Just in Time, is a long-overdue spotlight on one of jazz’s most quietly influential pianists. Recorded in 1989 with Bob Cranshaw on bass and Kenny Washington on drums, this trio session captures Willis’s lyrical touch, harmonic depth, and rhythmic sophistication in full bloom. Willis’s career began with a voice solo in Aaron Copland’s The Second Hurricane under Leonard Bernstein, but jazz soon claimed him. By 19, he was playing with Jackie McLean and Hugh Masekela, and later with Stan Getz, Cannonball Adderley, and Blood, Sweat & Tears. His style—rooted in Bill Evans, Wynton Kelly, and Herbie Hancock—melds cerebral modernism with soulful hard bop. The album features a mix of standards and originals, including the swinging title track, the introspective “Soul Search,” and the Monk-inspired “T’s Bag Blues.” His Latin-tinged “Te Quiero Mi Hermano” and homage to Herbie Hancock on “One Finger Snap” reveal a pianist deeply attuned to rhythm and tradition. Critic Russ Musto writes, “Considering the pianist’s continuous growth in forty years of playing, I’d say its timing is prime. I’ll take it now. And look to the future for more.” Willis himself praises Cranshaw’s ballad work and calls Washington “perhaps the finest young drummer to come along in a long time.” G1251 is not just timely—it’s timeless. A must-have for collectors and a revelation for new listeners. “…Larry Willis plays piano with style, soul and a constant stream of heart.” (Jerome Wilson, Cadence)

When Producer Nils Winther heard for the first time Kevin Hays at Ron McClure1990 session for SCCD 31279 “Never Forget”, he knew immediately he found an exceptional talent. Hays cut his first leader album for the label three months after the McClure date at the age of 22. His second leader album Ugly Beauty (originally released in 1992) returns here in a stunning 24bit/96kHz remaster as G1297, reaffirming its place as a landmark in the pianist’s early career. Recorded with bassist Larry Grenadier and drummer Jeff Williams, the album marked Hays’s first trio outing—an ensemble format that would become central to his artistic identity. The program blends jazz standards with Hays’s original The Well, showcasing his lyrical touch, harmonic depth, and rhythmic drive. The session captures Hays’s youthful brilliance while foreshadowing the maturity and originality that define his later work. More than three decades on, Ugly Beauty remains fresh, vital, and deeply engaging—a timeless document of three master musicians in inspired dialogue. “Hays’ development will be interesting to watch...” (Cadence) “...Voilà, à coup sûr, un pianiste dont on reparlera..” (Jazz In Time)

A leading drummer and producer, Nate Smith seamlessly blends jazz, funk, R&B, and hip-hop, driven by a groove that is both razor-sharp and deeply musical. LIVE-ACTION quickly made an impact, earning two GRAMMY� Award nominations in the categories of Best Alternative Jazz Album and Best Arrangement, Instruments & Vocals for the track featuring s�je. With LIVE-ACTION Deluxe, Smith expands on the album's live energy, staying true to his organic, hands-on approach while once again collaborating with top voices in contemporary jazz, including Braxton Cook. Nate Smith envisioned LIVE-ACTION as a producer-driven project inspired by the legacy of Quincy Jones. "As a producer, I wanted to activate all the relationships I've built over the past five or six years, especially since the pandemic, many of them through social media," he explains. The album features an all-star cast of collaborators including Josh Johnson and Marquis Hill, rapper JSWISS, guitarists Charlie Hunter and Lionel Loueke, bassists Michael League, Ben Williams, and CARRTOONS, keyboardists DJ Harrison and Keifer, the vocal group s�je, singer Jermaine Holmes, and Lalah Hathaway. Hathaway delivers a standout performance on a bold reimagining of the Pointer Sisters' 1984 classic Automatic, fully reharmonized and reworked alongside Smith. While LIVE-ACTION is highly collaborative, Smith maintains a strong sense of cohesion through intentional creative limitations. "I wanted the record to feel like it was recorded to tape in my bedroom. I limited myself on purpose, using analog gear and the same instruments throughout. I did just two or three takes per part, with no copy and paste or studio tricks. Everything you hear was played live. Nothing is programmed or sequenced." With the release of LIVE-ACTION Deluxe, Nate Smith builds on that momentum, introducing new collaborations and previously unreleased performances while celebrating the success of the original album, which earned two GRAMMY� Award nominations.