Both artists were riding high at this stage in their careers, and Granz assembled a stellar quartet of Oscar Peterson (piano), Buddy Rich (drums), Herb Ellis (guitar) and Ray Brown (bass). Equally inspired was the choice of material, with the gruffness of Armstrong's voice blending like magic with Fitzgerald's stunningly silky delivery. Outstanding are Irving Berlin's "Cheek to Cheek" and "Isn't This a Lovely Day," and everything else works like a dream, with the golden star going to the Gershwin brothers' "They Can't Take That Away from Me." Gentle and sincere, this is deserving of a place in every home.

Nitin Sawhney’s many outstanding studio works, plus scores of soundtracks (including the forthcoming blockbuster Jungle Book), have spanned more than two decades and have seen him recognised with the 2017 Ivor Novello Lifetime Achievement Award. This, his first live album, features highlights from his ten studio albums, including 1999’s Mercury Music Prize nominated Gold awarded Beyond Skin, the millennial epic Prophesy and his latest work Dystopian Dream. Recorded at the legendary Ronnie Scott’s Club, London in 2016, these re-imaginings of old and new favourites buzz with life and joy.

After being "fired" from the Miles Davis Quintet, he began recording as a frontman for Prestige records, he grew musically and personally thanks to his collaboration as a sideman with Thelonious Monk and, for the fulfilment of a previous economical arrangement with Blue Note producer Alfred Lion, he recorded Blue Train for that label.

Recorded to tape at RAK Studios in London by Tony Platt (The Bad Plus, Abdullah Ibrahim, Bob Marley), the four-track album features the Charles Tolliver All-Stars, comprising some of the most experienced jazz musicians of New York : Jesse Davis on alto saxophone, Keith Brown on piano, Buster Williams on double bass, and Lenny White on drums. The album also bridges together New York and London by featuring leading British saxophonist Binker Golding on two tracks, (Binker and Moses, Moses Boyd Exodus, Zara McFarlane.) 

Sinatra demonstrated a remarkable ability to appeal to every generation and continues to do so; his artistry still influences many of today’s music superstars. The Oscar winner also appeared in more than 60 films and produced eight motion pictures. 

Released on Reprise in March 1969, and produced by Don Costa and Sonny Burke, My Way features a varied collection of contemporary pop songs, including Lennon and McCartney’s “Yesterday,” Simon and Garfunkel’s “Mrs. Robinson,” and the iconic title track, “My Way.” Recorded on December 30, 1968, in just one take, My Way charted in the U.S. and stayed on the U.K. charts for a record-breaking 75 weeks.

Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.

Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.

Doves release their fifth long player The Universal Want on Virgin EMI. On lead track Prisoners Doves forces attention upon itself, not least with the poignancy of Goodwin’s repeated greeting to ‘old friends’, but as an unstoppable, driving tale of caution in a world of unending desire. 

Produced by Doves with Dan Austin and recorded at the band’s own Frank Bough Sound III studios in North West England, the high heat of its Northern Soul beat is fanned by wiry guitar breaks and cuts of ethereal noise contorting beneath layers of stacked vocals.
A statuesque musical statement, Prisoners guides Doves’ second chapter to a peak now within touching distance, the lyrics contrasting to express unease with modern ills.

As one of the era's only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmark—a summation of the styles that came before its creation, an immersion into the period's cutting-edge strains, and a hint of the frivolous modalism that would follow.