New York’s ace trumpeter Joe “Mags” Magnarelli’s third outing on SteepleChase is condensed to a quartet format with trumpet as the sole frontline giving the leader new dimension and depth to define his voice. His previous release (SCCD 31939 New York-Osaka Junction) received enthused remarks “…he is particularly outstanding, demonstrating a brilliant clarity that could be called the height of sophistication.” (Catfish-Records, Japan) and “Magnarelli has always been a jazzman-of-all-work, good in small groups like this one and great at starring in big bands and he's on fire here” (JazzWise-Peter Vacher UK)

Many of us old-timers remember George “Big G” Coleman in the late 50s and 60s performing with almost every single legendary name in that golden era of American jazz, a.o. Miles Davis. Coleman who turns 90 this year is still going strong and surrounds himself with the elite artists of younger generation including the leader of this album Brian Charette (Hammond-B3). This album can be seen as the sequel to 2018’s “Groovin’ With Big G” (SCCD 31857) again with Charette in charge of keeping the music flowing. “This is a mellow date, a blowing date to be sure but Charette’s B-3 rarely goes the funk route and is closer to Wild Bill Davis. Coleman’s tenor is as strong as ever and while not aggressive, it is still forceful.” (Papathomas on SCCD 31857)

With sounds that whistle deep blue and remind you of the blues - the origins of jazz? - in his new composition Robin Verheyen takes colors from Jean Fouquet's 'Madonna' and assigns them to his tenor and soprano, the three musicians of the Goeyvaerts String Trio and the 88 keys of Marc Copland's piano.

If you make a new album you should call it: DREAM SEQUENCE!� I hope 'Dream Sequence' brings you into a personal space of sound, groove and beauty.

Duke Jordan (1920 – 2006) was approached in NY by Marcel Romano, musical consultant of the French film Les Liaisons Dangereuse directed by Roger Vadim in 1959 to audition for the soundtracks. It laid down the groundwork for Jordan’s rise to the star composer status. All too famous “No Problem” is not included in this sketching but a few of the tunes we come to appreciate later are here in their prototypes. This recording made in a NY studio has never been heard (except maybe by Vadim). SteepleChase is proud to announce the world premier release of the album of cultural/historical significance.

A Certain Darkness Is Needed to See the Stars" (38:51 min.) is an energetic, minimal, polyrhythmic composition. It was played on a single prepared drum set (with aluminium foil), without any loops or overdubs. Time and form dissolve as loops and repetitions take hold. The piece expands and contracts. It changes texture while still maintaining a steady pulsating fluidity. The listener is forced to cede control and relax into it. You never know how long any given theme will stay the same, nor what will follow.

Markus Burger: It has been a joy to work with such an extraordinary ensemble-my long-time duo partner, Jan von Klewitz, and the legendary rhythm section of Peter Erskine and Bob Magnusson. Together, we've created music that reflects the landscapes, people, and moments that have shaped me. This album was recorded after a memorable tour through Alaska and the Pacific Northwest, and those breathtaking regions undoubtedly influenced the music.

For All We Know is the pure document of a magical concert evening in the LOFT in Cologne: without cuts and without any subsequent embellishment.�A piano trio that plays standards, including ubiquitous ones such as "Stella By Starlight" and "Body and Soul": a case of decent, basic jazz? By no means! "We're really creating weird stuff," pianist Thomas Ruckert said. Weird, because it is completely detached from the usual conventions of standard interpretation.

The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.

Emmalisa Hallander, vocals Filip Ekestubbe, piano Niklas Fernqvist, bass Henrik Jaderberg, drums Daniel Migdal, violin 1 Jonna Simonsson, violin 2 Riikka Repo, viola Amalie Stalheim, cello Special guests Peter Asplund, trumpet & Per Texas Johansson, saxophone

