Dear listener! After having combined the Fab4-quartet with different guests over the years, I felt the inspiration to invite a pianist into the Fab4-world. Since I am a long time fan of the Italian piano legend Rita Marcotulli, it felt natural to ask her to collaborate. We got together in Stockholm in April 2022 and recorded nine brand new songs together. I hope you will enjoy the result of this collaboration and thank you so much for listening!

Elegance and passion are the outstanding qualities of Hungarian jazz pianist Mátyás Bartha, and he recorded his second album “From This Moment On” in trio format once again: "As a pianist, you really want to play in a trio," he believes, "because you can't hide behind a wind player."

Common Ground plays music that pushes into new areas, preserving the commitment to expand feel, harmony and pulse. Matthias Akeo Nowak's new album ORIMUSIC features compositions of all four band members, inventing sound narratives with high intensity and a sovereign, calm fire.

Jazz giant and tenor saxophonist Dexter Gordon bids Copenhagen farewell on his new album Copenhagen Coda – Live at Montmartre 1983. This album marks DG’s final farewell to friends and fans in the Danish capital, with which he had had a twenty year love affair. He is quoted as having said: “I don’t think they [his fellow American musicians living in Europe] got the love I got in Copenhagen” The concert was part of a TV production by the national Danish Broadcasting Corporation, who have documented this golden era in Danish jazz history.

On this recording, DG is accompanied by the accomplished and versatile pianist Kirk Lightsey, wonderful bass player David Eubanks and the master drummer Eddie Gladden. DG proves that he hasn’t lost a step, as he projects enormous authority on stage, being a fountain of sound and ideas, melodically as well as rhythmically. He generates a stunning energy, taking off on a flight that is able to captivate the audience with his tenacious be-bop, somewhere between Lester Young and Coltrane, with a bold, dry sound.

DG arrived in Copenhagen in 1962, where he settled and became a regular on the jazz scene, most often at the legendary Jazzhus Montmartre. During the years 1964 to 1967, he played Montmartre 6 nights a week during the summer months. One of those evenings, where DG was accompanied by Tete Montoliu, NHØP and Alex Riel, was recorded and subsequently released as the album Montmartre 1964 on Storyville Records. His year-long stint in Copenhagen helped remold and vitalize DG after his lean years. In return, he also helped Montmartre build and maintain its reputation as one of Europe’s premier jazz venues in the 1960’s, attracting many American jazz players, including Ben Webster, Bud Powell, Kenny Drew and many, many more. All of them contributing substantially to the vitality of the Danish jazz scene, but more than anyone, DG is the musician synonymous with folk’s perception of Montmartre.

Copenhagen Coda is a celebration of and a tribute to Dexter Gordon’s legacy in Copenhagen. The audience in the Danish capital loved the sophisticated giant “Copenhagen Slim” immensely, and their love was reciprocated - Copenhagen Coda is a testament to this intense year-long love affair!

A superior post bop soloist, tenor saxophonist, composer, and educator David Detweiler is influenced by early John Coltrane and Michael Brecker but has a sound and style of his own within the mainstream of modern jazz.

Currently Assistant Professor of Jazz Saxophone, David joined the faculty at Florida State University in 2016 after serving as Director of Jazz Studies at Nazareth College (Rochester, NY). He has performed at many of New York City’s premier live-music venues such as The Blue Note, Birdland, The Knitting Factory, and The Iridium.

His first record as a leader, New York Stories, featured Leon Anderson, Clarence Seay, Chris Pattishall, and Rick Lollar. His second record as a leader, The Dave Detweiler Trio was released in August 2015. Celebrating Bird with bassist Fumi Tomita was released September 2020 and The Astoria Suite was released in 2021.

Bassist, composer, and educator Fumi Tomita was active in the New York jazz scene for over fifteen years. His 2019 recording, The Elephant Vanishes: Jazz Interpretations of the Short Stories of Haruki Murakami, was released to critical acclaim by Origin Arts records and was listed in the top ten records of 2019 by Jazziz. He is currently Associate Professor at the University of Massachusetts Amherst.

