SteepleChase LookOut begins its new year 2020 release with this piano trio album by French pianist/composer Marc Benham (also known as Benhamou). Benham started to play piano at very young age and his prodigious talent enabled him to perform professionally with Dixieland and New Orleans oriented jazz bands while still a teenager. Through expansive performing experience of diverse styles of jazz piano Benham developed his personal, original voice. Here on his debut on SteepleChase Benham showcases his dynamic and at the same time lyrical artistry of piano trio. Benham is also a dedicated educator who teaches jazz piano at the Conservatoire CIMP (Paris 17) and at the Bill Evans Piano Academy also in Paris. “Whether it’s stride, classical music or modern jazz, Marc Benham has an incomparable grasp of the material both in fiery and in controlled manner. He whirls but delivers a melodic and clear musical concept that testifies both harmonious and technical skills.” (France Musique)

This is a re-release of the Jazzhaus/SWR music bestseller 101703. Upon nearing the age of seventy, Duke Ellington was looked upon as the great historical figure of African American music, honored with academic degrees and appearing on the front pages of renowned magazines. Still, he had to and wanted to perform as much as he could and therefore toured the world with his orchestra, from Japan to North Africa to South America and Eastern Europe. During his travels, he was able to stop off in Stuttgart in March 1967 to present a colorful mixed programme made up of a few tried-and-true pieces and many lesser-known compositions. By Ellington’s standards, it was a modern concert, exuberant in mood and at times mischievous in arrangements, which allowed some shrill coloring. And it also showed that even an ultimately traditional jazz orchestra in the rocky sixties could develop enough charisma to enthrall an audience like that in the Liederhalle. The revolutions were now being made by others, but Duke Ellington remained the brilliant master of the grand musical gesture.

A strong and unique collaboration between two of America's greatest jazz heroes and two of Denmark's young, new talents. The group, consisting of Eric Reed, Ralph Moore, Andreas Svendsen and Matthias Petri has existed since 2015, and is now ready to release the album Prism on Nov. 22nd. Eric Reed is one of America's most famous pianists. With his strong roots in gospel traditions, he is recognized for his natural approach to music, and is described as a rare talent on his instrument. He is probably best known for his work with world-renowned trumpet player Wynton Marsalis, for whom he was a pianist from 1990. Since then he has recorded numerous albums both in his own name but also for other artists. The group's saxophonist Ralph Moore, originally English, left the American jazz scene desolate for aspiring saxophonists as he played with practically everyone on the US Jazz scene, shortly after arriving in the United States. As the second half of the group's massive rhythm battery, we find Denmark's is arguably best young drummer Andreas Svendsen. Andreas is sought after on both the Danish and international jazz scene as well as the Danish pop scene. Last but not least we have Matthias Petri - One of the most sought-after bassists in Denmark, who has quietly built a solid reputation since moving to Copenhagen in 2010. Prism is a direct and uncompromising jazz release featuring 10 compositions performed by the members of the group. These compositions are exposed here to both cultural and generational differences, which rounds them off and moves the entire collaboration into a higher unity.

Reverso is a transatlantic group of outstanding improvisers, equally at home in both jazz and classical music. 'The Melodic Line', the group's second album, is set against the backdrop of Paris in the Années Folles and is inspired by the aesthetic of the composers of the Groupe des Six (Poulenc, Milhaud, Honegger, Auric, Tailleferre and Durey). Jean Cocteau said that the only common point between these composers, apart from their friendship, was their 'salvation of melodic line'. Frank Woeste, co-leader and composer of the group, has developed, in the course of his albums and tours, a unique language that makes him an unclassifiable and polymorphous artist, a sideman with prestigious musicians but also a producer. Vincent Courtois, a stunning cellist, is as comfortable in the classical repertory as in free improvisations or indeed in chanson. Ryan Keberle, the trio's other co-leader and composer, is one of today's key trombonists on the New York scene, whether with his group 'Catharsis' or with Maria Schneider and Dave Douglas. All three pursue, with new points of reference, the same ambition, to 'take music lovers out of their compartments and tune them to an unclassifiable "elsewhere", impossible to label, where a certain French elegance meets American energy' (Le Télégramme).

