Beth Hart is on fire. Right now, the Grammy-nominated singer/songwriter is riding a creative tidal wave, firing out acclaimed albums, hooking up with the biggest names in music and rocking the house each night with that celebrated burnt-honey voice. In 2016, the headline news is Los Angeles’ singer Beth’s latest album, Fire On The Floor: a release that even this fiercely self-critical artist describes as “pretty frickin’ good”. Despite all the emotionally bare moments, for Beth, this record represents a catharsis. “I think Better Than Home is one of the best records I’ve ever done,” she says, “but it was a brutal experience. Fire On The Floor has more energy and I think, overall, it’s just got more balls. And I think I really needed that, just to balance out that heavier mood on Better Than Home.”

The Dave Brubeck Quartet suddenly became a Trio for this Vienna concert when, after the previous evening's concert in Hamburg, Paul Desmond went out and never made his plane to Austria. While Paul's lyricism was missed, Dave, Gene, and Joe's playing was incredibly strong, high energy & swinging. To the Brubeck family's knowledge, this is the only recording of Dave, Gene & Joe as a Trio.

Internationally renowned, British prodigy, Alma Deutscher returns with her sensational new album From My Book of Melodies. From My Book of Melodies comprises of melodies Deutscher has composed from the ages of 4 and 14 performed on the piano. Born in 2005, Deutscher is an incredibly gifted composer, violinist and pianist who has received critical and international acclaim for her compositions. She is often compared to many great composers including Mozart and Beethoven. Deutscher composed her first piano sonata at 6. This was followed by a short opera, called The Sweeper of Dreams, composed a year later. She has since written various works for piano, violin and chamber ensembles. Included in this album are melodies from Deutscher’s critically acclaimed opera titled Cinderella. Cinderella was written between the ages of 8 and 12. It has been performed in Austria, USA and Israel.

Beverly-Glenn Copeland releases The Ones Ahead - his first new album in 20 years via Transgressive Records. For decades, the Pennsylvania-born, Canada-based singer, songwriter, and composer has illuminated questions of human interconnectedness with his sincere, searching voice and nimble melodicism. His new album, The Ones Ahead - his first collection of new music in nearly two decades - deepens his explorations into the ways all of us must carry each other forward into the next world.

Six CD box set containing legendary folk rock band Pentangle's reunion albums released between 1984 and 1995. Featuring Open The Door (1984), In The Round (1986), So Early In The Spring (1989), Think Of Tomorrow (1991), One More Road (1993) and Live 1994 (1995). Also including are 27 previously unreleased recordings - 13 sourced from BBC sessions for the Radio 2 programs Folk On Two and Nightride. Plus three tracks from a BBC broadcast from the Queen Elizabeth Hall, London and a further eleven live in concert recordings from gigs in Portland, Oregon, New York, London and Dublin. Bert Jansch and Jacqui McShee led Pentangle throughout their reunion years and are present on all recordings in the box. Pentangle vocalist Jacqui McShee has contributed extensive notes to this package alongside Pentangle authority Colin Harper.

The 7th studio album is a large scale orchestral/rock band hybrid. The Tangent is a Progressive Rock Band from Northern England. Based around keyboards player, composer and idiosyncratic vocalist Andy Tillison Diskdrive. Their music is cinematic and lyrical, full of narrative, often telling stories or making observations about the world we live in - often choosing subject matter more associated with Anarcho-Punk bands than with the genre in which the band choose to base themselves. "No Hobbits or Orcs in our songs" The band have, for 12 years now, released a steady output of well regarded albums through their record label Insideout Music. At the time of writing, the band's eighth studio album "A Spark In The Aether" is in production in four locations in two countries.

Starkly printed in black and white with washed-out, grainy photographs, this is one heavy slab of blues by a player who is not as well-known as he should be. Guitarist Jimmy Rogers was usually overshadowed by the leaders he worked for, Muddy Waters particularly. He was also sometimes confused with the hillbilly singer Jimmie Rodgers, and although they might have sounded good together, they don't have anything in common. This reissue collection grabs 14 tracks done at various times in the mostly early '50s which involve practically a who's who of performers associated with the most intense and driving Chicago blues. This includes the aforementioned Waters, leaving behind his role as leader for a few numbers to add some stinging guitar parts. There is also a pair of harmonica players, each of whom could melt vinyl siding with their playing. These are the Walters, big and little, as in Big Walter Horton and Little Walter. Pianist Otis Spann, bassist Willie Dixon, and drummer Fred Belew are also on hand, meaning the rhythm section action is first class.

