Symbol Systems occupies a special place in Matthew Shipp's discography. Originally issued in 1995 on the No More Records label, it was at the time his sixth release as a leader or co-leader, but significantly his first solo album, and as such provided us with the purest view to date of his multifaceted, indivisible improvisational/compositional concepts. Matthew Shipp was born in 1960 in Delaware. He began piano at 5 years old, and fell in love when jazz when he was 12. After moving to New York in 1984 he quickly became one of the leading lights in the New York Jazz Scene. Mr. Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all his own- and he's one of the few in jazz that can say so.

This newly remastered reissue of multi-instrumentalist Anthony Braxton’s (Willisau) 1991 Studio was recorded with his quartet at the Hotel Mohren in Willisau, Switzerland in June 1991. These works feature what many consider Braxton's finest ensemble at their creative apex, consisting of pianist Marilyn Crispell, bassist Mark Dresser, and percussionist Gerry Hemingway.

Since his arrival in NYC in 1996 guitarist Craig Brann has quietly and steadily established himself as one of the elite players of his generation. In this new release, his fourth album on SteepleChase, Craig unfolds his expansive musical dimension. “There’s something for everyone here – and that’s just a way of describing New York guitarist Brann’s versatility. With invention and wit, he remodels the classic guitar trio to suit multi-sourced inspiration … It’s a veritable treasure shed of homage, freewheeling and compositional flair.” (Nigel Jarrett – Jazz Journal on SCCD 31814 Conversation between Brothers) “A Beautiful album from guitarist Craig Brann – and maybe the first to really display all the richness of his talents!” (Dusted Groove on SCCD 31814) “Brann is an enormous guitar talent ... this is his second album and will not be the last.” (Henrik W. Iversen – JazzSpecial on SCCD 31718 Mark My Words)

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”)

Ray Smith, director of the Brigham Young University jazz ensemble 'Synthesis,' writes of this live release: "Welcome to our musical tour of Finland, Sweden, Estonia, Latvia, and Lithuania! We are excited to share with you the excitement and musical energy of our live performances for the people of the Baltic States and Scandinavia. Synthesis has had the privilege of sharing America's music- jazz- with many countries of the world, including Japan, China, Brazil, Russia, and much of Europe. We need no translation when we play; people everywhere feel and love jazz, and much goodwill ahs been fostered through our performances. I have tried before to record the band at the end of a tour with no success because of our being jet lagged and brain-dead. We decided this time to bring good microphones and record every concert and see what we could get. Thankfully, Jeff Carter traveled with us to engineer these recordings. It's amazing that he took these sounds from mostly outdoor performances- in shopping plazas and even in the woods. I hope you enjoy the recordings as much as we enjoyed playing these amazing tunes!" Synthesis is a musical melding of some of the finest musicians at Brigham Young University. Drawing freely from the various styles of Afro-American music, the ensemble has become known for versatility, spontaneity, and creativity in performance. The ensemble has toured Japan, China, Scandinavia, Russia, Europe, and Brazil, and has given numerous performances throughout the USA.

Les Oignons are back! The combo created and led by impetuous trumpeter Julien Silvand—a tap dancer who plays New Orleans jazz—returns with Tap That Jazz, this time in a new sextet format. June Milo has joined the band to add a pop touch to the standards and other compositions present in this album. But the formula that made the group a hit stays the same: subtle arrangements and tapdancing provide music that's determinedly catchy. The Oignons, in the line of bands like Orphéon Celesta or the Haricots Rouges, prove how fantastic New Orleans jazz can be as an evergreen platform for creating new music. “Les Oignons are, without a doubt, one of the most original New Orleans jazz bands that the Festival has hosted. The many fans of this style of jazz, present tonight, were conquered by the musicality and the inventiveness of this group…” (Big Band Festival of Pertuis)

Entitled "Manifesto," the new album of the Luxembourg-based contemporary jazz trio around the drummer Jeff Herr consists of seven original songs and a surprising cover of Randy Newman's "Same girl." It ensures the continuity of the previous album, "Layer Cake," of the oscillation between structured compositions and free improvisations, as well as of the contrast between the acoustic sound and contemporary interpretation. This time, however, the trio has been joined on several songs by the American guitarist Adam Rogers, known for his work in the modern jazz idiom and his numerous collaborations with musicians such as Norah Jones, Ravi Coltrane, and Marcus Miller. His guitar playing, rooted in the acoustic jazz tradition and influenced by Pat Martino, George Benson, and Wes Montgomery, provides the Jeff Herr Corporation with a unique aspect and a new, intriguing sound.

