Only time can tell if a musical composition will be considered a “classical” piece by future audiences, but as Danish music critic Søren Schauser has predicted: “In a couple of years we will see pieces by an Ellington or a Peterson in regular concert programs in entirely classical contexts.” With “The Touch” Søren Kristiansen and Thomas Fonnesbæk present their take on a classical piece of jazz, playing the music of Oscar Peterson and Niels-Henning Ørsted Pedersen - classical but improvised! OP and NHØP gave us something unique and unforgettable, just as the classical composers did and still do. Being the world’s greatest virtuosos on piano and double bass respectively, their immense technique and ‘Touch’ made them unique. Their collaboration was likewise special because they were equals. For instance, Oscar Peterson’s arrangement for “On The Trail” (Great Connection, 1971) was presumably written because he had found a bassist that could keep up both musically and technically. OP & NHØP gave us something extraordinary and unforgettable, exactly like the great classical composers did and continue doing - and now Kristiansen and Fonnesbæk share their idea of how it could be played today.

REVIEW:

One of the swingingest pianists in jazz history, Oscar Peterson, is given tribute with one of his best bassists, Niels-Henning Orsted Pedersen ( better known as NHOP) on this concert of duets between Soren Kristiansen/p and Thomas Fonnesbaek/b. The May, 2021 recordings in Copenhagen mix originals by the two as well as a handful of standards, and the two converse and bounce like the original string trio with Ray Brown and Herb Ellis.

Kristiansen provides classy chords on the hip “Soft Winds” while Fonnesbaek delivers a rich bass line on “Nigerian Marketplace”. Peterson’s feel is captured well on “The Trail”, with bopping unison lines and a nifty left hand. Dark and dramatic moods are created for “On Danish Shore” with pretty melodies bouncing on “Wheatland”. Fonnesbaek is stately on the intro and lad on the uptown “There Is No Greater  Love”, and steps out for Kristiansen to give a heartfelt aria on the solemn “Hymn To Freedom”. Classy conversations.

-- JazzWeekly.com (George W. Harris)

Cool Sweetness could be a nice cold and tasty cocktail…or maybe an irresistible ice cream… But actually, it is the name of Danish trombonist Anders Jacobsen’s jazz sextet. “Cool” because the main inspiration comes from the cool jazz as they played it on the American West Coast in the fifties. “Sweetness” because that is how the sextet members really are. Six nice, good-natured and humorous men who love to play good jazz. The music on their new album “Shoehorn Shuffle” is primarily composed and arranged by Jacobsen and the album features a strong line-up of the coolest players on the Danish jazz scene, including Thomas Fryland (trumpet), Jens Søndergaard (sax), Pelle von Bülow (guitar), Ole Skipper (bass) and Aage Tanggaard (drums).

‘The music on this fine recording is quite simply - just wonderful! The beauty and spirit of quality is always evident. The writing, execution, soli, and recorded sound are a joy to experience! The sense of swing and great groove puts a big smile on my face. many thanks to Anders for his terrific writing and assembling all these superb musicians!’ (Jiggs Whigham)

REVIEW:

The group have all the right attributes, good sound, calm execution, and the correct solo power to place them alongside the iconic cool jazz players of yesteryear.

-- Jazzwise (UK)

Duke Jordan’s early success came as member of the Charlie Parker Quintet contributing some of the most endearingly apt introductions of the jazz’ classic repertoires such as “Embraceable You”. He composed quite a few great jazz tunes that became standard numbers like “Jor-du” and “No Problem” among others. After a lengthy hiatus due to his drug problems in the 60s Jordan was rescued by a handful of Danish jazz enthusiasts and started resuming his professional career in Europe and Japan. The featured young tenorist Bent Jædig had shared the bandstand with Jordan during the years into the 80s. Along with Jædig two guest players were sitting in: bassists Eddie Gomez (in town with Bill Evans), and South African Johnny Dyani. This live recording finds Jordan at the famed jazz club Montmartre in the heart of Copenhagen the night before the (studio) recording session of his best-selling album “Flight To Denmark” SCCD 31011. Duke Jordan made Denmark his permanent home until his death in 2006.

