Recorded in the wake of the global success of Breakfast in America, Paris is a competent live album from Supertramp…

Swing into the holiday spirit with BIG BAND HOLIDAYS II, the sequel to the critically acclaimed 2015 release from the Jazz at Lincoln Center Orchestra with Wynton Marsalis. Featuring original arrangements of holiday classics selected from Big Band Holiday concerts spanning from 2015 to 2018, nine-time GRAMMY Award winner and Pulitzer Prize winner Wynton Marsalis and the JLCO are joined by an all-star assortment of guest vocalists, including Veronica Swift, Denzal Sinclaire, Catherine Russell, Audrey Shakir, and the Queen of Soul herself, Aretha Franklin.

The second LP for which he wrote both lyrics and music, Lucio Dalla was released by RCA Italia, and is generally considered among his finest works. It contains some of his most popular songs, such as "Anna e Marco", "Milano" and "L'anno che verrà". "Cosa sarà", written with Ron, is sung together with Francesco De Gregori. Forty years after its release, Sony Music celebrates the Lucio Dalla album with a remastered limited edition enriched with 3 extra tracks in new versions: Angeli (studio version),Stella di mare (demo Italian version), Ma come fanno i marinai feat. Francesco De Gregori (studio version). Furthermore the album is accompanied by a rich booklet with interviews written by John Vignola and with the original illustrations by Alessandro Baronciani, created specifically for this important anniversary.

La sua eccentricità ci è sempre piaciuta, e Renato Zero anche stavolta riesce a sorprenderci. A due anni da "Zerovskij…solo per amore", progetto ambizioso composto da diciannove brani, l'artista rivoluzionario torna con "Zero il folle": l'album uscirà ad ottobre ed è stato realizzato a Londra con la produzione e gli arrangiamenti di Trevor Horn (produttore di Paul McCartney, Rod Stewart, Robbie Williams) con cui Renato Zero torna a collaborare dopo l’album “Amo” del 2013.

The Spanish tinge referred to by pianist Jelly Roll Morton has never been far from jazz, though serious attempts to fuse flamenco and jazz only began with saxophonist Pedro Iturralde and guitarist Paco de Lucia's collaboration Flamenco-Jazz (SABA, 1968). Tenor saxophonist Carlos Villoslada continues this tradition by bringing together jazz melodies and harmonies with flamenco rhythms and voice. For the most part, the music on this recording has a relaxed vibe, with the Cadiz-based quintet visiting soleas, bulerias, tientos and tanguilos with a quietly smoldering passion, led from the front by Villoslada's strong playing. Despite the absence of guitar the flavor of flamenco permeates these compositions, with vocalist Raul Gálvez supported by Diego Moatoya and Pedro de Chana on palmas, Dani Dominguez' striking, hybrid jazz-flamenco drumming, and veteran Brazilian percussionist, Rubem Dantas.

A rare, unreleased verson of The Tony Williams Lifetime album, Turn It Over. Expanded, remixed, and remastered by Bill Laswell from the original Polydor master tapes. This unabridged version of the complete album includes 4 unreleased cuts, and 5 longer unedited versions from album sessions - which was intended as a double LP but only released as an editied single LP. Cover art by Russell Mills, liner notes by John Szwed. Thanks to Bill Laswell for rescuing, and finally giving a proper mastering to match William's original intentions, to this most seminal, groundbreaking recording, mixing jazz, rock, prog and metal years ahead of virtually everyone else!

Since the fifth season of the massively popular BAFTA-winning series BBC drama wrapped up, fans are aching for their next hit of Peaky Blinders. On November 15, UMe will release the first-ever official soundtrack to the series (currently available on BBC's iPlayer and on Netflix in more than 100 countries outside of the U.K.) that has captivated audiences across the globe. The soundtrack will be available on 2CD, 3LP and digital.

A masterpiece from Gene Harris an album that’s probably been his biggest influence on the sound of soul in the 21st Century, and for good reason too! The set moves way beyond both Harris’ acoustic piano roots in the Three Sounds, and his other electric sides of the 70s into sublime spacey territory that’s wrapped up in soul – as much a pinnacle of his musical vision as early 70s records were for Herbie Hancock or George Duke! The vibe here is a bit between the looser styles of Duke’s MPS recordings, and the tighter grooves of the Mizell generation and arrangements are by Harris, Harvey Mason, and Jerry Peters, the latter of whom really adds some great elements to the record.

Mahler’s Eighth is a special challenge for all participants: in rehearsals, in performance, and, of course, when making a recording. The challenge lies in freeing the music from all of the technical and logistical problems that come with it. Whenever new possibilities emerged in music history (such as new musical instruments), composers tended to introduce the novelty quite frequently in the first phase to show its potential. A good example was the Mannheim School in the 1700s.