Mitsuru Sawamura is a one-of-a-kind saxophonist. Musicians who have collaborated with him on past albums and experienced his unique studio work have unanimously remarked, "This is Mitsuru's world," which is the origin of the name "Mitsuru World" for his creative work. This time, two albums—"Mitsuru World II," the second installment following the 2016 album "Mitsuru World," and "Mitsuru World Jazz Standard I," a jazz standard cover album—have been simultaneously released worldwide. Kazumi Watanabe, who participated in "Mitsuru World Jazz Standard I," recorded in 2019, left the following comment at the time: "It has a strangely mysterious ambient feel. And yet, it's thrilling, which is what makes it interesting!"

It is often the case that the creation of successful art comes down to basic factors. For jazz music, talent and creativity are obvious essentials. But what usually drives music further is trust between performers and a sense of spontaneity in performance. Keyboard master Gary Versace aimed to harness all these elements on his new recording, Three Track Mind, a vibrant collection of spontaneous interpretations of classic standards and original compositions featuring bassist François Moutin and drummer Rudy Royston.

Writing in the past tense about this experience feels surreal. It’s an incredible honor to collaborate with this band and the exceptional team at Chris’. Their collective effort led to two nights of flawless recording. A heartfelt thank you to Alan McMahon and owner Mark DeNinno at Chris’—Alan's unwavering support for young musicians in Philly has been instrumental, providing them opportunities to perform alongside masters during pivotal moments in their growth.

King Of The Tenors is a landmark album by Ben Webster, recorded in 1953 and initially released as The Consummate Artistry of Ben Webster, then retitled for its classic 1957 Verve Records reissue. Webster is joined by jazz icons including the Oscar Peterson Trio throughout, as well as Benny Carter (alto saxophone) and Harry “Sweets” Edison (trumpet) on select tracks, resulting in ensemble interplay that balances lush ballads and blues with joyous swing. The program includes Webster originals like “Bounce Blues,” alongside inspired versions of Ellington’s “Cottontail” and “Don’t Get Around Much Anymore,” standards such as “Tenderly,” and a moving “Danny Boy.” His performances here span warm lyricism to exuberant, robust soloing, offering a panoramic view of Webster’s artistry at its zenith.​

This is a fairly typical date from the Oscar Peterson Trio (which features the pianist-leader, bassist Ray Brown and drummer Ed Thigpen). Many of the songs on this LP are associated with other musicians (such as "Waltz for Debbie," "This Could Be the Start of Something Big" and "Six and Four") but Peterson has little difficulty swinging them in his usual fashion; a highlight is the original version of Ray Brown's "Gravy Waltz."

Born in Winnipeg, Manitoba on New Year’s Eve in 1944, Bernie Senensky has stood as a central figure in Canadian jazz for more than half a century. His musical journey began with classical piano studies at a young age, grounding him in a discipline and technique that would later underpin his jazz mastery. As a teenager, Bernie’s curiosity and passion for jazz began to take hold, initially nurtured by local teacher Bob Erlendson. From there, he largely taught himself the intricate language of jazz, developing a deeply personal approach that balanced sophistication, swing, and emotional clarity.

Spark presents a focused statement from the Aaron Irwin Trio, built on long standing collaboration, deep listening, and a strong sense of melody and form. The music moves fluidly between chamber jazz intimacy and upbeat, blues centered grooves, allowing lyricism, rhythm, and momentum to coexist. Guitarist Mike Baggetta and drummer Bill Campbell meet Irwin’s compositions with flexibility and restraint, shaping each piece through subtle shifts in color, pulse, and density. While space and patience play an important role, the trio is equally comfortable leaning into drive and forward motion. Subtle use of effects on saxophone and bass clarinet expands the trio’s palette without drawing attention away from the acoustic core of the music. The album reflects a distillation of the group’s language, favoring clarity, feel, and collective intent over excess. Spark invites the listener into an open, searching conversation that balances reflection with grit, warmth, and momentum.

Ken Peplowski's tenor sax sounds are warm, attractive, and eloquent, while still rooted in the jazz tradition. His playing is so expressive that it's possible to almost hear the lyrics of each song when he plays the melody.

They're not kidding about the title – because the album's one of Ruby Braff's most swingin from the time – a sharp-edged quartet session that's filled with well-blown notes! Ruby's in the lead on all numbers on trumpet – getting support from Johnny Guarnieri on piano, Walter Page on bass, and Bobby Donaldson on drums – and the sound is a bit more rough than some of Braff's other albums of the time – not so sweetly-trilling, and we mean that in a good way! The vibe is still slightly traddish, but with a really nice edge – and titles include "Ellie", "Mean To Me", "This Can't Be Love", and "Blue & Sentimental".

A star-studded conclave of world-class UK jazz musicians - co-led by the great saxophonist Alan Barnes - apply themselves to this set of audacious and imaginatively re-cast arrangements from the pen of Mark Nightingale. James Davison, the most startlingly talented UK brass player of his generation, joins this highly experienced team with brilliant results. Charlie Parker's 'Ornithology',Thelonious Monk's 'Straight No Chaser', Billy Strayhorn's 'Satin Doll' and Horace Silver's 'Peace are amongst the gems to be found here.

This is the third full-length release by Anastasia Lyutova, one of the most prominent singers on the contemporary Russian jazz scene, recorded in tandem with the St. Petersburg Jazz Orchestra under the direction of Sergey Bogdanov. Released on the Butman Music label, the album combines the best traditions of big band music, impeccable stylistic precision of vocals, and a contemporary perspective on the jazz heritage of the 20th century. The album reveals new facets of orchestral sound and vocals, making it truly relevant among connoisseurs of quality music.

The album opens with the samba standard title, "Desafinado," which Hawkins floats through, gliding along the melody playfully, turning and caressing it, making it his own. Throughout the album, Hawkins moves easily through the tender parts of the samba tunes, yet occasionally flashes glimpses of his trademark tenor aggresssion, never allowing the listener to gorget whose in charge. Guitar duo Barry Galbraith and Howard Collins propel and support the tunes, and even take the occasional solo such as on "O Pato (The Duck)." Pianist Tommy Flanagan gives up the ivories for the claves, and proves quite adept. Flanagan, along with percussionist Willie Rodriguez, drummer Eddie Locke and bassist Major Holly from a rhythm syndicate that would hold its own on any corner in Rio de Janeiro.

The Best of New York Sessions: Volume 2 features highlights from Chesky Records' acclaimed jazz series recorded live in New York City with Chesky Records' state-of-the-art technology. This second installment of the Best of New York Sessions series features some of the most well known names in jazz. Each track in the New York Sessions series was recorded in the natural acoustic setting of St. Peter's Church in New York City using Chesky Records' custom electronics to ensure the purest, most natural sounding recording possible.

Collection of standards by Carl Winther.

A tribute to Duke Ellington (originally released as Sonny Stitt With Strings) features Stitt's long-outdated 1977 Catalyst Jazz record. It includes seven well-known Duke Ellington songs. Saxophonist Sonny Stitt was a student of Charlie Parker. This record is one of the stronger and more detailed recordings in Stitt's discography, with Stitt utilizing a string section (The Bill Finegan String Ensemble). Unsurprisingly, Stitt retained the same approach to strings as Charlie Parker had a decade earlier, with his saxophone hovering above them rather than being held by them. Sonny Stitt (on alto and tenor saxophone) is also accompanied by a fine rhythm section featuring pianist Gildo Mahones, bassist Allen Jackson, and Clarence Johnston on drums.