Critically acclaimed Female Blues Artist Red, Hot, and Blue! 9-time nominee for "Artist of the Year." Great Guitar! Regina B. Higginbotham known professionally as Teeny Tucker is an American electric blues and new blues singer and songwriter. She is the daughter of the late blues musician Tommy Tucker. AllMusic noted that "Teeny Tucker is among a growing number of female blues belters taking different paths to stardom or wider recognition, but she's one of the very best…" She has released six albums to date. She has variously appeared on the same bill with B.B. King, Koko Taylor, Etta James, Buddy Guy, the Holmes Brothers, Robert Cray, Keb' Mo', Deanna Bogart, Kenny Neal, Bobby Rush, and John Mayall.

The sum total of the nuanced, elliptical lyricism at the heart of Paul Motian's compositional method can be heard in the opening seconds of "Osmosis Part III," the first track from I Have the Room Above Her. Recorded for ECM – with producer Manfred Eicher, guitarist Bill Frisell and saxophonist Joe Lovano – this date is Motian's first as a leader for the label in more than 20 years. This is the same team that recorded the seminal album It Should've Happened a Long Time Ago in 1984. At that time, Lovano and Frisell were just beginning to establish themselves as bandleaders though they had each recorded under their own names. The weight placed on each member of this band is tremendous since standard rhythmic and harmonic anchors such as bass and piano are absent.

Volume one of Decca's Britten opera series includes both of the blockbusters mentioned above, the charming comedy Albert Herring, and the rarely heard television opera Owen Wingrave, all recorded between 1959 (Grimes) and 1971 (Wingrave).

The fifth album by In The Labyrinth, called Samas Antaral, is finally being released after a delay of almost 25 years! The songs, of which a vast majority are instrumental, were recorded mainly in the early '90s, hence making it a parallel project to their first album 'The Garden Of Mysteries'. But there are also a few tracks or parts of tracks recorded as early as 1973 and '74, while some bits and pieces have been added more recently…

Erich Leinsdorf was an Austrian-born American conductor. He performed and recorded with leading orchestras and opera companies throughout the United States and Europe, earning a reputation for exacting standards as well as an acerbic personality. He also published books and essays on musical matters.

In interviews at the time, John Klemmer indicated he had taken a yearlong sabbatical of sorts to decide which musical direction he wanted to head in while writing the material for 'Touch'. He then went into the studio to record with a stellar group of musicians, many who had not previously appeared on one of his releases to date. These included key sidemen from Tom Scott's L.A. Express (John Guerin on drums and Chuck Domanico on bass) as well as established solo artists Dave Grusin on Fender Rhodes and David Batteau on backing vocals. It was a case of the right music, with the right musicians, at the right time.

The Complete Piano Sonatas, 32 in all, done by Vladimir Ashkenazy. He is recognized as one of the world's best pianist and this set confirms that.

The PMJL Parco della Musica Jazz Lab, led by trumpeter Enrico Rava, brings together some of the most interesting musicians have gained momentum over the last few years. After having experimented with the music of Gershwin, Michael Jackson and Lester Bowie, the collective will face now the original repertoire of Enrico Rava, excellent composer of songs characterized by great swing and melody, with influences ranging from free to bop to the Argentine tango. All with new arrangements, entrusted by Rava saxophonist Dan Kinzelman.

In the late '70s, ECM began releasing a handful of recordings that adhered more closely to solid, modern jazz than to the pastel offerings on which the label had gained some renown. This date, led by Italian trumpeter Enrico Rava, was one such. Joined by the ebullient and raucous trombone master Roswell Rudd, Rava fashioned a good, old-fashioned date with pieces ranging from elegiac to stomping.

Ascension is the single recording that placed John Coltrane firmly into the avant-garde. Whereas, prior to 1965, Coltrane could be heard playing in an avant vein with stretched-out solos, atonality, and a seemingly free design to the beat, Ascension throws most rules right out the window with complete freedom from the groove and strikingly abrasive sheets of horn interplay. Recorded with three tenors (Trane, Pharoah Sanders, Archie Shepp), two altos (Marion Brown, John Tchicai), two trumpet players (Freddie Hubbard, Dewey Johnson), two bassists (Art Davis, Jimmy Garrison), the lone McCoy Tyner on piano, and Elvin Jones on the drums, this large group is both relentless and soulful simultaneously…