Nicki Parrott всемирно известная австралийская вокалистка и контрабасистка. Начала свое музыкальное обучение на фортепиано в возрасте четырех лет. Сотрудничает со многими музыкантами. Новый диск - это совместная работа с John Di Martino (фортепиано).

Australian singer, producer and DJ Alison Wonderland got a taste of strobe-lit stardom behind the decks of Sydney's warehouse circuit, and a party-all-night ethos pulses throughout Run. Wonderland’s debut full-length is filled with chattering beats, frothy buildups and bass-heavy swagger. But it’s the edgy, 11th-hour energy that makes Run so exhilarating; shortly after she lures us in with breathy melodies on tunes like “I Want U”, “Naked" and “Take It to Reality”, she blindsides us with a gritty blast of double-time clatter. When Run brings down the tempo with “U Don’t Know”, it's an ominous midtempo highlight that features a guest vocal from Flaming Lips frontman Wayne Coyne.

Debut album from Rixton the Manchester, England-based foursome whose debut single Me and My Broken Heart went platinum in the U.S. and hit number 1 on the UK Singles chart in 2014. Let the Road takes its title from a soulful, harmony-powered a capella song that the band wrote in its earliest days.

Produced by Real Gone Music in collaboration with the Peggy Lee estate, At Last: The Lost Radio Recordings presents 45 solo performances from Peggy’s own radio series, nearly all of them unavailable since they originally aired in the early 1950s on CBS Radio and the Armed Forces Radio Service.

A jazz piano tribute to Tony Bennett featuring Beegie Adair with The Jeff Steinberg Orchestra.

Новый альбом итальянского певца, композитора и гитариста Sergio Caputo.

Расширенная версия пятого студийного альбома дуэта Blank & Jones, в который вошло 2 бонусных трека.

Новый альбом румынской певицы, автора песен и модели Александры Стан. В альбом вошло пять синглов "Thanks For Leaving", "Cherry Pop", "Dance", "Give Me Your Everything" и"Vanilla Chocolat" (дуэт с Connect-R). Альбом имеет общую тенденцию progressive house, с элементами танцевальной поп музыки, синти-поп, регги и europop.

Brilliant in spite of its ragged texture, Cassandra Wilson's Silver Pony justly illuminates the important influence Wilson has had on all jazz vocals, since her artistic breakthrough with 1993's Blue Light 'Til Dawn (Blue Note). A sharp solution of live and studio performances, Silver Pony reveals the depth and breadth of both Wilson's enigmatic singing and instrumentation, that rich Delta organic approach disseminating throughout all of jazz vocals of the past 20 years. Always close to the blues, Wilson puts forth an extended live "Saddle Up My Pony," originally recorded by Charlie Patton in 1929, that succinctly frames her earthy method.

Cassandra Wilson has explored a lot of experiences, a lot of music, and that is testament to her curiosity, imagination, and intellect; and her album Another Country, created in collaboration with Fabrizio Sotti, has an elegance that is thoughtful and timeless. Cassandra Wilson’s song “Red Guitar” is painterly, poetic, its instrumentation classical and bluesy, with drumming that is precise and lively, whereas “No More Blues,” a song of determination in which misery is shown the door, is itself a light blues tune with finger-snap rhythm, a slowed-down beat with jangling assets, mellow, verging on strange. (“Just like Frank, I’m gonna do it my way,” Wilson says, an aside acknowledging Sinatra.) “O Sole Mio,” mellow, a little melancholy, has a Latin flavor; and, the Italian-language composition, a popular Neapolitan tune sung by Enrico Caruso and Mario Lanza, is here given a casually propulsive syncopation, and is pretty, possibly beautiful, followed by the meditative instrumental “Deep Blue.”

Arthur Grumiaux's performances of Mozart, whether of the violin concertos, the sonatas, or various chamber pieces with violin, were marked by patrician elegance and an unfailing sense of style. For this 1973 recording of the string quintets, arguably the summit of Mozart's chamber output, Grumiaux surrounded himself with musicians of a similar stripe, and the result remains among the treasures of the catalog. By today's standards, the performances may sound just a bit laid-back and relaxed, but the ensemble is marvelous, and the beauty of tone Grumiaux and company achieved in these readings has rarely been approached on disc since.

The first part of the sacred singspiel Die Schuldigkeit des ersten Gebots, which was first performed in the Knights’ Hall of the Archbishop of Salzburg’s Palace on 12 March 1767, represents Mozart’s first extended dramatic work. He was eleven years old when he wrote it. Even without making allowances for the composer’s remarkable youth, Mozart’s music for the first part of Die Schuldigkeit des ersten Gebots is highly accomplished, full of descriptive flair and artistry. The allegorical figures of Barmherzigkeit and Gerechtigkeit are clearly differentiated, the former’s sympathetic compassion contrasting with the latter’s more matronly severity, while Weltgeist’s carefree hedonism is given full reign in arias of considerable virtuosity and difficulty.