Get ready for revelation! Mirror Butterfly: The Migrant Liberation Movement Suite is an epic jazz opera spanning four continents and five centuries. The opera is a tribute to the resistance of migrants to the destruction of ecologies, economies, and cultures unleashed by slavery, conquest, and colonization- in short, a history of capitalism from the point of view of women warriors from Africa, the Middle East, and Latin America. A trinity of revolutionary women converge to tell stories of migration, singing a Sermon on the Mount to bring down Babylon. The plot of Mirror Butterfly is inspired by The Story of the Sword, a Mayan parable shared with us by the Zapatista autonomous schools. The story symbolizes the centuries-long Mayan resistance to the conquest and Indigenous genocide through avatars of a tree, a stone, and water. In their story, a sword (representing the conquest) cuts down a tree (Mayan society). The tree transforms into a rock, which is underground and still; but the sword hacks at it and shatters it, though not without damage. Finally, the stone transforms into water, which the sword is unable to resist. The sword rusts and withers away in this eternal elemental. The water symbolizes the flourishing grassroots-organizing of indigenous communities and their allies in contemporary Mexico. The lesson of the tale is that we shall live to see an indigenous-centric Mexico and, indeed, an entire world.

The third and the last of trumpeter Jason Palmer’s highly acclaimed mini-series of recordings of songs composed or made famous by his favorite lady singers pays homage to the contemporary soul, R & B singer/songwriter, eight-time Grammy winner Anita Baker. “Sweet Love”, the famous award-winning title from her second album “Rapture” (1987) turned Jason’s attention to Baker’s music. “ hardly just a straight or smooth jazz take on classics by Minnie – and instead an openly creative project that takes the core structure of the songs, then pulls them apart – especially when it comes to the rhythms – so that the players continually revisit the lovely melodies created by Riperton, yet also fly free in musical moments inspired by her energy.” (Jazz Chill of Dusty Groove on SCCD 31750 “Take A Little Trip”) “Palmer's intriguing new release is the second in his planned series of homages to singers who have produced powerful music … Wondaland is more contemporary, celebrating the artistry of Janelle Monáe via jazzed-up arrangements of her songs … overall seems more interested in building on the beauty of Monáe's music with his arrangements than in flashing his chops. Which keeps this charming album a bona fide homage.” (Bill Beuttler – Jazztimes on SCCD 31800 “Wondaland”)

Stephen Riley’s acclaimed previous release SCCD 31850 Hold ‘em Joe was following Sonny Rollins’ pioneering tenor trio format. Here on his new disc Riley draws his inspiration from Rollins piano-less quartet with cornetist Don Cherry from the 60s. With ace trumpeter Joe Magnarelli as his side kick Riley initiates a new fertile ground for jazz’s old and new expression. “No matter what group Riley puts together for a record date, he merits top marks every time”. (Ken Dryden – NYC Jazz Records on SCCD 31850 “Hold ‘em Joe”) “Riley is a singular talent, not least for his twists on the standard repertory, and this is well up to scratch”. (Ronald Atkins – Jazz Journal on SCCD 31850)

On his 25th release on SteepleChase saxophonist Rich Perry takes on the role of composer as well for all the titles presented here. Although Rich readily confides that composing is not one of his favorite activities, we all realize the music on this disc reveals Perry’s deep creative reservoir. “… Probably Perry’s most passionate fans are other tenor saxophone players. Those who have spent their lives studying the instrument understand that the purity of Perry’s minimalism is a rare quality to which they themselves aspire … Perry’s solo is a rapt, intimate flowing. He does not sound like he is inventing but like he is reliving deep private memories.” (Tom Conrad – NYC Jazz Records on SCCD 31176 “Nocturne”

On this new release, Swedish artist Meta Roos joins up with Trio X to present a varied program of folk and jazz tunes by various composers. Meta Roos was born and raised in Boda Kyrkby in but lives since 2002 in B�lsta in Uppsala county. She made her debut as a sixteen-year-old when she started singing with various dance bands in Dalarna; She achieved the greatest success with the Nippe Sylw�ns Band. Since 1984 she has been a full time artist. During the 1980s, she sang in the dance band Rose Band, which became popular throughout Europe. Roos played New Year's Rev in Borl�nge and came a few years later to Peter Flack in �rebro where she participated in four reviews.

In Duke Ellington’s tape collection (”The Stockpile”) were several tapes with concert recordings of the band’s performances on tour. One can only guess whether these tapes were required by Duke for some purpose, or were given to him (or his son Mercer) on the initiative of the concert arrangers. At any rate it was a great delight to find a tape box marked ”Ellington – Uppsala 9-11-71” in the collection, containing a tape with a concert at the university town of Uppsala, Sweden on Nov. 9th 1971, the second of two concerts in this very old and very beautiful town founded in the 13th century.

