The first edition of a two part series, Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout. TRACKLIST: 1. The Offering 2. Bushid 1 3. Memories of Nanzenji 4. Mizugaki 5. Akatombo 6. Niten-Ichi 7. Asa no Yume

2008年初张学友完成了105场《学友光年世界巡回演唱会》后， 2009年他参与了《月满轩尼诗》、《全城热恋》和《72家租客》等多部电影演出。 2010年，终于让我们等到他，张学友全新粤语大碟「Private Corner」。
距离上一张粤语专辑已经超过五年的时间，张学友终于再次推出全新粤语大碟「Private Corner」专辑共收录9首全新粤语新歌加1首英文新单曲。出道超过25年，发行超过70张专辑，曾创下华语乐坛无数奇迹的张学友，永远不停地在追求不同的成就与进步，但唱歌始终是他的最爱。尽管现今大环境不断改变，音乐潮流也变化无穷，但学友清楚知道自己的方向，不会盲目地追随，制作专辑时反而能抛开市场压力与商业考量，回归到最基本的音乐本质与聆听性。近一年的筹备，学友终于交出一张连自己都很喜欢听的音乐作品。这次专辑制作人学友找来他音乐老搭档，也曾多次担任他演唱会音乐总监的杜自持共同合作。专辑品质除了有学友一贯的坚持与要求，为再提升音乐的聆听享受，学友首次采用发烧级的TARA LABS铜线录音，而顶尖乐手们能齐聚录音室共同演奏的自由即兴与灵活互动，更是在现今的唱片制作里难得一见，高规格的要求让声线与音质都展现出超高的纯度与生命力。毫无疑问，张学友的完美靓声再一次征服我们的听觉品味，更满足了发烧友挑剔的耳朵。
现代人常埋首于工作之中或忙碌于生活之际，总渴望能拥有属于自己的「 Private Corner」。在这里可以抛开一切的压力与烦扰，放下紧绷的情绪，喝杯咖啡或啜饮着酒，沈浸在醉人的音乐氛围中，有如老朋友般的亲切陪伴，慢慢的聆听，平静而温暖。这是一种享受，是一种品味，更是一种上瘾的滋味。专辑筹备初期，学友就有「Private Corner 」这概念，既然是「Private」就决定要做一张最贴近自己的音乐。专辑里所选的每一首歌都是学友自己很钟意听的音乐类型，但过往专辑却鲜有机会唱的。录制完成后学友曾边开车边听这张专辑，听到他宁愿绕远路走也不想把音乐从中暂停。这就是「Private Corner 」的无形魅力，一听就会上瘾。专辑设计简约而华丽，呈现学友低调的完美主义，产品没有多余累赘的包装，却有发烧级的聆听享受。专辑封面与内页照片，在奚仲文的美术指导下，透过夏永康的镜头捕捉，以简单的线条、单纯的色系勾勒出学友成熟男人的沈稳内敛与时尚品味。

Brad Mehldau's Finding Gabriel will be released on Nonesuch Records on May 17, 2019. The album comprises nine thematically related songs by Mehldau and features performances by him on piano, synthesizers, percussion, and Fender Rhodes, as well as vocals. Guest musicians include Ambrose Akinmusire, Sara Caswell, Kurt Elling, Joel Frahm, Mark Guiliana, Gabriel Kahane, and Becca Stevens, among others. Full track listing and credits are below.
Mehldau explains, "Finding Gabriel came after reading the Bible closely for the last several years. The prophetic writing of Daniel and Hosea resonated in particular, as well as the wisdom literature of Job and Ecclesiastes, and the devotional words of Psalms. The Bible felt like a corollary and perhaps a guide to the present day—one long nightmare or a signpost leading to potential gnosis, depending on how you read it. The archangel Gabriel appeared to Daniel, telling him, 'At the beginning of your pleas for mercy a word went out, and I have come to tell you, for you are greatly loved. Therefore consider the word and understand the vision.' It seemed that the trick was to listen to Gabriel's words through all the noise and find a way to explain the bedlam, not only to oneself, but to a young person with less of a reference as to what is right-side up—perhaps one's own children.
"In this upside down state of affairs, the prophet is a fool: 'The man of the spirit is mad, because of your great iniquity and great hatred,' Hosea says. He meant that the prophet indeed speaks the truth, but no one believes it anymore—it's all fake news, no matter on which side of the fence you are standing. There is a temptation to make it all go away and escape into even more distraction, but this is only temporary refuge and leads one further into a matrix of falsehood. Eventually one comes up for air with more confusion and maybe even despair. With all the supposed connectivity, it seems that we are more separated from each other than ever, submerged in the deep water of unhappy solitude. Where to turn for the truth? Ask, with a humble heart, listen deeply, and the answers will come.
"The music initially sprang out of a new synth I was discovering—the Dave Smith/Tom Oberheim OB-6 featured on several tracks," Mehldau continues. "I built up many of the tracks beginning with synths and Mark Guiliana on drums, in a process similar to our previous collaboration, Taming the Dragon. Layers were added, and the human voice became an important element—not with text, but as a pure expression of harmony and emotion. I worked with singers I've admired and been close to over the past several years—Becca Stevens, Kurt Elling, and Gabriel Kahane—and sang myself as well. Strings and winds were added and the project became more orchestral, with features from stellar musicians: trumpet player Ambrose Akinmusire, tenor saxophonist Joel Frahm, and violinist Sara Caswell.
"A new experience for me on three of the tracks was to go the opposite as well—doing everything as a one-man band. Both the collaborations and solo flights were a learning experience and full of discovery. John Davis, who engineered and mixed the record, was an integral player from beginning to end at Bunker Studios in Brooklyn, creatively contributing to the sonic landscape and finally putting all the pieces together."

Jacob Collier is an English musician. His music incorporates elements from many musical genres, and often features extreme use of reharmonisation. In 2012, his split-screen video covers of popular songs, such as Stevie Wonder's "Don't You Worry 'bout a Thing", began to go viral on YouTube.

Norah Jones didn't mean to make another album. After she finished touring 2016's Day Breaks — her beloved return to piano-based jazz — she walked away from the well-worn album cycle grind and into an unfamiliar territory without boundaries: a series of short sessions with an ever-changing array of collaborators resulting in a diverse stream of singles (with Mavis Staples, Rodrigo Amarante, Thomas Bartlett, Tarriona Tank Ball, and more). But then an odd thing happened. Slowly but surely, the session songs Jones hadn't released congealed into that very thing she'd meant to avoid — an album, lucky for us. Because Pick Me Up Off The Floor is not some disjointed collage. It holds together beautifully, connected by the sly groove of her piano trios, lyrics that confront loss and portend hope, and a heavy mood that leans into darkness before ultimately finding the light.

On her stunning debut, the tenor saxophonist and rising member of the London jazz scene meditates on her humble family heritage, the continuum of jazz history, and the power of collective action in our present moment.

王若琳用了两年多时间才制作完成这张专辑，它内容丰富，蕴含着她对音乐的热爱、执着和感悟。专辑既有新作，也有对经典歌曲的重新演绎。在美国的成长经历让王若琳对爵士、R&B、乡村摇滚情有独钟，多元的音乐风格令她的歌曲独具魅力。一曲《Let’s start from here》，曲调舒缓，气质优雅，优美的人声与乐器的搭配水乳交融，美妙绝伦，让你忍不住嘴角上扬；《Lost Taipei》则描述了一个小女孩的浪漫情感。这些歌曲带来了一股清新之风，没有矫揉造作，只有纯粹的音乐享受，让人百听不厌。