Almost two years after the group's first album, What The Moment Brings, the follow-up is here. A few minutes into the first song, it becomes obvious why I fell in love with this music in the first place: the beautiful compositions and this outstanding group of musicians. The two strong and lyrical leaders are complemented by the superb rhythm section of Niklas Fernqvist, with his elegant tone, and Paul Svanberg, with his undeniable swing.

Jimmy Gourley (1926-2008) est un guitar hero americain qui a faconne l'histoire du jazz, notamment a Paris ou il s'installe en 1951. Cette anthologie evenement qui parait avec sa biographie officielle, reunit les titres les plus emblematiques de l'oeuvre du guitariste, don't certains jamais reedites. Que ce soit avec les champions americains ou francais dans l'intimite d'un duo pere-fils avec Sean Gourley, voici une plongee dans l'oeuvre enregistree de celui don't les cordes de jazz ont fait vibrer la capitale pendant plus d'un demi-siecle. Augustin BONDOUX et Patrick FReMEAUX Born in 1926, American musician Jimmy Gourley was an early "guitar hero" who shaped the history of jazz, particularly in France where he settled in 1951. This anthology, which appears together with his official biography, is a major event that brings together the guitarist's most emblematic recordings, including tracks that have never been released until now. Before he passed away aged 82, Gourley played not only with American stars but also in more intimate surroundings, such as his duo with son Sean Gourley. This set gives real insight into how this great guitarist's six strings had the French capital vibrating for half a century. Augustin BONDOUX / Patrick FReMEAUX CD1-1951-1954 : HENRI RENAUD : A NEW DATE - VENEZ DONC CHEZ MOI - PARIS JE T'AIME - BOBBY JASPAR : TOUT BLEU, TOUT BLEU - THE END OF A LOVE AFFAIR - LEE KONITZ : YOUNG LEE - LOST HENRI - CLIFFORD BROWN : ALL THE THINGS YOU ARE - GOOFIN' WITH ME - HENRI RENAUD/JIMMY GOURLEY : NOT REALLY THE BLUES - WHO CARES? - MY HEART BELONGS TO DADDY - IT'S DE-LOVELY - GIGI GRYCE/CLIFFORD BROWN : BABY - HENRI RENAUD/BOBBY JASPAR : CAPRI - SCHABOZZ - EXPANSION - ZOOT SIMS : CALL IT ANYTHING - ZOOT'S SUITE - THE THIRD HERDSMEN : EMBARKATION. CD2-1954-1961 : BOB BROOKMEYER : STEEPLE CHASE - ROY HAYNES : MINOR ENCAMP - RED ROSE - BUDDY BANKS : BAG'S GROOVE - YESTERDAYS - SANDY MOSSE/EDDIE BAKER : STRAIGHT LIFE - LET'S GO - CHUBBY JACKSON BIG BAND : FLYIN' THE COOP - LESTER YOUNG : THREE LITTLE WORDS - NEW D.B. BLUES - LOU BENNETT : AMEN - BROTHER DANIEL - WHAT A DIFFERENCE A DAY MAKES - (PARIS BLUES) LOUIS ARMSTRONG : BATTLE ROYAL - (PARIS BLUES) JIMMY GOURLEY : GUITAR AMOUR - JIMMY GOURLEY : FOR HEAVEN'S SAKE - THREE LITTLE WORDS. CD3-1972-2002 : JIMMY GOURLEY + RENe URTREGER : TAFIRA ALTA - JIMMY GOURLEY + EDDY LOUISS : FREEDOM JAZZ DANCE - JIMMY GOURLEY + TEXIER/HUMAIR/LUBAT : GRAFFITTI - COMON' OVAH - MISS MAGIC - JIMMY GOURLEY : REPETITION - JIMMY GOURLEY + STAN GETZ : EMBRACEABLE YOU - JIMMY GOURLEY : MONTAGNE MADNESS - SHAMEFUL ROGER - LADYBIRD - JACK DIeVAL : S.F.P. BLUES - JIMMY GOURLEY : OUR DELIGHT - JIMMY GOURLEY + ANDRe VILLeGER : MAYBE YOU'LL BE THERE - JIMMY & SEAN GOURLEY : BILOXY BLUES WALK - JIMMY GOURLEY : BY MYSELF. DIRECTION ARTISTIQUE : JEAN BUZELIN ET JEAN-PAUL RICARD

