This is an unusual smooth-jazz album devoted to the moon and stars from Swedish jazz trombonist Nils Landgren. He has roped in some impressive support, including Jazz Crusaders pianist Joe Sample and French accordion star Richard Galliano. Landgren's warm-toned trombone is as persuasive as his Nat Cole and Chet Baker-influenced singing. Guests are Joao Bosco, Steve Gadd, NDR Bigband, and others.

Trying to shake things up, producer Creed Taylor brought in arranger Marty Sheller from Mongo Santamaria's Afro-Cuban band, reduced the sizes of the servings (no track is longer than 3:45), cranked up the decibels to a raucous level, and presented Benson in what he hoped would be a radio-friendly setting. The wonder is that Benson manages to transcend the blasting Latin-percussion-spiced production, the tight time limits, and all with often brilliantly tasty guitar fills and brief solos in many styles and three reverb-heavy vocals.

Folk-Pop singer/songwriter Stephen Bishop had his greatest success on the ABC label in the mid-'70s when he scored the Top 40 pop hits "Save It for a Rainy Day" and "On and On." These and all of his other top 40 hits are featured in this compilation. Personnel includes Dave Grusin, Eric Clapton, Chaka Khan, and other stars.

Pianist Earl Hines and singer Jimmy Rushing had crossed paths many times through the years, but this was their first joint recording; in addition, this was the first official recording by Hines' 1967-69 quartet, a unit also including Budd Johnson on tenor and soprano, bassist Bill Pemberton and drummer Oliver Jackson. Although sounding a little raspy on "Exactly Like You," Rushing is otherwise in prime form, also singing "Am I Blue," "Save It Pretty Mama" and a rocking "St. Louis Blues." Hines is typically brilliant on his "One Night In Trinidad" and rollicking on the multi-key "Changin' the Blues," while the underrated Johnson shows just how distinctive he was on both of his horns.

Stephen Bishop is an American musician, who wrote songs for countless stars, such as Phil Collins, Eric Clapton, Barbra Streisand, Art Garfunkel, Diana Ross, Johnny Mathis, David Crosby, to name a few. On this album, played with Latin mood throughtly, he sings his songs by himself, with guest apperarance of Eric Clapton, Earl Klugh, Kenny Rankin & Luciana Souza. The band is also all-star: Oscar Castro-Neves (guitars, keyboards), Don Grusin (piano and keyboards), Alex Acuna (drums), Brian Bromberg (bass).

Most of the tracks on "Love Held Lightly" are previously unreleased Harold Arlen songs written for unproduced stage, film and television musicals; this collection spans approximately fifty years of work. A number of lyricists are also represented including Johnny Mercer, Peggy Lee and Truman Capote. Peggy sings with an emotional resonance that came with her experience and her age. The swing arrangements of Keith Ingham and the playing of the likes of saxophonist Ken Peplowski, bassist Jay Leonhart and guitarist John Chiodini make this a rare and beautiful gem.

Representative collection of Delta blues tunes, including recordings by Muddy Waters, Elmore James, Robert johnson, John Lee Hooker, Blind Willie johnson, and many more. Digitally remastered; includes sleeve notes by Michael Heatley.

Anthony Braxton is best-known for his unique and knotty compositions, but he sometimes interprets classic jazz songs. For this setting, he gathers Mal Waldron (no stranger to Monk interpretations), Buell Neidlinger on bass, and Bill Osborne on drums. Braxton plays alto throughout, and plays magnificentlyl; Waldron, Neidlinger, and Osborn are at the top of their game as well. Overall, original yet respectful treatment of Monk compositions.

While Takemitsu's reputation as one of the 20th century's greatest modernists is recognized around the world, his accomplishments as a songwriter are largely unknown outside of Japan. This recital displays his stylistic versatility and knowledge of popular song idioms. The songs on this program come from all stages of Takemitsu's life, from the 1950's to the year of his death, and each is a superbly crafted miniature - tuneful and elegant. Performers are Dominique Visse (conter-tenor) and François Couturier (piano).

Relayer is the seventh studio album by the progressive rock band Yes. Structurally, Relayer is comprised of three pieces, including the 21'55 epic The Gates of Delirium (it was Tolstoy's tome "War and Peace" that inspired vocalist Jon Anderson to put this epic together), in addition to the comparatively shorter pieces "Sound Chaser" and "To be Over". The energy levels are completely over the top on Relayer and may reflect the enthusiasm of new keyboardist Patrick Moraz.

For a singer known as 'The Voice', the idea of an instrumental album sounds odd, and the title does little to inspire a mad rush to the record store. However, Sinatra loved classical musical and probably enjoyed commissioning this collection of works from the likes of Nelson Riddle, Billy May, Gordon Jenkins, Victor Young and others.

Roseanna Vitro is a very talented and versatile singer, as she proves throughout this highly enjoyable set. Vitro performs 14 songs (including a pair of two-song medleys) associated with Ray Charles. Although jazz has long been only a small part of Charles' music, the tunes are transformed into swinging and soulful jazz by Vitro. Highlights include "Don't Let the Sun Catch You Cryin'," a swinging "One Mint Julep," "I Don't Need No Doctor" and "Lonely Avenue."

Mel Tormé, 67 at the time of this recording, proves to still be very much in his musical prime. For this live set, the singer wrote ten of the 15 arrangements and programmed plenty of variety in moods and tempos for his voice including a seven-song Duke Ellington mini-set. His masterful interpretation of "Stardust" is a highpoint.

The Peter Green Splinter Group were a band led by the British blues guitarist and singer, Peter Green, who was the founder of Fleetwood Mac. Recorded on 5 April 1998 at Ronnie Scott's Jazz Club, the double album featured new versions of various songs from the group's previous albums, and also some of Green's Fleetwood Mac songs.

It has been written many times that Toru Takemitsu is something of a latter day impressionist. Almost all the works on this disc, most of which are from his real maturity, bear out this statement; they are abundantly rich in colour and exotic atmosphere, with the orchestral palette used with the utmost refinement and subtlety. It could be said that Takemitsu goes even further, exploring distant horizons with a sensuousness rarely heard in any other composer.