From Darkness

Drummer Mark Guiliana is renowned for his work with Avishai Cohen for several years from 2002 to 2009. ‘Locked in a Basement’ is his debut album as band leader and producer. Hailed by The New York Times as “a drummer around whom a cult of admiration has formed,” Mark Guiliana brings the same adventurous spirit, eclectic palette and gift for spontaneous invention to a staggering range of styles. Equally virtuosic playing acoustic jazz, boundary-stretching electronic music, or next-level rock, he’s become a key collaborator with such original sonic thinkers as Brad Mehldau, Meshell Ndegeocello, Donny McCaslin, Matisyahu, and the late, great David Bowie.

Avishai Cohen, one of the most innovative bassists and composers today, will release Gently Disturbed, his first release with his newly configured trio, from May on his own Razdaz Recordz label. While to outward appearances the trio would seem to be the standard piano-bass-drum formula, the music they've created on Gently Disturbed is far from the standard jazz trio repertoire. Featuring nine original compositions (written either by Cohen or by the trio collaboratively), including one traditional Israeli song, Gently Disturbed is an amalgamation of melody and groove, complexity and simplicity that nearly redefines the concept of jazz. With the departure of long-time pianist Sam Barsh, Cohen has slightly reconfigured his trio with the addition of Israeli pianist Shai Maestro. Since Cohen is an accomplished pianist in his own right and has performed on bass with such acclaimed jazz pianists as Danilo Perez, Brad Mehldau and of course Chick Corea, and because the previous keyboard players in his bands (Sam Barsh and Jason Lindner) have been exceptional, it is even more striking to note that Maestro is just 21 years old. Rounding out the trio is the brilliant Mark Guiliana on drums, who has been playing and touring with Cohen since 2003 and who Modern Drummer Readers Poll 2007 cited as "one of the best up-and-coming stars of today's drumming scene." Cohen's releases on Razdaz, which he founded with manager Ray Jefford in 2003, have consistently earned critical approbation, beginning with 2003's Lyla, followed by at Home in 2005, and through to 2006's critically acclaimed Continuo then followed by last year's Double Live CD/DVD release, As Is... Live at the Blue Note (Razdaz / Half Note).

Aaron Cohen of DownBeat observed, “Organist Brian Charette may never know how to stick to any kind of routine” while reviewing Charette’s second sextette album The Questions That Drive Us (SCCD31784). Maybe so but Charette certainly knows how to keep his unique sextette tradition going. One of the top organists of his generation Brian Charette approaches his instrument in most imaginative way. His now-celebrated Sextette is arguably the best example of his inventiveness. Here again on their third album the woodwind and brass section of 4 led by Charette demonstrates their power to move the air. “…the winsome logic of Charette’s constructions and the merits of his well-rehearsed band serve as persuasive catalysts for positive consensus.” (Derek Taylor – Dusted Magazine on SCCD 31784)

Spring Garden celebrates the abundant musical seeds planted more than a century ago by Igor Stravinsky in the Rite of Spring. Danko’s liner notes reveal his long-standing fascination with Stravinsky’s masterpiece and details involved in the creation and recording of this ambitious project. “While he has arrived at his own sound, there's still a sense of adventurousness and discovery about Danko's approach to music …. Danko is fundamentally a deeply lyrical and swinging pianist, who combines the virtues of inside and outside playing, and he is still perfecting his music, learning new ways of approaching it. It's a process that started long time ago.” (Jakob Baekgaard - AAJ)

An internationally admired jazz quartet consisting of a Dane and three Swedes plays Nordic jazz, with a lyrical expression and a living interplay. SE-Quartet gets their inspiration from many different genres, like gospel, avant-garde, soul, classical and popular music. Their music is captivating, with it's beautiful melodies and energetic beats, as well as a sensitive interaction with epic improvisations. SE-Quartet released their third album Going North, in April 2017, which now has more then 2.5 million streams on Spotify. In addition, radio stations and newspapers in Scandinavia, have highlighted the album and acclaimed SE-Quartet as it conveys an ideal. Since the beginning in 2007 SE-Quartet has performed 100 concerts in Sweden, Denmark and Norway. During the next decade SE-Quartet will hopefully reach out for the rest of the world.