Caprice presents the highly anticipated re-release of Rena Rama's live album from the Stockholm jazz club Fasching in 1975. Formed in 1971, Swedish jazz band Rena Rama was noted for mixing jazz, unusual time signatures, and African and Asian folk themes. It's original lineup included Lennart Aberg, Bobo Stenson, Palle Danielsson, and Bengt Berger. Stenson and Aberg had previously worked with Red Mitchell, and Danielsson with Steve Kuhn. Berger had previously studied percussion in India. Stenson had already recorded his first trio LP. This production features Leroy Lowe on drums.

A skilled drummer with a strong command of polyrhythms and complex meters, Olivier Le Goas is also an accomplished composer with a gift for pleasing harmonies and memorable melodies. The veteran French bandleader showcased his abundant gifts on 2016's acclaimed Reciprocity, which was hailed in a 4-1/2 star Downbeat review as "an appealing sound that has one foot in chamber-like formalism while also exploring heightened realms of improvisation." Le Goas' follow-up, his sixth as a leader, stakes out similarly agreeable and dynamic musical territory: the kind that was favorably compared to the Pat Metheny Unity Group on his last outing. Returning from Reciprocity is rising star American guitarist Nir Felder, whose warm tone and fluid lines are a key component here alongside John Escreet's cascading piano work, Larry Grenadier's resounding bass lines and Le Goas' irrepressible presence behind the kit. Together they navigate the twisting terrain of the drummer-bandleader's fully-realized compositions with sensitivity and aplomb, with a couple of knowing winks to Metheny along the way. Indeed, the album title itself contains a nod to the guitar great's 1982 Grammy Award winning album, OffRamp, while the brightly flowing and cleverly-titled composition "Light Size Dreams" is a sly reference to the title track of Metheny's groundbreaking1976 debut on ECM Records, Bright Size Life. Le Goas readily acknowledges the Metheny influence on those two appealing pieces. "Yes, the album title is directly inspired by that wonderful Pat Metheny album, Off Ramp, and 'Light Size Dreams' definitely has echoes of 'Bright Size Life.' But the fourth movement and coda from 'Light Size Dreams' were also inspired by 'And Then I Know' from the Pat Metheny Group album, We Live Here."

Award winning trumpeter/composer Dave Scott started his professional career in L.A. after graduating from University of Southern California. His penchant for performing and composing for the standard/classical quintet format was obvious already from the earlier stage. The Dave Scott Quintet here is the original group consisting of some of the finest instrumentalists Dave formed when he first moved to New York in 2000. “Scott allows plenty of space throughout the set for the other band members. He doesn’t dominate with his own instrument as some leaders are apt to do. This is exquisite musicianship from all and together they generate a unique and varied tapestry of sound. The album is full of surprises and is well worth repeated listening.” (Brian Payne – Jazz Journal on SCCD 31864 “In Search of Hipness”)

The Printups (Marcus and Riza got married in 2011) have been recording together with ensembles on a couple releases (SCCD 31681 “Ballads – All Night” and SCCD 31711 “A Time For Love”). The new album here is their first duo endeavour and probably the first ever jazz recording of this combination of two instruments for the entire album. English journalist Mark Gardner once noted, “The beautiful sounds of trumpet and harp have a purity that sets them apart.” “Printup’s cohesive and resourceful trio with harpist Riza Hequibal and bassist Kengo Nakamura recasts and rekindles a string of romantic ballads with a lean mixture of lyricism and swing.” (Mike Joyce – JazzTimes on SCCD 31711 “A Time For Love”) “Printup’s album gives a solid accounting of himself and a forum for a band of promise.” (Kirk Silsbee – DownBeat on SCCD 31804 “Young Bloods”)

Though guitarist John Hart has performed with quite a few organists, including the distinguished Jack McDuff with whom he played 16 years, this is his third album with organ in the group. With the award-winning, remarkable Gary Versace at the B-3, John Hart unfolds here a spellbinding Act Three of his guitar/organ trio performance. John Hart, while leading an active life as performer on the world jazz scene, has held a full-schedule lecturer/head post of the jazz guitar department at the FROST SCHOOL OF MUSIC of his alma mater, University of Miami for several years now. On Hart’s previous and the first release on SteepleChase SCCD 31865 “Crop Circles” last year Ken Dryden commented, “The strength of this session merits more frequent record dates for John Hart.”

