Born from personal relationships, Sung's compositions bring the masters vividly to life: "A Little Bird Watchin'" swings with Jimmy Heath's mischievous wit and lasting wisdom; "Positively C.T." crackles with Clark Terry's indomitable spirit, showcasing the top-notch trumpet section in 'Clarkisms' and flugelhorn-trumpet sleight of hand; "Wayne's World" reaches for Wayne Shorter's mighty cathedrals of sound as it dances between playful riffs, soaring melodies, and soulful grooves; while "Mr. Virtuosity" stands as tall as Ron Carter's towering bass legacy. "Pianism," a piano concerto inspired by Sir Roland Hanna's urging Sung to not forget her classical roots, celebrates the keyboard mastery of Barry Harris (keeper of Bud Powell's legacy and the bebop flame), Kenny Barron (a modern master of melody), and Herbie Hancock (transcendence personified), with Hanna presiding over the entire work in an intro and reprise which evokes his noble and generous spirit. Alongside these originals, Sung's arrangements of Terry's "Samba Da Gumz," Shorter's "Diana," Carter's "R.J.," Horace Silver's "Peace," and her own "Convergence" complete an album of stunning range and cohesion. But this deeply personal and momentous album is no jazz history lesson; rather, it is a powerful musical statement standing against the prevailing push towards isolation and division. Sung's richly layered work invites listeners to participate in the living continuum and community of Jazz as they experience the masters speaking through this music dedicated to their humanity and profound artistry. Their masterful mentorship helped Sung persevere through rites of passage to find her authentic self, and Oracles encourages the listener to do the same with joy and freedom. Oracles is created with the support of the John Simon Guggenheim Foundation, which awarded Sung a Fellowship in 2021 (additional support comes from the New York State Council on the Arts). The pivotal spark for exploring big band came from another organization known for pioneering new opportunities: Jazz at Lincoln Center. In 2016, it commissioned Sung to write a big band arrangement of McCoy Tyner's "Four By Five" for the Orchestra (she performed it with the ensemble, which was recorded and released on the 2017 Blue Engine live album A Handful of Keys). Now ten years later, that experience of composing for large ensemble has come full circle. It is therefore fitting that the brilliant leader of the JLCO, Wynton Marsalis, wrote the liner notes for Oracles, saying: "Helen Sung is a shining example of the heroic journey to self-realization through the art of Jazz. As a soloist, arranger, composer and bandleader she [Helen] has developed an expansive vocabulary that encompasses the richness, virtuosity, freedom and humanity that defines the best jazz... The little details that define our music are well represented and attended to with care and intelligence. That's why this is a great listen... All you have to do is check it out."

In 2009, 79-year-old jazz drummer Jimmy Cobb, then the last surviving member of the famous Miles Davis group that had recorded the iconic Kind Of Blue album, was enjoying a late-career renaissance as a bandleader. Recruiting the Texas trumpet sensation and flugelhorn master Roy Hargrove alongside guitarist Russell Malone and bassist John Webber, Cobb recorded Jazz In The Key Of Blue, an exquisite collection of quiet, moody-invoking, late-night ballads for Chesky Records. The quartet offers stunning interpretations of standards from The Great American Songbook - including 'Every Time We Say Goodbye, ' and 'I Had The Craziest Dream' - with jazz-inflected covers of pop hits (Billy Preston and Syreeta's 1979 Motown hit 'With You I'm Born Again') and striking original tunes (Cobb's 'Remembering U'). Bolstered with new liner notes featuring quotes from bassist John Webber, Jazz In The Key Of Blue is reissued in 2026 as part of the Chesky Original Masters series on SACD Hybrid Stereo. Note: These Hybrid SACD discs are compatible with all standard CD and SACD players.

Originally released on the Theresa label in 1980, Kabsha is widely considered to be one of Idris Muhammad's finest sessions as a bandleader. Recorded immediately following his work on Pharoah Sanders' Journey to the One, this album finds the "uber drummer" leading a powerhouse ensemble through a stripped-back and direct performance of pure rhythm and melody. Featuring tenor titans Pharoah Sanders and George Coleman, the session balances hard-swinging bop with profound spiritual depth. Kabsha captures a vital chapter of Muhammad's career and his enduring musical partnership with Sanders, showcasing the rhythmic brilliance that established him as a cornerstone of the 1980s spiritual and post-bop scene. Kabsha will be released on 180g One-step Pressing Transparent Indigo/Deep Pink Marble Vinyl LP for Record Store Day 2026 on 18th, April 2026, limited to just 1,700 copies worldwide.