100 YEARS or, "The Country at One Hundred" is a large suite, a collective work of the Prague Six, the composers concentrated around the Concept Art Orchestra big band. The composition originated as a tribute to the one hundredth anniversary of the foundation of Czechoslovakia in 2018 and consists of six parts in which the authors allude to various periods in the history of the Czechoslovak and later Czech Republic, with originality and energy typical of the big band. Štepánka Balcarová, Jan Jirucha, Luboš Soukup, Martin Brunner, Tomáš Sýkora and Vít Krištan each have authored one of the six movements in which they make full use of all the orchestration possibilities offered by a big band, expanding these with non-traditional instruments such as Ondes Martenot, the chimes or Moog synthetizer. The individual compositions also include sensitive references to period music and samples and citations from political speeches. The fourth movement, dedicated to the period of the so-called normalization in the 1970s and 1980s and based on the motives of a song by The Plastic People of the Universe, features a special guest, the saxophonist Vratislav Brabenec. This, already third recording by Concept Art Orchestra on the Animal Music label confirms the indisputable place of the band (the holder of the 2015 Andel Award for the best jazz album of the year) on the current big-band scene and testifies to their capacity to create original works rooted in the current musical and historical context as well as perform them to the highest professional standards.

'Pieces' is the meeting of two generations - The experienced and mature: the trumpeter Palle Mikkelborg and the guitarist Bjarne Roupé and the two young and ready: Anton Langebæk on bass and the percussionist Benjamin Barfod. Bjarne Roupé Trio had been with Langebæk and Barfod for a while, and when Palle Mikkelborg was set to play a concert for Jazz Grooves at JB10 in Næstved, it was obvious that the four musicians worked together this evening. It became a success and the musicians took the initiative to use the recordings for this release. Here it is: 'Pieces: Generations at Sunrise' - five well-chosen compositions with Roupé's overview and broad sounds, Langebæk's pulsating bass, Barfod's distinctive percussion and Mikkelborg's trumpet and flugelhorn on top. We get extremely personal renditions of John Coltrane's "Naima" and the Abez classic "Nature Boy". A Swedish folk melody, "Saudi", with a beautiful guitar intro and more of the same sonorous element in the opening track "Witchi-tai-to", which is carried on by Barfod's gubal. The fine little theme is presented only at the end. Coltrane's great ballad "Naima" is performed for the first time in the history of music with sansula. In the collectively composed and arranged "Pieces", there are fanfares with electronics underneath, and Langebæk rounds off with a very solid bass solo. "Nature boy" gets new and very beautiful life with Mikkelborg's horn followed by a very well-playing Roupé.

Except for occasional trips to the New York live scene and recording sessions, John Hart devotes his time in teaching younger generations as the head of the Jazz Guitar Department at the Frost School of Music, University of Miami. The inspiration for the unusual instrumentation of this album (baritone-sax, guitar, bass and drums) came from one of his classrooms where he tutors ensemble playing. He then, of course called his favorite baritone man Gary Smulyan to join the session. Checkmate, the third album by John Hart on SteepleChase was recorded a few weeks before the onset of Corona pandemic. Now after a dark long year of lockdown we hope we can call “checkmate” on that virus. “Hart’s beautifully shaded melodies and detailed and balanced intermezzi of concise and fast cadenzas signify his matured musicianship” (Francois van de Linde – Jazz Journal on SCCD 31885 Act Three)

totally mesmerized by the American rock and roll culture and went on to play rock guitar growing up. He traced the music’s roots back to jazz later on and received formal education at the world-renowned jazz program at William Patterson University and graduated with a master’s degree. Segal for this his 6th SteepleChase recording chose trio format for the first time augmenting his personal drive in a very basic constellation. “Gene Segal's got a great tone ... Segal's really wrenching some great chromes out of his instrument – with an approach that seems to change slightly when the keyboard source changes, but never in a way that loses its intensity… " (Dusty Groove on SCCD 31883 Curiosity)

Coming under the form of a beautiful antique pink and dark green 3-shutters digipack and two-LPs Gatefold, 'Two Roses' is by Avishai's words "a once in a lifetime project". Associating his core trio (Mark Guiliana, Elchin Shirinov) with the Gothenburg Symphony Orchestra, Avishai Cohen offers a very cinematic project between Jazz, Mediterranean Folklore and Classical music, reexploring a part of his musical journey. Not only proposing new orchestrations of his most successful works, 'Two Roses' is also strongly supported by 'When I'm Falling', an original composition showing how far the sound of Avishai Cohen has developed. The vinyl edition features 2 exclusive tracks in addition to the 12 songs already listed on the digital and CD editions; including a Symphonic version of Seven Seas which is one of Avishai's most beloved compositions.

