Melody Gardot made her public debut aged 24 with My One and Only Thrill in 2009, released on Verve Records. Many thought she’d pursue the glamourous, sophisticated and mysterious image conveyed by this record and forge a music career as a “jazz singer”.  However, just a quick glance at her eclectic discography proves that this singer-songwriter has done anything but, using each new release as an opportunity to reinvent herself and reveal a new part of her personality. After returning to her soul-rock roots on Currency of Man, (which celebrates the music of her native Philadelphia), and the barque hybridisation of The Absence (which borrows its rhythms and orchestral sounds from the various countries she’s spent time in over the last few years, such as Argentina and Portugal), Melody Gardot’s Entre eux deux is an intimate and romantic record that reflects on her relationship with France—more specifically with Paris—which she’s called home since 2016 (at least for most of the year). Conceived, composed and recorded in close collaboration with French pianist and composer Philippe Powell (son of the great Brazilian musician Baden Powell), Entre eux deux makes the most of the emotional proximity afforded by the duet format. It utilises a whole range of nuanced emotions and forms by using a repertoire that mixes legendary French songs (such as Francis Lai and Pierre Barouh’s masterpiece, Plus fort que nous), Brazilian classics (Samba Em Preludio by Baden Powell and Vinicius de Moraes) and original compositions that are effortlessly sung both in English and in French. The whole album is enhanced by the scenographic sound field created by the intentionally impressionistic piano harmonies, which forge an incredibly natural link between Bill Evans, Claude Debussy and the world of bossa nova. Melody Gardot’s deep and sensual voice resonates with great sophistication and sensitivity, exploring the mysteries of love songs through consistently beautiful melodies imbued with ineffable nostalgia. She plays into a few stereotypes (crazy love, Paris romance) in order to create an ironic sense of distance (listen to the lyrics of A la Tour Eiffel and Fleurs du dimanche, which are subtly disenchanted). Melody Gardot has never seemed more in control of her art than she does in this intimate record. © Stéphane Ollivier/Qobuz

Rather than rushing out an album in the spring of 1968, when "Shoo-Be-Doo-Be-Doo-Da-Day" (Number 9 Pop, Number One R&B) hit, Motown waited, through the modest summer success of "You Met Your Match" (Number 35 Pop, Number Two R&B), until "For Once in My Life" (Number Two Pop and R&B) became Wonder's next mammoth single, to release an album. As a result, this album contained all three hits, making it one of Wonder's more consistent albums of the '60s, even with filler like "Sunny" and "God Bless the Child." The real find, however, is the driving "I Don't Know Why," which, when placed on the B-side of Wonder's next single, "My Cherie Amour," became a hit on its own, going to Number 39 (Pop) and Number 16 (R&B). © William Ruhlmann /TiVo

One reason why Jimmy Buffett's sixth album, Changes in Latitudes, Changes in Attitudes, is his best record yet is simply the sound. Buffett's move from Don Gant, who produced his last four albums, to Norbert Putnam is a serious upgrade. Putnam, a bassist by trade with a talent for string arranging, specializes in working in Nashville with artists who don't quite belong in Nashville. His production of Eric Andersen's Blue River resulted in a masterpiece, and he's done quality work with the likes of Joan Baez, Neil Young, and Dan Fogelberg, creating a country-pop sound that achieves the crossover such artists crave. Putnam is a perfect fit for Buffett; he gives the music the polish Buffett's always needed. But that only explains the reason why the album works so well sonically. The main reason it's Buffett's best is the songs, most of which he wrote. Buffett has always been a good songwriter when he had the time to apply himself, and he's been developing a persona that reaches its culmination here. Or, it might be said that the persona takes a logical next step. Buffett's alter ego is something of a screwup, a guy who's on the road, sometimes defined as a traveling musician, and who fuels himself on liquor and recreational drugs. He wants to get home to his loved ones, but he's actually not in that much of a hurry to do so. The guy who sang "Come Monday" in 1974 ("I just want you back by my side") has evolved into someone who's been on the road so long that he and his pals "Wonder Why We Ever Go Home." He may, as he claims, "Miss You So Badly," but he also acknowledges, "The longer I'm gone the closer I feel to you." When he is at home, he is clearly at loose ends, and this is where Buffett's observations are most acute, as he leads off the LP's two sides with its two best songs. The title tune finds him world-weary yet ready to head off again. "If I wasn't crazy I would go insane," goes the chorus. And the culmination of it all comes on the irresistibly catchy, completely self-deprecating "Margaritaville," a guitar-strumming beach bum's declaration of purpose (or purposelessness). He can't remember how he got a new tattoo, he has cut his foot on the "pop top" of a beer can, and his heart seems to have been broken some time in the past (he doesn't seem to remember all that well), but soon his blender will finish stirring up his favorite drink and all will be well. The song is an anthem for the Buffett character and likely to prove an archetype.© William Ruhlmann /TiVo

