Fairy Tale In The Rain is a captivating contemporary jazz recording led by acclaimed Russian pianist and composer Andrei Kondakov, released in 2012 on Outline Records. Anchored by an all-star rhythm section featuring master bassist Eddie Gomez and legendary Return to Forever drummer Lenny White, the session showcases a brilliant fusion of lyrical European sensibility and sharp American post-bop dynamics. Guest vocalist JD Walter adds intimate narrative depth and expressive vocal color to selected pieces, enhancing the album's atmospheric tone. Spanning ten evocative original compositions, the repertoire balances energetic, rhythmically complex trio passages with serene, introspective piano balladry, as demonstrated on stands-outs like Secret Mission and the poignant title track. With its rich acoustic textures, virtuosic interplay, and refined melodic sensibility, this album offers a deeply satisfying experience for modern jazz aficionados.

Forever is an intimate and masterfully crafted duo album by virtuoso acoustic bassist Eddie Gomez and Brazilian-born pianist and composer Cesarius Alvim, released in 2010 by Plus Loin Music. Celebrated worldwide for his legendary work with the Bill Evans Trio and Step Ahead, Gomez brings his unmatched speed, rich tonal lyricism, and deep harmonic sensitivity to this understated chamber jazz session. Partnering seamlessly with Alvim, whose sophisticated piano touch bridges post-bop harmonic nuance with Brazilian rhythmic grace, the pair engages in a dynamic, conversational dialogue. The eleven-track repertoire spans re-imagined jazz standards like Wayne Shorter's Witch Hunt and Bronislau Kaper's Invitation, tender ballads like Spring Is Here, and evocative original compositions including the serene title track Forever and Boreal Paysage. Unaccompanied by drums, the duo relies on impeccable timekeeping, spontaneous interplay, and expressive phrasing, resulting in a deeply acoustic, soulful, and refined listening experience.

On Howlin' For Judy, the legendary American jazz flute icon and pioneer Jeremy Steig leads an absolute powerhouse trio through a fiercely driving, explosive, and masterfully uninhibited studio document. Originally recorded during his seminal late-60s vintage era for Solid State and beautifully compiled/reissued under the prestigious Blue Note Records umbrella, this foundational session bridges the gap between earthy soul-jazz grooves, blistering rock energy, and exploratory avant-garde boundaries. Spanning nearly 48 minutes of immaculate high-fidelity spatial design, the 7-track landscape operates with an electric, heavily rhythmic, and brilliantly interactive kinetic energy. The trio performs with incredible telepathic friction, firing off stunning highlights like the iconic, overblown vocal-flute title track Howlin' For Judy (famed as the definitive sample blueprint for the Beastie Boys' Sure Shot), the eastern modal textures of Mint Tea, and a colossal, 11-minute deep structural exploration of Miles Davis's Nardis. Driven by Steig's radical, revolutionary extended techniques—incorporating heavy humming, vocalizing, and electronics through his headjoint—alongside Eddie Gomez's hyper-extended bass lines and Don Alias's relentlessly fluid drum pocket, this pristine archive remains an indispensable masterpiece for serious jazz-funk purists and creative music collectors worldwide.

The Bill Evans Album is a spectacularly expressive, historically monumental, and masterfully synchronized post-bop and modern jazz studio masterpiece led by the absolute ultimate harmonic architect and piano vanguard monarch Bill Evans, digitally preserved and released on compact disc in a definitive remastered edition in 2017 under the prestigious banners of Columbia Records. Spanning over 70 minutes of breathtakingly intense, conceptually profound instrumental interactions across 10 pristine tracking alignments, this high-fidelity document serves as an absolute peak monument in early-1970s contemporary jazz archaeology. Landmark in his extensive discography for being his first release to feature entirely original compositions, this historic session executes a fierce, forward-thinking sonic blueprint that daringly captures Evans dividing his immense melodic genius between the traditional acoustic grand piano and the Fender Rhodes electric piano.

Blue In Green is a spectacularly expressive, historically monumental, and masterfully synchronized live post-bop and acoustic jazz masterpiece led by the absolute ultimate harmonic architect and piano vanguard monarch Bill Evans, digitally preserved and released on compact disc in 1991 under the prestigious independent archival preservation imprint Milestone Records. Spanning exactly 53 minutes of breathtakingly intense, conceptually profound instrumental interactions across 9 definitive tracking alignments, this high-fidelity document serves as an absolute peak monument in late-1970s live trio archaeology. Recorded live in concert on August 31, 1974, at the Campi Bisenzio jazz festival in Italy, this historic recording documents Evans' legendary mid-70s trio executing a fierce, forward-thinking sonic blueprint that redefines the collaborative, polyphonic boundaries of the modern piano-trio format.