On April 24, 2025, Storyville Records release Peter Vuust Quartet's brand new album Homage, their seventh album, recorded in January 2024 at the legendary Nilento Studios in Gothenburg, Sweden. This marks the quartet's first instrumental album in over two decades. The quartet features award-winning bassist, composer, and neuroscientist Peter Vuust, known for his unique ability to blend the complexity of jazz with a scientific understanding of music. In addition to his success as a musician, Vuust is widely recognized as a neuroscientist specializing in the impact of music on the brain. His creative vision and musical insight drive the quartet's sound and this new album. Joining Vuust are Swedish piano icon Lars Jansson, Danish top-streaming saxophonist Claus Waidtlow, and prolific drummer Morten Lund. The album is a heartfelt tribute to the power of music and the legendary figures who have shaped it's history. With a collection of new compositions by Vuust, Homage captures a dynamic interplay of rhythm, melody, and emotion. The recording session brought together four of Scandinavia's most celebrated jazz musicians in an intense yet joyful creative process, resulting in a collection of pieces that balance intricate musicianship with expressive depth. Beyond it's artistic excellence, Homage serves as a showcase for the exceptional talents of the quartet. Pianist Lars Jansson, a pivotal figure in Nordic jazz and a member of Peter Vuust Quartet since 1996, delivers performances that blend introspection with virtuosity. From the introspective piano openings on Homage to Keith and Monday to his brilliant virtuosity on more energetic tracks like Finca La Huerta and Oh, Jaco!, Jansson's playing is a cornerstone of this album. Saxophonist Claus Waidtlow, one of Europe's most accomplished tenor and soprano saxophonists, brings power and melodic sensitivity to the album. His recent success with widely streamed Danish jazz albums attests to his global reach and influence. Drummer Morten Lund, among the most versatile and sought-after percussionists of his generation, provides the rhythmic foundation that ties the album together, seamlessly transitioning between energetic grooves and delicate textures. The Homage recording session was marked by a unique synergy between the musicians, culminating in a deeply cohesive album that resonates with listeners on multiple levels. As Morten Lund remarked after hearing the final mix, "This is the best we've ever made, Peter." With Homage, Peter Vuust Quartet offers a vibrant and expansive musical statement-one that pays tribute to jazz legends while embracing forward-thinking composition and performance.

A delicate beginning and a deeply romantic start. The warm, concentrated sound of the opening captures us and takes us along into a multi-faceted, extraordinary debut album.� "I might not be a virtuoso who has this broad base. But what really matters to me is something else. What appeals to me musically is not defined by virtuosity or technique. If something is extremely well done, if it is technically very good, I find it admirable. But I am touched when someone conveys honest emotions. These are often pieces that are not particularly complicated."

Using different settings and combinations of saxophone, modular synths, EWI, drums and electronics, Jeroen and Stephane experience live music in an interactive context. The multiple horns, overdubs, drums and electronics are the platform for exhilarating dialogues about themes and metrics. The result is both heady and groovy, music that can be analyzed or danced to.

Storyville Records proudly presents the previously unreleased live double album, Michel Petrucciani Trio - Jazz Club Montmartre - CPH 1988, by the legendary French pianist Michel Petrucciani. Recorded during a memorable performance at Copenhagen's Jazzhus Montmartre on July 3rd, 1988, the album captures Petrucciani in the company of two jazz icons, Gary Peacock on bass and Roy Haynes on drums. While the trio only came together for a brief European tour in the summer of 1988, the chemistry they shared on stage was undeniable. The trio, propelled by a studio session the previous autumn, radiates synergy, as they explore six of Michel's original compositions with a sense of grace and spontaneity. On this recording, listeners will rediscover Petrucciani's unique lyrical universe, as well as his reverence for modern jazz icons, paying tribute to Bill Evans, Keith Jarrett, and Paul Bley with special arrangements of classics like Someday My Prince Will Come, Mr. K.J. and Turnaround. From the explosive energy of She Did It Again to the introspective beauty of Autumn Leaves, Petrucciani's virtuosic playing reveals a rare sense of urgency, joy, and an unrelenting passion for life. As Gary Peacock and Roy Haynes were at the height of their careers-Haynes playing with Chick Corea and Peacock with Keith Jarrett-they were drawn to Petrucciani, recognizing the greatness of his artistry. Together, they formed a trio, bound by a shared intuition and respect for one another, and this performance at Montmartre is a testament to that fleeting moment of jazz brilliance. This concert took place at the midpoint of Petrucciani's meteoric career, 12 years after his Paris debut and 11 years before his untimely passing. Despite the physical challenges posed by glass bone disease (osteogenesis imperfecta), Petrucciani's fierce determination, boundless love for music, and infectious laughter inspired all who knew him. Now, more than 35 years after that magical evening in Copenhagen, we invite listeners to close their eyes and step back in time. July 3rd, 1988.it could have been last night, or it could be tomorrow morning! A monument over one of the most creative and joyful pianists in jazz ever!

