This well-rounded set gives listeners a good look at the adventurous music of Betty Carter. For this CD, she is joined by one of two rhythm sections (with either Benny Green or Stephen Scott on piano) and, on four of the nine songs, tenor saxophonist Don Braden. Carter twists and turns some familiar songs (such as "The Man I Love," "Imagination" and "The Good Life") along with a variety of lesser-known material including two songs of her own.

Too bad the film "Sliver" wasn't a hit, or else this could've been one of the greatest film soundtracks of all-time. While most soundtracks just throw songs together without much thought, there's a theme on this album. You can feel the atmosphere of loneliness, lust, and mystery even if you've never seen the film. Enigma's haunting "Carly's Song" and "Carly's Loneliness" are great tracks to get you in a trance, Massive Attack's "Unfinished Symphony" is downright sexy, and Aftershock's "Slave To The Vibe" is the album's showstopper. The film (which was beautifully shot in an MTV style) could rightfully be a showcase just for these songs, kinda like "Purple Rain".

If you are making a shortlist of the best jazz singers, Carmen McRae had better be right at the top. She had a distinctive voice, able to do heartbreaking and lighthearted equally as thrillingly. She had an unerring sense of melody and her phrasing is a thing of beauty. This collection covers her work in the mid-'50s for Decca both with small groups and larger orchestras. She shines on swinging tracks like "Comes Love," "Falling in Love With Love," and "I'm Putting All My Eggs in One Basket" and won't leave a dry eye in the house with her deeply emotional ballad singing.

Part of Verve's Diva Series, this Sarah Vaughan collection is by no means a definitive look at her career. It is, however, a nice overview featuring a healthy slice of some of her best tracks. Included here are such popular recordings as "How High the Moon," "I Want to Be Happy," and "Misty." While most die-hard collectors will already own these tracks, listeners looking for a truthful introduction to Vaughan's mellow vocal style could do worse than this.

Part of Verve's Diva Series of compilations, this Billie Holiday collection is by no means the definitive account of her career – Columbia's Lady Day: The Best of Billie Holiday takes that honor. That said, it is still a great introduction to the vocalist's singular and influential style. There is a timely flow to the track listing on most of the Diva Series albums, and this collection is no exception.

Ella Fitzgerald's entry in the Verve Diva Series is a 16-track compilation that selects tracks from the first three decades of her recording career. Beginning with 1938's smash hit "A-Tisket, A-Tasket," the disc covers her hot and swinging big-band days in the late '30s and early '40s through her triumphant songbook records of the 1950s. The tracks compiled here include some of the songs that she made her own, like "Oh, Lady Be Good," "(You'll Have to Swing It) Mr. Paganini, Pts. 1-2," "How High the Moon," and the song she shares with Bobby Darin, "Mack the Knife," as well as lots of other great songs.

Blossom Dearie's time spent with Verve during the late '50s resulted in several albums of great music, and her entry in the label's 2003 The Diva Series is one of the better single-disc wrap-ups of her career. This one is much longer than Verve's previous attempts; it also does a good job of compiling most of her best moments, including "I'm Hip," "Blossom's Blues," and "Always True to You in My Fashion."

The Stan Getz volume in Verve's Quiet Now series is a stellar collection of ballads from the '50s and '60s when Getz and his bands led jazz polls continually. His bossa material, which is his best known, is represented here by three cuts – and no, "Girl from Ipanema" is not one of them – including "Corcovado." That said, it's his interpretations of standards such as "Little Girl Blue," "It Never Entered My Mind," "Sweet Rain," and "Serenade in Blue" that the great tenorman's true lyrical gift comes into play.

Melody Gardot's 2006 debut, Worrisome Heart, was greeted with warmly enthusiastic reviews that never failed to mention Gardot's musical similarities to Norah Jones and Madeleine Peyroux, or her sadly compelling story of surviving a severe hit-and-run accident at the age of 19. The tragedy gave critics an irresistible hook, and the musical similarities which also include her vocal resemblance to Fiona Apple's smoky tones gave new listeners a familiar touchstone, but both merely provided an entry into a fine, accomplished debut.

If vocal fans were forced to predict the honoree for a Nellie McKay tribute album, most would have gone far down the list before eventually happening upon the winner, Doris Day. (Granted, McKay had penned her praise of Day two years earlier in an article for the New York Times Review of Books.) But even though her lyrics and attitude are another story (or another era), McKay has a pure but nuanced voice that was always a good match for Day's, and her concern for animal rights is even closer (just check the liner notes for evidence).