Composer/bassist Ronan Guilfoyle is a major figure on the Irish jazz scene and has developed an international reputation as a performer, teacher and composer. He began his career with Louis Stewart's group in the early 1980's and studied at the Banff Centre for the Arts in 1986 and 1987 where his teachers included John Abercrombie (who is featured on this CD), Dave Holland, and Steve Coleman. Performing on the acoustic bass guitar since the early 1980s, Ronan is now one of the instrument's leading exponents, and is now much in demand as a bassist, both in his native Ireland and on the international jazz scene. Guilfoyle is featured in Keith Copeland trio albums on SteepleChase (“Round Trip” SCCD31425 and “Live In Limerick” SCCD 31469). Ronan has been composing for classical ensembles since 1993, specialising in compositions which feature both improvised and written music. “Renaissance Man” is a superb example of Guilfoyle’s enormous compositional talent for contemporary music. The music on this CD is dedicated to Ronan Guilfoyle's father.

Pianist Olegario Diaz has firmly established himself in American jazz scene as well as in his native country Venezuela. Following his highly successful SteepleChase debut album “Having Fun” (SCCD 31733) last year Olegario put together his dream band here for his second release with Rich Perry (tenor sax) and Ron McClure (bass) from the first album and Randy Brecker (trumpet) and Lewis Nash (drums) as new addition. Diaz’ old class mate from City College NYC Lewis Nash remarks, “It was a wonderful session and I’m sure that the joy we all experienced that day can also be heard and felt when listening to this recording.”

A new face on SteepleChase, guitarist Craig Brann was born in Whitefield, Maine in 1978 and studied music at William Patterson University in New Jersey. He lives in Brooklyn and performs in and around New York City. Craig’s SteepleChase debut “Advent[ure]” is SteepleChase’s first ever “Christmas” album as all the tunes are based on Christmas carols. Those Christmas melodies here are, however, reworked into something fresh and new by the creative hand of Brann who has long been influenced by Lennie Tristano. "Required holiday listening... Craig Brann and friends dig deep into the jazz canon in order to truly reinvent the world of holiday music. Listen up - you'll not only be charmed at hearing these familiar songs in such a new way, but surprised and rewarded at every turn." (Sam Sadigursky – saxophonist, composer and winner of the ASCAP Young Jazz Composer Award)

Tenor saxophonist Rich Perry began his recording career for this label in 1998 with “To Start Again” (SCCD 31331). Since then his prolific outputs through the years have captured attention of critics and public alike. “ …... With his full but soft-edged tone, subtle articulation and impeccable use of dynamics, Perry imbues each of the nine standards in the program with intense feeling…” (David Franklin of JazzTimes on “East Of The Sun … “… Perry's most recent recording as a leader is e*motion and features a quartet – pianist Danko, bassist Anderson and drummer Jeff Hirshfield—that has played together for almost 15 years! The openness and shared mission to make great music ensures that the nine tracks are all first-rate performances…” (Francis Lo Kee, AAJ on “Emotion”)

Cornettist Kirk Knuffke whose previous release “Like A Tree” (SCCD 31739) with his duo collaborator Jesse Stachen prompted Peter Margasak of DownBeat to write, “… Its performances are pitch-perfect, displaying an intuitive understanding that rings something deeply personal to the project.” For his SteepleChase recording #4 project Kirk had a very special partner in mind: veteran tenorman Ted Brown who is out of the Tristano school and at the age of 84 still active and creative on the world stage. “Pound Cake” is “of great subtlety, quality and beauty …” (Mark Gardner – from the linernotes) “…Sitting comfortably at the controls, (Ted Brown) demonstrates from the start that his chops haven’t eroded a bit….. Brown is still at the top of his game.” (Derek Taylor, AAJ– on “Preservation” SCCD 31537)

The “Three” of “The Three Is Not A Crowd” goes way back to 1977 when Andy LaVerne, Mike Richmond and Billy Hart comprised the rhythm section for the great Stan Getz quartet. Andy LaVerne cut his debut album with Richmond and Hart that year in Copenhagen which was released as “Another World” (SteepleChase SCCD 31086). 35 years later the “Three” convened in a NJ studio to record. The result here is not just a reunion but a new world of creative outpouring by the three mature artists.

Trumpeter/composer Jason Palmer, whom Mark Gardner aptly described as one of the foremost brass players of his generation, has investigated the works by or associated with the legendary singer Minnie Riperton for this his latest album where pop merged with jazz in a most creative way. Jason’s previous release “Here Today” (SCCD 31724) received 4½ stars in DownBeat. Its reviewer Jon Ross remarks, “…Palmer has created an album of lengthy intriguing compositions that are full of engaging extras…Palmer is an exciting player…”

One of the towering figures of American music, Cherry was part of the revolutionary free-bop quartet led by Coleman, an ensemble that helped shift the conversation about jazz from chord changes and swing to freedom and energy. By the late '60s, the pocket-cornet player was living in Sweden, with his wife Karlsson, playing with Swedish musicians from all backgrounds, seeking out exciting partners in a somewhat hippie-like atmosphere. It was in this milieu, in the summers of '71 and '72 that Cherry recorded the tracks for his legendary double LP, Organic Music Society, which was released on Caprice and is now reissued for the first time on CD. The sessions that comprise Organic Music Society are varied and represent several directions in Cherry's oeuvre.

This album is the second in a series of recordings honoring the lives and music of individuals who have made significant contributions to big band jazz and to music education. The Legacy of Hank Levy honors a man who made his life's work the composition and teaching of a specifically American musical genre, jazz. Levy's arrangements consistently employed unusual time signatures and harmonies. He served as an arranger for Stan Kenton and the Don Ellis Orchestra, as well as founder and long-time director of Towson University's Jazz Program. Honoring the memory and innumerable musical contributions of Hank Levy, this album is both inspiring and captivating.