Coming under the form of a beautiful antique pink and dark green 3-shutters digipack and two-LPs Gatefold, 'Two Roses' is by Avishai's words "a once in a lifetime project". Associating his core trio (Mark Guiliana, Elchin Shirinov) with the Gothenburg Symphony Orchestra, Avishai Cohen offers a very cinematic project between Jazz, Mediterranean Folklore and Classical music, reexploring a part of his musical journey. Not only proposing new orchestrations of his most successful works, 'Two Roses' is also strongly supported by 'When I'm Falling', an original composition showing how far the sound of Avishai Cohen has developed. The vinyl edition features 2 exclusive tracks in addition to the 12 songs already recorded; including a Symphonic version of Seven Seas which is one of Avishai's most beloved compositions.

Listening to this album takes you back to the atmosphere and sound of Jazzhus Montmartre on a random night in the 1960s, engulfing you in Dexter Gordons enormous aura. Dexters arrival in Copenhagen had a tremendous impact that left a lasting impression on the Danish jazz scene. He was handsome and well-dressed. His playing was superb, with a giant sound; his introductions and showmanship were unique and captivating. In addition, Dexter felt the Danish mentality was well-suited for playing and enjoying jazz. It was always there, Alex Riel remembers It wasnt a case of going to work, even though we played every, single night in June, July and August during the summer of 1964. Dexter and Tete were there solely for the music, and so were Niels-Henning and I. It is so obvious when I hear the music today. Dexter loved being in Montmartre. He often stayed and jammed with the night shift when it took over, playing on till early morning And Dexter ended up owning Copenhagen!

Isabella Lundgren sings about grief, hope and human kindness on the new album Look for the silver lining. It’s a record of grief and hope. About the uncertainty and suffering that a human life contains, but with a confidence in human kindness. Few artists possess the ability to enchant their audience. Isabella Lundgren does this with an incredible presence and a voice that seems to hold a lifetime. Isabella Lundgren was born in 1987 in Karlstad. She studied in New York between 2006 and 2010, and began studying to be a priest in 2010 in Stockholm. Since her recording debut in 2012, she has released several highly acclaimed albums.

Martin Jacobsen, Danish born tenor saxophonist came back to normalcy after a few years of combat against a rare and grave autoimmune disease. That explains the delay of release of this live recording from France. The group here including fabulous Hiroshi Murayama on piano, almost identical from his previous album from Tokyo (SCCD 31802), dazzles the audience at Eaubonne Jazz, France (near Paris). Jacobsen’s renowned book “Let’s Speak Jazz: for Saxophone” (by Schott) is soon to be published in Japan. "Jacobsen’s tenor sax rips and rolls as he pumps out the phrases, making conversation with the grammatical precision of a writer. The quotations, commas, and semi-colons of the composition are all there to be heard. His love of the instrument is visible in an ability to make complicated compositions simple, remarkable for a musician who began playing sax at the relatively late age of 18, and who is, for the most part, self-taught." (The Daily Star, UK)

New York’s foremost pianist/composer Mark Soskin (b. July 12, 1953 in Brooklyn, NY) spent over a decade with Sonny Rollins before returning to his native NYC base performing and recording both as leader and sideman. Soskin brings his quartet with Rich Perry (tenor sax) here on his fourth album for SteepleChase and focuses on his new compositions as well as some of his old gems. “The most important thing is the promise that perhaps Soskin will now join the Steeplechase roster and continue to record regularly as others have in the past. Well produced.” (Papatamus on SCCD 31858 Upper West Side Stories) “The music in the lyrical, acoustic wide range of jazz further emphasizes the brighter sound of this constellation … tasteful, clean and unblemished.” (Ole Mathiessen – JazzSpecial on SCCD 31890 Everything Is Old New Again)

Trio X is one of Sweden's foremost improvisational groups. The trio's distinctive feature is exploratory and boundary-crossing music, and the experienced musicians find inspiration in many genres. Lennart Simonsson, Per V Johansson, and Joakim Ekberg started collaborating in 2002, and since then they have made several recordings, worked with numerous well-known artists, and toured in Sweden and abroad. Trio X is a multi-faceted ensemble that works with many projects, from concerts in jazz clubs, in concert halls, and at major festivals to classroom appearances. Alongside their public concerts, they also play in healthcare and caring institutions. The musicians also teach and provide inspiration for amateur groups. The present album is a showcase of traditional Swedish melodies.