Storyville Records proudly presents the previously unreleased album, Michel Petrucciani Trio - Jazz Club Montmartre - CPH 1988 on two separate vinyl LPs containing the first and second set, by the legendary French pianist Michel Petrucciani. Recorded during a memorable performance at Copenhagen's Jazzhus Montmartre on July 3rd, 1988, the albums capture Petrucciani in the company of two jazz icons, Gary Peacock on bass and Roy Haynes on drums. While the trio only came together for a brief European tour in the summer of 1988, the chemistry they shared on stage was undeniable. The trio, propelled by a studio session the previous autumn, radiates synergy, as they explore six of Michel's original compositions with a sense of grace and spontaneity. On these recordings, listeners will rediscover Petrucciani's unique lyrical universe, as well as his reverence for modern jazz icons, paying tribute to Bill Evans, Keith Jarrett, and Paul Bley with special arrangements of classics like Someday My Prince Will Come, Mr. K.J. and Turnaround. From the explosive energy of She Did It Again to the introspective beauty of Autumn Leaves, Petrucciani's virtuosic playing reveals a rare sense of urgency, joy, and an unrelenting passion for life. As Gary Peacock and Roy Haynes were at the height of their careers - Haynes playing with Chick Corea and Peacock with Keith Jarrett - they were drawn to Petrucciani, recognizing the greatness of his artistry. Together, they formed a trio, bound by a shared intuition and respect for one another, and this performance at Montmartre is a testament to that fleeting moment of jazz brilliance. This concert took place at the midpoint of Petrucciani's meteoric career, 12 years after his Paris debut and 11 years before his untimely passing. Despite the physical challenges posed by glass bone disease (osteogenesis imperfecta), Petrucciani's fierce determination, boundless love for music, and infectious laughter inspired all who knew him. Now, more than 35 years after that magical evening in Copenhagen, we invite listeners to close their eyes and step back in time. July 3rd, 1988 it could have been last night, or it could be tomorrow morning! A monument over one of the most creative and joyful pianists in jazz ever! BIOGRAPHY Michel Petrucciani (1962-1999) was one of the most brilliant pianists to emerge from Europe's jazz scene. Despite his short stature due to glass bone disease, he rose to international acclaim, performing with the likes of Charles Lloyd, Wayne Shorter, Joe Lovano, Tony Williams, Stephane Grappelli and many other greats. Known for his lyrical style, rhythmic power, and infectious joie de vivre, Petrucciani's legacy continues to enchant listeners around the world.

SteepleChase proudly presents the 2025 audiophile reissue of Jaywalkin', the iconic 1976 album by legendary Danish jazz bassist Niels-Henning Ørsted Pedersen. Known for his impeccable technique and rich, resonant tone, Pedersen’s playing on this album is nothing short of masterful.Remastered from the original analog tapes for unparalleled sound clarity 180g heavyweight vinyl with exclusive new liner notes exploring the album’s legacy and Pedersen’s virtuosity by bassist and NHØP biographer Thomas Ovesen Featuring Philip Catherine on guitar, Ole Kock Hansen on electric piano, and Billy Higgins on drums, Jaywalkin' is a dynamic blend of swing, bossa nova, and intricate jazz improvisation. The title track "Jaywalkin'" stands as one of Pedersen’s finest performances, showcasing his effortless command over rhythm and melody. A Must-Have for Jazz Collectors

