Jazz legends Dave Holland and Norma Winstone, together with the versatile London Vocal Project, present Vital Spark—an album featuring a collection of Kenny Wheeler’s final compositions that were sent over time to Pete Churchill and brought to life through patient arrangement, deep listening, and mutual trust.

Emerald Tears is a solo album by bassist Dave Holland, recorded in August 1977 and released on ECM the following year. It is an album of bass solos. Reception The AllMusic review by Joslyn Layne stated: "Emerald Tears is a very nice showcase of Dave Holland, and is almost certain to be enjoyed by fans of the upright bass." Larry Birnbaum gave the album 3.5 stars in his DownBeat review. He wrote, "Holland's rich, varnished tone and throbbing percussive sensitivity are compounded with keen intelligence and a brooding streak of romantic melancholy". However, he found, "Alone in the glare of the spotlight, Holland somehow manages to remain in shadow and one is neverquite free of the sensation that this is a Music Minus One album turned inside out".

Balladyna is an album by Polish jazz trumpeter and composer Tomasz Stańko recorded in December 1975 and released on ECM in April the following year. The quartet features saxophonist Tomasz Szukalski and rhythm section Dave Holland and Edward Vesala.

Gnu High is an album by Canadian trumpeter and composer Kenny Wheeler recorded in June 1975 and released on ECM the following year. The quartet features rhythm section Keith Jarrett, Dave Holland and Jack DeJohnette.

With “daring and visionary spirit”, to quote a Downbeat review from the year of this album’s release, master improvisers John Abercrombie, Dave Holland and Jack DeJohnette forged a unique vision of trio interplay on their first joint effort under the Gateway moniker.

Eight years after Blue Maqams, Anouar Brahem returns with a poignant project, titled after a line of verse by Palestinian poet Mahmoud Darwish, which asks "Where should the birds fly, after the last sky?" Graceful chamber pieces for oud, cello, piano and bass subtly address the metaphysical question and its broad resonances in a troubled time.

Live-Evil is an album of both live and studio recordings by American jazz musician Miles Davis. Parts of the album featured music from Davis' concert at the Cellar Door in 1970, which producer Teo Macero subsequently edited and pieced together in the studio. They were performed as lengthy, dense jams in the jazz-rock style, while the studio recordings were renditions of Hermeto Pascoal compositions. The album was originally released on November 17, 1971.

Roy Haynes is a legendary drummer who's had a very long and illustrious career, and he is still going strong with incredible energy and vitality. For this album – now considered a classic – Eighty-Eight's producer Yasohachi Itoh put together an all-star, intergenerational band around him: Kenny Barron and David Kikoski on piano, Dave Holland and Christian McBride on bass, Joshua Redman on sax and John Scofield on guitar.

Life of a Song is Geri Allen's first recording under her own name in six long years. She teams with the rhythm section of bassist Dave Holland and drummer Jack DeJohnette, whom she worked with on the late Betty Carter's stellar live date Feed the Fire in 1993. Allen composed eight of the album's 11 cuts, and the covers include Bud Powell's "Dance of the Infidels," Billy Strayhorn's "Lush Life," and Mal Waldron's "Soul Eyes." This last selection is augmented by the participation of Marcus Belgrave on flugelhorn, saxophonist Dwight Andrews, and trombonist Clifton Anderson.

Filles de Kilimanjaro (French for "Girls of Kilimanjaro") is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and September 1968. The album is a transitional work for Davis, who was shifting stylistically from acoustic recordings with his second "great" quintet to his "electric" period. Filles de Kilimanjaro was well received by contemporary music critics, who viewed it as a significant release in modern jazz.

Jack Johnson, later reissued as A Tribute to Jack Johnson, is a 1971 studio album and soundtrack by American jazz trumpeter, composer, and bandleader Miles Davis. In 1970, Davis was asked by boxing promoter Bill Cayton to record music for a documentary he was producing, on the life of boxer Jack Johnson. Johnson's saga resonated personally with the musician, who wrote in the album's liner notes of Johnson's mastery as a boxer, his affinity for fast cars, jazz, clothes, and beautiful women, his unreconstructed blackness, and his threatening image to white men. This was the second film score Davis had composed, after Ascenseur pour l'échafaud in 1957.

"The Art of Conversation" marks the first time bassist/composer Dave Holland and pianist/composer Kenny Barron have recorded their duo performances. These titans began touring together throughout Europe and the United States in 2012 and this album reflects two years of Holland and Barron finessing their empathy, chemistry and repertoire. Out of an expansive body of work that they’ve cultivated, "The Art of Conversation" offers 10 compositions of originals and standards that exemplify their individual and combined musical ingenuity.

Upon its release, In A Silent Way was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis's electronic approach. Since its initial reception, it has been regarded by fans and critics as one of Davis's greatest and most influential works.

This 1978 release from Kenny Wheeler features four original extended tunes by the trumpeter backed by an ECM dream team: Jan Garbarek, John Abercrombie, Dave Holland and Jack DeJohnette, with special guest Ralph Towner sitting in on 12-string guitar on one song.

One of a host of jazz musicians with deep roots in classical music, Roland Hanna graduated from NYC’s prestigious Julliard School of Music and worked with the likes of Charles Mingus, Elvin Jones, Sarah Vaughan and Jim Hall. Although Hanna had originally intended the pieces as a suite for cello and jazz ensemble, trio members American bass maestro Dave Holland, and Swiss drummer Daniel Humair fit in perfectly with the change of plans. Holland had just taken leave from Miles Davis, and Humair was about to go on tour with Oscar Peterson.