This first volume of a SteepleChase jam session series, set to run to more than 20 CD releases, brings together three tenor saxophonists (who, incidentally, double effectively on other instruments) and an excellent rhythm section who combine expertly in a most stimulating session. (from Mark Gardner's liner notes)

Here's the second entry by the inventive and melodic tenor of Jed Levy on the label. Jed's long-time association with the late Jaki Byard clearly evidenced in the creative way he leads this superb quartet

What modesty forbids Harold Danko from saying is that he interprets and handles this diversity of material in a most personal and refreshing manner which would surely please the composers, who also were/are all working instrumentalists. The Danko/Formanek/Hirshfield coalition is a unit that functions with unanimity. While Harold may have opted for a solo piano approach his two companions worked beautifully around that stance to achieve a wholly integrated blend. (from Mark Gardner's liner notes)

Between 1992 and 1998, trumpeter Brad Goode recorded many of the club dates he played in Chicago. Most of these featured the eminent tenor saxophonist Von Freeman with Brad, other guest soloists and various rhythm sections. Scores and scores of hours of potent music were documented and from that vast "live" archive Mr Goode and SteepleChase producer Nils Winther have selected the cream for this series of "Inside Chicago" jazz CDs of which this is the 3rd volume.

Between 1992 and 1998, trumpeter Brad Goode recorded many of the club dates he played in Chicago. Most of these featured the eminent tenor saxophonist Von Freeman with Brad, other guest soloists and various rhythm sections. Scores and scores of hours of potent music were documented and from that vast "live" archive Mr Goode and SteepleChase producer Nils Winther have selected the cream for this series of "Inside Chicago" jazz CDs of which thi s is the 4th volume.

A very special evening for both the performers and listeners would ensue; Rich was really “on” from the first to last notes played, and everyone present was “in the zone” with him. It is interesting to me that the music came off as well as it did, since much of my time in the days before the concert was spent in the administrative and promotional trenches. I had fully intended for the group to rehearse with Rich and to stick in a tune or two of mine, but as luck would have it there were many last minute things to take care of as well as a surprising lack of local publicity for Rich’s appearance. (from Harold Danko's linernotes)

A Walk in the Centerpoint

“Don Friedman is probably playing better now than at any other period of his splendid career. Maturity has brought a deepening of emotional expression, a refinement of touch and the knowledge of exactly how much he wants to say within a given performance……On this beautifully conceived and executed CD, Don is in the bright company of three musicians who share his aims and ideals, and hold true to the tenets of balancing spontaneity with organisational clarity and discipline…” (Mark Gardner – linernotes)

“…a first class young musician, …an intelligent, possibly major talent …” (Jazz Journal) “ …impressive leader debut …a fully formed stylist, …a writer of substance.” (JazzTimes) “…Ambrose passes all test with four stars…” (Dick Bogle) “…Ambrose is a star on the rise…”(CD Review) Ari Ambrose collected tons of praises from the jazz critics all over the world for his gutsy debut album of pianoless trio format. On his sixth album here, Ari formed a pianoless and tightly knit quartet “ by four jazzmen, characterised by their willingness to test and stretch their individual and collective imaginations to the limits in the cause of making resilient music”.(Mark Gardner)

Classical Music

“…This is jazz of today but played in the spirit of the music's history and with an awareness of its best traditions. Jamming lives!” (Mark Gardner) CD Review’s Rick Finlay wrote, “…SteepleChase’s series of jam sessions drawing together the cream of the contemporary jazz world makes a refreshing change these days.”

“…Dave Ballou, Greg Gisbert and Scott Wendholt pooled their considerable instrumental resources to fashion the fifth session in the SteepleChase landmark series documenting where contemporary jazz and some of its most distinctive voices are at these days. The contents of this CD, its predecessors and the sets to come suggest, most emphatically, that the music and its proponents are in fine shape and good heart…”. (Mark Gardner) On previous SteepleChase Jam Session series, CD Review’s Rick Finlay wrote: “…SteepleChase’s series of jam sessions drawing together the cream of the contemporary jazz world makes a refreshing change these days .…. highly recommended.”

Though Ted Brown co-led a CD (“Dig-It” SCCD 31466) with Lee Konitz in 1999, this is the first leader album in some 15 years for this legendary tenor stylist from the Lennie Tristano school. “ Ted has been an uncompromising individualist throughout his stop/start career. From an early age he realised and recognised the importance of following his own path in music. He refused to be thrown off course or swayed by commercial or fashionable considerations. Consequently his playing has retained a personal quality absent from the legions of saxophone clones lacking the courage of their own convictions.” (Mark Gardner)

40 years ago Bill Evans and Jim Hall recorded two brilliant duo albums called “Intermodulations” and “Undercurrent”. Andy Laverne and John Abercrombie whose collaboration dates back to the late 1960s have been inspired by the Evans-Hall recordings and have been experimenting with the format. Andy LaVerne remarks, "Over the years we have collaborated as a duo many times in concerts, club dates, workshop sessions. I guess Bill and Jim set a wonderful example to us of what could be achieved by the piano/guitar instrumentation”. This CD, though it is neither re-creation nor copying of the original material, is an evolution of the predecessors. have been inspired by the Evans-Hall recordings and have been experimenting with the format. Andy LaVerne remarks, "Over the years we have collaborated as a duo many times in concerts, club dates, workshop sessions. I guess Bill and Jim set a wonderful example to us of what could be achieved by the piano/guitar instrumentation”. This CD, though it is neither re-creation nor copying of the original material, is an evolution of the predecessors.

