Легендарный британский певец Seal 10 ноября 2017 года выпустил 10 студийный альбом, сочетая свой уникальный голос с величайшими джазовыми стандартами, классики свинга, когда-либо написанных. Новую жизнь получили культовые хиты, отдавая дань легендам - Frank Sinatra, Ella Fitzgerald и Nina Simone. По словам артиста, это альбом, который он всегда хотел сделать, потому что вырос на музыке этой эпохи. Для него стало настоящей честью сотрудничать с теми же музыкантами, которые выступали с Фрэнком Синатрой и многими любимыми артистами в тех же студиях, где впервые была создана магия. И запись этого альбома стала одним из величайших дней в карьере певца.

Альбом "Convergence" - результат сотрудничества Boris Blank (Yello) и британской певицы Malia.

В этом альбоме вы найдете самое лучшее из репертуара Adele включая Set Fire To The Rain, Chasing Pavements, Someone Like You, Hello и другие, которые стали совершенно новыми песнями, вобрав в себя традиции боссановы, инновации chill out и футуристический дух электронной музыки.

Darryl Williams needs no introduction among the many smooth jazz giants he’s backed overthe years. Now, rolling out his own Here to Stay, he demonstrates why he’s so highly regarded among those giants. This is one album that gets off the ground in a flash and heads directly for the stratosphere with a huge display of power, charm, melody, and, of course, that inexplicable thang that moves all C-jazzers. Fueled by the presence and contributions of such luminaries as guitarists Paul Brown and U-Nam; keyboardists/pianists Jonathan Fritzen, Greg Manning, Scott Wilkie, and the prolific and iconic Jeff Lorber; saxmen Michael Lington, Elan Trotman, Marcus Anderson, and Euge Groove (the latter also serving as co-producer of this fine project, Williams beats a solid groove path from the infectious title track to the slick and polished mid-tempo lure of “Now or Never” to the up-tempo dancer “Do You Remember” to the soulful and easy “Reflections” to the mid-tempo finger-snappin’ “Harveston Way” and beyond.

Спустя три месяца после выхода альбома "Roll With the Punches", 1 декабря выпущен новый 38 альбом, в котором певец перешел на джазовые стандарты, такие как George и Ira Gershwin's "A Foggy Day" and "They Can't Take That Away From Me," Cole Porter's "I Get a Kick Out of You" и"Unchained Melody".

Floris Kappeyne Trio создано в Амстердаме в 2014 году пианистом Floris Kappeyne при участии победителей Prinses Christina Concours 2012 года - Tijs Klaassen (бас), Wouter Kuhne (ударные). Музыканты создают интересные аранжировки старых джазовых стандартов. В течение прошлого года трио работало над достижением подлинной концепции, объединив классический звук трио McCoy Tyner шестидесятых годов с сенегальскими ритмами сабара и абстрактными идеями современной классической музыки. Результат представлен на этом дебютном альбоме, состоящем исключительно из оригинальных композиций.

Совместный альбом шведского гитариста Ulf Wakenius и финского пианиста Iiro Rantala.

I discovered Keiko Matsui by accident while surfing for other music. I listened to a few tunes and was immediately hooked. One by one I listened to her snips of music and had to have the album. Then I moved on to another album from Keiko. Then another, then another. She will be with me for my future roads trips and Friday night dinner parties. Trust me, she'll relax you and make you feel like the evening is meant for two.

If there's such a thing as poetic music, Matsui continues her discovery of it on this effort. For all its beauty ad more aggressive touches, this collection doesn't quite measure up to her previous collection No Borders, but there are moments of fusion in her work here which cook like never before, thanks to Eric Marienthal, Gerald Albright and guitarist Ron Komie. While husband/producer Kazu Matsui adds his mysterious shakuhachi wind to "Grey Cliffs," Matsui spends her time creating soundscapes which range from mainly acoustic to punchy electric pieces like "Hope." Clay Jenkins' flugelhorn is a plus. The two vocals here don't give Greg Walker enough excitement to play with; instead they seem too ambitious. Don't let the flowers on the cover fool you because this disc is anything but fluffy and pastoral in nature.

Taking a stroll through Keiko Matsui's musical hypnotherapy session Dream Walk is like entering a funhouse where all previous definitions of contemporary jazz are strikingly distorted, and invention walks on the wild side of East meets West. Crisp melodies have always been at the heart of the keyboardist's best work, only here they come at you as part of the mood, rather than the central theme. Only a handful of the keyboardist's tunes follow conventional linear melodic patterns throughout, and even these are so beautifully enhanced by sweeping orchestral and percussive invention that atmosphere and throbbing, raw twists ultimately win out over predictability. Equal credit for the newly aggressive approach goes to husband/producer Kazu Matsui, whose sonic wizardry surrounds Keiko's silky jazz and new age passageways with curious echoing flavors, enticing soundscapes where almost anything goes, and loose-fitting urban cool. Other out-there touches include Molly Pasutti's sweeping wordless vocals, bass samples by Marcus Miller and John Patitucci chosen over live bass, and Kazu's own shakuhachi. More typical excitement is provided by Paul Taylor's always warm soprano and alto musings.

If we're talking Keiko Matsui, we can expect another impressionistic album cover which belies the often explosive music on the disc. Matsui draws a little more from her heritage this time but textures it with soulful excursions ("Walking on the Bridge"). She once again gives radio a seductive earful while continuing her heightened exploration into more challenging orchestral sounds and several impressive, wildly percussive Latin journeys (e.g. "Sail South"). Making perfect use of Lenny Castro's spicy percussion and Clay Jenkins' punchy trumpet flavors, Matsui lets loose. The gospel vocal by Arnold McCuller is a strong one. Other newcomers to the fold are guitarist Jorge Strunz, Jon Clark (recorder) and Sam Riney on sax.

This auspicious introduction to the many aspects of the composer's skills finds her surrounded by a slew of L.A.'s top players, some of whom had yet to begin their own solo careers at this point: Grant Geissman, Brandon Fields, Robben Ford, Nathan East, Vinnie Colaiuta, and Jimmy Johnson. Matsui balances a mystic Eastern edge with a lighthearted new agey pop appeal. "Ancient Wind" and the Geissman co-composition "Mediterranean Sand" are the best cuts, building from pastoral ideas into an explosive ensemble hook. Matsui also showed her penchant for soulful vocal pieces, using Abu Khalil and Marva King to varying effectiveness. The emotional vocal title cut was inspired by Challenger astronaut Ron McNair.