Ballad singer Johnny Hartman's third and final Impulse session is not quite on the same level as the first two. Although the earlier of the two sessions has several near-classic performances (including "My Ship," "Waltz for Debby," and "It Never Entered My Mind"), the second date has weaker material, primarily several songs from movies or shows, including "Sunrise, Sunset." Hartman is in fine form whether backed by the Hank Jones quartet or accompanied by an octet arranged by pianist Bob Hammer, but this set is not as essential as his earlier meetings with John Coltrane and Illinois Jacquet.

The music on this CD (all Abdullah Ibrahim originals) was performed and recorded for the soundtrack of a French film, Chocolat. The selections are generally fairly brief, and the LP-length set (39 minutes of music) is episodic and a bit incomplete due to the lack of a photo. Ibrahim (heard on piano, flute and voice) is joined by a notable group of players (the tenors of Ricky Ford and Craig Handy, trombonist Benny Powell, bassist David Williams and drummer Billy Higgins), but the overall results, while pleasant, are not as essential as Ibrahim's best work.

BLUE LESTER, a 15-track sampler of Lester Young's early recordings for Savoy, is an ideal introduction to the saxophone legend. Understated, lyrical, and possessed of a sly, nimble musical imagination, Young had a sinuous, laid-back sound with which he pioneered the idea of playing "cool" in jazz, launching–in effect–a stylistic revolution…

After working as an engineer for 34 years, Spike Robinson finally became a full-time musician late in 1985. This outing with fellow tenor Al Cohn and a rhythm section comprised of pianist Richard Wyands, bassist Steve La Spina and drummer Akira Tana finds Robinson holding his own with his better-known sidemen. The two tenors had similar but complementary styles (Cohn's tone at this point in time was deeper and darker than Spike's), and their interplay and occasional tradeoffs are delightful. In addition to some standards, they perform Miles Davis' "Sippin' at Bells," Bob Brookmeyer's "Rustic Hop" and Johnny Mandel's "Low Life" on this easily recommended LP.

Some interesting, uneven, but worthwhile '65 material from trumpeter Woody Shaw. He was still fresh on the jazz scene and had only recently recovered from the death of mentor Eric Dolphy. Shaw teamed with tenor saxophonist Joe Henderson, pianist Herbie Hancock, and bassists Ron Carter or Paul Chambers on these cuts. His potential certainly emerges, as does the fact he was a tentative, unsure soloist at this juncture.

The liner notes, the originals of which are included with this reissue, reflect that "this is not experimental jazz." It isn't. It is finely performed mainstream jazz of the era in which it was made. While this recording does not equal the quality of the sessions to be recorded by Shorter later in the decade for Blue Note, it is pleasantly played bop. Shorter's tenor saxophone shows a conservative side, to be sure, and a young Freddie Hubbard hardly takes any chances. Still, the rhythm section anchored by pianist Eddie Higgins and including bassist Jymie Merritt and drummer Marshall Thompson, keeps a solid beat and the results are pleasant enough…

Tony Monaco has moved the Hammond B3 organ beyond its common niche as a vehicle for hit R&B, blues, and soul. Like Larry Young, Monaco has expanded the instrument beyond the chitlin', black beans, and funk so often associated with this musical mechanism and transformed it into a major improvisational force. The organ in his hands has as much of a modern sound to it as others on the scene, with the possible exception of Joey DeFrancesco, as evidenced by such modern jazz classics as "Take the Coltrane" and "Footprints" on the play list. Listen to the complex chordal displays on "Mellow Mood," which offers a highly listenable combination of traditional and new organ styles…

Harold Mabern's second release on Smoke Sessions Records, Afro Blue, is a very special recording featuring guest vocalists Gregory Porter, Norah Jones, Jane Monheit, Kurt Elling, and Alexis Cole. The chemistry of these artists with Harold the sound of his piano voicings combined with their voices is extraordinary. Well-known in jazz circles as a consummate accompanist for instrumental soloists, The Mabe also has a special gift for sensitive and supportive playing behind singers…