Bennie Wallace is a spectacularly expressive, historically monumental, and masterfully synchronized post-bop and mainstream acoustic studio masterpiece led by the legendary American tenor saxophone vanguard pioneer and tonal master Bennie Wallace, digitally preserved and released on compact disc in 1998 under the prestigious independent high-fidelity preservation imprint AudioQuest Music. Spanning nearly 54 minutes of breathtakingly intense, conceptually profound instrumental interactions across 9 definitive tracking alignments, this high-fidelity document serves as an absolute peak monument in late-1990s audiophile jazz archaeology. Renowned for his huge, robust tone, classic wide-interval leaps, and unique blend of Ben Webster-style breathiness with angular avant-garde phrasing, Wallace utilizes this pristine acoustic session to execute a fierce, forward-thinking sonic blueprint that breathes deep, vibrant life into classic standards and rare Duke Ellington textures.

If Summer Had Its Ghosts is a spectacularly fluid, historically monumental, and masterfully synchronized contemporary jazz studio masterpiece led by the legendary British percussion visionary Bill Bruford alongside an elite, world-class acoustic superpower trio featuring guitar/piano maestro Ralph Towner and double bass titan Eddie Gomez, released in 1997 by Robert Fripp's independent archival preservation imprint Discipline Global Mobile. Spanning over 49 minutes of breathtaking, deeply poetic instrumental interaction across 11 tracks, this high-fidelity restoration serves as an absolute peak monument in late-1990s progressive jazz-rock and chamber jazz archaeology. Moving completely away from his heavy electronic setups, Bruford utilizes this unique acoustic alliance to execute a highly refined, transparent sonic blueprint that seamlessly marries intricate, odd-meter structures with expansive, lyrical improvisational soundscapes.

Morning Glory: The 1973 Concert at the Teatro Gran Rex, Buenos Aires is the first official release of pianist Bill Evans with Eddie Gomez and Marty Morell captured live at the Teatro Gran Rex in Buenos Aires, Argentina on June 24, 1973.

Produced when pianist-composer Armen Donelian was not yet 30 years old, Stargazer—his debut recording as a leader—was released in 1981 on a small Japanese record label and only available elsewhere as a hard-to-find import. Until now, that is. On October 3, Donelian’s longtime label Sunnyside Records will reissue Stargazer, a stunning and remarkably assured trio date with bassist Eddie Gomez and drummer Billy Hart, for the first time in nearly 45 years.

Some Other Time: The Lost Session From the Black Forest is a newly unearthed studio session from the iconic pianist Bill Evans featuring bassist Eddie Gomez and drummer Jack DeJohnette. Recorded on June 20, 1968, nearly 10 years after the legendary Kind of Blue sessions with Miles Davis and a mere five days after the trio's incredible Grammy award-winning performance at the Montreux Jazz Festival, this is truly a landmark discovery for jazz listeners worldwide. Available in deluxe 2-CD and limited edition 2-LP sets, and containing over 90 minutes of music, this is the only studio album in existence of the Bill Evans trio with Gomez and DeJohnette.

This encounter between Chick Corea (sticking to acoustic piano), tenor saxophonist Michael Brecker, bassist Eddie Gomez, and drummer Steve Gadd lives up to expectations. The program features three lengthy "Quartet" pieces, including sections dedicated to Duke Ellington and John Coltrane. This blowing date is highly recommended for true jazz fans.

In addition to a few group originals, vibraphonist Mike Mainieri performs some unusual pieces with his quartet (Joe Lovano on tenor, soprano, and alto clarinet; bassist Eddie Gomez; and drummer Peter Erskine) on this CD, including two folk songs and selections by Leonard Bernstein ("Somewhere"), Frank Zappa ("King Kong"), Aaron Copland ("Piano Sonata"), Roger Sessions ("Piano Sonata No. 1"), and Samuel Barber ("Overture to the School for Scandal"). The pianoless quartet (which displays a lot of versatility by Joe Lovano) turns all of the music into creative jazz. The most interesting aspect to this thought-provoking disc is how difficult it is to tell which compositions are taken from classical music and which are new. There is a surprising unity to the potentially difficult material; the performances on the rather moody outing reward repeated listenings.

Italian drummer Marcelli is a natural swinger with a light touch-and an accomplished composer to boot. He's aided on Beyond the Blue by a stellar outfit that includes guitarist Mike Stern, bassist Eddie Gomez, pianist Mitchel Forman and tenor saxophonist Bob Mintzer. The opening "Between Poles" is a perfect vehicle for Stern to wail in the kind of understated, swinging fashion that he revealed on his 1992 gem Standards (And Other Songs). Mintzer also adds a particularly muscular tenor solo here.

For the first time in a very long time super drummer STEVE GADD joins up with his friends from Gadd Gang times, EDDIE GOMEZ and RONNIE CUBER for a production with the WDR Big Band. Under the direction of Michael Abene, a heavenly groovy album emerges, with Steve Gadd and his friends taking center stage. Recorded in january & february of 2022! The cooperation between Steve's Gadd Gang and the WDR Big Band was hanging in the air for quite some time. Already back in 2011 there was talk about a potential collaboration with the Big Band under the leadership of Michael Abene (the chief conductor of that orchestra from 2004 to 2014). I love Michael and highly esteem his work, says Gadd, his arrangements as well as his piano playing. It is just a matter of trying to get the schedule together, but I am sure at some point we will be able to get it together.