The late journalist/author Chris Sheridan’s liner notes for Sheila Jordan’s first album for SteepleChase “Sheila” SCCD 31081 declares, “This recording is an acutely personal statement. Only rarely in the history of jazz have a singer‘s feelings been so affectingly bared ... only a few vocalists have had the grit to subordinate technique and »style« to expressiveness ... And the experience is breathtaking.” Mr. Sheridan’s assertion from 1977 still rings true and even more so. Sheila Jordan at the age 92 does not show any sign of slowing down or taking it easy. Her intensely creative power is evident throughout this album presented in a cross-generational collaboration with trioTrio consisting of three young elite instrumentalists of the New York scene. “...a spiritual experience and heart-to-heart communion ... Jordan makes these tunes all her own, with personal, almost prayer-like readings...” (Down Beat - *****) “... Sheila Jordan personifies a song like no one has since Billie Holiday.” (Unicorn Times)

Ray Anderson (born October 16, 1952) is a jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument. He is a colleague of trombonist George Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in Down Beat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s. After studying in California, he moved to New York in 1973 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George Lewis)and started working with Barry Altschul's group. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional good-humored vocal, during which he shows the ability to sing two notes at the same time (a minor third apart). Anderson has worked with David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, Luther Allison, Bennie Wallace, Gerry Hemingway, Henry Threadgill, John Scofield, Roscoe Mitchell, Randy Sandke's Inside Out Band, Sam Rivers' Rivbea Orchestra, Bobby Previte, George Russelland others. Anderson is a member of Jim Pugh's Super Trombone with Dave Bargeron and Dave Taylor. He received a grant from the National Endowment for the Arts for a series of solo trombone concerts. Anderson has frequently returned to his early love of New Orleans music for inspiration. His Alligatory Band and Pocket Brass Band, featuring tuba player Bob Stewart or sousaphonist Matt Perrine and trumpeter Lew Soloff, are rooted in it's tradition. Since 2003 he has taught and conducted at Stony Brook University.

With his 7th album Longings the Viennese Jazz violinist Rudi Berger devotes himself to the themes of longing and hope. Completely independent in terms of style and phrasing and devoid of any academic tendencies, a picture is created of an unmistakable violin virtuoso who, like in olden times, writes, and performs his own compositions. Mauro Rodrigues, flute, Peter Madsen, piano, Rosario Bonaccorso, double bass and vocals as well as drummer Lukas Boeck reflect the wide musical field. Using New York jazz jargon, Viennese musical slang, Latin American influences, blues, and reflective, meditative ballads a story about people and their dreams is told.

Vivian Buczek writes: “This is the most personal album I´ve made so far, where the music sums up my musical upbringing as well as the essence of me as a woman, singer and musician. I was raised in a musical home in Sweden by my parents; both being Polish jazz musicians. Having both feet in two different cultures has made me realize how important my roots are, what they mean and what they have contributed to in my life. As an only child, music was always an comfort and my closest friend and as a little girl I remember singing from the moment I woke up to the very last waking minute of the day. In my adult life, my love for music has affected me and it has become such a strong part of my identity. Now is the time for me to emphasize all the inspiration of which jazz, blues and soul have always been a prominent theme in my musical upbringing. The engaging and strong support from both my parents is something I´m forever grateful for and so I choose to dedicate this album to my loving mother Krystyna Buczek and father Bruno Buczek. A few year ago I met one of the greatest musicians and saxophone players in the world; Seamus Blake. From the very first time i heard him play I was blown away by his musicality that comes straight from his heart and soul; right away I knew I wanted to invite him as a special guest on this album, ROOTS!”