Jim McNeely: The Jazz Orchestra of the Concertgebouw (JOC) is one of the world’s great jazz ensembles. I’ve known some of these musicians since the late ‘90’s. But I’d never worked with the whole JOC until January 2020. Then Juan Martinez, JOC artistic director (and baritone saxophonist), emailed me. He proposed that I write a CD’s worth of music for the band, featuring all their soloists. After many more months of Zoom rehearsals (ugh!), scheduling delays, and even more Zoom (ugh!) we got into the studio in Hilversum for three intense days last November.

If there is one figure in jazz who remains similarly inexplicable, it is Charlie Parker. Charlie Parker has contributed so much to the syntax and grammar of jazz that no contemporary jazz musician exists today who is not influenced in some way by Bird’s jargon, either directly, or in echoes. Of course, every language has to be able to change with the times, otherwise it could not describe the atmosphere, the reality of the present. This mutability and the will to change is what makes Charlie Parker's dialect so special.

Johnny Hodges (1906-70) known for his pure tone and personalized style had been the stalwart of Ellington Orchestra throughout its history except for a period in the 50s. Hodges left immeasurable inspiration to the generations to come. He led this Ducal All-star septet to give concerts in Europe during the spring of 1961. The existence of the Copenhagen concert has been rumoured among the fans but never materialized until now making this album a historical augmentation of Hodges’ discography.

Korean-born New York based jazz vocalist/pianist/composer Soyoung Park presents her debut album on SteepleChase which starts with a phenomenal rendition of “Baker’s Mood”. Park studied at Berklee College of Music. She then finished her Master’s degree at Manhattan School of Music. Park received Korean singer-songwriter title in Yoo Jaeha Music Award in 2007 and was named a top 6 finalist in 2016 Mid-Atlantic Jazz Voice competition. She was semi-finalist in 2016 Montreux Jazz Voice competition.

I met Toots Thielemans in the summer of 2008 at a concert in Skåne, Sweden. Pleasantly polite, he asked if I wanted to play something for him. He said, “Play the blues in C.” He had me play the blues several times, adding a new challenge of music theory each time. After a while he appeared satisfied, chuckling and giving me a pat on the back. I was happy and thought “Wow, I passed the Toots jazz test!” After that we had some ice cream and coffee. We talked about the art of improvisation and harmonica technique, and Toots recounted memories of his long career. He made all his stories come alive with intensity. It was an enchanting afternoon that I’ll never forget.

For me, Toots is the ultimate musician. As with his storytelling, his playing is intensely alive. Few musicians play with the kind of love, playfulness and dynamism that he puts into his music. The floating rhythm, the lyrical playing and his way of communicating with and within the music put him in a class of his own. He moves with confidence between genres, different ensembles and instrumentations, and his tone reveals a unique timbre; a few notes are enough to let you know it is Toots who is playing. Toots has inspired me to be unafraid as a musician. Daring to mix genres, daring to play any tune, as long I do it with the joy of discovery in the moment. Daring to enter new groups and constantly learn more. And perhaps most importantly, seeing that communication with my co-musicians and the audience is what brings life to the music. This album is my thanks to Toots, for the inspiration he gave and continues to give me each time I hear his music. - Filip Jers

JOYFUL NOISE. the product of a tremendous collaboration and the confluence of a range of musical currents. In 2021, Challenge Records gave me the opportunity to conceive and produce a new CD. I had previously completed a project with the Ravelli Brass septet and ace drummer Arie den Boer. My roots are in the world of brass bands and I really wanted to let those roots shine through.

A brand new recording by Supertramp saxophonist John Hellweill: Our selection of tunes is based on strong melodies from the fields of folk, jazz, rock, pop, and originals by Jasper and me. I suggested that we play three Supertramp tunes, as a lengthy part of my musical life has been centred around the music of Rick Davies and Roger Hodgson. I first heard Don’t Ever Leave Me played by Keith Jarrett. It’s such a beautiful, short and poignant melody that we decided to play four versions and have them act as “bookends” for our music. If you enjoy listening to this music half as much as we enjoyed playing it, our labours of love have succeeded!