Chicago’s grand tenor man Earle Lavon "Von" Freeman Sr. (October 3, 1923 – August 11, 2012) was a revered and most loved elder of the jazz scene in the Windy City. Von has been on producer Nils Winther’s top priority list of the musicians he wanted to record. The dream came true in the late spring of 1992, when Von was 72. Von’s powerful tenor is tastefully supported by his trusted rhythm section of Jodie Christian (piano), Eddie De Haas bass) and Wilbur Campbell (drums).. “This is an excellent introduction to the Chicago style of tenor playing and to four extremely creative musicians at their peaks.” (Cadence)

“...Witchdoctor’s Son contains the most infectious, buoyant, gleeful music...the interaction between Pukwana and Tchicai’s vastly differing phrase sensibilities is one of the joys of this recording...” (Lange, Down Beat) “...from Dyani’s most consistently inventive period...” (The Penguin Guide To JAZZ) The timeless brilliance of jazz with the remastered edition of Johnny Dyani's Witchdoctor's Son, originally recorded in 1978 brings together musicians from South Africa, Denmark, and Brazil, blending their unique styles with the rich heritage of American jazz. The presence of John Tchicai, a stalwart of the New York jazz scene, adds depth to this remarkable record. The music is deeply rooted in South African traditions, with themes composed by Johnny Dyani and Dudu Pukwana, and traditional tunes arranged by them. The spirit of Africa, especially the Xhosa world, is a constant presence throughout the album.

The two-time winner of Grammy Awards, alto saxophonist Gary Bartz (b. Baltimore, Sept. 26, 1940) studied music at the Julliard School in New York. He then worked with many prominent players like Max Roach, Art Blakey, Blue Mitchell, McCoy Tyner in the 60s. His international fame came when he joined Miles Davis in the early 70s. He made his SteepleChase recording debut with Jackie McLean in 1973 (“Ode To Super” SCCD 31009). 15 years later he went into a studio in Copenhagen with the band he was touring with in Europe (except Butch Lacy replacing Joanne Brackeen on piano) to make this second album for SteepleChase. Bartz received the BNY Mellon Jazz 2015 Living Legacy Award. He is Professor of Jazz Saxophone at Oberlin College. “…one of the best of Bartz’ recent releases, while it emphasizes leader’s powerful playing, the well-balanced ensemble performances are quite enticing.” (Sato – Swing Journal on SCS 1234)

Tommy Flanagan was known for his tasteful, flawless and swinging piano playing. He added class to every session that he was involved with and fortunately it was well documented during the latter part of his career. Solo Piano was not initially released until decades after it's 1974 recording. It is significant historically because this outing was the pianist's first recording as a leader in 13 years and, most importantly, because it is very good music. Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan's "comeback" began with 1975's The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977's Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist. It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist. When swing was succeeded by bop as jazz's modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer "dropping bombs, " while their right plays hornlike lines. That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of Sleeping Bee. On swing-oriented numbers such as Isn't It Romantic, Sleeping Bee and Yesterdays, Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over it's chord changes. He follows those classic songs with an infectious version of Stompin' at the Savoy that manages to sound both vintage and modern. To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie's Con Alma, Tadd Dameron's If You Could See Me Now, and Thelonious Monk's Ruby, My Dear) before ending the set with a joyful rendition of Lover. By the time Tommy Flanagan left Ella Fitzgerald's backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy.

This box set brings together four CDs capturing Avishai Cohen's formative years, recorded between 1998 and 2001-a pivotal era shaped by his collaboration with Chick Corea. Adama (1998) introduces a bold fusion of contemporary jazz and Middle Eastern traditions. Devotion (1999) reveals a more introspective and spiritual voice, enhanced by strings and vocals. With Colors (2000), Cohen embraces a synesthetic approach where harmonies and rhythms evoke vivid imagery. Unity (2001), finally, fully reflects his vision of a global, socially conscious jazz led by the International Vamp Band.