The final album recorded by the late double-Grammy-winning Chuck Mangione, Everything for Love, was the flugelhorn maestro's second outing for Chesky Records, a New York label renowned for it's audiophile-quality recordings and for cutting it's artists live in what producer David Chesky described as "reverberant spaces" using a single microphone. Recorded in St. Peter's Church, Chelsea, New York, in 2000, Everything for Love reunited Mangione with some of the musicians who had played with him in the '70s - saxophonist/flutist Gerry Niewood, guitarist Grant Geissman, and bassist Charles Meeks - and featured mostly original material. Highlights include 'Peggy Hill,' which Mangione composed for the animated sitcom King Of The Hill; 'Slo Ro,' a portrait of Mangione's wife Rosie; and the album's only cover, a soulful, gospel-tinged rendition of the hymn 'Amazing Grace,' where Mangione takes the listener to church. Everything for Love is a fitting musical epitaph for Mangione, who died in 2025. The album will be reissued in 2026 on SACD Hybrid Stereo and 180g One-step Pressing Vinyl LP as part of the Chesky Original Masters series.

The final album recorded by the late double-Grammy-winning Chuck Mangione, Everything For Love, was the flugelhorn maestro's second outing for Chesky Records, a New York label renowned for it's audiophile-quality recordings and for cutting it's artists live in what producer David Chesky described as "reverberant spaces" using a single microphone. Recorded in St. Peter's Church, Chelsea, New York, in 2000, Everything For Love reunited Mangione with some of the musicians who had played with him in the '70s - saxophonist/flutist Gerry Niewood, guitarist Grant Geissman, and bassist Charles Meeks - and featured mostly original material. Highlights include 'Peggy Hill,' which Mangione composed for the animated sitcom King Of The Hill; 'Slo Ro,' a portrait of Mangione's wife Rosie; and 'Papa Mangione,' which pays tribute to Mangione's father, from whom he inherited his love of jazz. Other standouts include 'Annalise,' a beautiful waltz, and the album's only cover, a soulful, gospel-tinged rendition of the hymn 'Amazing Grace,' where Mangione takes the listener to church. Everything For Love is a fitting musical epitaph for Mangione, who died in 2025. The album will be reissued in 2026 on SACD Hybrid Stereo and 180g One-step Pressing Vinyl LP as part of the Chesky Original Masters series.

George Benson's 1976 classic album Breezin' redefined what jazz guitar could sound like. Effortless, melodic, and irresistibly smooth, Breezin' became the soundtrack to an era and the album that launched Benson into crossover superstardom. With timeless hits such as 'This Masquerade' and the sunlit title track, Breezin', Benson's 15th album, bridges the worlds of jazz, pop, and R&B with rare grace. It not only was a Billboard Jazz Albums chart-topper but also went to No. 1 on the pop and R&B charts. It was certified triple platinum-selling, making it one of the best-selling jazz albums of all time. The record took home Grammy Awards for Best Pop Instrumental Performance and Record of the Year for 'This Masquerade,' while earning multiple nominations, including for Album and Song of the Year - an unprecedented feat for a jazz guitarist. Now, this classic shines brighter than ever. Mastered at 45 RPM by Matthew Lutthans at The Mastering Lab and pressed on flat, ultra-quiet vinyl by Quality Record Pressings, this edition reveals new layers of warmth, depth, and presence in Benson's silky tone and fellow rhythm and bass guitarist Phil Upchurch's signature groove. Breezin' isn't just a smooth jazz cornerstone - it's one of the most impeccably crafted and influential albums of it's time. For collectors, audiophiles, and anyone who loves music that feels like pure sunlight, this definitive 45 RPM reissue is essential listening. Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! Mastered by Matthew Lutthans at The Mastering Lab from the original master tape 180-gram 45 RPM double LP pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on gatefold jacket Tracklist: LP 1 Side A 1. Breezin' LP 1 Side B 1. This Masquerade 2. Six To Four LP 2 Side A 1. Affirmation LP 2 Side B 1. So This Is Love? 2. Lady