Did you ever hear an 18th century fortepiano, a violone from 1560 and a historical drum and percussion kit playing contemporary music full of improvisation and groove? On the latest release of the Rembrandt Frerichs trio this unlikely combination has come together. And how! This mix of sounds has never before been heard, certainly not in jazz. The chosen repertoire is equally unorthodox: the trio play original compositions, baroque repertoire, modern improvisations and even Herbie Hancock's jazz-rock hit "Butterfly." Piano pioneer Rembrandt Frerichs developed a unique playing style on the fortepiano, an idea that was spawned by the many collaborations with musicians from the Middle East. The National Musical Instrument fund had such an instrument built for Rembrandt by Chris Maene in Belgium. In response to this, Tony Overwater started to master the violone, precursor to the double bass. Vinsent Planjer complements this with an unconventional collection of percussion instruments from all over the world. The Trio demonstrates that instruments from centuries gone by can sound totally modern when placed into a new context. The listener experiences a sound palette like they have never heard before, but is still somehow strangely familiar.

“… ‘Something Different’…finds Gordon at the top of his form…While melodic continuity has always been one of Gordon’s trademarks, the seamless passion of his playing here makes ‘Something Different’ one of the tenor giant’s essential albums.” (Larry Kart, Chicago Tribune) “… The great tenor saxophonist is in grand form in a quartet in which he is complemented and challenged by the young Belgian guitarist Philip Catherine and by Gordon’s favourite drummer, Billy Higgins …” (Doug Ramsey, Chronicles Of Culture) 180g Audiophile Vinyl

To say “Pierre Dørge” and not to follow it with “& New Jungle Orchestra” is almost impossible. Dørge created that small big band in 1980, which became a successful and stable vehicle for his adventurous music. They toured all over the world and built an impressive discography along the way. The guitarist/composer/bandleader, however, has never neglected to seek new palette to draw his music in smaller ensembles. Following highly acclaimed quartet release “Blui” of 2016, Dørge surrounds himself with all American colleagues who have deep understanding of Pierre Dørge’s unique soundscapes. “It’s an inspired collection of musicians and all serve the material well, eight songs written by Dørge …. When people think of Dørge, they tend to gravitate toward the NJO releases but his small-group recordings provide an excellent alternative and a more expansive picture of this unique guitarist.” (Robert Iannapollo – NYC Jazz Record on SCCD 31797 “Blui”)

Wally’s, Boston’s historical (est. 1947) live jazz spot, is where the award-winning trumpeter/composer Jason Palmer started to hone his chops some 20 years ago while a student at New England Conservatory. Jason and his Boston-based quintet has been performing there every weekend to the loyal and enthusiastic crowd since 2006. This CD is the first of two documentary live recordings from those electrifying nights in 2016. “Over the past decade, trumpeter Jason Palmer has proven to be one of the most compelling artists of his generation. With each new volume in a series of CDs for SteepleChase, Palmer reveals a different aspect to his musical mind while the expressiveness of his horn continues to expand as well.” (Ken Dryden – the NYC Jazz Record on SCCD 31820 Beauty ‘n’ Numbers)

Influenced at a very early age by the music of the Middle East, trained in classical music and jazz, Omri Mor is a young virtuoso pianist with a flourishing style and multiple influences. Spotted very early in his career by Avishaï Cohen (double bass) who was impressed by Omri’s great knowledge of Arab-Andalusian, Chaabi and jazz, the music is sure to shine as this trio performs together on the biggest stages of Europe and the rest of the world in 2018. It is under the artistic direction of drummer / percussionist Karim Ziad that he records this first album "It's About Time!", surrounded by the exceptional line-up of Avishaï Cohen on the double bass, Michel Alibo on the electric bass and Karim Ziad on the drums. The repertoire is composed mainly of originals and displays the great talent of Omri Mor as a composer who also possesses an incredible sense of performance and melody. The piece "Marrakech" (Hamid Zahir) leads the listener to new lands and wild rhythms, giving his piano style a unique combination of swing and freedom.

