Released in 2008 on the Green Hill label, Table For Two is a sweeping, beautifully executed double-disc collection from acclaimed pianist and composer David Huntsinger. Spanning twenty-three tracks and nearly one hour and forty minutes of music, this ambitious release finds Huntsinger applying his elegant touch, melodic clarity, and refined harmonic vocabulary to a definitive songbook of timeless romantic standards. Operating primarily in a sophisticated, intimate jazz trio and quartet framework, Huntsinger recreates legendary Great American Songbook classics with an extraordinary sense of poise and warmth. Listeners are treated to breathtakingly tasteful, gentle interpretations of generational gems like Unforgettable, Misty, My Funny Valentine, and Cheek To Cheek, culminating in a profoundly tender rendition of What A Wonderful World. The crystalline piano work remains front and center throughout, supported by a rhythm section that whispers rather than shouts, creating a soothing, classy, and deeply cohesive mood that serves as the perfect soundtrack for quiet evenings, fine dining, or intimate reflection.

This is the Keith Jarrett Trio's – featuring bassist Gary Peacock and drummer Jack DeJohnette – elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with – and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums.

Canadian singer/pianist Diana Krall moved up to an American major label, GRP Records, with her second album, Only Trust Your Heart, having made her debut, Stepping Out, with the Canadian independent Justin Time Records two year earlier. The approach is basically the same, although her supporting musicians are different. Tenor saxophonist Stanley Turrentine sits in on three tracks, "Is You Is or Is You Ain't My Baby?," "I Love Being Here with You," and the Ray Brown instrumental "CRS-Craft," but otherwise this is piano trio music, with drummer Lewis Nash and either Brown or Christian McBride on bass. Krall is a neo-traditionalist with a legitimate pedigree detailed by Michael Bourne in his liner notes: an isolated upbringing in British Columbia, playing her father's Fats Waller 78s; classical piano lessons while playing in the school jazz band; a Vancouver Jazz Festival scholarship to the Berklee College of Music; a Canadian Arts Council grant to study with Jimmy Rowles in Los Angeles.

Recorded in the heart of New York City in February 1988 and released a decade later by Evidence, Porgy is an exceptionally rich, dynamic, and inventive post-bop masterclass led by the brilliant pianist Steve Kuhn. What makes this session utterly unique and a rare treat for acoustic jazz aficionados is the double-bass configuration on the front line; Kuhn recruits two of the most titanic, distinct bass players in jazz history—Buster Williams with his deep, anchoring wooden thrum, and Eddie Gomez with his blindingly fast, lyrical upper-register fluidity. Backed by the flawless, driving cymbal work of master drummer Al Foster, the band reimagines classic compositions with immense depth. Kuhn’s crystalline touch effortlessly anchors the dual-bass textures on a setlist stretching from the high-velocity modal swing of Joe Henderson's Isotope and Tadd Dameron's Tadd's Delight to a profoundly tender reading of the Gershwin title track. Featuring two beautifully integrated, poetic vocal cameos by Laura Anne Taylor, this pristine acoustic document stands as a highly imaginative, beautifully realized gem in Kuhn's extensive discography.

Released in 1995 by the prestigious French label Black & Blue, Mule is a delightfully warm, soulful, and joyously swinging straight-ahead session that celebrates the timeless art of mainstream jazz interplay. The date serves as a showcase for legendary bassist Major "Mule" Holley, famous for his infectious Slam Stewart-inspired technique of humming along in unison with his bowed bass solos. Fronting an elite, cross-continental quartet, Holley partners with the elegant West Coast piano master Gerry Wiggins and the impeccable, brush-wielding drum giant Ed Thigpen, while the brilliant French tenor saxophonist Gerard Bandini rounds out the front line. Together, the group glides through a beautifully curated program of beloved jazz standards like Mack The Knife and There Will Never Be Another You, alongside earthy, blues-drenched originals like Wig, Thig, Bad An Major Too and Miss Mule. Driven by an irresistible acoustic pulse and an undeniable sense of camaraderie, this pristine recording captures four veteran masters delivering a masterclass in relaxed, high-grade acoustic swing.

All the Way is a beautifully executed studio album by the celebrated Canadian jazz chanteuse Susie Arioli, released in 2012 under the Jazzheads label. Known for her distinctively muted, effortless vocal phrasing and understated elegance, Arioli delivers an enchanting collection of timeless jazz standards that pay homage to classic songwriting traditions. The project marks another stellar collaboration with her long-time guitarist and arranger Jordan Officer, whose tasteful fretwork anchors the breezy arrangements alongside an exceptional ensemble featuring vibraphone, piano, and a lush horn section. Stripping away unnecessary theatricality, the performances highlight her impeccable pitch, rhythmic intimacy, and genuine connection to the lyrical narratives of the Great American Songbook. Whether floating through gentle ballads or leaning into steady, mid-tempo swing patterns, the record maintains a beautifully cohesive mood that feels simultaneously nostalgic and contemporary, appealing directly to discerning jazz purists worldwide.

The 3 Divas is a superb anthology celebrating three of the most influential and iconic female vocalists in jazz history: Billie Holiday, Sarah Vaughan, and Ella Fitzgerald. Released in 2002 by Emporio, this extensive collection presents a rich overview of the unique artistry and timeless recordings that helped define classic vocal jazz throughout the twentieth century. Each singer brings her own unmistakable style and emotional depth to the compilation. Billie Holiday delivers deeply expressive performances filled with melancholy, intimacy, and sophistication, while Sarah Vaughan showcases her extraordinary vocal range, technical brilliance, and warm phrasing. Ella Fitzgerald contributes her trademark elegance, impeccable swing, and joyful improvisational spirit. Supported by legendary musicians including Louis Armstrong on several selections, the collection highlights beloved standards, blues-infused ballads, romantic interpretations, and lively jazz arrangements. The remastered sound and carefully selected repertoire make this release an essential introduction for newcomers and a rewarding retrospective for longtime jazz enthusiasts. The 3 Divas stands as a remarkable tribute to the enduring legacy of these extraordinary vocal pioneers.

Trumpeter Chris Botti's To Love Again: The Duets picks up where his stellar 2004 release When I Fall in Love leaves off, with more gorgeously lush and heartfelt orchestral jazz via the London Session Orchestra. This time showcasing guest vocalists – as well as a handful of instrumental tracks – Botti takes an even more classicist approach than before and once again brings to mind such iconic jazz albums as Clifford Brown with Strings and Miles Davis' Porgy and Bess. Largely known as a smooth jazz artist with a sweet trumpet tone, it wasn't until When I Fall in Love that Botti dropped the smooth jazz synthesizers and pop-oriented compositions in favor of Gil Evans-style jazz orchestrations and an acoustic backing quartet.

Diana Krall is an attractive lady with a good voice who plays decent piano, but this somewhat ridiculously packaged Verve CD seems like an obvious attempt to turn her into a pop icon and sex symbol to boot. The bland arrangements by Claus Ogerman (who conducts the London Symphony Orchestra on each track) border on easy listening, while Krall and her various supporting musicians – including John Pisano, Russell Malone, Christian McBride, and Peter Erskine (among others) – clearly seem stifled by their respective roles.