Carla Bley - Joyful Noise (Live In Hamburg 1984) Carla Bley is considered the female, jazz-oriented counterpart to Frank Zappa. Great live recordings from the concert on 1984/03/14. On March 14, 1984, the Carla Bley Band was a guest at what was then Studio 10 of Norddeutscher Rundfunk. The ten-piece ensemble included Carla's husband Michael Mantler and bassist Steve Swallow, who still remembers that spring day in Hamburg well: "This is a great live recording. Michael Naura, who had been promoting jazz at NDR for many years, was a great host. He made us feel welcome and comfortable. The band was on fire, celebrating not after, but during the concert - but, as Gil Evans said, it was a party where we all had a goal in mind. It's a blessing that these recordings of a truly sensational and extraordinary performance have survived intact on a shelf deep in the basement of the NDR archives! And they are also irrefutable proof of the power and humanity in Carla Bley's music!"

Ready yourselves, jazz aficionados, for modal piano brilliance, Bill Evans style! Released in 1977, Bill Evans - Quintessence, has the maestro diving headfirst into a lush, melodic hornscape - an elegant, smoky surprise. Let's start with the man himself. By 1977, Bill Evans was less of a pianist and more of a philosopher with 88 keys. His technique? Still gentle, still whispery, still capable of melting diamonds. But here, he brings his lyrical poetry into a new context: a quintet. That's right - not just his beloved trio format, but a quintet, people. No safety net. No piano bench to hide behind. Just sheer harmonic magic. The Evans dream team of supporting players was a stellar lineup. Starting with Harold Land (tenor sax) - The West Coast legend whose tone is so smooth it could pass as jazz-flavored gelato. Warm, reflective, and the perfect foil to Evans' crystalline touch. Next, there's Kenny Burrell (guitar). Playing with such subtlety you'd swear he was painting chords with a sable brush. Never flashy, always perfect. On bass, Ray Brown - The anchor of jazz itself. You want groove? He'll give you groove. You want soul? He's got that in spades too. And on drums, Philly Joe Jones. Because if you're gonna swing, you call the guy who made Miles Davis' band sweat. Together, they form a unit so tight it's basically a telepathic jazz circle. They're not just supporting Bill - they're expanding him! What's On the Menu? 'Sweet Dulcinea' - A tune that proves you don't need to play fast to say something profound. 'Bass Face' - Ray Brown gets the spotlight, and boy does he shine. 'Martina' - A waltz so beautiful it should come with a warning label: may cause reflective gazing into middle distance. 'Second Time Around' - A standard for an album that's all about elegance, subtle swing, and refined musicianship. 'A Child Is Born' - The kind of rendition that makes you think maybe the world isn't so bad after all. So why add Quintessence to your collection? Because this is Bill Evans unplugged from the trio comfort zone, letting his lush harmonic sensibilities dance with top-tier horn players and rhythm gods. This album is meditative but never sleepy, introspective but never self-indulgent. It's rich, warm, and brimming with the quiet confidence of a master stretching his wings just because he can. This reissue brims with superior quality. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Bottom line, if your jazz collection is missing Quintessence, it's like owning a Picasso with a blank corner. This is the kind of record that sneaks up on you - not flashy, but unforgettable. Go ahead. You deserve this kind of quintet magic. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish

Jeff Goldblum & the Mildred Snitzer Orchestra / Night Blooms[Blu-ray] - JEFF IS BACK!! And as ever, he's bringing even more friends along for the ride! Night Blooms follows the 2025 album, Still Blooming, and contains 6 new tracks with features from Charlie Puth, Melody Gardot, Cynthia Erivo and Dodie. The album also contains new 'Late Night Sessions' of tracks from Still Blooming alongside "Tattoo" and "Lover" previously released with Haley Reinhart.