This tale is a composed Snake Dream in the form of a fable in nine sections that starts out with a boa constrictor's hardships during a day in the jungle. It is performed by the Nogenja Ensemble (Non Generation Jazz), an ensemble who's participants age range spans 40 years.

2013 collection that celebrates and honors the women of World War II. We Can Do It features music from the WWII era, including hits like 'In the Mood,' 'Boogie Woogie Bugle Boy,' and 'Sing, Sing, Sing,' performed by the great musicians of the United States military, including the Airmen of Note, formed to carry on the tradition of Glenn Miller's Army Air Corps dance band.

Rosengren, is one of Sweden’s most internationally renowned jazz artists. Since making his name at age 19, he has been a standard-bearer of Swedish jazz for over 50 years, inspiring and accompanying many generations of musicians. Featured in the 19-man band are virtually the entire jazz elite from 1970’s and 80’s, including Parlan and Raney.

Jonas Holgersson, born in Furulund (Sweden), has established himself as one of Scandinavians most skilled and well-known drummer. After completed studies at Kungliga Musikhögskolan, Stockholm, he soon became a musician in great demand in various bands and projects.

“The music on this CD is an artistic statement of Thomas Fonnesbæk’s bass playing and composing. Even though the members are the same as in Lars Jansson Trio this is Thomas’ work of art. Fonnesbæk’s music has a lot of strong grooves, exciting compositions, nice chords to “blow” on and some beautiful melodies.” –Lars Jansson

As the title of this new album suggests Gregory Tardy and his excellent ensemble invested their energy in evergreen standards and jazz original classics here to fulfil his musical parents’ requests. “… Not only is he arguably the most original of the band’s improvisers, he’s also the most impassioned. His lines are incisive and hard-edged. Even his most fanciful flights are purposeful. His energetic approach consistently lifts the group’s performance to a higher level….” (Chris Kelsey – JazzTimes on “Steps of Faith” SCCD 31610) “….Of the many stars to have emerged on the jazz horizon during the '90s, one of the most disciplined, emotive and perhaps underrated is the multifaceted Gregory Tardy ….. Tardy takes another step toward establishing himself as one of the most important saxophonists of his generation….” (Matthew Miller - AAJ on “The Truth” SCCD 31583)

Pianist /composer George Colligan is no longer “new on the scene” as Chuck Berg of JazzTimes referred to George several years ago but the rest of Berg’s remarks: “George Colligan is one of the brightest and most articulate pianists on today’s scene” holds true to this day. On this latest album Colligan streamlined a quartet with the choice sidemen who he shares the same creative vibes. Colligan’s previous release “Living or The City” (SCCD 31727) received four stars from DownBeat magazine with comments by John Murph, “…The trio brings plenty of subtle inventiveness and, more important, crisp euphoria to the fore…”

Dave Stryker’s music is deeply rooted in blues, having performed with Jack McDuff in the 80s and Stanley Turrentine in the 90s. Dave’s special blend of jazz and blues culminated first time in 1996 in the form of “Blue To The Bone I” (SCCD 31400). Since then the project has become a popular on-going series. The fourth addition features Stryker’s regular organ trio (Jared Gold on B-3 and McClenty Hunter on drums). “There are solid solos from all hands throughout the album …. Based on the personnel and the feeling of these performances, I'd like to catch this group live”. (Owen Cordle – JazzTimes on Blue To The Bone III SCCD 31465) “As great as the first set was, it's without hesitation that I deem this new one a valiant leap forward. …..They, along with the charts and an elation that the blues almost paradoxically provide, make for an end product that is indeed greater than the sum of the parts” (C. Andrew Hovan-AAJ on Blue To The Bone II SCCD 31524)

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)

While his previous release “Music For Organ Sextette” (SCCD 31731) is still enjoying superlative receptions by the critics and public alike for its most personal and innovative approach to Hammond B3 organ in a relatively large ensemble, Brian Charette emerges here with an intriguing collection of solo B3 performances filled with compelling and creative surprises to push the boundary of the instrument even further. “Brian Charette is out to prove that the Hammond B3 ain't just for flexing your funk chops…." (Shaun Brady – DownBeat on Music For Organ Sextette) “…Charette weaves a unique and gripping aural tapestry together with a mélange of woodwinds serving as the thread. He channels his energy into creating constructs that benefit from the blending of multiple voices, yet remain flexible enough to allow for outspoken soloists to have their say. ..” Dan Bilawsky – AllAboutJazz on Music For Organ Sextette)

Pennsylvania, 1947) go way back into the late 1970s when the two young musicians cut their teeth in the Thad Jones / Mel Lewis Orchestra. Although they have performed together in all types of groups and bands over the years, this is the first time they perform in a duo setting where “there is never a dull or wasted moment as two minds connect in perfect harmony.” (Mark Gardner from the linernotes)

Dexter Gordon’s most creative and prolific years were spent in Europe in the 1960s and the first half of 1970s. Right until the great homecoming (to USA) of 1976 Dexter had performed frequently in Copenhagen’s famous Montmartre Jazzhus. Many of the nights were broadcasted by Danish Radio and later released by this label (The Dexter In Radioland series). This latest Gordon album recorded 1974 is special because of the fact that - except for a few tracks which were broadcasted - that night the whole concert of the evening has never been made available to the public before. And Dexter makes this concert even more special with his display of relaxed yet intense power of creativity. On Dexter’s 2004 release Loose Walk SCCD 36032 Chris Kelsey of JazzTimes wrote, “…the gritty soulfulness of his playing reminds us just how much we miss the greats of his generation. They don't make 'em like this anymore.”