Max Light the runner-up in the 2019 Herbie Hancock Institute of Jazz International Guitar Competition judged by, among others, Pat Metheny and John Scofield is fast establishing himself in the New York jazz scene. This is his first leader album on SteepleChase. While he was studying at New England Conservatory in Boston he was a regular member of the Jason Palmer group. Light’s crucial contribution to that group is documented in the two volumes of Palmer’s At Wally’s (SCCD 31855 & 31856) from 2018. During his days in Boston he also became a close collaborator of saxophonist Noah Preminger with whom he co-led “Songs We Love” (SCCD 31928). “The surprise is new young guitarist Max Light. Palmer gives him generous space, including some first solos. Light holds his own in fast company. Remember his name.” (Thomas Conrad – NYCJR on At Wally’s)

Nate Radley’s previous release “Puzzle People” (SCCD 31921) intrigued and surprised critics and listeners alike with the unique selection of repertoire and Nate’s sheer joy of playing that came across. On this his first duo recording with long-time colleague, pianist Gary Versace, Radley displays his penchant for creating a richly involving soundscape. “Nate Radley…is happy to venture outside the lines to explore music he enjoys playing, no matter the genre or style…” (Ken Dryden – NYCJR)

Since 1966 the SWR NEWJazz Meeting, the legendary sound laboratory for improvised music brings together musicians so that they can develop their creative ideas free from the constraints of daily business. For four days, this arrangement creates a free space for experimentation, with the aim of developing a concert programme that is then presented on a tour throughout the broadcasting area.
The 2021 edition gave the then 23-year-old American vibraphonist Sasha Berliner the opportunity to put together her own dream band. Five musicians from New York and Los Angeles who had never played together in this line-up before, but had always wanted to: Kalia Vandever on trombone and electronics, Matt Sewell on guitar, Max Gerl on double bass and Michael Shekwoaga Ode on drums.
2020 Sasha Berliner was first woman to be voted number one in the “Rising Star Vibraphone” category by the critics of the American jazz magazine Down Beat. At the time, she was 21, which made her the youngest person in the history of the poll ever to attain this honor. Today, Berliner is a formative presence in Brooklyn’s young creative scene, firmly grounded in the experimental music world on the one hand and deeply rooted in the jazz tradition on the other. She studied with Stefon Harris at the New School for Jazz and Contemporary Music. Since 2018 she has been a member of the sextet of the visionary drummer and composer Thyshawn Sorey.

To invent new stories and share them… The birth of this trio took place at the crossroads between the lives and experiences of the three artists. Apart from the friendship they shared, and the admiration they already had for each other, the very existence of this trio seemed to be an unavoidable encounter, a confrontation that they’d all been hoping for. Taking a strong, common vision of jazz and improvisation as their starting point, they off er music that is resolutely modern and uncompromising. It makes them an exceptional trio, and here they invite listeners to follow them through these «New Stories», all of them subtle chapters in a book that shows their commitment. Patrick FRÉMEAUX

William “Count” Basie (1904 – 1984) had a long successful career over a span of six plus decades leaving an enormous legacy in the history of jazz. The existence of this live recording from Copenhagen in 1962 has never been public, not even in the most extensive bio-discography by the late journalist/author Chris Sheridan. The concert here was a part of Basie’ New Testament Orchestra’s frequent European tours in the late 50’s and early 60s, an era that’s called The Atomic Period.