The collaboration between Duke Jordan and SteepleChase in the 70s represents a major body of Duke Jordan’s creative output both as performing artist and as composer. Duke led his regular trio with Wilbur Little and Dannie Richmond during the extensive Scandinavian tour in the autumn of 1978. This release is from the concert at the Art Museum at Høvikodden, Norway, filled with Duke Jordan’s melodic magic.

A sequel to the much acclaimed “Quartet Music” (SCCD 31513) features again pianist/leader Michael Cochrane’s first class treatment of the carefully chosen material for the quartet. Jack Bowers of Cadence magazine commented on the previous release: “…Cochrane, Malach, bassist Calvin Hill and drummer Jeff Hirshfield play them with remarkable ease and assurance, uncovering the beauty and charm in every number without ever appearing to be working at it. Quartet music at its best.”

Introducing a new talent has always been a major and satisfying incident for SteepleChase. The list of artists whose debut albums it produced includes Doug Raney, Niels-Henning Ørsted Pedersen, Andy LaVerne, Hilton Ruiz, Joe Locke, Kevin Hays, Larry Willis, Rick Margitza, Rich Perry just to mention a few. The latest addition, saxophonist Joshua Douglas Smith is just turning 21 and studying jazz and economics at New York University. Joshua and his fellow NYC students formed this group and within a short time they began to display extraordinary levels of creativity. “Joshua Douglas Smith and his three contemporaries…make an impressive debut here and in doing so indicate a bright and optimistic future for jazz.” (Mark Gardner)

Harvey Siders in his JazzTimes review (Dec. 2002) of the first release (“Match Point” SCCD 31517) of this group concluded his writing by remarking, “Here’s hoping this two-year-old combo stays together.” Ron McClure Quartet does stay together, performing in and around New York area and dedicates another superb album here “For those affected by the tragic events of the recent past, we dedicate our music and express our hopes for a long overdue Age of Peace on our Earth”.(Ron McClure)

Classical Music

Dizzy Gillespie and Charlie Parker, the two pillars of bebop are the inspiration behind Louis Smith’s new album «Louisville» with the sequel title to his Blue Note release some 45 years ago «Smithville». On his earlier release with bebop theme “The Bopsmith” SCCD 31489 JazzTimes’ Greg Robinson wrote, “This is an enjoyable album of first-class modern bebop. Tumpeter Smith ... is a refined player who combines the jubilant flourish of Clifford Brown with a straightforward lyricism of Kenny Dorham ... Smith has a pleasant, compact tone and an ample reservoir of ideas ...”

Here’s the 11th output by the pianist whose steady collaboration with this label was described by the Penguin Guide to Jazz on CD as “The move to SteepleChase has been nothing but positive for Danko. Producer Nils Winther has an intuitive feel for piano players and he gives Harold a well-rounded, spacious sound that enhances his increasingly positive and resonant playing.” Trilix comprises nine jazz compositions including Duke Jordan’s classic “Flight To Jordan” immaculately performed.

Classical Music

Martin Jacobsen 36, a new Danish saxophone star lives in Paris and performs there as well as in all the major cities of Europe. His quartet featuring American guitarist Doug Raney has been enjoying great reception wherever they played. “… Two acclaimed musicians …performed with a quartet de luxe, have chances to surprise many a listener!” (Jazz Valley, France) With this his impressive debut album we all have chance to hear how one of the most current and brilliant jazz groups in European continent sounds.

After a short stay in New York, Dexter returned to his favourite city of Copenhagen in June 1965 and resumed his career’s best and most productive period. This is the first volume of magnificent live performances from Dexter’s favourite club “Jazzhus Montmartre” in 1965.

Two veterans of bop, trumpeter Louis Smith and saxophonist Billy Mitchell joined by the young lion Mark Turner make the 7th volume of “this essential documentation of jazz” an inspired recital. For Billy Mitchell this was his last recording session. “Billy Mitchell was a dignified hero right to the end, and his playing here will stand as a fitting memorial to his resilient talent.” (Mark Gardner). JazzReview’s Rick Finlay wrote, “…SteepleChase’s series of jam sessions drawing together the cream of the contemporary jazz world makes a refreshing change these days.”