Jazz from The Pacific Northwest combines two previously unissued concert recordings from one of the greatest jazz drummers of all-time, Shelly Manne. The first recording features Monty Budwig on bass, Russ Freeman on piano, Stu Williamson on trumpet, and Herb Geller on flute and alto saxophone recorded at the Monterey Jazz Festival on October 4, 1958. The second recording features Hampton Hawes on piano, Frank Strozier on flute and alto saxophone, Conte Condoli on trumpet and guest vocalist Ruth Price on two tracks recorded at the Penthouse jazz club in Seattle on September 7 and 15, 1966.

Born in Detroit in 1932, Dorothy Ashby can be easily recognized as the woman who gave the harp a jazz voice. In her hands, the harp, an originally classical instrument which seemed to just scare people, became a highly versatile swinging voice able to drive a whole jazz rhythm section. Recorded in 1958 by master Rudy Van Gelder and originally released on the Prestige label, Hip Harp is a perfect example of Ashby's artistry. At the head of a fine quartet featuring the great Frank Wess on flute, Herman Wright on bass, and master Art Taylor on drums, Ashby creates a unique combination of deeply jazz elements expressed through a totally new sound.

With Frames, Antoine Karacostas delivers an album of seven compositions and an arrangement of rebetiko, the band's signature sound. In this opus, he drew his inspiration from painting and pictorial as well as musical impressionism, from French composers such as Emmanuel Chabrier. This album is also a reflection on the notion of framework, both the one we find ourselves in and the one we wish to go beyond, in our personal quest for freedom.

Real groups like Empirical are a rarity in contemporary jazz, where musicians so often come together for single projects then disperse again once they are done: groups that endure for fifteen years, without slackening in their quest for the new and the fresh, are all but unheard of.

Recorded live at the Black Hawk, San Francisco in September 1959, “At The Blackhawk, Vol 1” is the first of 4 volumes released in 1960. Featuring six cuts, Manne (drums), is joined by Joe Gordon (trumpet), Richie Kamuca (tenor sax), Victor Feldman (piano) and Monty Budwig (bass). This new edition features remastered hi-res audio from the original tapes.

Paolo, Marco and Dino celebrate the myth of Chet Baker with original tunes and some of his favorite standards. "Tempo Di Chet" is also and especially the intimate and delicate soundtrack of a play dedicated to the legendary Chet Baker.

Juno Award winning saxophonist Mike Murley co-leads his latest release with veteran Toronto pianist Mark Eisenman. The internationally renowned rhythm section of bassist Neil Swainson and drummer Terry Clarke complete the quartet. Murley and Eisenman perform four duo tracks, featuring music from Monk, Strayhorn and two standard tunes. The quartet takes on seven Murley/Eisenman compositions, reflecting the co-leaders’ shared interest in writing new melodies on standard chord progressions (contrafacts). Recent History is mainstream jazz at its best, capturing four of Canada’s most respected jazz artists in top form.

“Rome has something to say.” This is the message trumpeter Francesco Fratini delivers on his sensual, cool-as-can-be debut EP Homemade that dropped on March 11, 2022. The Italian native cut his teeth during a years-long residency in New York, returning to his hometown Rome with a deep love for Black American music, and a desire to lead the way in building up his city’s jazz scene. Working as a collective with longtime friends Giuseppe Romagnoli (bass) and Matteo Bultrini (drums), Fratini has created a set of originals that melds elements of cool jazz, bebop, and hip hop, mixing in a few timeless classics for good measure. It is a debut that puts the rest of the world, New York included, on notice.

On his new album After Hours (2023), Nobel emphasizes the so-called 'American jazz standards' for the first time. His inspiration for this was the 40th anniversary of the Chet Baker Trio's album My Prince Will Come (1983). The line-up of trumpet, guitar and double bass corresponds to the line-up on Chet Baker's album. This combination of instruments invites the tranquil and melancholic sounds that connoisseurs of Baker will recognize. But Nobel, Langedijk and Pol also make plenty of room for swinging jazz.

Indonesia and jazz? Not so far-fetched! Improvisation is a part of traditional gamelan, and modal playing goes back 1000 years; jazz began seriously delving into modes with Miles Davis in the 1950’s. Clarinet icon Tony Scott proselytized jazz during his six-year sojourn in Asia, and in so doing brought Asian music masters, including players on this album, into the jazz world.

Volume 2 of a double-length live set from the legendary Modern Jazz Quartet – recorded in Scandinavia in 1960, almost as a summation of the group's growing genius in the 50s! The tunes are a mix of John Lewis and Milt Jackson originals, plus other songs all given the wonderful MJQ twist – distilled into a sublime blend of piano, vibes, bass, and drums – all delivered with a sense of class, but never too much polish. Titles include "Pyramid", "It Don't Mean A Thing", "The Cylinder", "Round Midnight", "Bag's Groove", and "Skating In Central Park".

European Concert' is perhaps the classic of the Modern Jazz Quartet. The MJQ presented its jazz in a formally structured context, much like a chamber music ensemble in a classical context. This album, perhaps more than any of their studio recordings, illustrates how the band uses concepts of time, space, beat, rhythm and change to weave them into a seamless whole, where melody is the basis of improvisation, but never really constrains it.

"This is the type of album that led many bop purists to criticize the Modern Jazz Quartet (and John Lewis in particular) for being overly influenced by Western classical music. This album has seven of Lewis' compositions, episodic works arranged in a suite that portrays characters from a fictional Italian comedy based in the 1500s. Singer Diahann Carroll guests fairly effectively on "La Cantatrice." Despite being tied to a story, there are some strong improvisations from pianist Lewis and vibraphonist Milt Jackson on this unusual material. The release is not that essential but it is quite interesting." (Scott Yanow, AMG)