"Our Man Benny" is a renowned 2010 jazz album resulting from a collaboration between the legendary American alto saxophonist Phil Woods and the Spanish Barcelona Jazz Orquestra (led by Dani Alonso). It is a profound tribute project dedicated almost entirely to the music and legacy of the legendary composer, arranger, and multi-instrumentalist Benny Carter.

Richie Kamuca (1930–1977) was one of the finest tenor saxophonists of his generation, though never granted the full recognition his artistry deserved. Rising to prominence with Stan Kenton and Woody Herman in the early 1950s, he settled in Los Angeles in 1956 and soon became a leading voice on the West Coast scene, recording and performing with Chet Baker, Shelly Manne, Bill Perkins, Conte Candoli, and many others. Equally at home in big bands, studios, and small groups, Kamuca blended the cool lyricism of Lester Young with the fluent drive of Stan Getz and Zoot Sims, ultimately forging a highly personal style.

Recorded at the Surf Club in Los Angeles in February 1952, these performances capture Art Pepper at the defining moment of his early career as a leader. Having recently left Stan Kenton's orchestra, he found his ideal musical setting in his first great quartet with Hampton Hawes, Joe Mondragon, and Larry Bunker—a group whose freshness, swing, and freedom helped shape the emerging West Coast jazz scene.

In celebrating the enduring impact Oscar Emmanuel Peterson has had on the world since 1925, we must first lift the veil and allow all who have been inspired by his creativity to understand the man at a more intimate level: his vulnerability, his dedication, his passion and his family. Join us for a World Tour of Oscar’s music from 1969 through 1996, accompanied by a behind-the-curtain Tour of Oscar’s World, each aiming to recreate the joy and discovery in examining the legacy forged by a titan of musicianship, friendship and compassion.

Matthew Gee (1925-1979), who belatedly had the opportunity to record this album, “Jazz by Gee!,” his first and only one as a leader, in 1956, was one of many talented jazzmen who earned the solid and lasting respect of his peers without ever achieving the public recognition they clearly deserved. Leonard Feather described Gee as one of the “best and most underrated of bop-influenced trombonists.”

The Modern Jazz Quartet—pianist John Lewis, vibraphonist Milt "Bags" Jackson, bassist Percy Heath, and drummer Connie Kay—stood as paragons of elegance in jazz. They created a sonic world where the formalism of European classical music met the soul and swing of bebop. With precision, grace, and quiet innovation, the MJQ carved out a refined chamber-jazz aesthetic that demanded listening not just in smoky clubs, but in concert halls. Their interplay was conversational, their improvisation disciplined, and their style utterly singular. They were, in the truest sense, architects of a sound that balanced intellect with feeling.

Since there are not that many alumni of Duke Ellington's orchestra active, it is surprising that altoist Norris Turney (who was with Ellington from 1969-1973 and eventually replaced the unreplaceable Johnny Hodges) has not been recorded all that extensively during the 20 years since. In fact, his Mapleshade debut is the 72-year-old's first session at the head of a quartet and the music's obvious success is even more impressive when one realizes that Turney had never played with the other musicians (pianist Larry Willis, bassist Walter Booker, and drummer Jimmy Cobb) before. Norris Turney is a melodic swing player with a large tone and, since the rhythm section is quite supportive and sympathetic, these renditions of blues, ballads, and standards (including his own "Checkered Hat" and three Ellington/Strayhorn pieces) came together rather quickly. Highlights include the lengthy "Blues for Edward," "Blood Count," and "Come Sunday."

The legendary Art Blakey and his Jazz Messengers, live at the 1963 Sanremo Festival in Italy and recorded for posterity by RAI on March 23, 1963.

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.

Reminiscence is an album by Danish jazz drummer Anders Mogensen featuring heavily inspired performances that honour the legendary tenor saxophonist Ben Webster. The project features the classic standard "Willow Weep for Me".

Ray Gelato, a British saxophonist, and Enric Peidro releasing their new album "Exactly Like Us" in a repertoire that merges classic swing with a contemporary touch, featuring two masters of international and local swing who will unleash rhythm and expressiveness. An evening full of swing, elegance, and energy that will attract genre lovers.

The seventh installment in the Songbook Series by the Conrad Paschkudski Trio, dedicated to America’s great composers, is a collection of songs by Irving Berlin.

Guitarist Mike Clement returns to Cellar Music with his new album Polka Dots and Ray Bans. The album captures a wide range of moods; sometimes swinging hard, sometimes deep in the pocket, sometimes smooth, sultry, or quietly sensual, much like a night in his native New Orleans, where the music shifts with the room and the energy in the air.

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.

This album "Tribute to Bud Powell" — is dedicated to Bud Powell, the musician who has been “listening over my shoulder” for years. I was introduced to his music through a bi-communal program in Cyprus called Jazz Futures (2008–2013), where Turkish Cypriot and Greek Cypriot musicians studied together with teachers from abroad. One of my teachers, a great double bassist, once told me: “Every time you sit at the piano, imagine that Bud Powell is above you, listening.” Since that moment, I was listening to my music through the lens of the Jazz tradition. That thought forces me to listen more deeply, to respect the bebop language, and to question every phrase I play. This recording comes from that place — from gratitude, responsibility, and love for the tradition.