The collaboration between Ambrose and Riley on Tenor Treats (SCCD 31656) session, packed with stimulating performances gave us a bonus of enough material for this sequel. “The instantaneous rapport achieved by Riley and Ambrose is indicative of the flexibility of these two accomplished players, who know the value of complementing, rather than trying to outdo, each other. There's a deep unity of thought in the way they roll out each performance . ." (Mark Gardner – from the linernotes)

The so-called “unusual” set up of Andy LaVerne’s piano and organ trio formed a several years ago is no longer unusual after its tremendous success with the critics such as JazzTimes’ Thomas Conrad: “Andy LaVerne on piano and Gary Versace on organ sound absolutely natural and complementary together.” – on SCCD 31596 All Ways and Allaboutjazz’s C. Andrew Hovan: “Really one of the most welcomed surprises of the season, Intelligent Design lives up to its name as one of LaVerne’s best efforts thus far and one of the finest jazz releases of the year. “ – on SCCD 31618 Intelligent Design Andy Laverne this time took his trio to the excited audiences at the posh jazz bar of The Kitano Hotel on Park Avenue, NY, NY.

“….This is exciting, entrancing and vigorous music, filled with nuances and subtleties… As for contemporary jazz trumpet playing it doesn’t come any better than the mature style purveyed by Marcus Printup, one of the finest of our times” (Mark Gardner- from the liner notes) On Printup’s previous album SCCD 31626 Bird Of Paradise JazzTimes’ George Kanzler commented, “Printup and Nash solo with more tonal and timbrel variety, sacrificing sheer velocity for expressive sounds and fewer notes. It’s a creatively fertile way to revisit Bird’s music.”

Though Ambrose and Riley, two of the elite tenorists of younger generation have known each other for several years and are both SteepleChase recording artists, this is the first time they went into a Studio to cut co-led albums. Both of them share a deep respect of the jazz’s tradition but their expressions distinctly bear their strong individual voices. Here’s the first volume of the dynamic and creative collaboration.

Guitarist Tom Guarna for his fourth leader CD puts together a beautifully executed album of intriguing music with his long-term collaborators. “…. all the participants shared a respect, familiarity and belief in the tenets of what goes to make good jazz. …” (Mark Gardner – from the liner notes)

“…there is a special world of meticulous jazz composition envisaged by the creative sensibility of Gigi Gryce to be re-discovered in Blue Lights. And the interpretation of those works by Chris Byars and his men is to be applauded and cherished. They are both authentic and inspired.” (Mark Gardner – from the linernotes)

“Dick Oatts and Jerry Bergonzi have stacked up a formidable total of 67 years of playing experience on the highly competitive New York scene, and that wealth of nous is evident in this rousing collaboration…..” (Mark Gardner – from the linernotes)

“The music presented here …. demands attentive listening. ….The shades and textures woven by the Scott Five are neither random nor nonchalant, but carefully coloured and contoured. It is absorbing music that grows on you more with each hearing …..”Mark Gardner (Contributor, Jazz Journal International since 1962) • On Scott’s earlier album “Song for Amy” (SCCD 31561), Cadence’s Dave Dupont wrote, “…balance between drawing resources from the past and expressing musical ideas with in-the-moment urgency is what makes me inclined to sing the praises of Scott’s song.”

Andrew Rathbun, Canadian-born multi-instrumentalist (primarily on tenor saxophone) is also an accomplished composer has firmly established himself on the world jazz scene. On his previous release “Affairs of State” (SCCD 31630) Stuart Broomer of allaboutjazz wrote, “…. The result is consistently thoughtful, well-crafted music in a mature idiom.”

New York based saxophonist Kim Bock brings his band to Scandinavian tour annually. One of their concerts from Copenhagen is captured here live with the enthusiastic audience. Tom Greenland of allaboutjazz wrote of Bock’s debut album “Secrets” (SCCD 31603): “…An excellent beginning, Secrets showcases Bock’s writing and playing and, most of all, his ability to attune his talents to the voices of his contemporaries.”

“…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)

Stephen Riley’s new album stands out as his first ever ensemble with piano. Riley, a true individualist with an amazing, warm and soft sound selects the classic jazz repertoire to assemble this outstanding display of personal statement. “Stephen is an impressive player, with his own approach, his own sound and the conviction to keep it that way: he shows that it's possible to create something unique at this time. 5 Stars." (Lew Tabackin / Downbeat Blindfold Test April 2009 )

Richard Doron Johnson, making his jazz debut album here, is an accomplished artist with degrees from Berklee School of Music, Boston Conservatory and Thelonious Monk Institute. Johnson has appeared on several of Christian Winther's CDs for SteepleChase. On this trio set he showcases his great talent both as performer and composer.

Bassist/composer Scott Lee has been leading a group of close musical friends and associates, including the three creative sidemen on this session, to experiment in different forms and with new ways of improvising at intensive workshop sessions for the past decade in New York. Bill Smith of JazzTimes comments on Lee’s previous release “One Thought” (SCCD 31649),”Leader and bassist Scott Lee offers simple yet thought-provoking music on the aptly titled One Thought… . Those who feel that jazz is losing its creative edge should hear this album and other basically mainstream offerings of the last few years.”

Andrew Rathbun’s fourth leader album on SteepleChase reflects his musical ideas inspired by fellow Canadian Glenn Gould and looks into the implication of his homeland Canada on his music. “… he displays his growing maturity as a player and more of his acclaimed talents as composer/arranger.” (Mark Corroto, Allabout Jazz–NY on his previous release SCCD 31665 Where We Are Now) “The result is consistently thoughtful, well-crafted music in a mature idiom.” (Ken Dryden, Allabout Jazz–NY on SCCD 31589 Shadow Forms)

A sequel to the highly successful SCCD 31588 “Oatts & Perry I”, on which Thomas Conrad of JazzTimes commented, “…Harold Danko played with Oatts and Perry in the Thad Jones–Mel Lewis Orchestra and always wanted them in his own band. This album is a true sleeper, a blowing date on which the blowing is epic and the date is beautifully planned and recorded.” "Rich Perry is that rarest of tenor saxophonists — a complete musician." (Donald Elfman , Allabout Jazz–NY) "… Dick Oatts is an uncompromising jazz musician, one who possesses monster chops without trumpeting them… " (Owen Cordle, JazzTimes)

Dick Oatts, as shown in his “Standard Issue” (SCCD 31439) and its squeal “Standard Issue volume 2 (SCCD 31482), cherishes tunes from the great American songwriters of the 20th century. For this new album Dick Oatts compiles a collection of evergreen “love songs” mostly written in the 40s. “….Longtime lead alto man with the Vanguard Jazz Orchestra, Oatts comes from the Paul Desmond-Lee Konitz school of saxophone playing. But a sweet sound and a cerebral approach to improvising comprise only part of his style. There's also a trim muscularity in his tone and lines. And the lines can be quite angular and oblique at times. I don't hear any other alto man playing with all these qualities these days.” (On SCCD 31511 “South Paw” / Owen Cordle – JazzTimes)