Internationally renowned DJ and radio personality Gilles Peterson has called upon some of the most exciting names across the jazz, electronic and indie worlds to rework Melanie De Biasio's acclaimed album No Deal, including EELS, The Cinematic Orchestra, Hex, and Seven Davis Junior. EELS haunting, orchestral reworking of opening track I Feel You is the first ever remix by Mark Oliver Everett (AKA E), who fell in love with De Biasio's music when she supported EELS at the Royal Albert Hall in June. The Cinemantic Orchestra give I'm Gonna Leave You an intense reworking, while beat maker C. Crisci, a.k.a Clap! Clap! gives the same track an afro-beat slant. Seven Davis Jr gives title-track No Deal an old school house flavour, while LA's Jonwayne coats With All My Love a lush balm of hip-hop. Japan's Toshio Matsuura (AKA Hex) adds an impressive urgency to The Flow, whilst France's modern classical composer Chassol provides a downtempo and discordant take on Sweet Darling Pain.

Leyla McCalla - A Day for the Hunter, A Day for the Prey - Leyla McCalla's new album A Day For The Hunter, A Day For The Prey, takes it's title by a book of the same name that the singer and cellist read while pregnant with her first daughter. Taking it's title in turn from a Haitian proverb, the book analyzes the intersection of politics, power and music in Haiti.

Sweet Kind of Blue was recorded at Sam Phillips Recording Service in Memphis with Grammy winner Matt Ross-Spang (Jason Isbell, Margo Price) and an all star cast of Memphis session players: Rick Steff (keys), Steve Potts (drums), Dave Smith (bass) and Dave Cousar (guitar). For Emily’s fans, it will be a new sound: as Matt Ross-Spang suggested to Emily in persuading her to record the album at Sam Phillips, there's a certain groove that only Memphis can produce. For Emily herself, it’s a return to where her love of music started: far away from Memphis or London, singing her heart out to Aretha Franklin records in her bedroom in sleepy Bridgetown, Western Australia.

2013 release from the veteran British vocalist, his first live recording in over 20 years: Fire It Up: Live documents his celebrated European Fire it Up tour, witnessed by millions of delighted fans since its kick off in March 2013. Fire it Up: Live presents the show at the Lanxess Arena in Cologne in April 2013. 'I'm very flattered', Joe Cocker confessed at the show, 'because there's so many young artists on the scene now - it's amazing that we can still pull them in'. This success is due to an exceptionally gifted artist, who thrills his audience merely with the immense power of his voice, as well as the timeless magic of hits like 'With a Little Help of my Friends', 'You Can Leave Your Hat On', 'Unchain My Heart', 'Up Where We Belong' and 'You Are So Beautiful'.

Born in Oxford, UK, teenage guitar sensation Aaron Keylock releases his debut album, „Cut Against The Grain.“ While most kids were playing with toys, he was already stringing his Les Paul and developing his song writing and guitar licks. By the age of 11 he was rocking the clubs in Oxford.

„Eldorado's lead single, the sultry "Permission," produced by Soundz (Justin Bieber, Trey Songz), was co-written by Ro and Verse Simmonds (Rihanna, Chris Brown, K. Michelle). Of the song, Solange's Saint Heron says, "'Permission' captures the fervent tenacity of Ro's voice, while still captivating listeners with its undemanding sex appeal to create a sound that is easily winsome." The track has also earned praise from many artists including Snoop Dogg who recently posted on Instagram calling "Permission" "bangin'."

This „Winterreise“ is the long-awaited conclusion to Matthias Goerne’s Schubert Edition, which began in 2008, for harmonia mundi. Here everything is tenser, more urgent, more harrowing. This winter landscape expects no spring to come; nor will the Hurdy-Gurdy Man give any answer. In the intimate atmosphere offered by this recording, still more than in concert, the path to oblivion finds its echo in our innermost selves.

Swiss cellist Thomas Demenga returns to Bach’s suites. “To me, Bach is the greatest musical genius who has ever lived. His music is pure, sublime. It possesses something divine and each musician has a lifetime in which to discover new ways of interpreting it.” Demenga previously recorded the cello suites for ECM between 1986 and 2002, juxtaposing them with contemporary composition in albums that count as milestones in the early history of the New Series.

Born in Osaka, educated at the Conservatoire National Supérieur de Paris, Momo Kodama is well-placed to approach music from both Eastern and Western vantage points, as she does in this album which interweaves etudes of Claude Debussy (1862-1918) and Toshio Hosokawa (born 1955).

Dean Martin typified both the romance and seeming effortlessness of the early-1960s swinger. This collection of lushly orchestrated songs features Italian pop classics like 'There's No Tomorrow,' 'Arrivederci Roma,' 'Return to Me,' and the Latin-flavored 'Belle From Barcelona,' all performed with Martin's familiar relaxed intimacy and devil-may-care swagger. The sessions producing this album's songs were recorded between September 6 and September 8 of 1961. The backing orchestra was conducted and arranged by Gus Levene.

Stacy Lattisaw's third set, Sneakin' Out, produced by Narada Michael Walden and it is a winner. Everything works on this album. The ballads are quite stunning. They include some of her best ; Her cover of HEY THERE LONELY BOY, MEMORIES, DON'T THROW IT ALL AWAY (previously done by Olivia Newton John on one of her '70s LP) and the touching I COULD LOVE YOU SO DIVINE.

Rosanne Cash's catalog on Columbia is nothing if not formidable. Her pioneering meld of country, rock & roll (with an emphasis on "rock"), folk, and even blues, her topical concerns (which went deeper than most songwriters who came before her in taking on the tough topics of life), and her insistence on working outside the Nashville box scored her a number of hits and blazed the trail for many women who came later. King's Record Shop followed by two years her flirtation with the kind of pop coming out of England in droves, the radically underappreciated Rhythm & Romance.

I Wish I Knew, Solomon Burke's final album for longtime home label Atlantic, is a mix of R&B oldies, sappy contemporary tunes and a scurrying search for style in the storm. Burke was in the middle of a cultural revolution when this album was made; soul music now crashed with such sonic force to keep up with pop's psychedelic trippings that Burke's blend of Sam Cooke-like cooing and Sunday-morning fervor seemed a bit quaint. The seasoning of I Wish I Knew is misguided at best.

He may not have recorded for Philadelphia International, but Major Harris still made some classic Philly soul in the mid-1970s. He had been a member of the Delfonics before going solo, and in 1975 he had his big moment in the spotlight when he scored a hit with 'Love Won't Let Me Wait.' While that song is undoubtedly the centerpiece of MY WAY, it's surrounded by plenty of other slices of lush R&B rendered in the classic Philly style.

The Coasters were best known for delivering the teenage dramas penned by their producers, Jerry Leiber and Mike Stoller, with uncommon wit and panache. Although they were African-American and grown men, they made their reputation with white, teenage rock & roll fans. The mythos of rock musicians coming up the hard way, with little or no formal training and knowledge, was already an implicit selling point in the '50s, despite the fact that many early stars had already struggled for years in other musical fields.