Forest Light is the band around Italian singer Marta�Arpini. The quintet is in search of a unique and individual sound that connects the musicians' imagery and intensive playing. They use Marta's material and invigorate a special universe of deep enchantment. The group combines the suggestive atmosphere of the world of the songwriter with the intensive collaboration characterizing jazz, explores unique and individual colors and develops a quaint cross-over language in order to tell meaningful stories through the purity of the "songs". Marta�Arpini�was born in Crema in 1994 and has been studying music since her childhood days. Having graduated in jazz singing from�Civici�Corsi di Jazz in Milano with distinction, she just graduated at Amsterdam conservatory, where she worked on original compositions for her new project Forest Light, semi-finalist of Keep�an�Eye International Jazz Award in March 2018. The Amsterdam-based quintet, lined up with vocals, guitar, vibraphone, double bass and drums, is working on Marta's arrangements and original compositions. "Telling meaningful stories through the purity of the songs" - Marta invites the listener into her world of experiences, her own, charming microcosm; desirable, tender and heartfelt on the one hand, energetic, fresh and effervescent on the other.

Swedish jazz pianist Emil Ingmar presents his newest release, Karlavagnen. Emil Ingmar is a pianist, composer, and freelance musician who lives in Uppsala, Sweden. A former piano student at KMH, he is the Chairman of the Uppsala Jazz Club and organizer of the Live Jazz Bar at Uplands Nation and the Jazz Corner at UKK. He is also active in Orphei Drangar as a singer and accompanist. Ingmar is joined for these twelve original tracks by an all-star lineup of musicians, including Fredrik Jonsson, Calle Rasmusson, Jonas Knutsson, and more.

This release is the second in a series of three albums presenting Jazzpar winners, a prestigious Danish jazz award. Roy Haynes is a living legend and is considered one of the most influential drummers in jazz ever. He has played with Charlie Parker, John Coltrane, Miles Davis, Chick Corea and Michel Petrucciani. Just about all of the greatest in jazz. Roy Haynes is known for his very personal style, as a drummer and in fashion being both elegant and cutting edge in everything he does. A true master and artist in his own right. This all-star group featuring Niels-Henning Ørsted Pedersen plays both beautiful ballads and jazz in honor of Roy Haynes great achievements as drummer, bandleader and African American jazz icon.

Though Gary Versace’s discography has so far been mostly occupied with his B-3 recordings, here his new album, the 5th on SteepleChase is the very first strictly piano trio which reveals Versace’s intuitively intelligent touch and inventiveness on piano. Fellow pianist Andy LaVerne who is the author of the liner notes sums up his commentary in saying, “It’s gratifying and inspiring to witness the ascension of Gary’s musical endeavors and creativity from his wide ranging exemplary sideman work (which includes my piano/ organ trio with five SteepleChase releases), to assuming the helm of his own forward leaning piano trio.”

For the past four plus decades Mark Soskin has been playing a vital role in the world jazz scene as pianist/composer as well as educator (currently on the faculty of the Manhattan School Of Music). Soskin began his professional career first in West Coast but his true breakthrough came with his 14-year tenure with Sonny Rollins. Soskin joined SteepleChase in 2018 and this his third album finds him with the original quartet members from the “17 (Seventeen)” album recorded 20 years ago. “Pianist Mark Soskin has always had some wonderfully bright tones in his work – notes that ring out beautifully, almost with the ease of an electric piano, even when acoustic – and that tradition definitely continues here, as Mark works through a set of well-chosen tracks with a nicely tight trio!” (Dusty Groove -on SCCD 31858 Upper West Side Stories).

