Following her smash hit Venus debut album Moon River, her eagerly awaited second album, Fly Me To The Moon, finally arrived. Her bass playing is more powerful and emotive, and her singing gained on the sultry quotient. Just listen to the very sexy "Do It Again." Nicki surrounded herself with wonderful musicians again. John di Martino, Billy Drummond and Harry Allen - familiar faces from the previous album -- are joined by Nicki's sister Lisa, who plays baritone and soprano saxophones, and guitarist Mark Sganga. The audiophile recording enhances the value of this wonderful release.

Nicki Parrott's eagerly awaited third album is a sultry and attractive tribute to Peggy Lee and Julie London. She is again surrounded by a hugely talented cast that includes pianist John Di Martino, tenor saxophonist Harry Allen and guitarist Paul Myers as well as her sister Lisa Parrott who plays baritone and soprano sax and bass clarinet. In 2010, the album received Swing Journal's Gold Disc award.

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.”