Step right up, jazz aficionados, and feast your ears on The Tony Bennett & Bill Evans Album (1975), a jazz gem that's as smooth as a martini and twice as intoxicating! This isn't just any album - it's a legendary collaboration between the velvet-voiced crooner Tony Bennett and the piano wizard Bill Evans, two titans who decided to waltz into a studio and create pure magic. Spoiler alert: they nailed it. This album was a critical darling, earning rave reviews for it's intimate, stripped-down vibe. It charted respectably, but it's real triumph lies in it's enduring legacy - decades later, it's still a go-to for jazz lovers who crave soulful authenticity. Bennett's warm, storytelling vocals paired with Evans' lyrical, impressionistic piano work made this a standout in both their discographies. The Personnel Tony Bennett: The man with a voice like buttered velvet, turning standards into heartfelt confessions. Bill Evans: The piano poet, whose delicate touch and harmonic genius could make a metronome weep. Recorded in a cozy, no-frills session at Fantasy Studios, with just the two of them (and a trusty engineer, Helen Keane, keeping the vibes pristine). No big band, no overdubs-just raw, unfiltered artistry. This album is a masterclass in less-is-more. Recorded live in the studio with minimal takes, it captures the spontaneity of two masters riffing off each other like old friends at a late-night jam. The production is crystal-clear, letting Bennett's nuanced phrasing and Evans' shimmering chords breathe. Evans' harmonic choices-think lush, unexpected chord voicings-add a layer of sophistication, while Bennett's impeccable timing keeps it grounded. The balance between voice and piano is so perfect, you'd think they shared a telepathic link. Plus, the song selection (standards like 'My Foolish Heart' and 'The Touch of Your Lips') is a love letter to the Great American Songbook. Why Jazz Fans Need This in Their Collection If your record shelf is craving a dose of elegance, this album is your ticket. It's intimate enough to feel like a private concert but profound enough to reveal new layers with every spin. For fans of vocal jazz, Bennett's delivery is a masterclass in emotion without excess. For piano nerds, Evans' introspective solos are practically a spiritual experience. Grab The Tony Bennett & Bill Evans Album and let these two charmers remind you why jazz is the coolest kid on the musical block. Your turntable (and your soul) will thank you! Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish

Sarah Vaughan and her working trio team with the 'no Count' Basie band for this 1981 collection - their first studio meeting in 20 years! They create a magical album that evokes the days when singer and orchestra shared the stage at the original Birdland. The program looks back even further in the Divine One's career, with the inclusion of her early hit 'If You Could See Me Now,' while also featuring one of her last signature songs in the title track. The entire program, arranged with flair by Sammy Nestico and Allyn Ferguson, is a tour de force that finds Vaughan letting all stops out in a setting that matches her sublime vocals. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on jacket. 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Tracklist: Side 1 1. I Got A Right To Sing The Blues 2. Just Friends 3. If You Could See Me Now 4. Ill Wind 5. When Your Lover Has Gone Side 2 1. Send In The Clowns 2. I Hadn't Anyone Till You 3. All The Things You Are 4. Indian Summer 5. From This Moment On

Bobby Hutcherson's 1965 album, Components, captured two sides of his musical personality with a sextet featuring Freddie Hubbard, James Spaulding, Herbie Hancock, Ron Carter and Joe Chambers. Side A presents post-bop gems by Hutcherson like "Little B's Poem," while Side B explores Chambers' avant-garde pieces. This stereo Blue Note Tone Poet Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on gatefold jacket.

Here is an album of Duke Ellington compositions arranged and conducted by Benny Carter, with Zoot Sims as principal soloist. Add those names to the list of musicians in the adjoining display and you get a total greater than the sum of it's parts. Among the many albums Sims made for Pablo, the Ellington project was particularly close to his heart. The Ellington band of 1940 and '41 was a formative influence on the young tenor man setting out on his career. The great tenor saxophonist Ben Webster's solos profoundly affected him. It is true that his tone was closer to Lester Young's, but Webster's conception was always a major component of Sims's style, and toward the end of his life Zoot's sound took on more of Webster's heft and darkness. Fittingly, he and Webster's favorite pianist, Jimmy Rowles, do Bojangles to a rare turn, and Sims gives an achingly beautiful reading of Duke's 'Your Love Has Faded.' Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is an exceptional audiophile disc. Housed in a gatefold Stoughton Printing tip-on jacket. 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Tracklist: Side 1 1. It Don't Mean A Thing 2. In A Mellow Tone 3. I Got It Bad And That Ain't Good 4. I Let A Song Go Out Of My Heart 5. Black Butterfly Side 2 1. Do Nothin' Till You Hear From Me 2. Your Love Has Faded 3. Bojangles 4. Passion Flower