Her first inspiration was Charlotte Bienaime�'s 'Un podcast a' soi', which discusses fundamental questions of gender and feminism. "More often than not in history, 'Anonymous' was a woman"-this sentence by Virginia Woolf, epigraph to the famous radio podcast, has found an echo in Julie Campiche. Giving a voice to women, but in a distinct way: this is the common thread running through the album. Rather than a feminist manifesto, UNSPOKEN seeks to celebrate feminine strength, nourished by commitment and openness. She addresses the fragile balance of women in shadow and light of society. "Female strength is what makes the world go round. 80% of household chores are done by women for free and anonymously. I want to celebrate exceptional women, but also give a place to this everyday strength." Among the figures who inspire her and whose voices and actions she evokes are the Swiss artist and prostitute Grise�lidis Re�al, or Las Patronas, the Mexican guardian angels who throw food and water to those who have decided to migrate and illegally board freight trains bound for the USA.

Chaque album du trio Kuhn/Humair/Jenny-Clark est une promesse de perfection. Enregistre au cours de la tournee internationale 1992-1993, ce live est un temoin inespere de l'apogee de ce trio legendaire et de l'alchimie incandescente qui unissait ces trois maitres. La virtuosite est organique, la puissance inalterable et l'elegance regne en majeste. L'age d'or du jazz en Europe. Augustin BONDOUX / Patrick FReMEAUX Each album by the trio Kuhn/Humair/Jenny-Clark already promises perfection. And this unexpected live recording made in the course of an international tour in 1992-1993 proves at least three things: the trio was at it's zenith; it had already become a legend; and the alchemy that bound these three masters together was incandescent. Here their virtuosity is no less than organic, the trio's power is unshakeable, and the elegance that reigns throughout is majestic. This is a demonstration of the Golden Age of jazz in Europe. Augustin Bondoux / Patrick Fremeaux INDIA (JOHN COLTRANE) - HEAVY HANGING (Joachim Kuhn) - GUYLeNE (DANIEL HUMAIR / Joachim Kuhn) - FROM TIME TO TIME FREE (DANIEL HUMAIR / Joachim Kuhn) - SUMMERTIME (GEORGES GERSHWIN). Joachim Kuhn PIANO - DANIEL HUMAIR DRUMS - JEAN-FRANcOIS JENNY-CLARK BASS

First Impression is the debut album by trumpeter and composer D!ma Loginov, a deeply personal statement shaped by memory, migration, and identity. Rooted in modern jazz and enriched with elements of Kazakh folk music, the album reflects Loginov's journey from his childhood in Kazakhstan to his artistic life in Amsterdam. Across eight tracks, he blends soulful melodies, bold improvisation, and spiritual intensity, creating music that speaks as much through feeling as through sound. The album draws inspiration from wide landscapes, first love, and the freedom found in improvisation. Traditional influences surface most clearly in Steppe Sons and a striking modal-jazz reimagining of the Kazakh folk song Yapurai, while moments of intimacy emerge in the a cappella trumpet solo Luiza and the lyrical title track First Impression, featuring vocalist Carolina Gemmell. Recorded with a close-knit group of international musicians, many of whom Loginov met after moving to the Netherlands, First Impression captures a sense of trust, vulnerability, and shared energy. It is an introduction not only to an emerging artistic voice, but to the emotional world that shapes it.