A une epoque ou la plupart des saxophonistes se coulaient dans l'ombre de Charlie Parker, Lee Konitz, fort de ses convictions, a su se tenir a distance et, irresistiblement, ouvrir les portes d'un univers musical d'une grande modernite en imposant une sonorite lisse et une grande intelligence melodique. Jean-Paul RICARD At a time when most saxophone players were slipping into Charlie Parker's shadows, Lee Konitz - a man of conviction - kept his distance and slowly, irresistibly, opened up the doors to a new universe of music: it was grand and modern, and Konitz imposed upon it a sound that had smoothness and showed great intelligence in it's melody. Jean-Paul RICARD CD 1 (1947-1954) : CLAUDE THORNHILL & HIS ORCHESTRA (Columbia 1947) : YARDBIRD SUITE - LEE KONITZ with LENNIE TRISTANO (Prestige 1949) : SUBCONSCIOUS-LEE - LENNIE TRISTANO SEXTET (Capitol 1949) : WOW - MARIONETTE - DIGRESSION - INTUITION - LEE KONITZ with LENNIE TRISTANO (Prestige 1949) : MARSHMALLOW - SOUND-LEE - MILES DAVIS & HIS ORCHESTRA (Capitol 1950) : MOON DREAMS - LEE KONITZ GROUPS (Prestige 1950) : REBECCA - YOU GO TO MY HEAD - ICE CREAM KONITZ - PALO ALTO - LEE KONITZ SEXTET (Prestige 1951) : YESTERDAYS - HI BECK - LEE KONITZ/BILLY BAUER DUO (Prestige 1951) : DUET FOR SAXOPHONE AND GUITAR - LEE KONITZ with GERRY MULLIGAN (Pacific Jazz 1953) : LADY BE GOOD - LOVER MAN - LEE KONITZ (Vogue 1953) : I'LL REMEMBER APRIL - LEE KONITZ QUARTET (Storyville 1954) : ABLUTION. CD2 (1954-1961) : STAN KENTON & HIS ORCHESTRA (Capitol 1954) - IN A HIGHER VEIN - LEE KONITZ QUARTETS (Storyville 1954) - NURSERY RHYME - FOOLIN' MYSELF - LENNIE TRISTANO QUARTET (Atlantic 1955) : THESE FOOLISH THINGS - LEE KONITZ with WARNE MARSH (Atlantic 1955) : BACKGROUND MUSIC - LEE KONITZ (Atlantic 1956) : ALL OF ME - LEE KONITZ QUINTET (Atlantic 1957) : FOOLIN' MYSELF - LEE KONITZ QUINTET (Verve 1957) : BILLIE'S BOUNCE - LEE KONITZ QUARTET (Verve 1957) : THE NEARNESS OF YOU - GERRY MULLIGAN (Pacific Jazz 1957) : DISK JOCKEY JUMP - LEE KONITZ with STRINGS (Verve 1958) : WHAT'S NEW? - LEE KONITZ meets JIMMY GIUFFRE (Verve 1959) : CORK 'N' RIB - LEE KONITZ (Verve 1959) : YOU DON't KNOW WHAT LOVE IS - LEE KONITZ (Verve 1961) : I REMEMBER YOU. DIRECTION COLLECTION : ALAIN GERBER, TEXTE : JEAN-PAUL RICARD, PRODUCTION DeLeGUeE : JEAN BUZELIN