The concert in Uppsala, the second on this Tuesday evening, started with the C-Jam Blues as was usual at that time. The tune had sort of replaced Take The A Train as the band’s signature. Norris Turney is heard on the clarinet over the band at the beginning, and Cootie Williams, Paul Gonsalves, Booty Wood, and Russell Procope follow. The centerpiece of the concert was the band’s performance of A Tone Parallel to Harlem or HARLEM as it was also called.

To end the evening properly and bring the audience in a more relaxed mood before leaving the concert hall, Ellington chose to finish the concert alone at the piano, just accompanied by Joe Benjamin on the bass, playing his own arrangement of Billy Strayhorn’s lovely tune Lotus Blossom. As evident from the performance at the Uppsala concert, the band could live up to the challenges, and it was received everywhere with enthusiasm and – love.

REVIEW:

This album, recorded at a concert in the great hall of Uppsala University on November 9, 1971, was found in what Ellington called "The Stockpile," his private tape collection. 

It starts with "C-Jam Blues" which at the time had largely replaced "Take the A-Train" as the band's opening number. One of the more interesting numbers is the little known "Fife," written as a vehicle for Norris Turney on flute and there is also a version "A Tone Parallel to Harlem," the title of which Ellington simply abbreviated to "Harlem." 

"Chinoiserie" is another rarity, the title referring to an artistic passion for things Oriental, which in his erudite introduction Duke links to a statement by the Canadian philosopher, Marshall McLuhan. 

At the other end of the scale, trumpeter Money Johnson comes on like Louis Armstrong for "Hello Dolly." Nell Brookshire lends a hand on vocals, and Ellington shows his age somewhat by referring to her as a "torch singer." 

Those "good old good ones" are there aplenty, with longer versions of "It Don't Mean A Thing If It Ain't Got That Swing" and "Satin Doll." Nell Brookshire vies with Money Johnson for slapstick vocal honors on "I Got It Bad and That Ain't Good." 

Of course Billy Strayhorn's "Take the A-train" couldn't be omitted altogether. It comes in fourth in this particular race for royalties, before "Fife." And the same composer's "Lotus Blossom" is treated to a fine reflective arrangement by Ellington, accompanied only by bassist Joe Benjamin. Ellington said this was the tune Strayhorn most liked to hear him to play.

-- AllAboutJazz.com (Chris Mosey)

This compilation of early jazz and ragtime dates from a very early recording (Eli Green’s Cakewalk from 1898) to the 1920s. The sources are from pianola rolls, 78 rpm records and phonograph cylinders. The rolls on this recording were played on an Orchestrelle player attachment 65/88 note made around 1905. The first known player is thought to be the 1863 Furneaux ‘Pianista.’ As with the Orchestrelle this operated by striking the keys of an ordinary piano. The main difference was that it was operated by a handle in the manner of a street piano, while the later instrument is worked pneumatically by foot operated bellows. Early rolls were 58 and later 65 note. 88 notes became standard in the 1900s although the earlier sizes continued to be made. It was some years before manufacturers got together and standardized roll size and fitting so that any player could play any roll.

Thomas Grimmonprez writes: "The big wheel. The wheel that reminds us of our relationship to movement and time. The freewheel of letting go, of the suspended moment. The wheel that turns round in a square world. The symbolic nature of the big wheel inspires myths and sacred themes; it refers to the idea of perfection, like the circle; it refers above all to movement, evolution, what is to come. It is also a new beginning, perpetual creation. It was this idea of a cycle and a new beginning that stimulated me to compose this album; a new repertory with longstanding companions. After the album Kal�idoscope, released in October 2016, my desire to reveal my sonic identity further now leads me to continue my journey in the quartet form. This new project takes flight thanks to the talent of musicians free of all aesthetic dogmatism, who have consented to place their talent at the service of my compositions in order to cast light on these various tableaux in sound. By combining four strong personalities who share the same artistic attitude, I hope to be able to invite the listener to travel within my universe. It was our long friendship that prompted me to write this repertory."

The selections Whiteman included in the 1924 Aeolian Hall Concert, which had that curious title An Experiment in Modern Music, were divided into various sections, such as The True Form of Jazz and Recent Compositions with Modern Score. The intention was that together they would be audible proof that jazz-inspired music had come of age. These performances of Gershwin classics and hard-to-find rarities capture the 1920's and 30's jazz age style and offers a gamut of lesser known keyboard works, as well as Gershwin's only known works for violin and piano and for string quartet. The three orchestral works include Mr. Peress' theater orchestration of Gershwin's Strike Up the Band Overture, and the I've Got Rhythm Variations recorded in its original orchestration for the first time.