Composer and guitarist Marcus Klossek, long recognized as a distinctive voice on the Fender Telecaster, presents Blink 7, the latest chapter in a band whose sound has evolved steadily from his long-running Electric Trio. Rooted in clarity, dynamic contrast, and a deep sense of interaction, the project reflects more than fifteen years of close musical collaboration. At the core of the ensemble are Carsten Hein on bass and Derek Scherzer on drums, longtime partners with whom Klossek has refined a highly responsive and nuanced group language. With Blink 6, this foundation expanded into a sextet, joined by three prominent figures from Berlin's jazz scene: Nikolaus Neuser, Ignaz Dinne (tenor saxophone), and Anke Lucks. The enlarged group quickly developed a strong collective identity, equally at ease with precise structure and open improvisation. Blink 7 continues this collaboration and introduces a new and distinctive voice: Korean vocalist Chamin. Appearing on three tracks-Go Not, Another One Beyond, and Unexpected Return-she sings and partially speaks Korean lyrics written by herself. Her voice adds a new layer of texture and expression, expanding the ensemble's tonal range and interacting organically with the instrumental voices rather than standing apart from them. In contrast to Blink 6, which was composed before the musicians were chosen, all eight compositions on Blink 7 were written specifically for this lineup. Klossek shaped each piece around the individual strengths and musical personalities of the players. "I knew what everyone could bring to the music," he explains. "That allowed me to write more precisely for the sound of the band." The result is music that unites clear compositional intent with the intuitive understanding that comes from long-standing collaboration. The album opens with Violet Shift, a rhythmically intricate piece built from interlocking patterns that suggest mechanical precision while maintaining an organic flow. Go Not begins with Chamin's whispered voice, creating an atmosphere of quiet tension and ambiguity. Ephyra (Third Dance) unfolds with a restrained, melancholic beauty, while Half Past Never features one of Klossek's most unrestrained guitar solos-raw, spontaneous, and unpredictable. On Another One Beyond, Chamin's voice further broadens the ensemble's harmonic space, while Begin Again, Swift highlights the band's agility, moving fluidly between tightly woven rhythms and open, airy phrasing. Glass Bridges introduces otherworldly sounds from Carsten Hein, blending acoustic bass with electronic elements. The closing track, Unexpected Return, brings the album to an energetic conclusion, driven by rhythmic momentum as Chamin's voice merges seamlessly with the horn section. Blink 7 captures a band at a mature and confident stage, balancing detailed composition with freedom and collective improvisation-music shaped as much by individual voices as by the shared identity they have built together.

The Peter Lehel Quartet, around the well-known German saxophonist Peter Lehel, offers a lively mixture of tradition and innovation that never fails to delight audiences with it's great artistry and exploration of musical boundaries. The new program, Paul Auster Jazz, is inspired by characters of the great writer Paul Auster from New York City.

Human Vibe is the sound of three musicians whose shared understanding runs deeper than geography. Pianist Jan Gunnar Hoff, bassist Jasper Somsen, and drummer Carsten Lindholm come from three different countries, yet their friendship and musical intuition make them feel like lifelong companions. In this trio, a glance, a breath, or a single musical gesture is enough to set the group into fluid, unified motion. A Trio Shaped by Conversation and Connection For their second album together, the trio reunited in the Netherlands, where long conversations over lunches and dinners flowed directly into their creative process. Out of these moments came the title Human Vibe-a phrase that perfectly captures the essence of their collaboration: three individuals, each with his own artistic pulse, meeting in a shared space where honesty, curiosity, and joy guide the music. Their performances embody the same spirit. They speak openly with audiences, share stories, and create an environment where listeners feel personally connected to the unfolding music. The album was recorded at Studio 2 in Hilversum, the Netherlands' oldest radio studio and a place rich with musical history. Photographs of legendary jazz artists still hang on the walls, creating an atmosphere steeped in the past. Hoff, Somsen, and Lindholm recorded exactly the way they play live: together in a single room, in full view of one another. The result is an album that captures not only the music, but the trio's closeness and immediacy.

For 15 years now, Stoomboot has been drifting through the corridors of Flemish culture, with a half-smile and a tear, watching the world go by. Early in his career, that gaze turned inward: a romantic young man searching for love. On Stoomboot (2014), he became a storyteller; a poet singing about women he couldn't have. He collaborated with Kommil Foo and was even nominated for a MIA Award. With Storm (2016), the melancholic journey continued. But something changed: he met the love of his life. His world grew. On Zwarte doos (2018), the longing for love turned into living with it. The outside world slowly seeped into his songs - reflections of the Brussels attacks, Trump's first presidency, and the chaos of the times. Meanwhile, Niels Boutsen (that's the man behind the boat) graduated as a historian and started teaching. There, the idea for Omdat we naar de zee stromen (2020) took shape: a concept album about time and how it ticks differently for everyone. For his students. For his wife, who was battling burnout. For his grandparents, whom he rarely visited. Stoomboot wanted to go beyond music, creating a stage performance around the same theme, including storytelling, songs, and live charcoal art by Wide Vercnocke, drawn right there on stage. Before he knew it, the ten-year anniversary of Stoomboot was approaching. Time to look back, the best way he knows how: with a guitar and a story. 10 jaar Stoomboot (2021) was recorded live at Ancienne Belgique in Brussels. Over that decade, he also wandered off the main path a few times, paying tribute to the French chanson that inspired him (Mr. Bateau, 2019), blending poetry and jazz in Zandland (2019), releasing Ze leest zo mooi verkeer (2022) with Raymond van het Groenewoud, and touring with his wife in Het is zoeken (2024), a tender and funny show about early parenthood. After ten years on stage, Niels found himself wondering: "What now?" Another record? Absolutely. He picked up the phone and called Tuur Florizoone (accordion) and Christophe Devisscher, two musicians he'd admired for years, watching them light up stages all over the country. "Want to make something together?" he asked. They did. The result is Een heel leven (2026), another concept album, this time about the unpredictable paths life takes. The title says it all: a musical stroll through what Niels's life could have been, but never was. Sometimes the choices that don't feel like choices end up shaping everything. The album was recorded live in the studio. Just three musicians in a room, telling a story. Put it on, and they're right there with you.