If you have two loves – swing and Paris – if you want to dance to the rhythm of the beguine; if you love not only Beethoven but also Cole Porter, then go and visit Frivol’s Club! The ensemble Les Frivolités Parisiennes is a master in the art of blending musical genres. So, B Records invites you to join in and enjoy this tumultuous program which will immerse you in the vibrant atmosphere of the Roaring Twenties. Established in 2012 by the musicians Benjamin El Arbi and Mathieu Franot, Les Frivolités Parisiennes was created out of a desire to recover French Light Music of the 19th and 20th centuries, comic opera, opera buffa and musical comedy. With this in mind, the company annually produces new productions or revivals, of which a number have been recorded by Naxos. The chamber orchestra of Les Frivolités Parisiennes, the spiritual heir to the orchestra of the Opéra-Comique that was disbanded in the 1960s, can comprise from 14 to 40 players according to a work’s requirements.

Chris Potter writes: “Jim McNeely has always been one of my favorite composer/ arrangers, so I was thrilled to get the chance to work with him on [this] piece inspired by one of my favorite compositions, The Rite of Spring. He also arranged some of my music in a way that made me hear my own compositions in a fresh way. The band was a total delight to work with and played beautifully throughout, and I’m very proud of the result.”

REVIEW:

"Rituals," both the name of the album and of the work which accounts for a majority of its runtime, was originally commissioned as a tribute to Stravinsky’s “The Rite of Spring” for a performance marking the 100-year anniversary of the Paris premiere of the “Rite.” It is fascinating to observe how McNeely pays tribute to the source while creating a work that is distinct, separate and his own.

In the course of Chris Potter’s solos and cadenzas in “Rituals”, he seems to capture the essence of the work’s fecund chaos. It sounds as though he is giving his absolute all and relishing every moment (in this position, it is hard to imagine any other soloist doing a better job). He is also composer of the final four tracks on the album, all still arranged by McNeely. 

The union of a composer such as Jim McNeely, at the height of his abilities, with the virtuosic powerhouse that is Chris Potter, supported by one of the world’s most accomplished bands, has a lot to live up to. Thankfully, this is an album that seems to successfully fulfil expectations and keep delivering new revelations.

-- London Jazz News (Charles Rees)

“I hope you enjoy listening to these eight concerts as much as we had fun putting them together for you. On the vinyl release we have a selection of songs drawn from the CDs and digital version and some very special bonus tracks, that only appear on the LP’s. In 2013 there was for me a very memorable night in a beautiful small Jazz Club in Cologne, Germany, where I got to play a duo concert with the great Michael Abene. From that concert we selected the immortal standard Cole Porter song “You’d Be So Nice To Come Home To“. The Jazz Orchestra Of The Concertgebouw organized in 2016 a tribute concert to our own Europe’s First Lady Of Jazz, the legendary Rita Reys. One of her favorite songs was again from Cole Porter, which I did in the famous arrangement of Peter Herbolzheimer, “Love For Sale“. The other twospecial bonus tracks we took only on the LP’s are with the great Petar Beets Trio with Martijn van Iterson on guitar and Netherland’s iconic bass legend, Ruud Jacobs. What a pleasure and treat to have been on tour with this outstanding musicians. I love performing with Big Bands and one of the first Big Bands I worked regularly together with is the “Millennium Jazz Orchestra“ of my dear friend and fantastic arranger Joan Reinders. We did a studio album in 2002 and many, many concerts throughout the Netherlands and also in New York. In2019 Joan wrote a wonderful program of all George Gershwin classics and added the famous Matangi String Quartet. It was such a joy to do this program from which we selected “Summertime“ and “The Man I Love“ as special bonus tracks only for the LP version.” - Fay Claassen

With an original line-up of trombone, electric guitar, double bass and drums, NABOU is a breath of fresh air on the Belgian jazz scene. On the trombone, bandleader and composer Nabou Claerhout is looking for a sound all her own: by means of all sorts of effects, she creates a dreamy musical framework with a strong atmospheric and melancholic resonance. The group’s debut EP ‘Hubert’ – for which Claerhout was nominated for the Sabam For Culture ‘Jazz Composer 2019’ prize – was already a fine demonstration of its unique sound, which is now further refined and specified on its first full album You Know. Lush and intimate sounds alternate with strongly rhythmically based compositions, while groovy bass riffs from Trui Amerlinck, Mathias Vercammen’s elaborate drum patterns and the modern, virtuoso guitar playing of Roeland Celis play their part in this musical adventure full of highlights – all created in combination with Claerhout’s distinctive trombone playing ‘that sings, cries, pulsates, narrates and knows how to make many hearts weak through well-constructed contemporary pieces’.