One Sunday in December 2018 bassist/composer/educator Ron McClure brought this - his relatively new group - to the studio (Chris Sulit’s Trading8 in NJ) to record his 17th leader album. McClure’s 30-year-old close collaboration with SteepleChase produced quite a few releases featuring new talents the bassist discovered. This is one of them, introducing Anthony Ferrara a new tenor star freshly out of NYU where McClure teaches. “…Under any circumstances this is quite thrilling and spell-binding music…” (Thorbjørn Sjøgren – JazzSpecial on “Ready Or Not” SCCD 31759)“All of (McClure’s) writing and playing comes from the heart – he is an instinctive player above all…” (The Penguin Guide to Jazz on CD)

Since the release of The Pendulum album (SCCD 31826) of 2017, Mike Richmond has been performing increasingly more of cello than his main instrument double bass. Cello’s greater flexibility and singing timbre seem to have captivated Richmond, whose previous cello album “Tones from Joan’s Bones” SCCD 31851 was highly acclaimed by critics as well as by public. Here on this latest album Richmond’s cello again gets the front-line to perform the Great American Song Book repertoire. “The warmth and roundness of sound Richmond achieves makes his cello an ideal front-line instrument …. the sound of a cello is ideal in jazz and the only surprise is that it hasn’t been used in this capacity a lot more often than it has to date. Richmond is an adventurous and imaginative soloist and here he gets to do much more than just provide a bass line”. (Derek Ansel – Jazz Journal on SCCD 31851)

This release features live recordings from the historic 1983 tour of Russia, Latvia, and Romania signaled Rova's talent for musical diplomacy, a boon to whomever they have partnered with. Rova Saxophone Quartet is a San Francisco-based saxophone quartet formed in October 1977. The name "Rova" is an acronym formed from the last initials of the founding members: Jon Raskin, Larry Ochs, Andrew Voigt, and Bruce Ackley. When Voigt left in 1988, he was replaced by Steve Adams, but the group did not change the acronym. The quartet's music was inspired by a broad spectrum of influences, such as John Cage, John Coltrane, Ornette Coleman, Anthony Braxton, Steve Lacy, Charles Ives, Edgard Var�se, and Olivier Messiaen. It's debut album, Cinema Rovat�, was released by Metalanguage Records in 1978. Metalanguage was founded in 1978 by Henry Kaiser and Ochs. It showcased Rova as well as many independent artists and produced the Rova Arts Festival in 1980. Rova's tour of the Soviet Union in 1983 was filmed and shown on PBS. In 1985, it became a non-profit organization.

Petter Bergander Trio is back with new energetic, melodious jazz and the album Kierkegaard's Waltz following up their praised 2015 debut The Grand Dance. They were called "innovative" and "raw fun" and the album "a brilliant debut". The group has since played both in Sweden and international stages and festivals. Constellation is partly new with Eva Kruse on double bass. For the new record, composer and band leader Petter Bergander has written music with the explicit aim to make space for the "playing, the sound and playfulness of the trio" and the ambition to reach out to listeners of a variety of different music genres.

William Thomas Dupree was born in 1909 in New Orleans, Louisiana. His father was from the Belgian Congo and his mother was part African-American, part Cherokee. His parents ran a grocery store in the Irish Channel neighborhood and the family lived upstairs. When he was about one year old, the house was set on fire by the Ku Klux Klan and both his parents were killed. He grew up in the Colored Waifs Home in New Orleans where he received no schooling, but learned about music, cooking and fighting. When he came out of the orphans home, he learned to play barrelhouse piano, especially from a pianist called Willie Drive 'Em Down Hall. He made his living playing piano and fighting in the street for bets. He returned to Chicago in 1939 and joined a circle of recording artists including Big Bill Broonzy and Tampa Red, who introduced him to record producer Lester Melrose. After WWII he moved to New York, where he made multiple recordings for many labels, including his legendary 1958 album for Atlantic Records, Blues from the Gutter.