The Art & Soul of Houston Person is a unique compilation. The great saxophonist has recorded as a leader for labels such as Prestige, 20th Century, Muse, Savant, and is currently with High Note, where this appears. His tenure at Prestige is the only one longer than this one. As such, this massive, three-disc collection is drawn from a dozen High Note albums cut in as many years. The unifying factor in these cuts is that they were not chosen randomly to include simply stellar performances, but from his wide-ranging interpretations on standards; in addition, they were all recorded by Rudy Van Gelder at his studios in Englewood Cliffs, NJ. There are 30 performances in all, including four that open disc one which are all new takes on tunes he'd tracked previously, but this time out with his current quartet of pianist John di Martino, bassist Jon Burr, and drummer Jerome Jennings. Some of the other players on this comp include pianists Bill Charlap, Stan Hope, and Richard Wyands, bassists Ray Drummond, Ron Carter, Per-Ola Gadd, Peter Washington, and George Kaye, drummers Grady Tate, Chip White, and Kenny Washington, and guitarists Russell Malone and Paul Bollenback. The readings of these tunes make for a very unified collection because no matter who the personnel are and what gifts they bring to the table, Person has a way of playing songs that not only retain their melody, but their melodic integrity; his is simply not interested in employing them as frameworks for showboat improvisation. His own inventiveness is in how warm and dignified a melodist he is. He sings through the horn with the emotional commitment of Ben Webster, the soul of Gene Ammons, and the studied elegance of Paul Quinichette and Frank Wess. Listeners will have a great time picking their favorites out of this morass of excellent material, but it is safe to say that Person makes virtually all of it compelling -- there isn't a dull second here. Whether it's "Sentimental Journey,"and "All The Things You Are," or "Blue Moon" and "Mack the Knife," these sides are drenched in classy sophistication and down-home soul. Highly recommended.© Thom Jurek /TiVo

The Odes and Welcome Songs cover the major creative period of Henry Purcell, who composed them for festive occasions. However, in contrast to the musical pomp of Versailles that was commonplace during this time, the special events in which these songs were played were attended by very few. Damien Guillon and his ensemble, Le Banquet Céleste, have explored this chamber music’s intimate beginnings, conceiving this new programme comprising of thirty-seven richly expressive pages.Composed between 1680 and 1695, these pieces were intended to celebrate important occasions; for example, St Cecilia's Day or anniversaries such as that of King James II or Queen Mary. Others celebrate specific events, such as royal weddings, princely anniversaries or the centenary of Trinity College Dublin. Damien Guillon utilises his deep understanding of music to elevate his vocal and instrumental soloists to new artistic heights. "I like the idea of making music together in a group and uniting artists around a project," he says. Produced at the Poitiers Theatre, this new recording is full of life and joy, and is a true reflection of Guillon’s devotion to his craft. © François Hudry/Qobuz

Stevie Wonder was beginning to rebel against the Motown hit factory mentality in the early '70s. While he certainly hadn't lost his commercial touch, Wonder was anxious to address social concerns, experiment with electronics, and not be restricted by radio and marketplace considerations. Still, he gave the label another definitive smash with the title track, while sneaking in a cover of the Beatles' "We Can Work It Out" and penning more intriguing tunes like "I Can't Let My Heaven Walk Away" and "Never Had a Dream Come True." © Ron Wynn /TiVo