This Is Venus Jazz 2013: A Two-Disc Journey Through the Sound of Venus Records

The lights come on slowly inside an imaginary jazz club. A tenor saxophone waits near the front of the stage, a grand piano stands open beneath a single lamp, and a microphone has been placed beside the double bass. Nobody knows which musician will arrive first. The evening might begin with hard bop, move through a Chopin waltz, stop for black coffee with a vocalist and end somewhere between Paris, Brazil and New York.

That sense of possibility defines This Is Venus Jazz 2013, a wide-ranging compilation released by Venus Records on April 17, 2013. Issued under catalogue number VHCD-1121, the two-disc collection contains 24 performances selected to represent what the label described as its combination of great musicians, memorable compositions, outstanding performances and exceptional recordings. It was presented as essential listening for both jazz enthusiasts and serious audio lovers. (venusrecord.com)

Rather than concentrating on one period or style, This Is Venus Jazz 2013 opens the doors to the entire Venus Records universe. Piano trios sit beside saxophone quartets, female jazz vocalists share space with gypsy swing ensembles, and American standards appear alongside classical adaptations, French chansons and Brazilian melodies. The compilation does not tell the history of jazz in chronological order. It tells its story as a series of changing rooms, each occupied by musicians with a different understanding of melody, rhythm and sound.

The first scene belongs to the Eric Alexander Quartet, performing Henry Mancini’s “Slow Hot Wind.” It is a title that immediately creates atmosphere: warm air, fading daylight and a melody moving at the pace of an evening that has only just begun. Alexander’s tenor saxophone gives the opening a muscular presence, but the song’s sensual character prevents the performance from becoming aggressive. It introduces the album as both serious jazz and sophisticated late-night listening. (venusrecord.com)

The choice reveals something important about the Venus Records identity. The label’s compilations often move beyond a narrow definition of the jazz standard. Broadway songs, film themes, European popular melodies and classical compositions are welcomed whenever they offer musicians enough space to create something personal. On This Is Venus Jazz 2013, repertoire is less important than interpretation. The question is not where a melody came from, but what happens when a distinctive jazz musician takes possession of it.

The Phil Woods Quintet brings the story firmly back into the American jazz tradition with Duke Ellington’s “Take the A Train.” Woods’s alto saxophone carries decades of bebop authority, while the composition provides one of the most recognisable entrances in jazz. The track feels like the moment when the imaginary club finally fills with people. The rhythm section begins to swing harder, conversations stop and the music takes control of the room. (venusrecord.com)

After the movement of the A Train comes Nicki Parrott with “Black Coffee.” Her appearance changes the scale of the collection. The large instrumental statement gives way to the intimacy of a singer and bassist who understands how to make a lyric feel private. “Black Coffee” is one of the great late-night vocal standards, built around sleeplessness, loneliness and the bitter ritual of waiting for someone who may not return. Inside the sequence of This Is Venus Jazz 2013, it becomes the emotional shadow beneath the bright swing of the previous track. (venusrecord.com)

The Dan Nimmer Trio follows with Bud Powell’s “Cleopatra’s Dream,” bringing the piano back to the centre. Nimmer’s performance connects the album to the bebop piano tradition, where rapid thought, rhythmic precision and harmonic control must coexist. The trio format leaves every decision exposed. There is no orchestration to conceal weak ideas, and no additional instrument to carry the melody when the pianist steps away from it.

For listeners searching for audiophile jazz piano, this type of recording is especially revealing. A convincing piano should have weight without sounding heavy, brightness without becoming hard and enough natural decay to suggest the dimensions of the recording space. The double bass must remain full and tuneful, while the drums should reveal both impact and texture. Venus Records built much of its reputation around presenting these elements with directness and physical presence.