The four members of this quintet studied jazz together at the renowned William Patterson University in New Jersey. The exceptional affinity among them is evident on this Craig’s fifth album for SteepleChase. The album’s intriguing leitmotif of chromatic scale of 12 notes and/or the 12-bar blues conceived by the leader Craig Brann is flawlessly executed by the like-minded fivesome here. “Good bros playing great tunes, Lineage is a luminous clinic on the importance of what a solid friendship among musicians can do for the strength of any project.” — (Ron Hart – DownBeat ****four stars on “lineage” SCCD 31847)

Burak Bedikyan, Turkish-born Armenian pianist/composer, made a huge move in 2017 in his musical and personal life by leaving his homeland to be a permanent part of great jazz scene of New York. His previous album “New Beginning” (SCCD 31861) commemorating the fresh start received high marks from media and listeners alike. Shortly prior to his departure to US Bedikyan recorded this album with his Istanbul-based group including drummer Can Kozlu, one of his teachers from Istanbul Bilgi University. Here is a unique group of musicians with diverse ethnic and cultural background to present a daring, exciting improvisational music. “Burak Bedikyan is one of the finest artists on the horizon.” (Brent Black / Criticaljazz.com) “This is a first-class trio date and an important step forward for Burak Bedikyan.” (Scott Yanow, LA Jazz Scene - on New Beginning SCCD 31861)

Described by critics as beyond category, to use Duke Ellingtons signature compliment (All About Jazz), Japanese marimba extraordinaire Mika Stoltzman brings her wealth of experience to her latest Mikarimba album, Big Round Records Taperebá. Vibrant and bursting with flavor (just like the Brazilian fruit which the album derives its title from), the jazzy Taperebá features performances by Stoltzman and a circle of legendary fellow artists. With over 25 Grammy Awards shared between the members on this record, a memorable listening experience is practically guaranteed. Taperebá brings notable names from around the globe and a spectrum of musical experiences into one collection. Featuring the likes of Stoltzman, her husband and Grammy Award-winning clarinetist Richard Stoltzman, and a lineup including the legendary bassist Eddie Gomez, iconic percussionist Steve Gadd and his son Duke, and Brazilian mandolin great Hamilton de Holanda, the album leads audiences through a lighthearted yet technically spellbinding listening experience with just the right amount of flare. Each piece on the album was either written or arranged for Stoltzman, such as the Paul Simon classic 50 Ways to Leave Your Lover, arranged by Steve Gadd (who, not to mention, played drums on the original Simon version). From this, to Return to Bahia written specifically for Stoltzman by Bill Douglas, an arrangement of Chick Coreas Spain, and more, Taperebá altogether moves listeners through a kaleidoscope of 20th and 21st-century jazz, popular music, and more. Taperebá is many things: a collection of works by legends past and present, a celebration of rich and diverse styles, and a group of friends making beautiful music together. However one connects with the music most, Taperebá is an experience not to be missed.

New York jazz scene is embracing a burgeoning new voice of a harmonica player/composer who is from … no, not from the deep south of USA but from Paris, France. Yvonnick Prené has been playing harmonica professionally since he was a teenager. He studied music at legendary Sorbonne University (graduated with the master’s degree in 2011). He has also furthered his studies at City College of New York, New School for Jazz and Contemporary Music and Columbia University. His recording debut six years ago on SteepleChase LookOut “Jour de Fête” enjoyed enthusiastic reception from the critics and public alike. Yvonnick is the founder of New York Harmonica School as well as the author of several books on Harmonica Studies. “….we find a young phenom determine to take the harmonica to a new sense of melodic intensity, dynamic tension and improvisational techniques missing from the instrument on a consistent basis for years … Jour de Fête is a happy record, brimming with an effervescent quality that accentuates the sublime artistic gift of Prené … In short, Prené is the real deal…” (Brent Black – CriticalJazz.com on SCCD 33106 “Jour de Fête”)) “Jour de Fête marks Prené's debut and it proves to be an excellent showcase for his writing and playing. … Classic tunes are peppered throughout the program, but the lion's share of the material comes from Prené's pen. He visits in on a variety of musical areas in his writing, but his instrumental voice remains remarkably consistent throughout … Jour De Fete is his recorded initiation into the fraternal order of jazz harmonica aces; he's now a part of the club for life. (Dan Bilawsky – AAJ on SCCD 33106 “Jour de Fête”)

Star pianist and acclaimed composer Joel Lyssarides releases new album. "Joel's compositions are small masterpieces that he performs with a virtuosity and timing I haven't heard in Sweden for a long time, if ever" wrote Johan Norberg about pianist Joel Lyssarides' debut album, "Dreamer", which now has over 2.5 million streams on Spotify. The sequel, "A Better Place", is a conversation with Esbjörn Svensson, Bill Evans and Keith Jarrett with inspiration from Bach and Rachmaninov. "The creative process of this album was very different from my previous one, where I could pick and choose from songs that I had had years to complete. This time the music was created during mere hours over the course of a few evenings. There is a magic in the moment when improvising that I’ve found difficult to recreate afterwards. ”A Better Place” consists mostly of written down improvisations and then recorded with the trio without further processing. I think one tends to make better musical decisions on the spot, instead of at the desk where time is unlimited.”