Fremeaux & Associes, label patrimonial de reference du jazz, a edite aux formats livre et livre audio avec les Presses Universitaires de France un cours de reference sur l'histoire du jazz de Laurent Cugny, professeur emerite a la Faculte des Lettres de Sorbonne Universite (Institut de recherche en musicologie), pianiste et ancien directeur de l'ONJ (Orchestre National de Jazz). Cette anthologie 3 CD selectionnee par l'auteur retrace, en parallele a son ouvrage, la voie parcourue par cette musique qui, des maisons closes de La Nouvelle Orleans, jusqu'aux scenes les plus prestigieuses de la planete, a su devenir la plus savante des musiques populaires de notre dernier siecle. Patrick FReMEAUX Fremeaux & Associes, the leading jazz heritage label, has published in book and audiobook format a reference course on the history of jazz by Laurent Cugny, professor emeritus at Sorbonne University's Faculty of Letters (Institute for Research in Musicology), pianist and former director of the ONJ (Orchestre National de Jazz). This 3-CD anthology selected by the author retraces, in parallel with his book, the path taken by this music which, from the brothels of New Orleans to the most prestigious stages on the planet, has become one of the most popular music of our last century. Patrick FReMEAUX CD1 - DES DeBUTS, AU COOL JAZZ : DEEP RIVER MARIAN ANDERSON - IF YOU SEE MY SAVIOUR THOMAS A. DORSEY - KIND HEARTED WOMAN BLUES ROBERT JOHNSON - MAPLE LEAF RAG SCOTT JOPLIN - TIGER RAG ORIGINAL DIXIELAND JAZZ BAND - CANAL STREET BLUES KING OLIVER - BLACK BOTTOM STOMP JELLY ROLL MORTON - HOTTER THAN THAT LOUIS ARMSTRONG - JAZZ ME BLUES BIX BEIDERBECKE - NEW KING PORTER STOMP FLETCHER HENDERSON - BODY AND SOUL COLEMAN HAWKINS - THESE FOOLISH THINGS LESTER YOUNG - JUMPIN' AT THE WOODSIDE COUNT BASIE - ECHOES OF HARLEM DUKE ELLINGTON - CLARINET A LA KING BENNY GOODMAN - HOT HOUSE DIZZY GILLESPIE - KOKO CHARLIE PARKER - TEMPUS FUGUE-IT BUD POWELL - BOPLICITY MILES DAVIS - THOU SWELL STAN GETZ - I FALL IN LOVE TOO EASILY CHET BAKER - BERNIE'S TUNE GERRY MULLIGAN - TAKE FIVE DAVE BRUBECK. CD2 - DU HARD BOP AU FREE JAZZ (+ JAZZ VOCAL) : OLEO MILES DAVIS/SONNY ROLLINS - MOANIN' ART BLAKEY & THE JAZZ MESSENGERS - JOY SPRING CLIFFORD BROWN / MAX ROACH - SELF-PORTRAIT IN THREE COLORS CHARLES MINGUS - SUMMERTIME GIL EVANS/MILES DAVIS - SO WHAT MILES DAVIS - GIANT STEPS JOHN COLTRANE - INVISIBLE ORNETTE COLEMAN - CRAZY BLUES MAMIE SMITH - BACK WATER BLUES BESSIE SMITH - STRANGE FRUIT BILLIE HOLIDAY - HOW HIGH THE MOON ELLA FITZGERALD - EMBRACEABLE YOU SARAH VAUGHAN - SWEET LORRAINE NAT KING COLE - MY BABY JUST CARES FOR ME NINA SIMONE. CD3 - LE JAZZ EN FRANCE : LONESOME LOVE SICK BLUES JOSePHINE BAKER - PARIS BIGUINE STELLIO - DINAH DJANGO REINHARDT - CHRISTIANA MICHEL WARLOP - SWEET AND BEBOP BORIS VIAN - FLeCHE D'OR DJANGO REINHARDT - STOMPIN' AT THE SAVOY HENRI SALVADOR - ROUND ABOUT MIDNIGHT SACHA DISTEL - ESQUISSE II ANDRe HODEIR - LES OIGNONS SIDNEY BECHET - IN A MIST MICHEL LEGRAND - VERY FATIGUe MARTIAL SOLAL - RAT RACE LES DOUBLE SIX - CUTE MILT BUCKNER / JO JONES - TROC TROC - CRAZY RHYTHM STePHANE GRAPPELLI / CLAUDE BOLLING - 22 MEZOUK ALAIN JEAN-MARIE - MOTHERLESS CHILD GOLDEN GATE QUARTET - TEA FOR TWO DIDIER LOCKWOOD - MINOR SWING NEW QUINTET DU HOT CLUB DE FRANCE - DRUM THING 1 DANIEL HUMAIR - NEW STORIES HERVe SELLIN - SALAMERO LAURENT CUGNY. SeLECTION : LAURENT CUGNY