Award-winning tenor saxophonist Noah Preminger and his solid duo cohort, guitarist Max Light showcasing here how the younger generation of jazz instrumentalists exercise their creative muscles to turn the 80s pop music into the New Standard repertoire. Preminger at 35 and Light at 29 grew up emotionally and musically with the songs they adapted here. Some of the critics have already noticed Preminger’s sense for finding rock/pop materials that can be made into jazz in his previous release (also with Light) where “The Red Hot ChiliPeppers’ “Porcelain”... is transformed by an imaginative, spacious arrangement, with the rhythm section interacting rather than accompanying…” (Ken Dryden – New York City Jazz Records on SCCD 31906 Contemptment) “Instrument combination of guitar and tenor sax creates an air-tight and urgent soundscape…with the music on a high level it is warmly recommended.” (Ole Mathiesen – Jazz Special on SCCD 31906)

SteepleChase’s March 2022 is featuring “Duo” settings. Here on our SteepleChase LookOut label we are proud to present two New York based young elite instrumentalists Nicki Adams (piano) and Michael Eaton (saxophone). They both share neo-classism in jazz as their formative background but they transcend beyond the categorization to something far more original and multifaceted. The album “Paraphrase” is a formidable presentation at this junction of time of how jazz has developed itself through its rich and diverse history. Nicki Adams (b. 1988) is a New York-based composer and pianist. He has worked with renowned artists including Billy Hart and Francisco Mela and appeared on NPR's Soundcheck and Jazz at Lincoln Center's Rose Theatre. Nicki plays with many groups including his own band. His works have appeared in film and radio throughout the world. Michael Eaton (b. 1981) is a Brooklyn, NY based saxophonist, composer, and educator active in contemporary jazz and free improvisation. He embraces a progressive and holistic vision of jazz, cognizant of the music's rich history, while he reaches for a personal outlook with an eye towards future possibilities.

These young musicians from Egypt, Turkey, Portugal and Italy bridge the distance between the shores and sonic worlds of a rapidly changing region. Their first album, recorded in Paris, blends both timbres and backgrounds in a unique artistic collaboration with Festival d’Aix-en-Provence, supported by Abu Dhabi Festival. Cairo Jazz Station was born from the desire of four friends — from different parts of the world, with different musical traditions and different personal experiences — to establish a personal, inclusive and shareable musical environment. Their music is influenced by the folk music of each country and by much improvisation and jazz, and uses melodies from the European classical tradition blended with rhythms and instruments of the Middle East.

Hank Roberts presents: On his debut album "Black Pastels" he put together the most innovative musicians of the N.Y. Jazz scene: Tim Berne, Ray Anderson, Robin Eubanks, Dave Taylor, Bill Frisell, Mark Dresser and Joey Baron. He wrote jazz history with the group "Miniature" and the song "Jersey Devil", and the Knitting Factory became a meeting point for the avant-garde scene. With Mark Feldman and Mark Dresser he formed the chamber music string trio Arcado and with Django Bates he played "Somewhere Over The Rainbow" and opened up never-before-heard worlds of sound.

Stína Ágústsdóttir is considered one of Iceland’s best jazz artists and nowadays she’s just as established in Sweden. She is known for her energetic live performances, not only in Scandinavia, but also in her previous home of Montreal. She has been nominated for the Icelandic music prize a few times, both for her album, Jazz á íslensku (Jazz in Icelandic, 2017) and for The Whale (2021). Jazz á íslensku has already become a classic in Iceland and has been used in Icelandic language lessons and is played frequently on the radio. Stina has been living in Sweden since 2011 and plays with artists such as Maz Schultz, Håkan Brosträm, Erik Söderlind, Simon Berggren, Henrik Linder, Joel Lyssarides and Kjetil Mulelid. Stina, herself, says about her album: “In 2016 I got seriously ill and needed to put my life on hold. I managed to get back on my feet, with the help of family and friends, and the music on the record is about this journey from darkness towards light. The songs reflect the many sides of a human being, both the pretty and the ugly, and that it’s ok to be a mess and need help.”