Storyville Records presents Volume 25 in the Duke Ellington Treasury Shows series, the final volume of this collectors’ special broadcast series. In April 1945 to promote the sale of war bonds, the US Treasury Department contacted Duke Ellington to do a series of 55 minute public broadcasts. These sessions would give Ellington a wide choice of material to perform including his older work, new instrumentals and pop tunes, and his extended works as well. And now it is 2018 and we have made the home run: This volume is the final one of this series of 25 albums altogether, with all the known Treasury shows from 1945 to 1953, and new, hitherto mostly unreleased bonus broadcast material from the 1940s. The release begins with the last known Treasury broadcast. It is from the Blue Note in Chicago, recorded in June 1953, and broadcast on August 1st 1953 as part of the series “All Star Parade of Bands,” launched by NBC to promote bond sales. The second half of the release contains broadcasts from April 22nd 1944 and from May 5th 1944 at the Hurricane Club in New York City.

Christy Doran's bands are called "New Bag," "Sound Fountain," or "Bunter Hund," and the same thing applies to all of them: nomen est omen. He chooses his co-musicians exclusively according to the pleasure principle, and does not know any prejudices not only in this respect, but has played with Fredy Studer, Urs Leimgruber, Carla Bley, Ray Anderson, Erika Stucky, and many more. He regularly jumps back and forth between Jimi Hendrix, Samuel Becket, and Chinese folk music in the search for inspiration and seems to expand his artistic portfolio every second. Christy Doran, for this release, got the idea to bundle 20 electric guitars, four electric basses and a drumset into an orchestra that has never before existed in this form. He calls it "144 Strings for a Broken Chord" in view of the tempestuous storm that it creates. One has to listen to this sometimes brutal elemental force, which can change into a soft hovering in a matter of seconds, a vacuum of reverberating sound fragments. And note: Each of the 20 guitarists and four bassists brings his own personal touch to the daring project, creating a special, original sound that resembles an artistic DNA with the help of smaller or larger instruments.

Lasse Lindgren writes of his new release: "Spirits 1 was a tribute to Maynard Ferguson, one of my great trumpet heroes. We were able to record this thanks to my very good friend and manager Ernie Garside and my "Big Constellation". When it became apparent that Ernie was in possession of a large collection of unrecorded MF-material, the idea was born for a follow-up album. It turned out to be a brilliant mix of arrangements that was not only enough for one but even a double album and so I thought, OK why not? My goal is to play the music in my own way, in a personal, creative process. I am not trying to be MF or copy him, which would be both impossible and uninteresting. I just want to be myself and, together with wonderful fellow- musicians, help to keep the music alive, as it rightly deserves. Maynard was often called "The Fox", so here it is - SPIRITS 2 - THE UNRECORDED FOX."

Whether as a soloist or leader of an ensemble, Lynne Arriale’s artistry and influence are profound and have elevated her stature as a composer, arranger, and performer to a renown shared by few other jazz musicians. ‘Give Us These Days’ is ambitious in its conception and its unbridled sense of wonder. Evolved from the creative genius that foretold her reputation as an extraordinary piano poet and composer, the six original tunes and three arrangements on this album chart a new course for the trio. It leads, ever so gently, to the chambers of the heart, there to reflect upon the precious and ephemeral nature of existence. What emerges is the theme of this album, brilliantly illuminated by the title track: Given the unpredictability and impermanence of life, savor each moment. Her playing on these pieces is powerful, informed by rigorous classical training, prodigious technique, and seemingly boundless creativity.

