Way back in 1991, Brazilian-born pianist Eliane Elias opened Illusions, her debut solo album, with a tune called "Choro." It offered a swinging distillation of the musical form that has been at the heart of her life-long study of samba. Since then, she's revisited her musical heritage over and over again, wedding modern jazz to post-1960 Brazilian jazz and MPB. In the process, she's developed an instantly identifiable sound as a pianist. Dance of Time follows 2015's fine Made in Brasil, a set that relied most heavily on bossa nova.

During the mid-'50s, Sarah Vaughan spent most of her time recording songbook standards backed by a large orchestra in florid arrangements, with only the occasional breath of fresh air like her masterpiece, 1954's Sarah Vaughan with Clifford Brown. Four years after that milestone, another landed with the live album At Mister Kelly's. Recorded quite early in the days of the live LP, the album captured Vaughan at her best and most relaxed, stretching out on a set of late-night torch songs and ballads. With a trio including Jimmy Jones on piano, Roy Haynes on drums, and Richard Davis on bass, Vaughan is simply captivating, easily disproving the notion that, to be entertaining, singers needed inventive arrangements and multiple voices (instrumental or otherwise) behind them…

Caro Emerald came out of nowhere in 2009 with the summertime hit "Back It Up," a catchy jazz-pop song with a dance beat. The follow-up single, "A Night Like This," was an even bigger hit, topping the Dutch charts. By the time Deleted Scenes from the Cutting Room Floor came around, Emerald was well established as one of the most exciting new artists to emerge from the Netherlands in some time, and her full-length album debut was eagerly awaited. It includes the smash hit singles "Back It Up" and "A Night Like This," both written by Vincent de Giorgio, David Schreurs, and Jan van Wieringen.

Nicole Zuraitis created siren songs volume 1 with a clear purpose in mind: Celebrate women songwriters. It’s a concept she’d been thinking about for years. Her own success as a songwriter made the project even more timely: in 2024, she became the first artist, man or woman, to win Best Jazz Vocal Album at the GRAMMYs for a project of entirely original music and arrangements — her album How Love Begins.

Siren Songs Volume II continues a heartfelt tribute to influential women songwriters, offering an acoustic, minimally produced sound that spans multiple genres. With its first single "Rhiannon" released in May 2025, the project also aims to spotlight the ongoing issue of under-recognition and under-compensation of women in the music industry.

After two decades of musical partnership, Sinne Eeg and Jacob Christoffersen present SHIKIORI — their first duo album, recorded live in an intimate and atmospheric 150-year-old Japanese house-turned-concert-venue. Deeply rooted in trust, spontaneity, and musical telepathy, SHIKIORI is a warm, organic response to an increasingly digital world.

Although Ella Fitzgerald worked in many different settings, from big bands to guitar-and-voice duets to sets with nearly every piano player in the business (from Duke Ellington on down), one could make a case that her best recordings were made with Oscar Peterson and his small bands. Released in 1976, Ella and Oscar is one of those classic recordings, an album that's as spare and intimate as any that the pair ever issued. In fact, the only other performer featured on this set is Peterson's longtime bassist Ray Brown, whose contributions are minimal. These songs, from the mellifluous "Mean to Me" to a languid "April in Paris," are simple and beautiful.

This album consists of eight songs Anita O'Day performed in Tokyo on January 12, 1964. This is a completely new discovery, different from the performance taped on December 30, 1963 for a TV broadcast. The latter recording was released on videotape and LP formats in 1985 by Polydor Records of Japan. The five additional tracks are from the American Stars of Jazz TV program hosted by Bobby Troup. The songs are taken from two sessions broadcast in 1956 and 1957.

On this four-CD set are some of Ella Fitzgerald's finest live performances during the years she was managed by Norman Granz. All of the material (which is taken from ten different performances in 1953, 1966, 1967, 1971, 1972, 1974, 1975, 1977, 1979 and 1983) was previously released on various Pablo albums. Since this is a best-of collection and was lovingly put together by the knowledgeable producer Eric Miller, the music is consistently rewarding and emphasizes the interpretive skills, scatting and jazz phrasing of the First Lady of Song. Although mostly backed by her trio/quartets of the period, Ella does get to jam "Perdido" with the 1953 JATP All-Stars, is backed by the Duke Ellington and Count Basie Orchestras on some songs and revisits "Flying Home" with an all-star group in 1983…

Those who think of singer/saxman Curtis Stigers as a pop/rock artist and associate him with "I Wonder Why" and "Peace, Love and Understanding" will be surprised to learn that Baby Plays Around is very much a jazz album – not jazzy pop, but straight-ahead acoustic jazz. Not that there is any reason why someone with pop/rock credentials can't embrace jazz if his heart is really in it; after all, jazz and rock are both part of the blues family. And even though some pretentious individuals in the jazz world love to state that jazz is "America's classical music," the fact is that jazz has more in common with rock and R&B than with Beethoven or Mozart. Stigers thrived on that blues feeling as a pop/rock singer in the early '90s, and he thrives on it as a jazz singer.

Limited Edition 2 CD Set / 32 Performances - Post 1945. “Art Tatum was the greatest soloist in Jazz History, regardless of the instrument." - Leonard Feather . "First you speak of Art Tatum, then take a long deep breath, and you speak of the other pianists.” - Dizzy Gillespie. "If you put a piano in a room, just a bare piano. Then you get all the finest jazz pianists in the world and let them play in the presence of Art Tatum. Then let Art Tatum play … everyone there will sound like an amateur." —Teddy Wilson. Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands (his 1933 solo version of "Tiger Rag" sounds as if there were three pianists jamming together) but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum's innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries. This collection of post 1945 performances is culled from unreleased studio sessions, Radio & Television appearance and private home recordings.

Great small combo work from Anita O'Day - done at a time when the singer had maybe faded from the American limelight a bit, but continued to do some really exceptional work for a variety of smaller labels! In fact, we might even say that Anita during this stretch was even hipper than before - as even on some of her classic 50s albums, she maybe still had a bit of the hoke from the big band years - whereas the O'Day on this album is older, mature, and really wonderfully suited to bring the most out of the tunes - all familiar, but handled with spare backings that really let the lady remind us why jazz vocals, when done right, are such a wonderful art!

The title of Anna Wilson's third album, Yule Swing!, gives an accurate indication of its contents, which consist of seasonal music in big-band (and small-band) jazz arrangements. But without the subtitle that's written vertically in script up the right side of the cover, one might expect to hear the usual perennials. That subtitle reads, "A Collection of Original Holiday Songs."

Excelling at the art of blues balladry demands that a musician possess great feeling but also great control. No surprise then, that one of its greatest practitioners, Nancy Wilson, has both traits in abundance. Save Your Love for Me: Nancy Wilson Sings the Great Blues Ballads is one in a loose series of three Capitol compilations to compile her late-'50s and early-'60s prime, the others focusing on the Great American Songbook and the torch song.

This 4CD set brings together eight of jazz vocalist and pianist Sarah Vaughan's finest albums from the 1950s, a period often regarded as her best.