Vocalist Sally Night enters with “Love for Sale,” allowing the first disc to return to romantic jazz. The song’s title expresses the central problem of many standards: emotion is larger than language, and the singer is trying to communicate what ordinary words cannot contain. Night’s appearance also reinforces the compilation’s balance between instrumental and vocal performances, preventing either side of the Venus catalogue from dominating the programme. (venusrecord.com)

The Steve Kuhn Trio then performs “I Wish I Knew.” Kuhn’s lyrical piano style suits a composition built around uncertainty and longing. He does not need to overwhelm the melody with technique. Small changes in touch, timing and harmony are enough to alter the emotional direction of the song. The imagined room grows quieter, and the listener begins to hear the spaces between notes as clearly as the notes themselves. (venusrecord.com)

That quiet reflection is broken by the Ken Peplowski Gypsy Jazz Band performing Django Reinhardt’s “Minor Swing.” Suddenly the café tables seem to move aside. Guitar rhythm supplies forward motion, the clarinet introduces a lighter colour and European swing enters the collection with confidence. The transition is dramatic, but it does not feel random. “Minor Swing” reminds the listener that jazz travelled far beyond the American clubs where it began and developed new accents wherever musicians adopted its language. (venusrecord.com)

Bill Charlap follows with “The Nearness of You,” one of the most frequently interpreted standards in jazz history. Familiarity could easily turn the song into routine, but Charlap’s strength lies in his respect for melodic structure. He allows the composition’s unusual mixture of affection and imperfection to remain visible. The result is romantic without becoming sentimental, elegant without losing its vulnerability. (venusrecord.com)

The mood brightens when Simone Kopmajer sings “Come Dance with Me.” After the inward focus of “My Funny Valentine,” the title itself feels like an invitation to return to the social life of the room. Kopmajer brings vocal clarity and rhythmic ease, showing why female jazz vocals remain central to the Venus Records catalogue. The best jazz singers do not simply place lyrics over an arrangement; they become part of the rhythm section, shaping time through phrasing and breath. (venusrecord.com)

Paris appears next through the Archie Shepp Quartet’s interpretation of “Smitty’s Joint.” Shepp’s presence gives this song a weight that reaches beyond postcard romance. His saxophone carries history, resistance and a raw human quality, transforming the melody into something more personal. The compilation has now travelled from an American film song to Chopin, Ellington, bebop, gypsy jazz and French chanson without abandoning its central identity. (venusrecord.com)

The first disc closes with the Vladimir Shafranov Trio performing “Hush-A-Bye.” The title suggests a lullaby, and the placement is appropriate. After a sequence filled with contrasting voices and styles, the trio provides a quieter ending. The club does not close completely; it simply lowers the lights before the second part of the programme begins. (venusrecord.com)

Disc two opens with another transformation of classical music. The Cyrus Chestnut Trio performs C. P. E. Bach’s “Solfeggietto,” taking a composition associated with keyboard study and sending it into the rhythmic world of jazz. Chestnut’s playing reflects the gospel, blues and modern jazz traditions, and those influences change the emotional character of the piece. What once sounded formal becomes physical, conversational and alive. (venusrecord.com)

French saxophonist Nicolas Montier follows with “Lullaby of the Leaves.” Its melody carries the autumnal atmosphere suggested by the title, while the saxophone gives it the warmth of a human voice. The sequence from “Solfeggietto” to “Lullaby of the Leaves” demonstrates the curatorial confidence behind the album. A classical keyboard composition can be followed by a standard associated with the swing era, and the transition still feels natural because the performances share a commitment to melody.

The Eddie Higgins Trio then combines “Stolen Moments” and “Israel.” Higgins was one of the musicians most closely connected with the polished Venus Records sound, but his elegance should not be mistaken for softness. His trio playing is grounded in swing, melodic intelligence and a rhythm section capable of giving every chord physical weight. The medley broadens the harmonic landscape and creates one of the second disc’s strongest instrumental centres. (venusrecord.com)

Alexis Cole, accompanied by One for All, sings “You’d Be So Nice to Come Home To.” Cole Porter’s standard has appeared in countless vocal and instrumental interpretations, but the combination of Cole’s controlled delivery and the ensemble’s hard-bop authority gives it fresh tension. The lyric imagines warmth, return and domestic comfort, while the band ensures that the performance remains firmly rooted in jazz rather than drifting into easy listening. (venusrecord.com)

The collection then travels toward Brazil with Lee Konitz performing “Manhã de Carnaval.” Konitz’s dry, searching alto-saxophone tone is very different from the romantic warmth often associated with the song. That contrast is exactly what makes the performance compelling. The melody remains recognisable, but its emotional meaning shifts. Instead of tropical nostalgia, the listener hears reflection, distance and the independent mind of one of modern jazz’s most individual improvisers. (venusrecord.com)

The Joe Beck Trio offers “All of Me,” introducing guitar as the principal melodic voice. Beck’s playing changes the texture of the album after the concentration of saxophones and piano trios. Guitar chords can combine harmony and rhythm in a way that feels both intimate and complete, making the performance especially suited to the café atmosphere imagined by the compilation.

