Concierto is an album by the Jim Hall sextet, featuring Paul Desmond, Chet Baker, Ron Carter, Steve Gadd and Roland Hanna. It was produced by Creed Taylor for his CTI Records label and recorded at Van Gelder Studio in New Jersey on April 16 and 23, 1975. Concierto is named after the featured 19-minute jazz version of the classical piece for guitar, Concierto de Aranjuez by Joaquín Rodrigo.

6CD Box Deluxe Digipack filled with 77 key tracks from the best Jazzmen. Each CD is featuring one of the legends of the golden age of Jazz: Miles Davis, John Coltrane, Chet Baker, Duke Ellington, Bill Evans, Dave Brubeck.

Where Are You? is the thirteenth studio album by Frank Sinatra. It is the first album Sinatra recorded at Capitol without Nelson Riddle, as well as the first he recorded in stereo. In 1970 it was re-issued as a ten track album under the name The Night We Called It a Day.

Sinatra's Swingin' Session!!! is the nineteenth studio album by Frank Sinatra, released on January 3, 1961.
Six of the tracks on the album are re-recordings of a batch of songs that Sinatra had previously recorded on the Columbia album, Sing and Dance with Frank Sinatra.
It was released on compact disc as Sinatra's Swingin' Session!!! And More.

No One Cares is the seventeenth studio album by Frank Sinatra, released on July 20, 1959. It is generally considered a sequel to Sinatra's 1957 album Where Are You? (also arranged by Gordon Jenkins), and shares a similar sad and lonesome, gloomy theme and concept as In the Wee Small Hours and Only the Lonely (both arranged by Nelson Riddle).

Aretha's Gold is a greatest hits album by Aretha Franklin, released in 1969 at Atlantic Recording Corporation. The album's tracks were recorded at Atlantic Studios, New York City, except "I Never Loved a Man (The Way I Love You)" and "Do Right Woman, Do Right Man", which were recorded at the Fame Recording Studios, Muscle Shoals, Alabama.
The album was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981).

Café Blue stands out with its daring blend of jazz standards, originals, and poetic settings—from Maya Angelou to avant-garde inspirations. Mourning Grace, for instance, sets Angelou’s haunting line “Will you have the grace to mourn for me?” against an evolving musical backdrop, culminating in Barber’s emotionally charged vocal ascent.

“Constantinople”, from 1998’s Modern Cool, is the most extreme example. Over a shifting Middle Eastern groove fueled by Mark Walker’s percussion work, Barber keens wordlessly and then gives trumpeter Dave Douglas several beautiful minutes to vamp in Sketches of Spain style; when she comes back in, long vocal lines punctuated by staccato guitar work by John McLean, it’s so haunting and perfect that you forget that she doesn’t actually play piano at all on the track.

A bold and affecting song cycle. Patricia Barber, after receiving a Guggenheim Fellowship in 2003, embarked on one of her most ambitious projects—Mythologies, a compelling 11-track song cycle inspired by the characters of Ovid's Metamorphoses. Each composition musically fleshes out figures from ancient myth, blending narrative depth with sophisticated compositional structure.

Modern Cool pulses with vivid character sketches of modern life—starting with "Touch of Trash," a sharp portrait of a woman “just a culture short of class.” The album unfolds in a low-lit, nocturnal jazz world, where Barber’s smoky voice and John McLean’s ethereal guitar evoke flickering streetlights and inner monologues.

Split is a newly remastered edition of Patricia Barber‘s first album originally released on Floyd Records in 1989. Koch reissued the album on Stereo CD in 2004. It has been off the market for over 20 years.
This is the first album in which we hear her first versions of standards she revisits in later albums (“Early Autumn” on “Higher”, “Easy.