Dizzy Gillespie wrote his classic 'A Night in Tunisia' in 1942 when he was working with Benny Carter. Thirty-four years later the two recorded it together for this album and gave it one of it's most luminous performances. In this encounter, Carter, at 70, and Gillespie, at 60, were inspired to some of the best playing of what might be described as their later years if it weren't for the fact that, at this writing, both were going strong into the 1990s. Among the pieces are two less well-known masterpieces, Gillespie's 'Constantinople' and Carter's 'The Courtship.' Gillespie's superb bassist of the great 1947-48 big band, Al McKibbon, is in the rhythm section with Tommy Flanagan, Joe Pass, and Mickey Roker. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket. 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Tracklist: Side 1 1. Sweet And Lovely (10:38) 2. Broadway 3. The Courtship Side 2 1. Constantinople 2. Nobody Knows The Trouble I've Seen 3. Night In Tunisia

Recorded on January 10 and 11, 1962 at Rudy Van Gelder's studio, Inception marked McCoy Tyner's debut as a leader for Impulse! Records, introducing a cohesive new trio with bassist Art Davis and drummer Elvin Jones, both colleagues from the Coltrane ensemble, whose familiarity lends the session it's focused clarity. Across a 6-track program, featuring four Tyner originals ("Inception, " "Sunset, " "Effendi, " and "Blues for Gwen") alongside "There Is No Greater Love" and "Speak Low, " the trio setting foregrounds Tyner's distinctive voicings, pedal-point harmonies, and rhythmic drive, supported by Davis and Jones's firm, responsive interplay. Released in 1962 as Impulse! Was rapidly expanding, the album established Tyner's identity as a bandleader and stands as an essential early statement in his solo discography. Verve's Acoustic Sounds Series features transfers from analog tapes remastered on 180g vinyl in deluxe gatefold packaging.

Iconic drummer Simon Phillips is known worldwide for appearances with Toto, The Who, Jeff Beck, Al Di Meola, Hiromi, Stanley Clarke and his own group, Protocol. Simon continues to evolve as a composer on the exciting new Protocol 6 album. As he says, "The material is actually quite different from Protocol V. With the band now in it's sixth year, I was able to write specifically for each player. It's my rock 'n' roll side that dictates the form of each tune, even though the style is definitely jazz-rock. I like to call it progressive jazz." The lineup in this road-tested outfit remains constant except that Phillip Whack now holds down the saxophone chair, playing tenor, alto and soprano with great authority.

Vinyl LP pressing. Grammy Award-winning titan of jazz saxophone Joe Lovano, hailed by The New York Times as "one of the greatest musicians in jazz history," and virtuoso guitarist Julian Lage have enjoyed a long journey of mutual artistic admiration. This new electrifying ensemble also features longtime collaborators Santi Debriano on bass and drummer Will Calhoun.

Captured in it's entirety during a singular night at the SFJAZZ Center's Miner Auditorium, AO VIVO is an intimate and vibrant portrait of multi-GRAMMY� winner Eliane Elias in her element. Performing alongside her stellar quartet-guitarist Leandro Pellegrino, drummer Rafael Barata, and bassist Marc Johnson-Elias delivers a masterclass in the rich rhythmic spectrum of Brazil, from high-octane samba and bossa nova to bai�o and Afro-Brazilian grooves. The repertoire draws from Elias's GRAMMY-winning and nominated discography-including Mirror Mirror, Made in Brazil, and Quietude-while introducing a fresh arrangement of Jobim's "A Felicidade." Featuring works by iconic composers like Antonio Carlos Jobim, Ary Barroso, and Dorival Caymmi, the album also highlights Elias's own evocative composition "At First Sight" and a piece by the celebrated Armando Manzanero. With 33 albums and over 500 million streams to her credit, Elias continues to define the intersection of jazz brilliance and classical sophistication. AO VIVO captures the unmistakable elegance and exhilarating energy of a world-class artist sharing an authentic, high-level musical dialogue with a live audience.