Some albums are named for a time, a place, an experience, or even a person. Others have a concept. Saxophonist Seamus Blake takes on concept with Bellwether, a term for leader or trendsetter. Born in England and raised in Vancouver, Canada, Blake has gained recognition by Down Beat and JazzTimes magazines, and finished first in the 2002 Thelonious Monk Jazz Competition. His associations include Mark Turner, Kurt Rosenwinkel, FLY and Victor Lewis. For Bellwether, Blake is accompanied by guitarist Lage Lund, pianist David Kikoski, bassist Matt Clohesy and drummer Bill Stewart. "A Beleza Que Vem," one of five Blake compositions, is an easygoing piece that features the leader on soprano saxophone, playing the melody in duet with Lund.

"Did you hear the one about the singing trombonist?." It's not even a joke because there have been many a fine trombonist that also sing, to wit: beginning with the inestimable Jack Teagarden. Then there's Billy Eckstine, Wycliffe Gordon, Henry Darragh, Natalie Cressman, and one Pete McGuinness who releases his third recording as leader, Voice Like A Horn. It is McGuinness' vocal abilities that are showcased on this recording, where the singer is supported by a piano trio augmented with special guests…

Celtic Café features exceptional Irish and Scottish singer-songwriters performing a blend of modern and traditional acoustic Celtic music. In time for St. Patrick’s Day, Putumayo World Music presents Celtic Café, a collection that celebrates the powerful singer-songwriter movement and the burgeoning café culture in Ireland and Scotland. Cafés in Dublin, Edinburgh and the rest of the Celtic world have become alternative outposts to the archetypal pub; both are ideal settings to enjoy acoustic Celtic music. Celtic Café features exceptional Irish and Scottish artists performing contemporary Celtic music often rooted in ancient tradition. The collection also includes a recipe for the classic Irish coffee, a beverage that provides a perfect blend of pub and café drinks.

Shauna Antoniuc has been singing professionally since 1994 in all different styles. She recorded this album in Burlington, Vermont in 2002 with renowned Burlington jazzers Joe Capps and Chris Peterman. Joe and Shauna also laid down tracks for their second album before she headed west to Sacramento in 2003. Stay tuned for its impending release….
Her first band, Belizbeha, was an acid jazz/funk/dance group which toured extensively around the US, Canada and Europe during the mid to late nineties. They put out 2 albums selling over 30,000 albums combined. Belizbeha is still active, playing twice a year for special occasions. She also sang in Vermont's number one (because it's the ONLY one!) western swing band Rick and the Ramblers, headed by Mr. Rick Norcross himself…

Shunza (born 1973) is an Chinese-American singer-songwriter known for her "velvet" voice and love ballads. Unlike most pop idols who perform in front of screaming fans, Shunza's concerts are more intimate and cocktail-style. Over the course of her career, she has collaborated with Taiwanese artists such as Elva Hsiao and Wilber Pan.

Jazz Performer Robin McKelle performs with her band: Alain Mallet - Piano, Peter Slavov - Bass and Jeremy Clemons - Drums. Her influences are Ella, Sarah, Frank Sinatra, Donny Hathaway, Chaka Khan,Gladys Knight, Aretha Franklin, Nancy Wilson, Stevie Wonder, George Duke, Herbie Hancock, Miles, Coltrane, Dianne Reeves, Nina Simone, Pat Metheny, Jaco, Ledisi, Jill Scott, and so on and so forth…. Sounds Like Robin has her own unique sound influenced by many different musicians in many different styles. Her soul infused alto voice is compared to jazz legend Ella Fitzgerald. Robin's fresh approach to the vintage sound of the american songbook have sparked audiences around the world.

After two jazz albums (‘Introducing Robin McKelle’ and ‘Modern Antique’), songstress Robin McKelle breaks with her former classicism to bring us a magnificent new album that spans rhythm ‘n’ blues, soul and jazz with huge talent and authority.