John Pizzarelli lays it all out in the title of his 2015 album: this tribute to Paul McCartney is designed for play in the smoky late-night hours, when everything turns sweet and mellow. Furthermore, this is a tribute to McCartney, not the Beatles. There isn't a Fab song to be found here, as Pizzarelli focuses entirely on Paul's solo work (for these intents and purposes, this includes Wings records), concentrating on the '70s but also sliding McCartney's Great American Songbook wannabe "My Valentine" into the mix. Pizzarelli digs up a few other obscurities – the early Wings song "Some People Never Know," the Speed of Sound deep cut "Warm and Beautiful" – and he also plays around with expectations, making "Let 'Em In" swing like mad and relaxing "Hi Hi Hi" so it doesn't rock, it grooves. He also invites Michael McDonald to sing on "Coming Up," which swaggers like Sinatra in Vegas, but for as delightful as that is, the key to the record's success is Pizzarelli himself, who delivers upon the laid-back promise of the title but is savvier than he needed to be, which is why Midnight McCartney satisfies.

A more eclectic release than his preceding releases, Jan Garbarek's I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen's "Gula Gula," made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part "Molde Canticle," which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise - he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup. A sign of good things to come.

This 1975 Kudu album by Joe Beck was never reissued on CD in the United States but available only as a Japanese import on the King label. Beck is a masterpiece of mid-'70s funky jazz and fusion. Beck retired in 1971 to be a dairy farmer. He returned to make this album his opus. Featuring David Sanborn, Don Grolnick, Will Lee, and Chris Parker, all of the album's six tracks were recorded in two days. Overdubs were done in another day and the minimal strings added by Don Sebesky were added on a third day. "Star Fire" opens the set and features the interplay of Beck's riffing and lead fills with Sanborn's timely, rhythmic legato phrasing, and the communication level is high and the groove level even higher. On "Texas Ann," another Beck original, Sanborn hits the blues stride from the jump, but Beck comes in adding the funk underneath Grolnick's keyboard while never losing his Albert Collins' feel. On "Red Eye," Beck's two- and three-chord funk vamps inform the verse while Sebesky's unobtrusive strings provide a gorgeous backdrop for Sanborn, who stays in the mellow pocket until the refrains, when he cuts loose in his best Maceo Parker. The deep funk of Jalaluddin Mansur Nuriddin's "Café Black Rose" showcases the band's commitment to groove jazz with a razor's edge.

Christmas probably sounded a lot like this in Hoboken, circa the late 1930s: A skinny kid with a huge voice leading friends through favorite carols like "The Little Drummer Boy" and "Greensleeves." Fast forward and that skinny kid is no longer just another voice in the crowd. All ears are turned his way as he croons through a whole new set of Christmas standards, from "The Christmas Waltz" to "I Wouldn't Trade Christmas." Sinatra is in fine voice on this 13-song set, which boasts some of the better arrangements you'll hear on a seasonal album.

Extractions is a compilation of pieces reflecting the variety of musical spectrum of Wolfgang Barkowski. The tracks are reworked again. Except 2 tracks all titles are unreleased. On three of the tracks Alien Nature is supported by Lambert Ringlage (as joint project Hypnosphere), Mathias Grassow and Thomas Becholds (Valley Forge). The is a collection of otherwise dispersed or unreleased pieces mostly floating and dark in the mood. This is a great visions into darker side of project.

Hailing from Iceland, Svanfridur were a four-piece who in the summer of 1972 recorded a single album, titled "What's Hidden There?". The album, recorded in London, can be considered one of the most interesting examples of heavy progressive rock mixed with influences from local folk music. Svanfridur's compositions feature complex vocal harmonies and an original, inventive use of violin and Moog synthesizers, courtesy of guest musician and arranger Sigurdur Johnsson.