Spider's Egg is a sextet put together by Brasilian guitar player Pedro Martins specifically for the 50th edition of the SWR NewJazz Meeting. For five days the six young, internationally renowned musicians, who come from very different geographical places and stylistic directions, exchanged ideas. They experimented in the SWR studios and developed a concert program that they then presented in three concerts in Germany and recorded for the present release. Pedro Martins,​ Brazilian musical prodigy, and winner of The 2015 Montreux Guitar Competition is well known for his collaborations with Kurt Rosenwinkel, Yaron Herman, David Binney, Jacob Collier, and Genevieve Artadi (Knower), as well as Brazilian jazz greats ​Hamilton de Holanda, ​Gabriel Grossi, and Léo Gandelman.

Ronnie Cuber appeared on more than 200 albums in his long and active career of 60 years performing wide range of style and format. This new album finds Ronnie fronting organ/drums/guitar ensemble probably for the first time in 40 years. “Best of all, there’s Cuber himself, whose playing has, incredibly, grown more authoritative with each passing year. His sound, huge and affable, brims with personality, and it’s hard not to be awed by the freshness and wit he brings to chestnuts such as “St. Thomas” and “Honeysuckle Rose,” or the lyricism with which he imbues “All the Things You Are.” (J.D. Considine – JazzTimes on SCCD 31860 “Ronnie’s Trio”)

Six years ago when Brian Charette’s first solo Hammond B3 organ album “Borderline” SCCD 31756 was released, it prompted Derek Tayler of Dusted Review to comment, “An hour-long recital on solo Hammond B3 organ might be a hard sell in certain circles, but Brian Charette makes a strong case for the viability of the venture on Borderline.” It received not only the critical acclaims but also became an unlikely cult hit among the American baseball-stadium organists. Here on this follow-up solo disc Charette revisits handful of his original tunes from earlier releases, expands their borders to give them new and exciting verve. “The great strength of the disc is Charette’s far and wide reach into diverse material without falling into focus-less mess… Borderline is a highly recommendable for those who have special interest in Hammond organ.” (Niels Overgård – JazzSpecial on SCCD 31756 Borderline)

These are two of the greatest sidemen in American jazz: two guitarists representing two generations. In the summer of '74 they were together in New York for a swing and blues session set up by Hugues and Louis Panassi�. The elder of the two musicians, Al Casey, had been around since the 30's, and had accompanied Fats Waller, Louis Armstrong, Coleman Hawkins and Billie Holiday. The younger guitarist was Billy Butler, who'd played not only with Bill Doggett and Jimmy Smith, but also Sonny Stitt, Dizzy Gillespie or James Brown. The drummer accompanying the pair here is Jackie Williams, whose great class contributes a delicate touch. The freshness of this rare album gives it a sound that reminds you of what a rhythm section's jamming might be like just before the star soloist comes onstage. A smooth, intimate recording that deserves a place in every blues and swing fan's collection. Patrick FR�MEAUX, 2019 "This record is the only one of it's kind. You won't have heard one even remotely like this, not ever... It teems with beautiful music, and the more you hear it, the more you'll love it." (Hugues PANASSI�, 1974)

“trioTrio”? - Yes, unfamiliar ensemble name and it needs introduction. nNew York’s elite instrumentalists of the younger generation, Jacob Sacks (piano), Dave Ambrosio (bass) and Vinnie Sperrazza (drums) are the components of this cooperative trio. They have been playing together since around 2000. Here this their first album features two of their most respected soloists, Dave Scott (tp) and Rich Perry (ts) both of who have been playing with trioTrio also since around 2000 at the private sessions Dave Scott hosts. “Nice treatment” is the favoured phrase Dave Scott uses when the music come together. To quote Sperrazza who is the author of the liner notes, Dave and Rich are the “under-sung giants of jazz”.

Russian-born American guitarist/composer Gene Segal has often been commented as unpredictable in his playing style and his composing. Ever evolving in search of new horizon Segal’s past 4 releases on SteepleChase have never failed to prove his boundless creativity. On this new album Segal teams up again with the #1 Hammond B3 organist Brian Charette, this time mostly on piano, to present a guitar/keyboard quartet where the guitar gets the role of lead voice. “Music that glows and grows.” (George W. Harris – Jazz Weekly on SCCD 33121 Matter)