Eddie Higgins returns with tenor saxophonist Scott Hamilton for “The More I See You.” Their musical partnership captures much of the Venus Records aesthetic: clear melodies, warm instrumental tone, relaxed swing and performances that remain accessible without sacrificing depth. Hamilton’s tenor sound has a rounded, vocal quality, while Higgins creates the harmonic setting with restraint. (venusrecord.com)

The arrival of Francesco Cafiso with Thelonious Monk’s “Reflections” gives the second disc a more modern edge. Monk’s composition is beautiful, but its beauty is built from unusual intervals and carefully placed dissonance. Cafiso enters that structure with the confidence of a saxophonist willing to respect the melody while finding his own path through it. The performance reminds the listener that reflection in jazz does not always mean softness; it can also mean confronting unfamiliar shapes.

Tessa Souter follows with “The Darkness of Your Eyes,” credited on the album to Souter and Gabriel Fauré. Her presence deepens the connection between jazz, European classical material and the art song tradition. Souter’s voice brings dramatic intelligence to the collection, showing how a vocalist can move beyond the standard American repertoire without losing the improvisational spirit at the centre of jazz. (venusrecord.com)

The Joel Frahm Quartet then performs “Early Autumn.” Frahm’s tenor saxophone is ideally suited to a song shaped by changing seasons and remembered warmth. The title suggests the moment when summer has not entirely disappeared but its ending can already be felt. Near the conclusion of the album, that image takes on additional meaning. The evening inside the imaginary Venus club is approaching its final hour.

The Kenny Barron Trio plays “Beautiful Love,” bringing one of jazz’s most refined pianists into the closing sequence. Barron’s style combines clarity, harmonic sophistication and an effortless sense of swing. He does not need to announce his authority. It is present in the balance of every phrase and in the calm communication among piano, bass and drums. (venusrecord.com)

The final performance belongs to the Barney Wilen Quintet with “Besame Mucho.” It is an inspired closing choice. The song is internationally familiar, romantic and immediately melodic, yet it has also served generations of improvisers. Wilen’s saxophone carries the tune toward the end of the night with European elegance and emotional directness. There is no need for a dramatic finale. A final kiss is enough. (venusrecord.com)

Across its 24 tracks, This Is Venus Jazz 2013 creates a broad portrait of the label’s musical identity. Eric Alexander’s tenor power, Phil Woods’s bebop authority, Nicki Parrott’s intimate vocals, Dan Nimmer’s piano swing, Steve Kuhn’s lyricism, Archie Shepp’s expressive depth, Cyrus Chestnut’s classical transformation, Eddie Higgins’s refinement and Barney Wilen’s romantic saxophone all occupy the same collection. The official programme divides these performances evenly across two discs. (venusrecord.com)

For listeners searching for audiophile jazz recordings, classic jazz standards, female jazz vocals, jazz piano trios, saxophone jazz, gypsy swing, Brazilian jazz or a strong introduction to Venus Records, the album offers several points of entry. It can function as sophisticated background music, but its variety and recording quality encourage more attentive listening.

The compilation’s real achievement is its ability to make those different styles feel like parts of one continuous story. Classical music enters jazz without apology. Paris meets New York. Brazilian melody sits beside bebop. A torch singer leaves the stage and a piano trio takes her place. Nothing remains fixed for long, yet the sound of Venus Records holds the programme together.

When “Besame Mucho” finally fades, the imaginary club becomes quiet again. The saxophone is placed back in its case, the piano lid is lowered and the last coffee cup is removed from the bar. What remains is the impression of a label opening its catalogue and saying, without hesitation, this is Venus jazz: melodic, international, intimate, vividly recorded and always ready to give an old song a new life.