Jimmy Scott, was an American jazz vocalist famous for his high countertenor voice and his sensitivity on ballads and love songs. Lionel Hampton gave him the nickname "Little Jimmy Scott" because he looked young and was short and of slight build. His phrasing made him a favorite of artists including Billie Holiday, Ray Charles, Frankie Valli, Dinah Washington, and Nancy Wilson.

Phil Woods is right at home during these 2002 sessions at Red Rock Recording Studio near his home in Delaware Water Gap, Pennsylvania. With his regular group (Bill Charlap, Steve Gilmore, and Bill Goodwin) minus trumpeter Brian Lynch, Woods adds strings conducted by his old friend Eric Doney on this collection of ballads. "And When We're Young" is the alto saxophonist's tribute to the late Senator Robert F. Kennedy, who was assassinated around the time it was written. The leader's lush alto gives way to a brisk Latin-flavored passage featuring powerful solos by violinist Andy Stein and Charlap on piano, while Woods humorously detours into "Nature Boy" upon his return. The strings introduce a lively arrangement of "It Never Entered My Mind," and another favorite of the alto saxophonist, "If I Should Lose You." Unlike many jazz recordings with strings, they complement rather than overwhelm the musicians. But it is almost impossible for a Phil Woods-led date to turn out less than excellent.

Kaori Muraji was born in Tokyo in 1978. Her first guitar lessons were from her father, Noboru Muraji, when she was 3 years old. She won the top prize at the 1989 Junior Guitar Contest, and was the winner of the Student Guitar Competition in two consecutive years 1989 and 1991. She was the youngest ever student to win the Leo Brouwer International Guitar Concours and Tokyo International Guitar Concours in 1992.

Celebrated as an instrumentalist and a vocalist, Australian artist Nicki Parrott has earned acclaim as one of the most engaging talents to emerge on the jazz scene in the 21st century. Born in Newcastle, New South Wales, Australia in 1970, Parrott had a precocious talent for music, first learning to play the piano when she was four years old.

Iggy's solo debut following the end of the Stooges, „The Idiot“ is often overlooked in favour of his second epistle, „Lust For Life“. Great album though the latter may be, „The Idiot“ served to remind rock's better-informed fans that one of its most original talents was still alive and kicking. Produced by Bowie, IDIOT contains two compositions, "Funtime" and "China Girl" that he later recorded himself. Another highlight is the electronics-driven "Nightclubbing" (a certifiable post-punk classic) and the meandering "Dum Dum Boys" (a precursor to "The Passenger"). An album that proved Iggy did not need to be flanked by guitars to retain his edge and menace.

Since his stunning debut in 1974 with the now world-famous audiophile recordings for the Three Blind Mice label, Japanese pianist Tsuyoshi Yamamoto has built a career that now spans four decades. His brand-new trio album What A Wonderful World follows his previous release Gentle Blues (VHCD-1118), his first recording for Venus Records in 14 years. In fact, the 12 tracks in this CD were recorded on the day after 10 tracks on Gentle Blues were recorded. It is remarkable that Yamamoto and his trio recorded enough materials for two CDs in two consecutive days, but then again, he is a veteran pianist who doesn't like to repeat himself and prefers to record everything in a single take.

Spectacular playing by Higgins accompanied and backed by Jay Leonhart on bass and Mark Taylor on drums. I will confess that my favorite drummer who was frequently a member of Higgins' trios was Joe Ascione, but Taylor is perfect on this album. If you are a Higgins fan, then you are probably familiar with Leonhart who is almost telepathically connected to Higgins.

This album is pure poetry – taking its spark from Christiane Karg’s engagement with the poetical works of Charles Baudelaire, Leconte de Lisle, Paul Verlaine, Tristan Klingsor and Victor Hugo. A poetry in diction that has a wonderful affinity with Impressionist music at the turn from the 19th to the 20th century. Christiane Karg finally decided upon works by Duparc, Koechlin, Debussy and Ravel for her new album. Her selection also includes an early composition by Benjamin Britten, which in its turn was inspired by Debussy and Ravel. Christiane Karg’s voice wafts this poetic scent, these colours in sound, aloft. Poetry and music, words and voice blend into Parfum!

One of a handful of the very best piano jazz interpreters in the world, Eddie Higgins takes his place along side Beegie Adair, Dick Hyman, Oscar Peterson, John Proulx, Hank Jones, and maybe five or six other masters. This CD, like all his albums is stunning in its simplicity and in its complexity. A master of interpretation, melodic invention and smooth, easy jazz at his peak.

The Choir of Clare College, Cambridge and director Graham Ross continue their series of music for the church year with a sequence for Easter Day that spans five centuries and explores the rich tapestry of repertoire from across the European continent.

Graham Ross directs the Choir of Clare College, Cambridge in a sequence for Corpus Christi, one of the most important feasts in the liturgical calendar. Thomas Aquinas's celebrated Eucharistic hymns appear in settings from the 16th, 20th and 21st centuries, framed by two masterpieces celebrating the Holy Communion: masterpieces celebrating the Holy Communion: Josquin's Missa Pange Lingua and Finzi's extended anthem, Lo, the full, final Sacrifice.

Late sixteenth-century Florence was alive with theater. Seeking to achieve the perfect blend between music and poetry, intermedi (interludes) were inserted into plays. These interludes were presented with lavish visual and musical resources. After reaching an initial peak in 1589 with the intermedi composed for Bargagli's La pellegrina, the tradition survived the burgeoning genre of opera through the work of such composers as Peri, Caccini, Monteverdi and Gagliano. On this release, rather than aiming for the impossible ideal of a reconstruction, Raphaël Pichon has devised a sort of imaginary intermedi by selecting the finest gems from this repertory, featuring the figures of Apollo, Orpheus and Eurydice, and above all Cupid.

In memory of the faithful departed. Graham Ross conducts The Choir of Clare College, Cambridge in a programme of English and Spanish music for the Feasts of All Saints and All Souls, culminating in Tomas Luis de Victoria's last published work, his six-part 1605 Requiem, regarded by many as one of the finest works of the Spanish Renaissance.

Grammy® Award-winning pianist Bill Charlap has performed with many of the leading artists of our time including Phil Woods, Tony Bennett, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person. Born in New York City, Charlap began playing the piano at age three. In 1997 Charlap formed his trio with bassist Peter Washington and drummer Kenny Washington, now recognized as one of the leading groups in jazz.

Ladilikan, the new album by Trio Da Kali and Kronos Quartet, represents a landmark in cultural cross-fertilisation that both parties rank among the most satisfying musical experiences of their careers. David Harrington, Kronos’ artistic director and founder, enthuses that the album is “one of the most beautiful Kronos has ever done.” On first hearing their griot grooves being played by violins, viola and cello, Trio da Kali’s musical director Fodé Lassana Diabaté said, “This is going to be the best collaboration of my life.”