New York’s jazz scene has been tremendously enriched by the presence of Chris Byars, an award-winning saxophonist/composer/arranger/educator who also as a Cultural Ambassador for the U.S. State Department has travelled to 46 countries to perform concerts and present educational workshops. Born in New York City to an elite musician family Chris was brought up in the vibrant arts environment. On this new album Chris Byars showcases his enormous talent in arranging his compositions for unique 4-horn sextet. “It's hard to label a player like this, who seems to have absorbed both the cool and hard-bop approaches and come out singing his own song. Whatever we might call it, Byars has learned the thing they can't teach in the schools; he sounds like himself and not like everybody else.” (Duck Baker, Coda Magazine)

Hank Jones was a consummate musician. As is so often the case, that description carries the implication that such a person is unflamboyant, somewhat reserved, and that their artistry is more appreciated by fellow workers than by the public. A Musicians musician. In discussing Jones, this is compounded by the fact that, as well as a brilliant and inventive soloist, he was also a sensitive and stimulating accompanist. It was that aspect of his work which was often assumed to be his most significant contribution to the music – an aspect at least implied by the comments of other musicians – and yet, when he appeared front and centre, he was clearly a fully rounded personality in his own right.

One of the frequently repeated ways to describe Riley is “What a special tone he has! Dark and dry with a lot of subtones. And very creative playing” (JJ – Sax on the web). It absolutely tells us how he sounds but another aspect of Riley’s uniqueness is in the way he treats his material (from the classic jazz standards and the Great American Songbook) in his – almost trademark – piano-less settings. Following the highly rated previous release SCCD 31882 Oleo by the two-horn quartet (sax and trumpet - Joe Magnarelli) Riley this time has invited the award-winning cornetist Kirk Knuffke to front the quartet. “… Riley and Magnarelli who, while tied to the bebop tradition, in this setting do not feel compelled to stick to it. Their fresh ideas and sly song quotes invigorate such tunes as “Doxy,” “St. Thomas,” “Ornithology,” and John Coltrane’s “Lazy Bird.” … Oleo is easily recommended .. ” (Scott Yanow – Los Angeles Jazz Scene on SCCD 31882) “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 Hold ‘Em Joe)

After releasing a tribute album to his late father, renowned multi reed player Gerry Niewood - SCCD 31871 Home With You, At Last – Adam Niewood, who is also New York’s leading multi-instrumentalist/composer went into studio this time to bring his focus on the tenor saxophone and own compositions in trio setting, jazz’s most fundamental format. “There is a lot to enjoy on this album, from the original compositions to their thoughtful execution, and not least the quartet’s phenomenal musicianship. (Elliot Marlow Stevens – Jazz Journal on SCCD 31871)

Vic Juris, American guitarist/composer, passed away Dec. 31, 2019 after a relatively short battle against cancer at age 66. Vic was an exclusive SteepleChase recording artist for many years, and this album (his 18th for SteepleChase) was recorded April 2019 and was scheduled for release this month. We at SteepleChase had obviously no idea that this was going to be Vic’s last leader album. We miss him deeply yet are proud to be a part of his remarkable career by being his label/producer of the 18 leader albums in the past three decades. “This is my third rave review in succession for guitarist Vic Juris’s SteepleChase releases in superlative displays of the art of jazz guitar.…This is another really delightful release from this stellar musician. “(Andy Hamilton – Jazz Journal on SCCD 31869 Two Guitars) “He’s been something of a musician’s musician throughout his career, sustaining a steady output of recordings and performances and supplementing with teaching gigs while hewing to reliably to a signature sound. Diagnosis or no, his intent is to continue that course and the contents of this disc illustrate him doing just that.” (Derek Taylor - Dusted Magazine on SCCD 31869 Two Guitars)

SOLO (LP)

At Footprint Records, we are very proud to present Naoko Sakata's first solo album, Inner Planets. Over the last years, she has appeared in many different improv constellations on the Swedish jazz scene, but during her ten years in Sweden, Ms. Sakata has also evolved into an amazing solo improviser on the piano. These recordings were made with Ms. Sakata and a Fazioli Grand Piano at Studio Epidemin, in February 2019. On Inner Planets, you will hear six selected and un-edited takes from this recording session. Per Sjösten made this DXD recording and Naoko played straight from her heart - no compositions. We love it and we hope you will too. Naoko Sakata can also be heard on the albums Dreaming Tree (Naoko Sakata Trio, FR 084) and Thomas Markusson's Open (FR 107) from Footprint Records.

