer to come along in a long time.” G1251 is not just timely—it’s timeless. A must-have for collectors and a revelation for new listeners. “…Larry Willis plays piano with style, soul and a constant stream of heart.” (Jerome Wilson, Cadence)

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)

Roger “Buck” Hill (1927-2017) was a full-time employee of a Washington D.C. post office when his much-acclaimed debut album was released from SteepleChase in 1978. Since then this legendary tenorman has invested more of his time in the musical activities and has regularly brought his band to the enthusiastic European audience. He otherwise performed after work at local live spots, sometimes with visiting artists such as Miles Davis, Dizzy Gillespie, Max Roach, among others. “Buck Hill is one of the most notable ‘regional’ jazzmen in America … SteepleChase albums feature Hill with two different rhythm sections, … each winds up with the same result: honest, proficient blowing that has its individual clout…” (The Penguin Guide to Jazz)

This LP was originally released in the summer of 1989 with Doug Raney at age 33. He released during his rather short life (1956 – 2016) 17 leader albums for SteepleChase including this 13th piano-less horn-featured recording which won accolades from critics all over the world. “...Doug Raney is an elegant player even when he’s attacking, as he does here on most of the content .... Certainly recommended if you enjoy your jazz slightly in advance of bebop, but with all of that basic feel still there.” (Martin Richards on SCS 1249, Jazz Journal International) “...no doubt, another in the string of successful Raney releases.” (Paul B. Matthews on SCS 1249, Cadence)

This is the second transmission of the Danish Radio’s bi-weekly jazz programme two weeks after the first volume “If I Had You” SCCD 36016. “...Moore knew how to tell a story... he beguiled many of us back then and still does...” (Mark Gardner)

Duke Jordan (1922-2006) famous for his intense lyricism embarked on the world jazz scene as a member of the classic Charlie Parker Quintet in the late 40s with his trademark introduction to “Embraceable You”. Jordan unlike many other American jazz musicians in Bebop era found his artistic and personal living space in Europe since the early 70s. His extensive recording output on SteepleChase including this album from 1985 recorded in Denmark makes up the huge part of his discography. “A most agreeable set that is both eminently listenable and very enterprising .… Jordan was always a fleetly swinging but subtle pianist whose all-round musicianship has never got the recognition it merits. This fine trio deserves to sell well and spared his name further afield.” (Richard Palmer, Jazz Journal International)

This recording, the fifth release by trumpeter/composer/educator John McNeil on SteepleChase took place during the summer of 1983 in Denmark at jazz club Montmartre as a part of the graduation concert of the famed Jamey Aebersold Jazz School. John toured Europe as a member of the staff of the Jamey Aebersold Jazz School and led this exciting group consist of the fellow “all-star teachers”: Dave Liebman, Jim McNeely, Ron McClure and Ed Soph. McNeil made this concert as a field study of “how-to-make-a-live-recording” for the students in the audience. One of the most influential trumpet players today John McNeil released his first album “Embarkation” SCCD 31099 in 1978 on SteepleChase and gained wider recognition as a member of the Horace Silver Quintet in the late 1970s. McNeil in recent years has been in great demand as a writer, arranger and record producer.

Pianist Joe Bonner (1948 – 2014) was born in Rocky Mount, North Carolina where Thelonious Monk was born about three decades earlier and left strong influence on the young pianist. An impressive modernist Joe Bonner performed in and around Denver, Colorado towards the end of his life and became a legendary figure. He spent considerable time in Denmark during the 80s. This album from Copenhagen in March 1987 is a studio recording with another American expatriate Bob Rockwell on tenor. "...The Lost Melody is a good group session, marked by strong charts ...." (The Penguin Guide to JAZZ) "... one cannot but admire the fluency and precision, the dexterous right hand...the diversity in his play is a mark of a great pianist..." (Jean-Paul Ricard, Diapason)

This is the first leader album of Joe Locke (b. March 18, 1959 in Palo Alto, California) on SteepleChase. “He has a solid background in the modern-mainstream tradition…An interesting album by a musician from whom I am sure we will hear more.” (Mike Shera – Jazz Journal International) “Joe Locke is a new star on jazz vibraphone scene, who deserves even wider recognition now. This album has a excellent ensemble feel to offer solid performance throughout. Locke’s vibraphone has fresh musicality.” (Sato – Swing Journal)

“Frozen Music” was recorded in New York City 32 years ago and like most of Andy LaVerne’s releases this album has not lost its original energy and charm. Tenor and soprano saxophonist Rick Margitza was then a young rising star under contract with Blue Note. Andy was already a prolific composer who penned all the tunes of this album. Bassist Marc Johnson who was a member of Bill Evans’s last trio gave graceful and subtle coloring to LaVerne’s compositions. “Frozen Music, Andy LaVerne’s third album for SteepleChase, is a solid, modern blowing session...he makes skilful use of suspensions, pedal points, and ostinatos, which along with the music’s floating harmonies, give the soloists a wealth of elbow room...” (Mark Stryker, Cadence) “un disque du plus haut niveau musical.” (Henri Marchal – Spectacles)

Dexter In Radioland vol. 7 The seventh and last volume of live transmission from the 60’s captures the exuberant atmosphere of the legendary ‘Dexter nights’ at Montmartre. “...The music here, recorded for Danish radio. all comes form 1964, when Dexter was at...the zenith of his career and probably the happiest time of his life...” (Steve Voce, Jazz FM)

Sam Jones (1924 - 1981) was fondly called “Home” by all musicians who appreciated his rock solid, unwavering bass line they could always count on. This Jones’ first band since arriving in New York two decades ago features Japan’s super trumpeter Terumasa Hino and New York’s raising star tenor Bob Berg. “SteepleChase is hard to beat when it comes to a consistently high level of jazz recordings and this latest album by Sam Jones is well up to standard....an excellent band. ...As for Sam Jones, he is in splendid form on all tracks, perhaps inspired by the feeling that he has managed to gather about him a cracking good band.” (Jazz Journal). 180g Audiophile Vinyl

It seems safe to say that Shirley Horn has now gained the popularity and recognition she deserves and that she joined the ranks of the star singers. And if you’ll excuse our boasting tone, SteepleChase takes a lot of pride in being the first record company to re-discover this great singer from the local scene of Washington D.C. to make her come-back to the major market possible. As Nat Hentoff wrote in Modern Recording & Music in 1981, “..Miles Davis is not a notable enthusiast of singers, but one exception was Shirley Horn, a Washington-based improviser (on piano as well)...”, Shirley Horn was a musicians’ musician little known to the wider public until her break-through in the late 80s. Her appearance at the famous Dutch festival at the Northsea where this recording was made was the first live encounter with the European jazz crowd whom Shirley conquered with no sweat. 180g Audiophile Vinyl

“...a serious meditation in the Parker universe: Shepp accompanied only by the extraordinary bass of intuitive Niels-Henning Ørsted Pedersen... The two musicians here in this Parker revisited, however, do not get lost in the immense shadow of the idol...” (Télérama) 180g Audiophile Vinyl

Catalan pianist Vincente Tete Montoliu (b. March 28, 1933 in Barcelona) “swings like no other pianist in Europe”, once remarked Ben Webster. Jazz Journal confirmed Ben’s opinion in reviewing this album, “...he could blow most contemporary pianists into the ground technically...”. And Radio Free Jazz of USA (the predecessor of JazzTimes) concluded, “...This is the best piano record in many years and one that will certainly rank with the best of any era.” 180g Audiophile Vinyl