This album is a collection of musical portraits - intimate sketches shaped by memory, place, and human connection. It reflects the soundscape of Alexander Ruess' upbringing near the Baltic Sea, the people who accompanied him along the way, and the impressions gathered through travel and encounter. At it's core, the music is deeply personal. Fur Opa is dedicated to Ruess' grandfather, who never played an instrument yet supported his musical journey unconditionally, driving him to countless lessons and proudly claiming responsibility for his grandson's talent. Sangen Fra Havet is an homage to the Baltic Sea and the Danish coastline, whose quiet vastness and shifting moods echo throughout the record. Cornflower draws inspiration from the vivid blue flower that grew at the edges of rural fields - a favorite of Ruess' maternal grandfather - symbolizing memory, landscape, and rootedness. The album balances composition and spontaneity. Interlude, the only fully improvised piece, captures the natural interplay between guitar, double bass, and drums, allowing the music's energy to unfold organically in the moment. Throughout the record, lyrical melodies meet open forms, creating space for both narrative clarity and collective expression. Recorded in Berlin with longtime collaborators Luca Curcio and Sebastian Merk, the trio's sound is defined by trust, subtle interaction, and shared musical intuition. A special highlight is the appearance of trombonist Nils Landgren on Fur Opa, whose music was a formative influence on Ruess' childhood and whose presence adds a distinctive warmth and depth to the album. Ultimately, this record is a dedication - to family, mentors, friends, and places that shape who we become. It is an expression of gratitude and belonging, rendered through sound

John McNeil (March 23, 1948 – September 27, 2024) launched his professional career with debut LP "Embarkation” SCS 1099) on SteepleChase in 1978 a few hours before he turned 30. Age 30 was his goal to release his first and he remarked “I just made it!” John McNeil’s There Is No Greater Love (SCCD 34007) unveils a previously unheard 1983 Odense, Denmark session, capturing the trumpeter at a creative peak during his extensive Scandinavian tour. Joined by Danish masters Jesper Lundgaard (bass) and Aage Tanggaard (drums), McNeil delivers a warm, incisive set blending standards, bebop classics, and his own “Out”. His bright, agile phrasing — long praised for its roots in Miles, Hubbard, and the Parker lineage—meets a deeply swinging Nordic rhythm team. This newly discovered trio date highlights McNeil’s lyrical clarity, spontaneous invention, and enduring place in the modern jazz tradition.

Saxophonist Ruth Sabadino's new album celebrates life in all it's colors and nuances. Funky jazz with depth and drive - dynamic, energetic, sparkling with improvisation and an organic band sound. In catchy songs and a healthy dose of jazz, funk, and soul, she and her band tell stories of highs and lows, joie de vivre, and authentic moments. A sound that touches and moves with it's deep bass clarinet, crisp tenor sax, and fine vocals - full of warmth, depth, and drive. Close at her side is a top-class band: Werner Acker, Kurt Holzkamper, and Christoph Sabadino.

Echoes of the Unknown is the debut album by German drummer and composer David Giesel-a modern jazz statement built on trust, attentive interplay, and the courage to let music unfold in real time. Recorded live as a band in one room at Jazzcampus Studio Basel (Jan 9-10, 2026) and co-produced with mentor Paulo Almeida, the album treats uncertainty as fuel: play first, understand later-an approach that turns instinct into form and risk into clarity. Leading an international quartet with Albin Ormegard, Moritz Langmaier (piano/keys) and Thomas Fuller, Giesel shapes a sound world where groove and modern harmony meet openness and space-drawing on contemporary jazz aesthetics while absorbing subtle rock/indie edges. Most pieces are Giesel originals, complemented by one composition each from Ormegard and Langmaier, reflecting the group's shared voice. At the album's center, "Moods" opens a reflective window that includes spoken word by Dae Bryant, anchoring the record's human, hopeful core. The result is a vibrant, deeply personal snapshot: four musicians listening hard, moving as one, and inviting the listener into the mystery-where familiarity meets discovery.