During the year of 1966 Duke Ellington was touring Europe. Duke Ellington’s sacred concerts had many incarnations, more than the three on the commercial records: The First (1965), The Second (1968) and The Third (1973). At concerts Ellington often made changes in the proceedings – left out some numbers, and played others, and altered the succession of numbers played. This was evidenced at Coventry Cathedral on a winter’s Monday, February 21st 1966. The Coventry concert had its centerpiece in “In The Beginning God”, but apart from that it was no ordinary sacred concert: Two numbers, “Come Sunday” and “Tell Me It’s The Truth” would have a vocal on the issued record and in other performances of A Concert of Sacred Music the previous year, but were purely instrumental here – and the two numbers following “In The Beginning God” had no connection to a religious theme. With him on that day in Coventry Cathedral were some highly professional British vocalists, The Cliff Adams Singers and the baritone singer George Webb, giving the performance a special quality, which the band acknowledged by playing on the top of their game. The concert was filmed for TV, and part of it was telecast. Two numbers were regrettably omitted from the TV production, but are on this album, a powerful version of “Light (Montage)” from Black, Brown And Beige, and the above-mentioned “Come Sunday.” The concert also includes a premiere and only performance of a new Ellington composition “Come Easter,” a premiere of another new Ellington piece “West Indian Pancake,” and one of the first performances of a piece which would become an important part of many concerts during the following years, “La Plus Belle Africaine.”

“Fresh…exotic…and far beyond the ordinary” (The New York Times) is one of the numerous praises the world press bestowed upon Allegra since her debut album “Lonely City” (SCCD 33118) a few years ago. While Allegra Levy’s second album “Cities Between Us” (SCCD 31827) cemented her strong talent as a singer/songwriter, here on this her third album Allegra the singer steps up to the front interpreting time-tested as well as newer moon–themed songs. “Levy is a gifted lyricist and she writes often light thoughts and observations but from a personal point of view. Vocal fans should seek this out as Levy fills a spot that is fresh and rewarding in the pantheon of vocalists. A carefully produced CD full of rewards.” (Robert D. Rusch – Papatamas on SCCD 31827 Cities Between Us) “Levy is a fresh new voice, with songs steeped in the tradition and primed to join the canon.” (Jim Motavalli – New York City Jazz Record on SCCD 31827 Cities Between Us)

With this sequel volume to SCCD 31855 SteepleChase is proud to make the first live recordings from Wally’s commercially available. Boston’s historical (it celebrated its70th anniversary last year) live spot is where Jason Palmer and his working band have been performing weekly for the past 12 years. Wally’s is, to quote Fred Bouchard of Downbeat, “…is the world’s oldest black owned continuously operation jazz club. Founded in 1947 by Joseph L. Walcott. Wally’s Café Jazz Club is located in Boston’s historic Jazz Corner…. Barbados-born Walcott built Wally’s as an oasis where the black community could socialize and listen to bands….”

Guitarist/composer Gene Segal has released three albums on SteepleChase LookOut: Mental Images (SCCD 33114), Matter (SCCD 33121) and Spiral (SCCD 33132) during the period from 2014 to 2017, all of which received critical and public acclaims. Always being adventurous, unpredictable, inventive Segal showcases his new and in a way debut album here for the SteepleChase’s main label with a little bit more jazz-bound material. “… rich and exciting chops from Segal’s axe make for a blues jamming delight.” (George W. Harris – The Jazz Weekly on Mental Images) “… The band has a joyful swing…Music that grows and grows.” (The Jazz Weekly on Matter)

During the five decades of his career alto saxophonist Andy Fusco has been regarded a musicians’ musician and he has played with numerous artists and led various combination of instrumentation except an ensemble with guitarist. So here’s Andy Fusco’s first ever guitar (pianoless) quartet with venerable veteran John Hart who gives Andy and the group a new space to explore. “…The chemistry between members of the quintet and their collective wisdom is on a level seldom attained on contemporary mainstream jazz recordings.” (David A. Orthmann – AAJ on Whirlwind SCCD 31811)