With Talking Heads having split, guitarist Jerry Harrison released his second solo effort with 1987's Casual Gods. In addition to playing guitar, keyboards, and singing, Harrison also produced the release which featured players like Bernie Worrel on keyboards and Chris Spedding and Robbie McIntosh playing guitar. Harrison's vocals have a quality similar to David Byrne and the music is reminiscent of Fear of Music-era Talking Heads. "Rev It Up" was an AOR hit and deservedly so. The song lives up to its name with a funky, loose groove, snaky guitar, and throbbing bass. "Man With a Gun" is just one of many great lyrics on Casual Gods with a series of wry observations ("A pretty girl can walk anywhere/All doors open for her") over a moody rhythm punctuated by guitar twitches. Casual Gods is a pleasure for Talking Heads fans, but manages to stand on its own.

Norway's avantgarde Black Metal pioneers and innovators Borknagar arise at their most spirited and resplendend on their 11th studio album, "True North" (2019). Succeeding 2016's acclaimed "Winter Thrice" release and 25 years into the band's existence, Borknagar's characteristically varied fusion of musical styles and inimitable layered vocal arrangements elevates the hour-long array of these 9 new tracks to a sonic spectacle of epic proportions and undisputable grandeur.

Soft Machine plunged deeper into jazz and contemporary electronic music on this pivotal release, which incited The Village Voice to call it a milestone achievement when it was released. It's a double album of stunning music, with each side devoted to one composition - two by Mike Ratledge, and one each by Hopper and Wyatt, with substantial help from a number of backup musicians, including Canterbury mainstays Elton Dean and Jimmy Hastings. The Ratledge songs come closest to fusion jazz, although this is fusion laced with tape loop effects and hypnotic, repetitive keyboard patterns. Hugh Hopper's "Facelift" recalls "21st Century Schizoid Man" by King Crimson, although it's more complex, with several quite dissimilar sections…

Karan Casey sings for Solas, one of the hottest young Irish folk bands of the last five years. Her solo debut is a wonderful album, a program consisting primarily of traditional material presented with minimal arrangements that show off her crystalline voice to best advantage. The instrumentation is not always strictly traditional – that's an electric guitar providing cloudlike washes of chordal harmony on "She Is Like the Swallow" – but the overall feel is very much in the folk idiom. Despite the intrinsic lightness of her voice, Casey manages to deliver a blistering rendition of Ewan MacColl's acerbic "Ballad of Accounting," and she sings about the jilted "Roger the Miller" with deceptive sweetness. She also brings new energy and insight into such chestnuts as "Shamrock Shore" and "One, I Love." Her excellent backing musicians include members of Solas, notably flutist Seamus Egan, who also provides excellent production.

UB40 was the first indication that the band was abandoning the political inclinations of their earlier work and concentrating solely on pop-reggae. Of course, pop informed all of their albums since Labour of Love, but on UB40, the group concentrates solely on the grooves, from the instrumental "Dance with the Devil" to a sultry cover of "Breakfast in Bed," featuring Chrissie Hynde on vocals. Even though the album and all of its mellow grooves are thoroughly enjoyable, it's hard not to long for something a little deeper, whether it's the tributes of Labour of Love or the edgy Rat in the Kitchen.

Thievery Corporation's Eric Hilton and Rob Garza have always treated the line between acoustic and electronic music as a drunken sailor might, unpredictably falling on one side or the other with equal frequency. By this measure, The Richest Man in Babylon is their soberest effort to date, striding confidently into jazz, soul, world beat, and other styles with a direct, reverential approach. The band's last record, Sounds from the Verve Hi-Fi, featured a set of classic jazz tunes unadorned with remixes or reinterpretation. But the songs on Babylon are originals, incorporating not just jazz but Afro-beat, Brazilian dance, Persian and Indian music, reggae, and psychedelia, all while making expert use of new and old collaborators like Sleepy Wonder, Lou Lou, and Shinehead. Icelandic singer Emiliana Torrini makes an instant impression on the first track, "Heaven's Gonna Burn Your Eyes," her voice freeing the song's melody and structure with just a few hypnotic bars. It's hard to call this an electronic record at all; even their dub-influenced tracks miss a certain studio sheen, as if Hilton and Garza simply waded into a sweltering Jamaican beach party and hit record. But while it misses the ambient, ethereal edge that made The Mirror Conspiracy a downtempo classic, Babylon satisfies with organic energy and tasteful eclecticism.

Woong San (born Kim Eun Young) is an award-winning South Korean musician, actress and TV show host. She has been a leading figure in the Jazz music scene in Korea and Japan for over a decade, having performed live over 500 times since her 1998 Japanese debut. By the end of 1998 she was a recognizable figure in both Korea and Japan, and since then, she has released six albums, garnered numerous awards and critical acclaim, and continues to tour prolifically. She is the first Korean-born musician to perform at New York City's historic Blue Note Jazz Club and has collaborated with many other well-known jazz musicians including Benny Green, Lonnie Plaxico, Rodney Green, Conrad Herwig and Suzuki Hisatsugu. WoongSan's style is a distinctive blend of jazz, blues, Latin and funk style.