We've all experienced it: that special atmosphere before a concert begins. At Copenhagen Jazzhouse, many come early. They reserve the best seats with a piece of clothing and retreat to the bar to buy a beer and exchange a few words with musicians and friends, then return to their seat, anticipation growing. Some look around and notice that all the jazz critics are in attendance. In fact, it seems everyone is here this evening. In the final minutes, lights are dimmed and the intermission music turned off. Lars Thorborg, who runs Jazzhouse, takes the stage and introduces Rosa and the band. It's about to happen! The group comes on stage to enthusiatic applause and there she is - with us, right before us. With no further ado, the tempo is counted off and the concert begins. The band line-up couldn't have been better: Fabio Torres on piano, Paulu Paulelli on bass, and Celso de Almeida on drums and of course Rosa Passos on vocals and guitar. "Imagine you are rocking a baby to sleep. For me, that's Bossa Nova". - Rossa Passos

Noël Akchoté, composer/guitarist from Paris, unites supposedly incompatible material on the album "My Choice": Zarah Leander's Nazi-era hit "Der Wind hat mir ein Lied erzählt", Serge Gainsbourg's irony about Nazi refuge in South America "SS in Uruguay", Ornette Coleman's groundbreaking "Street Woman", Kylie Minoque's "Red Blooded Woman" and Paolo Conte's "Via Con Me" and one is amazed, because his choice is genius. It's wonderful, it's wonderful, it's wonderful! Everything comes together to form a new whole. "The strand always grows from it's middle, both sides - I don't believe in styles, nor genres. All proves that the original musical gesture remains the exact same since it first happened. I got hit by Jazz at earliest age because they had all to invent, another Blank Page. As many white pages as individuals, eternally. Because you can't, because it's too high, you will perpetually - Dare, fear, burn & adore. Reproduce. All arts are timing, so are lives. All arts are at present when coming near by. A frame is a length, a text a tone, a sound a height. The biggest lesson one can achieve is to really integrate the fact that by playing, writing, directing, performing, it will always be you and only doing so. Therefore only You can beat yourself at your own games."

"I've been listening to Hans's music for more than 25 years in many contexts, and I have noticed how he has grown and matured as an artist. And how he's always thinking "we" instead of "I". So, all things considered, here's a tribute that everybody involved should be proud of. I'm sure that Charlie Parker would have smiled approvingly. Yes, Bird lives!" (Thorbjørn Sjøgren) Hans Backenroth discovered jazz at the end of his teens, which led him to play double bass influenced by, among others, Paul Chambers, Ray Brown, Scott LaFaro and NHØP. In 1986 Hans moved to Stockholm to study at the music department at Birkagarden college, followed by three years at the Royal Academy of Music, where he graduated in 1989 in both jazz and classical bass, arranging and improvisational education. During the final year Hans became a member of Fredrik Norén Band, with tours in Sweden, Indonesia, Malaysia and the Baltics, and soon he began to appear at Stockholm's jazz venues like Fasching and Stampen and at many jazz clubs around Sweden. He appears on this album alongside Klas Lindquist, Erik Soderlind, and Karl-Henrik Ousback.