The Swiss pianist and composer Luzia Von Wyl is one of those musicians who is eager to bring their projects to the stage themselves, and she leads her own ensemble, the Luzia Von Wyl Ensemble, all of whose compositions she writes herself. Along with jazz, her passion is contemporary music - and all the realms in between. Besides her own projects she regularly writes music for other musicians and ensembles as well. Luzia regularly gets invited to festivals in Switzerland and abroad: To the Swiss Days Dubai, the Lucerne Festival, the Schaffhauser Jazzfestival, the BeJazz Winterfestival and the Jazzwerkstatt Bern, just to name a few. Born in 1985, Luzia earned her baccalaureate degree in 2004 in Lucerne. She then went on to study piano and composition at the Bern University of the Arts, the Zurich University of the Arts, and the University of Music in Lucerne, completing her studies in 2011 with master's degrees in both piano and composition.

Frank Wingold describes his music as "entangled." Guitarist, composer and professor of jazz guitar in Osnabruck, Germany, he borrows the term from quantum mechanics. "On an artistic level it's a fascinating idea for musicians and artists," he explains. "Two or more particles can act on one another, apparently without communication and become an intertwined system." This principle runs through Frank Wingold's new album, in which he teams up with Robert Landfermann on bass and Jonas Burgwinkel on drums. The trio produces an energetic, lively polyphony in which the three instruments weave and interweave. "Each can be top, middle or bottom of the texture at the same time," says Frank. "It's always changing. That's an idea I like a lot." He is very concerned though not to make the descriptions too academic and off-putting. The listener is treated to an engrossing, highly original, multidimensional sound in this "parallel world of music." In this new album Frank Wingold together with Robert Landfermann and Jonas Burgwinkel bring together their eclectic influences and vast experience from tours, concerts and other musical formations. Their music is high density. The trio develops it's sound on different layers. The arrangements allow contrasting melodies to be played out at the same time. They are a masterpiece of composition and improvisation. Replete with textures and ornaments, the music tears apart the traditional allocation of instrumental roles. It amounts to a very personal, emotional expression of musical ideas.

This album is rooted in the personal. Mike Westbrook's enduring creative partnership with his wife, the singer, lyricist and painter Kate Westbrook is represented by two songs they wrote together. Starcross is a rail station nearby the Westbrook home in Devon, near Plymouth where his creative life began all those years ago. His title track is dedicated to the tenor saxophonist Lou Gare, whose death in 2017 was a particular wrench. Starcross Bridge is an intricately woven network of musical and personal references. Born in High Wycombe in 1936, Mike Westbrook grew up in Torquay and was educated at Kelly College, Tavistock. He formed his first band while studying painting in Plymouth in 1958, moving to London in the early 1960s. He has led and composed for a succession of groups, notably his 1960s Sextet and Concert Band, his Brass Band, formed in the mid 70s, the jazz rock group Solid Gold Cadillac and the Mike Westbrook Orchestra. He has toured extensively throughout Europe, and as far afield as Australia and the Far East, Canada and New York. He has directed performances of his work with big bands in Norway, Sweden, Finland, Germany, France, Italy, Slovenia, Switzerland and Australia. He has broadcast on radio and TV in many countries, and made over 50 albums.

Austrian jazz pianist Rudi Wilfer is one of the great jazz minds of our time, who has had the privilege of playing with many of the greatest international jazz legends. With "Over the Rainbow", Wilfer now releases the logical sequel to his previous recording "Somewhere". Featuring new and very personal interpretations of standards like Basin Street Blues, The Shadow of Your Smile, Orbit, Baby Steps as a witty arrangement of John Coltrane's Giant Steps, or My Romance, Wilfer teaches his audience the meaning of silence and the space between the sounds. This album is a meditative, almost Buddhist statement from this extraordinary Austrian musician, and, focusing on his lyrical, romantic playing style, also a homage to Bill Evans, one of the most important and influential pianists of modern jazz, whom Wilfer got to know in the popular jazz club Village Vanguard in New York in 1979.