Widely regarded as one of Canada's best jazz singers, Russian-born, Toronto-based vocalist Sophie Milman changes tact slightly for her fourth studio album, In the Moonlight. The twinkling piano chords, shuffling, brushed stroke rhythms, and gentle brass instrumentation which defined her previous output are still very much in evidence, but having traveled to New York to record with producer Matt Pierson (Jane Monheit, Michael Franks), the Juno Award winner has capitalized on the opportunity to expand her sound by inviting a string ensemble on board for the first time in her career. However, avoiding the temptation to smother the timeless, smoky, jazz bar arrangements in layers of bombastic layers of strings, the pair only use their newly recruited musicians sparingly and when needed, with only the Duke Ellington standards "Prelude to a Kiss" and "Day Dream," and the Umbrellas of Cherbourg number "Watch What Happens" offering anything more than the occasional orchestral flourish.

The Very Best of Marianne Faithfull' is a particularly strong collection of Marianne's earliest recordings made for Decca between 1964 to 1968. This album contains every one of her singles which made the charts both in Britain and America during those fruitful four years.

Japanese Jazz legend Tsuyoshi Yamamoto's new album, A Shade Of Blue, undoubtedly reflects his love of the piano trio, a group configuration that in jazz history began in the 1940s with Nat King Cole and then was developed in the 50s by innovators like Oscar Peterson, Ahmad Jamal, and Bill Evans. Yamamoto's highly experienced trio - which has a combined age of 215 years - features bassist Hiroshi Kagawa and drummer Toshio Osumi. A Shade Of Blue reveals the three musicians' incredible musical chemistry; listening to the ten tracks they've recorded together, it's as if they breathe, think, and feel as one person; such is the musical empathy between them.

Inducted into the Country Music Hall Of Fame in 2004, Kris Kristofferson’s place in music history is assured as the writer of such classics as “Help Me Make It Through The Night”, “For The Good Times”, “Me And Bobby McGee” and “Sunday Mornin’ Comin’ Down”, all included here. These songs have been huge hits for the likes of Gladys Knight, Elvis Presley, Frank Sinatra, Perry Como, Al Green, Andy Williams, Dolly Parton, Kenny Rogers, Janis Joplin, the Grateful Dead and Johnny Cash. Kristofferson has also had hits with his songs in own right, including the duets “It Sure Was (Love”), “Lover Please” and “Give It Time To Be Tender” with his wife Rita Coolidge. And these recordings were made by Nashville’s top producers: Fred Foster, David Anderle, Dennis Linde, Chips Moman and Norbert Putnam.

In 1969, the track reached No. 19 on the U.S. easy listening chart, No. 33 on the U.S. country chart, No. 91 on the Billboard Hot 100, No. 97 on Cash Box and No. 83 in the Canadian Top 100 chart and No. 16 on their AC chart. Also charted at No. 96 in Australia. It was her last ever song that appeared in the Hot 100 and second to last to appear on country charts. It was featured on her 1969 album, The Wedding Cake.

Throughout her career, Dianne Reeves has, perhaps more than any other vocalist, blurred the line that separates jazz from pop and contemporary R&B, extending the boundaries of each. Beautiful Life is her first recording in five years and her debut for Concord. Carefully produced by Terri Lynne Carrington, the musical cast includes Robert Glasper, Esperanza Spalding, Reginald Veal, Sheila E., Sean Jones, , Gregory Porter, Gerald Clayton, Richard Bona, Lalah Hathaway, and her late cousin George Duke. The opener is a thoroughly inventive Carrington arrangement of Marvin Gaye's "I Want You," which underscores the gossamer quality in Reeves' voice and jazz phrasing, sacrificing none of the original's seductive soul - it's as much of the spirit as it is of the flesh - and features a fine trumpet solo by Jones. A brilliant reading of Stevie Nicks' "Dreams" is introduced by Terreon Gully's tight…

The two legendary 1970s albums "Mandalaband" and "The Eye of Wendor" have been completely re-mixed and digitally re-mastered by David Rohl - the mastermind behind Mandalaband and composer-producer-engineer extraordinaire.
Mandalaband began life in the early 1970s when David Rohl recruited the first band line-up of Dave Durant (lead vocals), Vic Emerson (keyboards), Ashley Mulford (guitars), John Stimpson (bass guitar and backing vocals) and Tony Cresswell (drums). David played keyboards and contributed to the backing vocals - and engineered, produced and composed the music.
With this new mix, David has been able to reinforce the sound of the instruments to give more power and depth to the original recordings…