Limited 180gm vinyl LP pressing. The Velvet Fog meets The Great White Way! Mel Torme was at the height of his powers on 1960's Swings Shubert Alley, a collection of Broadway standards backed by the renowned Marty Paich Orchestra. This stunning union of musical theatre and jazz is regarded as one of the jewels of Torme's work for Verve Records, and his unforgettable vocal delivery elevates familiar chestnuts from the songbooks of Lerner and Loewe ("On the Street Where You Live"), Rodgers and Hammerstein ("Hello, Young Lovers," "The Surrey with the Fringe on Top") and Cole Porter ("Too Darn Hot"). The Verve Vault series is all-analog, cut from the original master tapes by Ryan K. Smith at Sterling Sound and pressed on 180-gram vinyl.

For the past six years, flutist Alex Hamburger and pianist Jose Luiz Martins have been the heartbeat of each others' musical worlds. Now, with their debut record as a duo, the husband and wife create a shared world, offering listeners a highly personal, textural immersion into the sonic catalog of their journey. The two musical prodigies were originally on divergent paths when they first met in 2018 during coincidental time abroad in Basel, Switzerland. Hamburger, originally from the Washington, D.C. metro area, was living previously in New York City, while Martins was studying for a masters in Basel after leaving his hometown of Sao Paulo, Brazil. Their first shared notes snapped their lives together, ushering in an instant connection and understanding, both about the music that influenced them and the music they wished to put in the world. Together, the partners found a deeply rooted shared commitment to using space, listening, and empathetic reaction to dive into the unknown and return with beauty and compassion. Now living together in Hyattsville, Md., Hamburger and Martins recorded Catalog of Dreams in 2025 as a response to the diverse range of musical traditions that shaped them, both as individuals and as a pair. Six of the album's eight songs are unique reinterpretations of traditional and modern classics from composers such as Herb Ellis, Wayne Shorter, and Thundercat. The duo then flexes the intimate dynamics and texture of piano, voice, flute, and electronic keyboards to reinterpret the compositions into vehicles for new dreams and possibilities. Of course, the most noticeable influence on the album is that of Brazilian music, which native Paulistano Martins brought to the record (and the relationship) from the very beginning. Three tunes make this connection explicit: Gilberto Gil's classic 'Ladeira da Preguica' (made famous by Elis Regina), Airto Moreira's eternally groovy 'Tombo in 7/4,' and the modern Brazilian heavyweight Luisa Lacerda's 'Poente,' a familial celebration that features lyrics by her father Andre Lacerda. However, Catalog of Dreams is steeped in Brasiliana beyond these three tunes, with traces of groove, melody, and harmonic complexity saturating the duo's playing and arrangements throughout. The record's two original compositions, both composed by Hamburger with production assistance from Martins, achieve this with a tender nuance. By taking these Brazilian influences back into her own roots of great lyrical musical traditions (the Great American Songbook, Black American Music, and folk), Hamburger finds a way to explore themes of loss, trauma, injustice and the human experience with nuance and care. Although both Hamburger and Martins are prolific on their own, each with their own critically acclaimed body of work as bandleaders, this is their first full length album with just the two of them. With this debut of eight songs in just under thirty minutes, the partners draw us into their journey, into their catalog, and into their dreams.

Eskil Roos, born in 2001 in Lund, is a Swedish pianist and composer based in Malmö. He has distinguished himself through a lyrical touch and a dreamlike musical expression that carries both stillness and drive. In the autumn of 2026, he releases his debut album Mystery of the Mind on Prophone - Naxos Sweden. Mystery of the Mind turns it's gaze inward, toward the processes behind our decisions: how the mind perceives, hesitates, reacts, and is shaped by experiences we do not always fully understand. Rather than seeking clear answers, the music lingers in a state of wonder, where direction sometimes emerges through intuition and awareness rather than control. The album explores the theme of the many choices we are faced with and how our desire to make the most of our time can become overwhelming. When we realize how limited time truly is, each decision gains greater weight. What is not chosen falls away, and what remains is filled with meaning. The music moves between Nordic jazz, classical, and folk. Through the album, the listener is invited to pause within an otherwise hectic society and enter a musical landscape where each composition is carefully shaped to tell a story.

Limited 180gm vinyl LP pressing. An undisputed yet underrated architect of what we now know as modern rock and roll, 1956's Gospel Train was an innovative release for Sister Rosetta Tharpe in more ways than one. For starters, her first release on the Mercury Records label was also her first available from any label on the then-new 12" long-playing format, still the industry standard for vinyl albums today. Most importantly, Gospel Train took Sister Tharpe's distinctive blend of primordial electric guitar-driven blues and traditional gospel and harnessed it's power in a polished studio setting, backed by first-call session musicians including the vocal quartet the Harmonizing Four. The Verve Vault series is all-analog, cut from the original master tapes by Ryan K. Smith at Sterling Sound and pressed on 180-gram vinyl.

Clara Haberkamp does not like to be categorized and describes herself as a genre-open pianist and composer. Hailed as 'one of the most distinctive pianists on the German jazz scene' (radio DLF), she has recently made waves internationally with her latest record, Plateaux (TYXart, TXA24184). Blending jazz, classical music, and New Music, her sound is direct, intimate, and unmistakably her own. Occasionally, she adds her voice as another color in her musical palette, speaking directly to the listener. Clara Haberkamp's solo piano album LOVE MAPS (including also two vocal tracks) is a masterpiece of musical navigation-a beautifully crafted sonic map bridging jazz, classical music, and multifaceted improvisation. Familiar pieces and original compositions are transformed through her unique artistic sensibility.

With this reflection on breathing as the most intimate human experience - one that connects people through language, movement and touch - Berlin-based jazz vocalist Esther Kaiser has dedicated her ninth album to 'Breathing'. Critics have described her as a 'voice artist','shaman of jazz', and a 'jazz poet'. Esther takes responsibility where she is. Her albums breathe and are politically and socially charged, as jazz has always been. With BREATHING, the vocalist and composer provides a glimpse into the heart of jazz. It breathes in what is, and it feels and exhales that which creates space for more understanding, tolerance, peace, and freedom. The interplay of lyrics and compositions by Esther Kaiser and pianist Alexander Wienand, alongside Kaiser's own works, interwoven with elements of spoken word, invites listeners to become part of the act of breathing itself.

The Debut Album of Simon Kuhn and his quartet is a culmination of the musicians first two years of shaping their sound together. Ania Badura on Violin, Jan Schrullkamp on Guitar, Kevin Hemkemeier on acoustic bass and Simon Kuhn on drums take on eight original compositions, which they worked on and shaped during their studies at Folkwang University. Then refined within concerts of the year before recording, these versions of the pieces, which inspirations range from chamber music to post-bop, are characterized by dense interplay and a coherent yet versatile sound. In the phase of rehearsels before the recording, we four met in an ensemble room and recorded the tunes for the album with a minimal mic setup, so we could listen and think about the specifics but also the overall feeling and pacing of the album. When I had a lesson with Leif Berger, I showed him some of the test recordings and I am very grateful for the suggestions for improvement he gave me.