One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators – guitarist/singer Joao Gilberto and composer/pianist Antonio Carlos Jobim – to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history – 'The Girl from Ipanema,' a Jobim classic sung by Joao's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session.

Yo-Yo Ma might seem like an unlikely protagonist for the tango, but this intrepid musical explorer has taken his task seriously, collaborating with experienced tango musicians. Ma even participates in a posthumous collaboration with one 1987 Piazzolla recording. Furthermore, while he's obviously the headliner here, he doesn't dominate the arrangements nearly as much as he does the billing and photography of the disc. While the result isn't your essential Piazzolla album (that would have to include more of the composer's own playing), it's an atmospheric and convincing collection, perhaps a good introduction for those who don't know the music.

The Original Soundtrack is the third studio album by the English art rock band 10cc. It was released in 1975 and peaked at number three on the UK Albums Chart. The Original Soundtrack includes the singles "Life Is a Minestrone", and "I'm Not in Love", the band's most popular song. The album received good reviews when originally released on LP and cassette by Mercury Records in March 1975. It was ranked number 976 in All-Time Top 1000 Albums (3rd edition, 2000).

Deceptive Bends is the fifth studio album by rock band 10cc, released in 1977. The departure of Kevin Godley and Lol Creme in 1976 to form Godley & Creme almost ended 10cc. However, Eric Stewart and Graham Gouldman continued to run the band with the assistance of drummer Paul Burgess who already worked with 10cc acting as second drummer to Kevin Godley on tour. The first single taken from the album, "The Things We Do for Love", reached No. 6 in the UK Singles Chart, No. 5 on the Billboard Hot 100, and No. 1 in Canada.

Drawing from jazz, world / folk, pop / rock, and alternative musical influences, Lynne masterfully connects with her increasingly diverse audience creating an intimate experience through her boldly melodic original compositions and imaginative reinterpretations of unexpected pop classics.

Mel Lewis first teamed up with renowned trumpeter Thad Jones to form the band that later became the legendary Mel Lewis Orchestra. Brimming with some of the best players in the Big Apple, the band quickly found success. They also became the Monday night band at the world’s most famous jazz club, New York’s The Village Vanguard. With Jones’ departure in ’78, Mel took over as leader, shaping the band into “one of the most exciting and innovative big bands ever to grace the jazz scene”.

The title piece, "Donau So Blue", is a blues on which Austrian pianist-composer Friedrich Gulda is accompanied by two seasoned jazz musicians: Hans Rettenbacher on bass and Manfred Josel on drums. Gulda felt himself to be an outsider in the jazz world. He was a renowned Mozart and Beethoven interpreter, but did not want to be tied down to the world of classical music. And who was the singer Albert Golowin? Gulda describes him as "a dropout, a certain type of Viennese, a highly talented dilettante, a bungled baritone with an aversion to the concert hall". Actually, Golowin was a pseudonym that Gulda used for singing performances. The pianist was celebrated as brilliant and criticized as infant terrible. Often, Gulda would not stick to the announced program; once he performed playing the recorder naked.

In a career spanning more than 60 years, John Hammond played with just about everyone and seemed to influence everyone else. You're Doin' Fine showcases John Hammond in his prime playing solo country blues as captured by famed Grateful Dead soundman Owsley Stanley. This master class of the blues romps through Delta, Chicago, Texas, and Piedmont blues, including six Robert Johnson songs.

Swedish chamber choir Leif Strands Kammarkör was established in the 1960s to unite a vocal ensemble with a traditional jazz band. On this 1971 release for audiophile label Proprius, some of Sweden's top jazz musicians of the day join the choir performing traditional, chorale and spiritual music.

Leif Strands Kammarkör was a Swedish chamber choir formed in the 1960s to integrate choir with traditional jazz. Originally released in 1974 on the audiophile label Proprius, this album features some of Sweden's top jazz musicians of the day including Arne Domnerus of Jazz at the Pawnshop fame.

"All the Lost Souls" is the second studio album by the English singer-songwriter James Blunt. It is the follow-up to his hugely successful 2004 debut album, "Back to Bedlam". The album received mixed reviews, but peaked at number one in over 20 countries. This Deluxe edition features 11 bonus tracks.

This 1959 Verve record is a collaboration between Ellington and saxophonist Johnny Hodges. Hodges takes the lead on most of the tracks, backed by Ellington and Billy Strayhorn on piano and well-known jazz musicians like Ben Webster, Roy Eldridge, Harry "Sweets" Edison and Jo Jones.

Demon / Edsel are delighted to announce the release of multi-million-selling singer- songwriter, musician and actor Natalie Imbruglia’s first ever live album.

One Assassination Under God – Chapter 1 is the twelfth studio album by American rock band Marilyn Manson. It is produced by Marilyn Manson and Tyler Bates, and was released on November 22, 2024, by Nuclear Blast. The singles "As Sick as the Secrets Within", "Raise the Red Flag", and "Sacrilegious", preceded its release.

It's nothing short of remarkable that Roger Waters has built a successful career on obsessive ruminations on alienation, megalomania, and guilty fame, largely on the backs of one of history's most long-lived arena acts. The musical legacy Waters has shared with "another band" (as he sharply refers to his former Pink Floyd mates in this collection's self-penned liner notes) has served two distinctly different functions: part and parcel of the latter's nostalgia act; autobiographical foundation for the former's ongoing, if decidedly egocentric, Rage at the World. That's essentially the rationale this live collection uses to lean heavily on Waters's Pink prime, from Dark Side of the Moon through The Final Cut. And if that frame sometimes overshadows the images of Waters's solo work–well, no one said he wasn't a pragmatic entertainer.