The leader of this captivating debut album, Yoko Yates is the celebrated composer of the soundtrack for the award-winning documentary film Mothers’ Way, Daughters’ Choice filmed in NYC. Yoko Yates pianist/composer/educator grew up in Hokkaido, Japan, the northernmost island where the vast ancient and ingenious nature is still intact. Yates’ compositional style and ideas are hugely influenced and inspired by her formative years surrounded by this unique environment. Graduating from Berklee with a B.A. in music, summa cum laude, she went on to receive a Master’s degree in education from Lesley University in Cambridge (MA). She furthered her studies at Columbia University, Teachers College (NY) for doctoral study in music education. While being a member of the piano faculty at Greenwich House Music School in Manhattan and at Brooklyn Conservatory of Music since 1996, Yoko has maintained a performing career as a pianist and sometimes as a vocalist, and has been particularly active as a composer. “Yoko Yates’ finely crafted original compositions shine brightly with beautiful performances by all. This is a noteworthy first CD.” (Scott Lee - producer) “Yoko’s music is imaginative, fun, beautiful and natural. It incorporates a variety of genres and has an emotional depth that hits my heart. Her unique style appeals not only to jazz enthusiasts but to a broader audience”. (David Gahan - lead vocal Depeche Mode, Rock & Roll Hall Of Fame 2020 “Going beyond what words can express”. (Kyoko Gasha - documentary film director and Reuters journalist)

Ukrainian pianist Vitalii Kyianytsia knows how to convince on his debut album "Last Day of Spring" with an almost perfect touch. With seven of his own compositions, the pianist composed the lion's share of the repertoire, drummer Mathias Ruppnig contributed the fast-paced "Stranger Than Fiction" and the number with the mysterious title "S.O.M. & D.I.D." comes from bassist Johannes Fink. Vitalii Kyianytsia comes from Kiev and learned the piano from the bottom up. "I started playing the piano at the age of six and then had a classical education," he said. "At the age of seventeen, I started to become interested in jazz. In the beginning, I particularly liked Oscar Peterson, Bill Evans and Duke Ellington, later also Chick Corea and Herbie Hancock. I then studied jazz in Kiev, but later also classical composition. This experience was important to me, and my final graduation examination was a piano concerto with an orchestra."

Dexter Gordon’s European period (1962–1976) was mostly based in his beloved Denmark, where he led an active professional career and enjoyed a harmonious private life. Arriving in Europe after some turbulent times in the States he found new energy in performing and recording to build a large part of his discography at the top of his artistic strength. The recording output, however, during 1962 and 1964 was scarse and this album recorded in 1962 and 63 will be an adept document of the fresh start by the Towering Master of Tenor Sax. “The star billing, as always, goes to one of jazz’s master storytellers, Dexter Gordon; the performances contained here, which set the scene for the dramatic renaissance of his career, fill in one of the long missing chapters.” (from the liner notes by Neil Tesser - SCCD 36039 Soul Sister)

Improvisation, composition, language and culture meet, merge and influence each other. Under The Surface knows no boundaries. On their extraordinary third album, the group reflects on their own background and finds their own “folk”. After the group’s first two completely free-improvisation albums, Under The Surface (2017) and Trinity (2019), both nominated for an Edison, the next step for Under The Surface is a fully composed album: Miin Triuwa. Under The Surface was formed in 2015 and since then the band has enjoyed a great deal of international success. Drummer Joost Lijbaart recognized the group’s potential early on and organized more than 200 concerts in 25 countries on 4 continents: from Africa to South America, Asia, the Middle East and Europe. Inspired by their many travels and the cultures they encountered, the group developed a unique improvisation language that combines jazz, folk, ethnic and electronic music.

