The always eclectic Maria Muldaur, whose previous albums have paid tribute to Shirley Temple and blues women of the '20s, takes another musical detour in this collection of songs associated with Peggy Lee. In addition to her cool, sexy, relaxed voice, Lee was arguably more talented than other vocalists from her era. As a songwriter she co-penned some of her own material, including the swinging "I'm Gonna Go Fishin'" with Duke Ellington, which features the witty double entendres that spice several other songs. Muldaur possesses a similar ability to purr ("Some Cats Know") or sizzle (an opening tour de force of "Fever" and "Black Coffee") without breaking a sweat. So this collection of 12 tracks, backed by a talented yet restrained eight-piece band, is a natural extension of her vocal strengths. The stylish, retro arrangements include vibes and big-band-styled horn charts that sound as authentic as if they were recorded in the '30s. Even though there are some finger-popping swing numbers (a zippy duet with Dan Hicks on Ted Shapiro's "Winter Weather" is especially peppy), a late-night, languid blues-jazz vibe dominates.

Veteran jazz pianist Steve Kuhn has proved to be a popular artist in Japan, recording a series of CDs for the Japanese label Venus. On these 2006 sessions, Kuhn is joined by bassist Buster Williams and drummer Al Foster, two artists who also have extensive résumés. While the CD is titled Plays Standards, Kuhn doesn't stick exclusively to well-known works. In addition to Victor Young's widely recognized "Beautiful Love" (a favorite of pianist Bill Evans), the pianist offers a seductive take of the composer's "Golden Earrings" and a lighthearted, breezy setting of "Love Letters" as well. Kuhn's intense workout of "Alone Together" includes an amusing detour into Thelonious Monk's "Locomotive," while his revamping of "Softly, as in a Morning Sunrise" disguises the tune rather well. Kuhn also revisits his original "Oceans in the Sky," a brilliant piece evocative of a coming storm.

Formed in Lancashire in 1969, Gravy Train was fronted by guitarist and vocalist Norman Barratt, along with J.D. Hughes on keyboards, flute and saxophones, Les Williams on bass and Barry Davenport on drums. The band first came to public attention when they signed to Vertigo Records in 1970. Gravy Train recorded two classic progressive rock albums for the label before signing with Pye Records' progressive label, Dawn in 1973. "Staircase to the Day" was the band’s second album for Dawn Records. Issued in 1974, the album was a fine collection of Progressive Rock music that took in influences from bands such as Jethro Tull, Roland Kirk et al.

2019 two CD set, the thirteenth volume in the So80s series. The finest collection of original classic 12" club & extended mixes.
"Celebrate the '80s in style" was the premise Blank & Jones started the So8os (So eighties) Project under circa ten years ago. Since then, the two '80s born artists have been digging through countless archives of old master tapes of legendary '80s maxi versions of famous songs for this series - building up an impressive fanbase while releasing 11 entries so far under the moniker So8os. Thanks to the massive renaissance of this colourful decade and the success of series such as Stranger Things also open to a broader and younger audience these days. Volume 13 includes tracks by Loose Ends, Chicago, Jellybean, Blondie, Tina Turner, Sade, Roxette, and many others.

Ragawerk, that’s Max Clouth and Martin Standke. Loops and ragas, electronics, jazz and a good pinch of Krautrock, Indian and Western sound elements merge into a unique fusion. The band’s roots in jazz remain unmistakable. Indian ragas and European-influenced jazz craftsmanship become ragawerk. Sometimes wistful or melancholy, always with great clarity. Critics speak of “floating worlds of sound” (Jazzpodium) and “driving, beat-heavy pieces, but also gentle incantations” (Jazzthing). It celebrates the fusion of ragas with European-influenced jazz as a “pretty hyped amalgam” (Jazz N More) and attests Ragawerk “a wonderfully herb-rock-like mixture that has everything to offer from meditation to jazz” (Musikreviews) – “a global fusion with the scent of incense” (Eclipsed)

Popular sociology cliches notwithstanding, the middle years are a curious bridge to survey one’s life from. Especially for artists. The bank behind is a backlog of experience, for-better-or-worse perceptions of how the world works, unequal measures of laurels and regrets, plus a rolodex of dear ones (for the lucky) and lost ones (for all). The shore in front contains a shorter winding road (still loaded with possibilities if not quite as open-ended), informed by wisdom gained and failures seared, shadowed by mortality, responsibility and inevitability. Lots of water passes under this bridge of mid-life. For creative types—adept at listening to the tides, recognizing their flow as a circadian rhythm, reconciling the planet’s clock with their own—the view from this bridge has been known to inspire great art.

"After the Wildfire" is a composition that was commissioned by the Skopje Jazz Festival for the opening of its 42nd edition in 2023 with the two composers Arve Henriksen and Jan Bang as soloists together with guitarist Eivind Aarset and percussion player Ingar Zach.