Lisa Batiashbili

Having lent their esoteric funk-folk stylings to Prince & The Revolution during the late legend’s purple reign of the early-80s, Wendy Melvoin and Lisa Coleman left the band to pursue their own maverick musical path in 1986. Fan-favourite Eroica, their third and final album for Virgin Records, saw the duo hit a new creative peak – drawing on influences ranging from Sly Stone to Joni Mitchell to create a vibrant psychedelic-funk- folk sound that was uniquely their own.

Immortal Memory is a collaboration between vocalist Lisa Gerrard and Irish composer Patrick Cassidy. Billed as a cycle of life and death and rebirth, Immortal Memory is better described as an orphaned film score. Cassidy's warm arrangements allow the former Dead Can Dance singer to step out of the dark medieval world that she's called home for nearly 20 years – though there is much of that world within these castle walls – and focus on the simplicity of love, faith, and loss with a grace that's bereft of the icy perfection of her previous work. Gerrard, whose voice has aged like the finest oak, displays an almost supernatural mastery of the material. Her effortless contralto wraps itself around the ten Gaelic, Latin, and Aramaic spirituals like an evening prayer, making each stunning entrance the equivalent of audio comfort food.

Like Seven, released four years earlier, Lisa Stansfield's eighth album bounces from style to style with the singer's deeply impassioned, life-embracing approach a constant feature. Sophisticated pop, Motown/Philadelphia International-styled retro-soul, a few flavors of house, and even muted go-go and elegant drum'n'bass factor into the material. Most unforeseen is "Hercules," not an update of the Allen Toussaint classic but a fiery hero's theme that incorporates the Bo Diddley beat, a triumphant horn arrangement from master Jerry Hey, and the main riff from John Carpenter's "Assault on Precinct 13." A few cuts rate with Stansfield's best. The title song sounds like it was designed to fit with smooth early-'80s R&B grooves like the Mary Jane Girls' "All Night Long" and Keni Burke's "Risin' to the Top."

I Get A Kick: Cole Porter Reimagined presents adventurous new takes on 10 classic tunes written by Cole Porter for stage and screen, performed by jazz singer and award-winning poet Lisa B (Lisa Bernstein) on her sixth record and first for Jazzed Media. This distinctive homage appeals to fans of vocal music, jazz, and the Great American Songbook, as well as anyone seeking a lush and witty background to a cozy night at home or a sophisticated gathering. It was co-produced and engineered by James Gardiner, who boasts two Grammy nominations and 42 gold and platinum records, and features internationally known, Bay Area-based jazz players Mike Zilber, John Santos, Ben Flint, Frank Martin, Fred Randolph, Troy Lampkins, Jeff Marrs, Alan Hall, and Paul Van Wageningen.

Deeper is the eighth studio album by British singer Lisa Stansfield, released on 6 April 2018. All songs were written or co-written by Stansfield and produced by her husband Ian Devaney and Snowboy.

While other musicians mostly vary their repertoire with nuances, every Klaus Schulze performance is hard to predict. His former bandmate Edgar Froese (Tangerine Dream) once needed a nice image when describing his way of improvising on stage with electronic instruments, “This is like a parachute jump where one cannot be sure if the parachute will even open.” This was particularly true during the time of the unpredictable, analog synthesizers- but Klaus kept this same work method throughout the years without making any changes. And with this he is one of the few musicians who saved this art of improvising, all during the transition from the analog to the digital era…

Duality is at once sacred and playful. It is both dark and light, organic and refined, masculine and feminine. Dead Can Dance's Lisa Gerrard partners with Pieter Bourke, formerly of Aussie band Eden, to create this compositional dance of partnership that is classical, ancient, and thoroughly modern. Gerrard's voice is multitracked at times, conjuring a cathedral choir and the droning chants of monks. Drums and synth snake from desert to brilliant stormy sky to shaking earth and the bodies that inhabit those spaces. There are lush multiple layers of strings, bagpipe drone, and, quite literally, the laughter of children. The vocals sans "real" words and multicultural instrumentation will be familiar to Dead Can Dance listeners. Yet there is something more exclusive, more womblike about the music of Bourke and Gerrard; rather than two distinct bodies making music, like mother and in utero child sharing blood and breath, they are mutually dependent.

Rare manuscripts from the library of an Italian abbey, rediscovered and recorded for the first time.