Joe Locke recorded this album in 1991, when his name as a new vibraphonist was gaining serious momentum on the NY scene. Following his highly acclaimed debut album “Present Tense” (SCCD 31257) and the ensuing “Longing” (SCCD 31281) from SteepleChase this third album showcases Locke’s lyricism in a ballad collection accompanied by the master Kenny Barron. “if your mood of the moment is to surround yourself with something soft and lovely, Locke and Barron will make things beautiful.” (Cadence) 180g Audiophile Vinyl

Stéphane Kerecki returned to composition after his two albums Nouvelle Vague and French Touch and now presents an album of his most recent works. This new project features a dream ensemble: Marc Copland, has been one of the most important pianists on the New York scene for some forty years; the Norwegian saxophonist Tore Brunborg (Manu Katché, Nils Petter Molvær) captivates the ear with his extraordinary sound and lyricism; trumpeter Ralph Alessi (Ravi Coltrane, Fred Hersh) is, according to his peers, one of the most brilliant trumpeters on the international scene; drummer Fabrice Moreau (Airelle Besson, Trio Viret), Kerecki’s partner on his last two albums, has worked closely with him for many years. Kerecki’s own sensitivity comes fully into play with such a line-up and allows abundant room for interaction with such star players. His melody-based numbers include subtle references to the lyrical jazz of the 1970s that marked his early years.

A few months ago, Avishai Cohen was releasing his symphonic album “Two Roses”, a “once in a lifetime project", he said. After a successful release and more than a hundred reviews around the world – the Israeli composer, singer, and bass player returns to jazz with a dazzling new trio: Elchin Shirinov, still on the piano and, on drums, the arrival of the young and incredibly talented Roni Kaspi, who joined the band during the 2021 summer tour. This new album “Shifting Sands”, recorded in August 2021, re-engages with this very special alchemy that Cohen’s music provides: fresh and expansive melodic lines, diverse and sophisticated rhythms and a musical elegance that only he can achieve.

REVIEW:

Consistency and excellence are two of the most fundamental requisites for achieving an optimal career in music. The Israeli bassist and composer Avishai Cohen has maintained those standards for many years, and his new trio emerges with a powerful offering that should reinforce his status as a jazz-based titan. This formation enlists familiar, longtime collaborator Elchin Shirinov on piano with a relative newcomer and recent Berklee graduate, 21-year old drummer Roni Kaspi. The results of their initial collaboration are stirring from start to finish.

Cohen's confidence in his team and his material is apparent from how often he remains in the background. On the opening "Intertwined," Shirinov sets the tone and gets the first solo while Kaspi snaps across the rims and cymbal heads in lead-type notation. Cohen does not come to the fore until two songs later, on the relaxed "Dvash," the first of three solo-type interludes, then demonstrates his proficiency on the bow during "Chacha Rom." "Hitragut" is a sweet summer song that lands like a Central Park serenade. Many pieces follow a basic structure that begins with one or two sharply repeated patterns, rolls into transitional overlaps, then returns along the opening framework in a formula that fits the album's title theme perfectly.

One of the most impressive things about this this exceptional record is how much masterful mileage each member gets from a relatively small number of notes or beats. Top rank creativity, aptitude, and technique are some other things that make for musical success. There is an abundance of all that and more to be found in this new trio.

-- AllAboutJazz.com (Phillip Woolever)

Award-winning trumpeter/composer Jason Palmer is a dedicated educator as Assistant Professor at Berklee College of Music I Boston. Palmer also holds a post as Vising Assistant Professor of Music at Harvard University. The first prize winner of 2009 Carmine Caruso International Jazz Trumpet Solo Competition Jason Palmer joined SteepleChase in 2010 and this is his 10th album with captivating interpretation of classic ballads as well as his originals. “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-NYCJR on SCCD 31820 Beauty ‘n’ Numbers.)