Miles Smiles is an album by jazz musician Miles Davis, released in January 1967 on Columbia Records. It was recorded by Davis and his second quintet at Columbia 30th Street Studio in New York City on October 24 and October 25, 1966. It is the second of six albums recorded by Davis's second great quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams.

Oscar-winning composer Jerry Goldsmith has written scores and themes for well over 250 films and TV shows. His work has been thrilling fans for nearly fifty years. Widely acknowledged by his colleagues as a master of his art, Goldsmith has received (in addition to the Oscar for his score to The Omen in 1976) five Emmy Awards, nine Golden Globe nominations, and seventeen additional Academy Award nominations.

'Four' & More: Recorded Live in Concert is a live album by Miles Davis, recorded at the Philharmonic Hall of Lincoln Center, New York City, NY on February 12, 1964, but not released until 1966. Two albums were assembled from the concert recording: the up-tempo pieces were issued on this album, while My Funny Valentine consists of the slow and medium-tempo numbers.

Someday My Prince Will Come is the seventh studio album by Miles Davis for Columbia Records, released in 1961. Recorded at Columbia's 30th Street Studio in Manhattan, it marked the only Miles Davis Quintet studio recording session to feature saxophonist Hank Mobley.

George Harrison returned to the stage for the first time in years in 1991; that Japanese tour is documented on the fine double-disc set Live in Japan. Backed by a stellar supporting band led by Eric Clapton, Harrison turns in surprisingly strong versions of his best solo material; it easily surpasses Paul McCartney's double-disc Tripping the Live Fantastic or Paul Is Live. Not bad for a guy who doesn't like to give concerts.

The title track is one of the most recorded jazz songs in history and Billie Holiday's interpretation on this 1957 release is arguably considered one of the best, if not the definitive version. Producer Norman Granz brings out the best of her voice on this album from late in her career, accompanied by a superb band that includes Ben Webster on tenor sax.

Chicago: Music From the Miramax Motion Picture is a soundtrack album featuring all of the original songs of the 2002 Best Picture Academy Award-winning musical film Chicago starring Renée Zellweger, Catherine Zeta-Jones, Richard Gere, John C. Reilly, Christine Baranski and Queen Latifah.

Internationally recognised as Britain's greatest jazz guitarist, Martin Taylor is a versatile and masterful musician. His groundbreaking solo album Artistry, produced by Steve Howe, was originally released in 1992 to much critical acclaim and was re-issued on SACD. Artistry was No.1 in the HMV Jazz Charts for a record 12 weeks and topped the UK Jazz Charts for six weeks and launched Martin's career as an international solo artist.

Spirit of Django sees internationally renowned guitarist Martin Taylor creatively embrace the legacy of Django Reinhardt and Gypsy Jazz. Taylor delivers a world-class virtuoso performance on this, one of his most enduringly popular albums. Taylor is joined by John Goldie on acoustic rhythm guitar, Dave O'Higgins on saxophones, Alec Dankworth on acoustic bass guitar and Jack Emblow on accordion.

Young pianist Martin Helmchen again shows his affinity for Schubert in this magnificent reading of the Trout Quintet. There are currently 90 listings of the Trout Quintet for the unusual combination of piano, string trio, and double bass. What distinguishes this one from most of the other eighty-nine is the coolly accomplished, no-nonsense approach of Helmchen and his mates. This is one of the most smoothly articulated accounts I have ever heard of this well-loved work. In the opening movement, marked Allegro vivace, the blend of the strings is ideal, especially in the pianissimo passages, when they are virtually muted. The tone of Tetzlaff’s violin at this moment is indescribably beautiful.

This remarkable album marked the recording debut of German violinist Julia Fischer as well as the beginning of her extraordinary partnership with Russian-born conductor Yakov Kreizberg. Julia Fischer was about twenty-one when she made these recordings, which is all the more astonishing because in each work her interpretive acumen, sense of maturity and all encompassing technique are qualities one associates with a seasoned master of this kind of challenging repertory.

The pulsations of Steve Reich's landmark Music for 18 Musicians signify a New Music precipice. Where so much music after World War II explored extremes of tone, time, and register, Reich–and some of his colleagues in the 1960s and after–gravitated towards immersion in repetitions and telescoped focus on tonal areas. The combination of piano, vibraphone, marimba, xylophone, clarinets, violin, cello, and female voices is intoxicating in Reich's hands. Reich creates a middle-register, ringing vamp with burnished reed palpitations and, eventually, quick, rolling piano figures emerge in tandem with the percussion. This recording is the second-best known, next to the ECM Records version of the piece, and is warm and colorfully tingling.

This is a live recording of the Dutch singer Trijntje Oosterhuis, at home in the Netherlands, with the Amsterdam Sinfonietta & Jazz sextet The Houdinis, conducted by Wayne Marshall, doing Billie Holiday & George Gerswin material.

Although Peter Ulrich remains best known as an on-again, off-again member of Dead Can Dance (he supplied percussion on such classics as 1987's Within the Realm of a Dying Sun), he is an accomplished composer in his own right, as evidenced by his sporadic solo recordings. Like the releases by his former band, Ulrich's latest solo outing, 2005's Enter the Mysterium, is an incredibly lush recording – chock-full of exotic instruments not usually associated with your typical rock bands (recorder, oboe, violin, etc.).

Studio 150 is the seventh album by British artist Paul Weller. It comprises covers of songs by a variety of artists, and showcases Weller's myriad musical influences. It was named after the small Amsterdam studio in which it was recorded. It entered the charts at #2.