Swedish jazz has since the 50s had a unique sound. The fire of American, mixed with the melancholy of Swedish folk music, evolved into a genre of its own. The great baritone saxophonist Lars Gullin composed music in this way with ingredients from jazz, Swedish folk music and the classical repertoire. This record emphasizes these elements and gives new life, not only to his music, but also to Swedish jazz. A child prodigy on the accordion Lars Gullin became a professional musician first as a pianist in 1947. He planned on a classical career until in 1949 he filled the baritone chair in Seymour Osterwalls ban. In 1954 he won the best newcomer award in DownBeat magazine. Over the next two decades, he would go on to work with some of the biggest names in contemporary jazz, including Archie Shepp, and Chet Baker. He died in 1976.

The 82nd protagonist of the Jazz thing Next Generation series comes from Minsk in Belarus, where he grew up as the son of an artist family and was gently introduced to the world of music by his mother, a classical pianist, early in his childhood. Alexei began playing piano at the age of five, and he became enthusiastic about the saxophone at the age of twelve, which is why he went to Germany in 2003 with a heavy heart due to the better educational opportunities. He studied under Professor Wolfgang Engstfeld at the Hochschule für Musik und Tanz in Cologne until 2010, and played in the Federal Youth Jazz Orchestra (BuJazzO) under the direction of Peter Herbolzheimer. Malakhau: In Belarus, I could hardly have lived so freely, let alone earned a living from music. Of course, he had to work very hard for a several years to give art the freedom it really deserves. Life between two different countries therefore also gives a distinctive personality stamp in the sense of Leiblich. Hardly any other jazz musician currently combines elements of classical and modern music in such a natural and relaxed way. I grew up with classical music, it paved my way. I encountered experimental art on the wayside.

Memorabilia was written in 2016 by jazz bassist and composer Mats Eilertsen and premiered at JazzFest in Trondheim the same year. The work is written for two trios: Mats Eilertsen Trio (Harmeen Franje, piano; Thomas Stronen, drums; and Mats Eilertsen, bass), and the vocal ensemble Trio Mediaeval (the acclaimed vocal trio of the three sopranos Anna Maria Friman, Linn Andrea Fuglseth and Berit Opheim.) Recently recorded in Newtone studio in Oslo, the album is now available, and has been released alongside a concert in the Norwegian Opera House. The music unites the two trios in a sacred, lyrical expression, giving the piano trio room to improvise. The lyrics are a mixture of traditional masses and poems by the Norwegian lyricist Tor Ulven. Darkness and drama meet nicer views of life. About faith, doubt, and time. “Minutes, maybe hours, of your own existence. That you forgot, but I still remember. You live a secret life in someone else’s memory.” (Tor Ulven)

Besides his reputation as "the definitive swing pianist", Teddy Wilson is often remembered in terms of his collaborations. Having played on the records of names like Louis Armstrong, Lena Horne, Ella Fitzgerald and Benny Goodman, Wilson's fingerprints are found on many of records that helped popularize and define swing in it's glory years. In 1980, Wilson revisited the songs he had performed with Benny Goodman in the 1930s, delivering material that he had clearly mastered at this point and which gave a special look into the talents and sentiments of Teddy Wilson that played a primary role in the swing era. Teddy Wilson Trio Revisits the Goodman Years sees Teddy Wilson re-portray the Benny Goodman small-group repertoire that Wilson had played with Goodman many decades before this Copenhagen session in 1980. It is a return to material that had stood the test of time while Wilson had lived a long career since his time with Goodman himself. Of the many collaborators that Wilson enjoyed in his career, Goodman in particular developed a strong, long-lived musical relationship with Teddy Wilson, incorporating the aspects and strengths of Wilson's playing that are particularly apparent on this record. Relaxed and elegant, Wilsons mastery of the piano sounds as graceful as ever while maintaining a sense of intensity that comes through with renewed clarity in the present line-up. Wilson has not reinvented himself in returning to these songs, but his talent and infectious and exciting playing make it hard to argue that he should.