It is safe to say that the latter half of Dexter Gordon’s European years (1961-1976) found him most inspired and productive. This album recorded in a Copenhagen studio in September of 1975 precedes to Gordon’s most publicised homecoming to the States. With his favourite rhythm section of Montoliu, NHØP and Billy Higgins Dexter is in his pinnacle. It is also noteworthy to know that this is the only studio recording Dexter Gordon and the formidable Catalonian pianist made together. “... Today, more than 30 years after he made his first dates for Savoy, he is playing better than ever... From the opener, Billie’s Bounce, the record settles into a beautiful groove and the interest never lets up...” (Mike Hennessey, Jazz Journal International) “…Almost all Nils Winther’s Danish SteepleChase label releases have been better than the CBS albums, and this is certainly no exception.” (Michigan State News) 180g Audiophile Vinyl

John Hart’s collaboration with SteepleChase started in 2016 with sideman role on the late alto saxophonist Andy Fusco’s Turmoil (SCCD 31843). The guitarist/composer/educator Hart since has kept releasing a barrage of highly acclaimed leader albums. On this his fifth outing he has assembled an impeccable quartet featuring Rich Perry on tenor and Brian Charette on B-3. “This album is filled with understated jazz of a very high order. Well worth a listen,” (M. McKergow – London Jazz News on SCCD 31910 Checkmate)

On all his 10 SteepleChase albums including this quartet recording Rathbun the composer-arranger is the major component giving each album a distinct musical as well as philosophical concept. “The Speed Of Time” is about his unique perception of time during and after the pandemic era, which he describes eloquently in his liner notes. “Since his debut as a leader in 1999, Andrew Rathbun has developed into one of the compelling saxophonists and composers of his generation.” (Ken Dryden-NYCJR)

The leader of this album pianist/composer/psychiatrist David Janeway has been playing an active role on the New York jazz scene for the past four decades leading a handful of different ensembles. This album made available after 30 years from the recording testifies David’s timeless and compelling ability of music making. “A skilled composer and pianist capable of creating music that is imaginative, sensitive and often exciting.” (David Franklin-Cadence)

Magnificently iconic tenor player to come out of the post-Swing Era Eddie Lockjaw Davis (1922-1986) cut two albums for SteepleChase during his late years. This album was recorded in 1983 in Copenhagen, which earned superlative reviews all over the world. “Tenorman Eddie "Lockjaw" Davis had already been a potent force in jazz for 35 years when he recorded this set but as it turned out his SteepleChase date (his next-to-last session) was one of the strongest of his career. Accompanied by a trio led by pianist Kenny Drew, Lockjaw really tears into these standards which are highlighted by "I Only Have Eyes for You," "There Is No Greater Love" (the alternate version was released for the first time on its CD reissue), "Four" and the title cut. Davis was at the peak of his powers during this recording, making this SteepleChase outing one of his very best.” (Scott Yanow – AllMusic) “Nothing valedictory about this date. No signs of decline. It’s hard to believe it was Jaw’s last album as a leader. Just the thing if you didn’t miss your water until your well went dry.” (Cadence) 180g Audiophile Vinyl

“An album of straight-ahead, swinging music” was something Alex Norris had in mind when he went into studio in the fall of 2020 to record his highly acclaimed SteepleChase debut album “Fleet From The Heat” (SCCD 31918). Here on his second album Norris continues with his theme of “straight-ahead with a lot of swinging” offering us a thoughtful and enticing contemporary hard-bop album. “Trumpeter Alex Norris has a way of making this record sparkle right out of the box” (Dusty Groove on SCCD 31918)

Tenor saxophonist/composer/band leader/educator Jimmy Heath (1926-2020) co-led the famous Health Brothers in the late 70s with the elder brother Percy (on bass) and younger brother Tootie Heath (on drums). He also led big bands and his own groups. For this 1991 New York recording Jimmy Heath brought his long-time working group including younger brother Tootie Heath. “Heath the storyteller is the focus on this recording. He blows at top form…He filles his solos with bluesy strums, slaps and whines…needs little encouragement to blow his best. Solid.” (David Dupont-Cadence on You’ve Changed SCCD 31292) 180g Audiophile Vinyl

This double-featured opening concert (preceding Gerry Mulligan Quartet – SCCD 36506) of May 21, 1959 at Falkoner Centret in Copenhagen could not escape being conceived as “incompatible” for the huge stylistic difference between the first half of the program by the front-runner of jazz’s free improvisation Jimmy Guiffre and the latter part by Gene Krupa, the top drummer of Swing Era. The evening’s audiences, however, were treated to a perfect showcase of multifaceted jazz of the mid - 20th century.