The formation of the The Chaining Loops team is the result of encounters that, for the most part, took place over several decades, within various third-party projects of extremely diverse aesthetics. Over the years, this gave Olivier and his associates many opportunities to share a wide range of experiences through different projects, during numerous concerts in France and abroad. This is how Olivier met vibraphonist David Patrois in 1991, when they were both members of harmonica player Olivier Ker Ourio's quartet, which-after winning First Prize at the Concours National de Jazz de la Defense in 1993-performed in several concerts throughout France. In 1998, Olivier met cornettist and vocalist Mederic Collignon during Paris jam sessions. Mederic went on to take part in many of the leader's projects (duo, trios, etc.), including a quartet project featuring pianist Andy Emle. As for guitarist Michael Felberbaum, Olivier first invited him to take part in the European tour New Gravitations, which took place in 2007-2008 following the release of the album Gravitations on Altrisuoni in 2007. In 2013, trombonist Gueorgui Kornazov was already part of the drummer's septet project Abstract, whose album was released in 2013 on Rewind Records. Double bassist Yoni Zelnik, for his part, has participated since 2015 in several one-off concerts in France and Germany as a member of the leader's Reciprocity project. Tenor and soprano saxophonist Frederic Borey is the newest addition to the ensemble. The name Pulse was inspired for Olivier Le Goas by the word pulsar. A pulsar is a neutron star that rotates very rapidly on it's axis. The first pulsar, known as the Cambridge pulsar 1919 (CP1919), was discovered in 1967 by Jocelyn Bell and Antony Hewish. The Pulse septet project was born during a creative residency in 2021, which benefited from support from DRAC Bretagne. This residency made it possible to develop most of the repertoire featured on the album, with the exception of the album's eponymous title track, The Chaining Loops, which is more recent and was composed in 2024. It was only in June 2024, after a session canceled in 2023, that Olivier Le Goas brought the Pulse Ensemble to Studios de la Seine in Paris to record The Chaining Loops. The album The Chaining Loops presents a special repertoire consisting of five pieces: The Chaining Loops, Direction, Friction, Fifteen Miles, and Light in the Sky. The Chaining Loops, composed largely in spring 2024, is a large-scale piece built on the interlocking of pattern blocks and the stretching of melodic lines, with song remaining the central axis. Direction, originally composed for Olivier Le Goas's group Reciprocity, presents music of a lyrical and energetic character that gradually gains in density, complexity, and unity. Friction is a suite formed by the aggregation of multiple themes, in which the main opening theme (2021) crystallizes the overall structure of the piece and is based on an interplay of blocks of forces. Fifteen Miles, dating back to 2016, is a composition that was reworked twice-first in 2021 and again a few months before the recording. It combines an initial theme imbued with a certain gravity, contrasting with a second, more light-hearted theme. Light in the Sky offers a form composed of multiple arrangements of different thematic and solo sections, in which unexpectedly emerge contours and masses of sound.

The creative willfulness is immediately apparent. Just like the playful spirit. A photograph of four athletes, visibly marked by a match, in trilogue with the group's name and the album title: Stefan Scholer Trio - "Psalm B". A strange, seemingly peculiar combination. Stefan Scholer is aware of this. He accepts the unpredictable nature of the effect. The photograph, taken in 1966 on the sidelines of a Gaelic football match in Dublin, Ireland, by the world-renowned photographer Evelyn Hofer, had a magnetic pull on him. He discovered it in a Hofer exhibition at the Museum Kurhaus in his hometown of Kleve in the far west of Germany. Subsequently, he did everything in his power to obtain permission to use it. The question of 'why?' dissolves satisfyingly in his keen explanation. The pianist and composer follows his intuition unconditionally while also closely reflecting on his decisions. In this case, he quickly arrives at a "profoundly human" element that speaks to him in the image. This, in turn, corresponds to Hofer's intention to capture naturalness. How does the album title fit that? Scholer doesn't construct any intellectual bridges. For him, the term 'psalm' has become a kind of key to a spiritual context in his work over the years, initially stemming from a specific religious connection. He opened this up a few years ago. Even in the expression of these athletes, he senses some of that. That's sufficient. And it might just ignite the curiosity and openness for the sonic content of this album, Scholer's fourth, in receptive listeners.� The introduction to the opening title track sets the tone. In Scholer's highly personal touch, one hears and feels precisely the human element that moves him. His playing is delicate yet possesses an effortless clarity. This almost songlike, narrative melodic expression recurs throughout the pieces, even in complexity. His close connection with bassist Lukas Keller and drummer Simon Braumer, both of whom also played on the previous album "Folklore," results in an unbroken flow. The pianist's leading voice is built on an open, flexible interplay - the leader is also an attentive team player. Motifs from�he world of sports are also hidden in the titles of some compositions: "Ronny & Francesko" (bobsledding) and "Bob Chigarillo" (bodybuilding), loosely based on real-life figures. Scholer draws inspiration from both, exploring themes of culture and world politics. A sense of self-will that nourishes imagination and philosophical reflection. A connection to nature, a sense of sublimity, a longing for peace (even if only in one's own neighborhood), the lingering effects of a past relationship - no matter how profound: Stefan Scholer is audibly searching for positivity, for hope. This is unmistakably present in this album like it is in the previous one. Many of us, he is convinced, have our own personal psalms. Just like the athletes on the cover. He follows his own