MEETS: CLASSIC COLLABORATIONS 1957-59

Emmet Cohen, DownBeat Magazine's 2025 Pianist of the Year and critically acclaimed composer and bandleader, has been busy. Busy touring a Miles Davis & John Coltrane tribute to sold-out audiences across the world, busy running Live from Emmet's Place as the "most highly watched regular online jazz show in the world," and busy recording his new album, Universal Truth. With Joe Farnsworth, Yasushi Nakamura, Jeremy Pelt, Tivon Pennicott and guests Ron Carter and George Coleman, Emmet brings his celebrated tribute to the studio, pairing timeless classics ("Well You Needn't," "My Funny Valentine") with new originals that honor jazz's royalty while boldly carrying their tradition forward.

Emmet Cohen, DownBeat Magazine's 2025 Pianist of the Year and critically acclaimed composer and bandleader, has been busy. Busy touring a Miles Davis & John Coltrane tribute to sold-out audiences across the world, busy running Live from Emmet's Place as the "most highly watched regular online jazz show in the world," and busy recording his new album, Universal Truth. With Joe Farnsworth, Yasushi Nakamura, Jeremy Pelt, Tivon Pennicott and guests Ron Carter and George Coleman, Emmet brings his celebrated tribute to the studio, pairing timeless classics ("Well You Needn't," "My Funny Valentine") with new originals that honor jazz's royalty while boldly carrying their tradition forward.

Marcos Valle -"Samba '68 (Verve Vault Series)" [180g Heavy Vinyl LP] Samba '68, released on Verve, introduced Brazilian singer/songwriter and multi-instrumentalist Marcos Valle to a wider international audience. Already established in Brazil through songs such as "Samba de Verao" ("Summer Samba"), Valle worked here with producer Creed Taylor on a recording that pairs Brazilian rhythmic forms with contemporary American studio orchestration. The sessions include vocals by Anamaria Valle and arrangements by Eumir Deodato. The repertoire features English-language versions of compositions co-written by Valle, including "So Nice (Summer Samba)," "Chup Chup, I Got Away," and "Safely In Your Arms," alongside additional material that reflects his economical writing and feather-light rhythmic approach. The album documents a meeting point between Brazilian popular music and international pop-jazz studio practice at the end of the 1960s. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal. Towa Bird returns with her sophomore album Gentleman - 11 songs that navigate the tension between masculine and feminine archetypes, delivered with undeniable confidence and swagger from one of music's most promising voices. Featuring the singles "Dirty Habit" and "Dog," with contributions from Bikini Kill's Kathleen Hanna, Gentleman sharpens Towa's guitar-driven rush into a world of queer romance and self-assured style - equal parts charm, humor, vulnerability, and bite. Produced by Patrick Wimberly (MGMT, Blood Orange, Solange.) Pressed on red vinyl. Kenny Dorham -"Whistle Stop (Blue Note Classic Vinyl Edition)"

An absolutely stunning and unique album, compiled and produced by ace drummer and jazz historian John Petters. A plethora of wonderful jazz musicians here including Johnny Dodds' Orchestra, King Oliver's Creole Jazz Band, Jelly Roll Morton's Red Hot Peppers, Bunk's Brass Band and so much more. THE FATHER OF JAZZ DRUMMING - a must for all jazzers and drummers alike.

This 1956 masterpiece captures Billie Holiday at her most raw and expressive, serving as a poignant musical companion to her autobiography of the same name. Reissued on 180-gram blue vinyl, this edition features soul-stirring classics like "Strange Fruit" and "God Bless the Child," showcasing her unparalleled ability to turn personal pain into timeless jazz.

Sinnerman: The Spiritual Nina Simone is a powerful collection of tracks that highlights the artist's unique fusion of jazz, gospel, and blues with deep spiritual themes. Released on a limited-edition 180-gram red vinyl, it features iconic performances including the title track's intense, rhythm-driven exploration of faith and redemption.