Yasmin Evans, 19 May 1963, Shepherd’s Bush, London, England. Dance-pop singer who began her career in the music business as part of a quickly forgotten act, the Biz. After becoming a catwalk model and working as George Michael’s stylist, she laid plans for a return to recording work. When she did so, she found rewards immediately, joining with DJs Coldcut on the February 1988 Top 10 hit ‘Doctorin’ The House’. In its wake her revamped version of Otis Clay’s ‘The Only Way Is Up’ soared to the top of the UK charts in August, while ‘Stand Up For Your Love Rights’ reached the number 2 spot. Both of the latter were credited to Yazz And The Plastic Population. After three further Top 20 hits and tours Yazz took time out to have her first baby. She returned alongside Aswad in 1993 for ‘How Long’, but this failed to break the Top 30. A new solo single, ‘Have Mercy’ and the attendant One On One were further evidence of her attempts to re-establish herself via a contract with Polydor Records. Yazz recorded 1997’s The Natural Life at UB40 frontman Ali Campbell’s Kuff Studios. This pleasant reggae-inflected album proved to be her final release of the decade.

With just a couple of cursory listens to the few tracks that popped up all over the Internet through 2007, comparisons were made between Adele, the much-hyped brassy British songstress, and Amy Winehouse, the…much-hyped brassy British songstress. However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone. Bluesy like it's no one's business yet voluptuously funky in a contemporary way, Adele rocks out 19 with a unique voice and gritty sound that dazzle endlessly. Synthesizing blues, jazz, folk, soul, and even electric pop, Adele mystifies through her mature songwriting skills and jaw-dropping arrangements.

"For Every Heart" is the 2nd album by Dianne Reeves. Released on vinyl in 1984, it was re-released on compact disc only once - in Japan, on the label Victor Musical Industries in 1988. Only some of the compositions of this album can be found later in compilation "The Palo Alto Sessions 1981-1985" of Blue Note (1996). Therefore, this disc is a rarity even in the auction sales.

"Mister Magic" is the 4th album by jazz saxophonist Grover Washington Jr., released in February 1975. The album topped both the soul and jazz albums chart and peaked at #10 on the pop chart.

Adele's 2009 debut album, 19, was a Grammy-winning smash hit that revealed the British singer/songwriter's knack for bittersweet soul and folk-infused love songs that brought to mind an infectious mix of Dusty Springfield and Terry Callier. The album earned her a ton of fans, and interest was high for the inevitable follow-up. In many ways, her sophomore album, the similarly age-appropriate-titled 21, is a continuation of the sounds and themes Adele was working with on 19. She is still the bluesy pop diva with a singer/songwriter's soul and seemingly bottomless capacity for heartbreak. If the tastefully organic production and overabundance of well-known co-writers come off a bit too on-the-nose in terms of delivering to fan expectations, then the best thing the album does is to showcase Adele's titanic vocal ability, which – more than a few times on 21 – is simply spine-tingling.

When Los Angeles-born, Oakland-based pianist-turned-producer Gene Russell co-founded Black Jazz in 1971, the 39-year-old journeyman was just two years removed from a small-trio release on Decca that landed squarely in the lighthearted, pop-friendly, ‘Up-Up And Away’ and ‘Born Free’-covering world of cocktail-bar jazz. But with the turn-of-the-seventies emergence of revolutionary developments from electric Miles to the spiritual directions of Pharoah Sanders and Alice Coltrane – and all sorts of funky mutations in Russell’s soul-jazz wheelhouse, to boot – the tight-knit collection of artists he assembled took full advantage of all the possibilities that lay ahead for jazz in the young decade.

Two scores with a tone of righteous fury woven throughout. While there are differences in the approach to the two scores, Quincy Jones did manage to provide a unifying style – no mean feat, considering that the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture, while They Call Me Misters Tibbs! had a more open, urban attitude from its San Francisco setting. The music throughout has an edge (the lighter music in the second score is generally source music), with some interesting musical experiments going on (Jones, as one example, used cimbalom to reflect Tibbs' feelings in They Call Me Mister Tibbs!.) The Ryko CD release includes an Enhanced CD portion with film material. The sound throughout the disc is excellent, although the cues from In the Heat of the Night show their age, and the dialogue excerpts sound very rough.

Three Tough Guys (also known as Tough Guys) is a 1974 crime-action film directed by Duccio Tessari. It may be regarded as an example of the Blaxploitation genre. It stars Lino Ventura, Fred Williamson and Isaac Hayes, who also composed the soundtrack. It is a coproduction between United States, Italy (where it was released Uomini duri) and France (where is known as Les Durs). The film was shot in Chicago.

Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

What you see is what you get, an excellent little compilation of the various faces of soul-jazz as presented by the Verve label with their amazing array of artists from Hugh Masekela to Willie Bobo and Herbie Mann on the one hand, and Dizzy Gillespie, Jon Hendricks (in an outstanding reading of Herbie Hancock's "Watermelon Man") the Heath Brothers, and Teddy Edwards on the other. The track list is wonderfully varied, too: there's a smoking version of Hancock's "Cantaloupe Island" by Masekela, a pair by Jimmy Smith, and a big band – a new entry by the acid jazz group the James Taylor Quartet, but they get it deep; and Wynton Kelly goes deep into soul and blues with "Escapade." Anyway you cut it, it comes out great.

Manchester-based jazzy pop group who scored hits in the 1980s, but remained relevant for decades.

"Let Me In Your Life" is the 20th studio album by American singer Aretha Franklin, released on February 25, 1974 by Atlantic Records. This was one of Aretha's top-selling Atlantic Records albums. The album hit #1 on Billboard's R&B albums chart and reached #14 on Billboard's main album chart, missing the Gold standard by a small margin. Featuring three hit singles, it is regarded as one of Franklin's best Atlantic recordings.

Like many soul-jazz musicians, Melvin Sparks moved into funkier directions as the mid-'70s approached, whether out of pressure from marketing trends, a desire to explore that area, or both. Two of his albums from this era, 1973's Texas Twister and 1975's '75, were combined into one disc for this CD reissue.

Possibilities is a Herbie Hancock adventure record. This ten-cut smorgasbord features the ever restless pianist, composer, and arranger in the company of literally dozens of artists, from pop singers like Christina Aguilera, Sting, and Annie Lennox to rock legends such as Santana and Paul Simon to relative newcomers like John Mayer, Jonny Lang, and Joss Stone, as well as some renowned international performers, such as Angélique Kidjo and Raul Midón in a wide range of songs, styles, and moods. Hancock cut the record in studios all over the world, all the collaborations were done face to face, not long distance. Session musicians here include everyone from Stevie Wonder (who plays the harmonica solo on the cover of his tune "I Just Called to Say I Love You"), to Santana to Cyro Baptista, Willie Weeks, John Pattitucci, Steven Jordan, and Gina Gershon (the actress)! The standout cuts are the sensual read of Leon Russell's "A Song for You," sung by Aguilera, Simon's jazzed-up revisioning of his "I Do It for Your Love," and Lennox's read of "Hush, Hush, Hush," written by Paula Cole (whatever happened to her?).

Born in Newport News, VA, in 1944, Salena Jones (real name: Joan Elizabeth Shaw) would over the course of a 60-plus-year career become one of the leading vocalists of swing music, performing in a number of countries in Europe and Asia and recording a number of albums. Jones got her first break at the famed Apollo Theater in New York, winning a talent contest that resulted in a record deal. She spent the early part of her career touring and performing with such leading lights as Louis Armstrong, Cab Calloway, and Duke Ellington.