This live album brings together two legendary Parisian concerts, recorded in 1956 and 1961, that capture all the explosive energy and contagious enthusiasm of a "Lion" at the peak of his glory. These dynamite performances are a testament to the boundless generosity of one of the most formidable entertainers in jazz history, an artist capable of transforming a simple concert into a true show. The listener is carried away by Hampton's infectious enthusiasm and the powerful swing of his big band. It's dance jazz at it's zenith. - Patrick Fr�meaux The Live in Paris collection by Michel Brilli� allows listeners to hear previously unreleased recordings (made at concerts, private-, or radio-sessions) by the great 20th century stars in jazz, rock & roll and song. These "live" takes, and the artists' rapport with their audiences, give these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period. - Patrick Fr�meaux & Gilles P�tard

The Guesthouse is about collaboration, inclusion, and the essence of welcoming which is the essence of an open door. It's my most ambitious project to date, sonically and compositionally. It involves so many incredibly talented people: some are in the front, playing music together with me, offering their insight, time, effort, and love, and some incredibly talented and hardworking people are behind the scenes, facilitating, allowing, and inspiring me to keep pushing forward. Musically speaking, the color palette on The Guesthouse is huge. It introduces many musical guests that I admire deeply: MARO, Immanuel Wilkins, Michael Mayo, and many more. It includes lyric writing for the first time, electronic instruments, guitars, trumpets, flutes, flamenco musicians, in-depth production work, my quartet, solo piano, odd meter explorations, improvisations, songs with no time, strings, two pianos conversing and more and more and more.. I dove as deep as I could into these deep waters. The result is my attempt to turn the creative chaos that lives in mind mind into one coherent artistic statement, always having a simple melody as a thread that tells the story of this collective. Shai Maestro Shai Maestro (b. 1987) is one of the most inventive and influential pianists of his generation. Since debuting with his own trio in 2011, he has developed a distinctive musical voice that is fluid, expressive, and profoundly lyrical. His artistry has made him a defining figure in contemporary jazz, merging improvisation, composition, and global influences into a sound that is both cinematic and deeply personal. Maestro began studying classical piano at the age of five and discovered jazz at eight through the recordings of Keith Jarrett and Oscar Peterson. At nineteen, he joined bassist Avishai Cohen's trio, co-writing the acclaimed Gently Disturbed and performing worldwide. In 2011, he formed his own trio, recording six albums that solidified his reputation as a singular voice in modern jazz. His years with ECM Records, under the guidance of Manfred Eicher, placed him among the lineage of pianists such as Keith Jarrett, Paul Bley, and Chick Corea. With drummer Ofri Nehemya and bassist Jorge Roeder, he recorded his first ECM album "The Dream Thief", later joined by trumpeter Philip Dizack for the second - "Human", both expanding the expressive language of the modern jazz quartet. Today, Maestro continues to evolve artistically with a new quartet featuring keyboardist Gadi Lehavi, drummer Ofri Nehemya, and bassist Jorge Roeder. Gadi, the new wild card in the group, brings a distinctive energy and vision; his presence as another pianist opens fresh possibilities for dialogue, texture, and experimentation between two keyboards. This lineup functions as a powerful, cohesive engine driving Maestro's musical exploration, blending jazz improvisation with modern production into a sound that is organic, cinematic, and forward-looking. In 2025, Maestro signed a long-term partnership with the Paris-based label naive records, a defining milestone that opened an expansive new chapter in his artistic life. The collaboration with naive marked a moment of renewal and bold creative ambition, setting the stage for a period of profound exploration. The first fruit of this partnership was his solo piano album, Solo: Miniatures & Tales. Introspective and deeply personal, it revealed the most intimate side of Maestro's artistry; a work of quiet reflection, nuance, and restraint. This album stands in deliberate contrast to the broader, outward-looking vision of his forthcoming project, The Guesthouse, highlighting the duality at the heart of Maestro's creative world: the tension between introspection and expansion. In March 2026, Maestro will release The Guesthouse, a record that features Portuguese singer MARO alongside Immanuel Wilkins, and Michael Mayo. The album represents a bold leap forward, combining the sensitivity of modern jazz with electronic sound design and the harmonic depth of classical music. The Guesthouse creates a lush, cinematic space where boundaries dissolve, embodying Maestro's exploration of openness and collaboration.