Bill Harry

81 newly-remastered recordings on four CDs with a full-color, 144-page, cork-cover book in a cigar-style box.
Featuring archival images, original artwork by Harry Smith, and essays by John Cohen, Lance Ledbetter, and Eli Smith.
Liner note contributions by more than 80 artists, writers, and musicians that have been inspired by Harry Smith’s work including Daniel Bachman, Devendra Banhart, Sarah Bryan, Rosanne Cash, Dom Flemons, Steve Gunn, Will Oldham, Amanda Petrusich, Steve Roden, Art Rosenbaum, Nathan Salsburg, Peter Stampfel, and many more.

Jacintha is a Singaporean jazz singer/torch singer and stage actress who has been well-known in parts of the Asia-Pacific region since the '80s and has been increasing her exposure in North America since the late '90s. On "The Girl From Bossa Nova" picks up the tempo on her first bossa nova session. Featuring a program of some of the most well known classics of the genre, including several Jobim favorites like "So Nice", "Desafinado" and "Corcovado", as well as less familiar tunes like "O Ganso and So Danco Samba". And yes, there are a couple of classic Jacintha ballads done bossa style: "This Masquerade" and "Dindi". With superb work from tenor Harry Allen and guitarist John Pisano (ex-Diana Krall), the album's supreme finishing is the magical playing of legendary Brazilian master percussionist Paulinho Da Costa, who blesses the entire album with an authentic bossa nova vibe. This release is "a must" for Jacintha fans and all bossa nova lovers.

Perhaps best known among collectors for his 1956 live quartet recordings with Lester Young in Washington, D.C., pianist/arranger Bill Potts also had a subsequent career, which, among other things, involved the production of this swinging 1959 big band jazz version of Porgy And Bess highlights.

You Must Believe in Spring is an album by jazz pianist Bill Evans, recorded by Evans, bassist Eddie Gómez, and drummer Eliot Zigmund in August 1977, and released after Evans' death in September 1980.

Frank Wellington Wess (January 4, 1922 – October 30, 2013) was an American jazz saxophonist and flautist. In addition to his extensive solo work, Wess is remembered for his time in Count Basie's band from the early 1950s into the '60s. Critic Scott Yannow described him as one of the premier proteges of Lester Young, and a leading jazz flautist of his era – using the later instrument to bring new colors to Basie's music.