(2-CD set) For nearly fifty years, an entire school has sought its inspiration in the work of Charlie CHRISTIAN. Includes a 24 page booklet with both French and English notes.

Classical Music

Classical Music

Earl Hines' final solo piano record was reissued on CD in 1996 and it's original seven selections have been joined by five equally rewarding (and previously unreleased) numbers. 73 at the time, Hines had lost none of the adventure in his playing, as he shows on such tunes as "I'll See You In My Dreams," "Blue Skies," "Diane," and "Wolverine Blues." A half-century after he started making his original impact, Earl Hines was still one of the most exciting pianists in jazz.

Classical Music

The leading exponent of the trombone in traditional and big band jazz, Teagarden was also one of the first great white blues singers. He led many small bands throughout the thirties for recording sessions. At the same time he played with various big bands before forming his own in 1937. This collection comprises many of his classic recordings. Tracks include; "Basin Street Blues", "I'm Just Wild About Harry", "St. James Infirmary","Shine", "Big 'T' Blues

In the '50s, Big Joe Turner played a major role in the popularity of the fledgling music form known as rock and roll. This compilation hints at his influence, featuring 18 tracks crafted during the latter half of the previous decade when he also was appearing with the Count Basie Orchestra.

American songstress Kitty Kallen had a remarkable career, starting in the swing era of the late '30s and extending beyond the rock 'n' roll explosion of the '50s into the early '60s, racking up a lengthy run of hits spanning two decades. She began her career as a singer with some of the most popular orchestras of the swing and big band years - Jack Teagarden, Jimmy Dorsey, Harry James and briefly with Artie Shaw - and with the Dorsey and James outfits enjoyed a dozen hits during the early '40s, including three No. 1s. As a solo artist she readily found a niche in the mainstream pop world of the late '40s and early '50s, scoring many more hits, with the career highlight being a No. 1 on both sides of the Atlantic with "Little Things mean A Lot" in 1954. She was able to maintain her popularity and profile on radio and TV through the '50s despite the rapid changes in popular taste, updating her style to ensure she had hits into the 1960s. This great-value 51-track collection covers the breadth of her career from her recording debut with Jack Teagarden in 1939, through to her last Top 20 hit in 1962, naturally including all her 31 Billboard and Cashbox chart entries, and provides an admirable showcase for her distinctive talent.

Nina Simone was one of those controversial figures American pop music puts forward from time to time, with the notable exception that she started her controversy earlier in the 1960s than, say, Bob Dylan. To see this African- American woman get angry about the racial situation in her country, right there on stage, was a shock to people who'd come to hear her sing "I Loves You, Porgy." Not that she cared; she figured that it was the artists job to deliver the truth, and if the truth hurt, so be it. Of course, events wound up proving her right, but she never stopped being prickly about one thing or another. This release is a 3 CD Career Retrospective (1957-1993) that includes her work for Bethlehem, Colpix, Philips, RCA, CTI and Elektra plus a DVD featuring 1970 Emmy-nominated never-before-released documentary. Features 54 songs, 8 previously unreleased tracks including some never recorded elsewhere.

Seven Steps to Heaven is the product of two separate sessions recorded during Miles' search for a new sound in early 1963. Victor Feldman, a young Herbie Hancock and an even younger Tony Williams play with George Coleman and Ron Carter on Basin Street Blues; I Fall in Love Too Easily; So Near, So Far; Joshua ; the title track, and more.