The history of the JAZZPAR AWARDS constitutes, in retrospect, a significant development in the recognition of jazz by international arbiters of taste, and by distributors of monetary recognition. Between 1990 and 2004, the award was made to several American performers but also, reflecting the history of the music itself, to six Europeans (Tony Coe, Django Bates, Martial Solal, Marilyn Mazur, Enrico Rava and Aldo Romano). It's worth remembering too that, as well as celebrating jazz per se, the fundamental idea was to draw attention to the world-class ability of Denmark's own musicians. Each annual winner was required to perform in a situation of their own choosing, but one which would involve several local players, as seen in the present series of reissues. In addition, it shouldn't be forgotten that each year a smaller prize was given to a Danish musician who was given the opportunity to invite a foreign player of their choice, often but not always an American, to appear and record with them. The international winners tended to be distinguished figures who, up to that point, had not received the amount of wider recognition that they deserved, and who found the award to be an honor that also increased their reputation. Such was the case with the initial recipients of the award, namely Muhal Richard Abrams (1990), David Murray (1991) and Lee Konitz (1992). This 1992 set showcases the work of the Danish pianist/composer Jørgen Emborg with a quintet including his specially invited guest, the American bass-guitarist Steve Swallow.

Tenor Saxophonist Stephen Riley - as an aspiring student of jazz at William Paterson College in New Jersey - had a brief but significant encounter with guitarist Vic Juris who at the time taught ensemble playing class there. A couple decades has passed since and here on his new album Riley asked his former teacher to join him. Sadly, it turned out to be Juris’ last ever recording. He succumbed to cancer a few weeks after the session, although he did not show any sign of physical and mental decline on this date. On the contrary his strong presence in the dialog among the quartet made this album truly extraordinary. “Tenor-saxophonist Stephen Riley has a sound of his own, featuring a tone that is both light and piercing … 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 are invigorating…easily recommended. (Scott Yanow – Los Angeles Times on SCCD 31881 Oleo)

Rich Perry’s previous release Other Matters (SCCD 31876) was his first album that consisted solely of his original compositions. The master of intelligent and creative improvisation tenor saxophonist Perry does not usually see himself as a composer, but we all know the line between composing and improvising in jazz is just a blur. On this his 26th album on SteepleChase Perry again pens all the tunes and offers the outstanding rhythm section ample space to enrich the original material. Tom Conrad of NYCJR remarks on SCCD 31776 Nocturne: “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.” “Rich Perry has been known for his ability to play coherent and creative solos over the most complex chord changes and for his relatively mellow sound. For Other Matters, he decided to try something different. Perry wrote nine original pieces that avoid regularly recurring chord changes… Perry’s excellent departure. (Scott Yanow – NYCJR on SCCD 31876 Other Matters)

Tommy Flanagan was always known for his tasteful, flawless and swinging piano playing. The American jazz pianist and composer grew up in Detroit and was initially influenced by artists Art Tatum, Teddy Wilson, and Nat King Cole. Within months of moving to New York in 1956 he was recording with Miles Davis and Sonny Rollins. His recordings under various leaders, including the historic Giant Steps of John Coltrane, continued well into 1962 when he became vocalist Ella Fitzgerald’s full time accompanist. He added class to every session that he was involved in and fortunately he was well documented during the latter part of his career.

Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first record date as a leader in 13 years and, most importantly, because it is very good music.

REVIEW:

What strikes me most on this solo album is the clarity Flanagan brings to each of the tunes. The more "cerebral" jazz artists often begin an account of a tune with a "variation" resulting from thick embellishment of the melody itself and/or the rhythm of that melody. Flanagan consistently begins by honoring his "source material," after which he unfolds no shortage of embellishments involving the tune, its rhythms, and the underlying chord progressions. This was the "bread-and-butter" approach to jazz improvisation during the second half of the twentieth century; and, as such, the album is not only an account of bravura solo piano work but also a first-rate introduction to cultivating the skills of listening to jazz.

-- The Rehearsal Studio (Steven Smoliar)

Istanbul-born with Armenian lineage pianist/composer Burak Bedikyan immigrated to USA in 2017 with his young family and has resided in NYC since. Despite the succession of highly acknowledged releases before and after his move to the new world Bedikyan’s career was forced to put on a hold because of the pandemic. He literally stopped playing for almost eight months. This release here is a by-product of commission project from Turkey’s oldest jazz festival which jolted him from his existential crisis. Here you’ll find Bedikyan in a new light and with a new direction he discovered during this soul-searching sabbatical. “Istanbul Junction is a cohesive work, and a high point of Bedikyan's superb career. As Kozlu points out in the liner notes, Bedikyan has singularly fused various traditions into a personal artistic statement. The record is, perhaps, his most mature and unique to date.” (Hrayr Attarian – AAJ on SCCD 33139 Istanbul Junction)