1. They dance Alone 
2. Consider Me Gone 
3. King of Pain 
4. Be still my beating Heart 
5. Footsteps 
6. Fragile 
7. Little Wing 
8. Russians 
9. Fortress around my heart 
10. All so Vain 
11. Every Breath you take 
12. Message in aBottle 

LINEUP: 
Sting: voc, el-guitar 
Kenny Kirkland: piano 
Delmar Brown: keyboards 
Branford Marsalis: ts, ss 
Jeff Campell: el-guitar 
Tracy Warmworth: el-bass (plays later in Wayne Shorter Band) 
Mino Cinelu: percussion 
James Taylor Lewis: drums

Live at Arena in Verona/Italy, 1988-05-06

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CD1:
01. Sting & Stevie Wonder - Brand New Day (Live In Asuncion Obama, 2009, USA)
02. Sting & Zucchero - Muoio Per Te
03. Sting & Ziggy Marley - One World
04. Sting & Charles Aznavour - Love Is New Everyday
05. Sting & Mary J. Blidge - Whenever I Say Your Name
06. Sting & Rod Stewart y Bryan Adams - All For Love
07. Sting & Craig David - Rise & Fall
08. Sting & Sugababes - The Shape Of My Heart
09. Sting & Youssou N'Dour - Dont Walk Away
10. Sting & Lulu - Sail On Sailor
11. Sting & Puff Daddy - I'll Be Missing You (MTV Awards)
12. Sting & Antonio Carlos Jobim - How Insensitive
13. Sting & Frank Zappa - Murder By Numbers
14. Sting & Shawn Colvin - One Day She'll Love Me
15. Sting & Chris Botti - In the Wee Small Hours

CD2:
01. Sting & Cheb Mami - Desert Rose
02. Sting & Julio Iglesias - Fragile
03. Sting & Annie Lennox - We`ll Be Together (Live)
04. Sting & Luciano Pavarotti - Panis Angelicus
05. Sting & Robert Downey Jr. - Every Breath You Take
06. Sting & Vicente Amigo - Send Your Love
07. Sting & Anoushka Shankar - The Book Of My Life
08. Sting & Toby Keith - I'M So Happy (I Can't Stop Crying)
09. Sting & Joold Holland - Seventh Son
10. Sting & Bruce Hornsby - Halcyon Days
11. Sting & Ruben Blades - I Can't Tell
12. Sting & Andy Summers - Round Midnight
13. Sting & Sheryl Crow - Always On Your Side
14. Sting & Herbie Hancock - Sister Moon
15. Sting & Tony Bennet - The Boulevard Of Broken Dreas

“Sting and Shaggy Know You’re Confused” read a headline in Forbes when the former Police frontman and reggae mainstay released a collaborative album 44/876, in 2018. From a bird’s-eye view, the pair’s collaboration seemed unlikely, with Sting and The Police being at the forefront of Britain’s 1980s new wave movement and Shaggy being synonymous with a 2000s single about denying infidelity. And yet, anyone intimately familiar with Sting — both as a solo artist and leader of The Police — knows of his decades-long history melding sounds, dabbling in everything from rock to jazz, new-age, the West African raï genre, classical, reggae — the list goes on.

Now, all of Sting‘s decade-spanning collaborations, starting from the early 1990s and up to the present, have been placed together in a wonderful compilation, simply titled Duets, featuring recordings with Mary J. Blige (“Whenever I Say Your Name”), Herbie Hancock (“My Funny Valentine”), Eric Clapton (“It’s Probably Me”), Annie Lennox (“We’ll Be Together”), Charles Aznavour (“L’amour C’est COmme Un Jour”), Mylène Farmer (“Stolen Car”), Shaggy (“Don’t Make Me Wait”), Melody Gardot (“Little Something”), Cheb Mami (“Desert Rose”), and more.

It’s a welcome opportunity to revisit Sting‘s lengthy collaborative resume; if anything, Duets serves as a reminder that not only has the man been doing this for a long time, but when he does team up with a new artist, he strikes just the right balance in letting the featured player shine, and letting the song belong to them as well.

It is generally known that Sting likes to collaborate with artists from all over the map, literally and from a genre perspective. But the point is driven home on Duets and should clear up any so-called “confusion” casual listeners might have the next time he drops a joint effort. ---Rachel Brodsky, independent.co.uk

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01 – Shape Of My Heart
02 – Fragile
03 – Fields Of Gold			play
04 – Moon Over Bourbon Street
05 – La Belle Dame Sans Regrets
06 – Mad About You
07 – Cool Breeze
08 – Englishman In New York
09 – Love Is The Seventh Wave	play
10 – It’s Probably Me
11 – They Dance Alone [Cueca Solo]
12 – The Windmills Of Your Mind
13 – Moonlight
14 – When We Dance
15 – Desert Rose

This compilation "nominated" as the best collection of songs, performed by Sting all over his solo music career. In the selection of tracks was taken into account the choise of audience of Taiwanese radio station "Hit Fm 107.7", and the opinion of the editorial board of "Chinese Dragon Music". Only in this CD presents the song "La Belle Dame Sans Regrets" without distortion.

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01 — Gabriel's Message
02 — Soul Cake
03 — There Is No Rose Of Such Virtue
04 — The Snow It Melts The Soonest
05 — Christmas At Sea
06 — Lo How A Rose E'er Blooming
07 — Cold Song
08 — The Burning Babe
09 — Now Winter Comes Slowly
10 — The Hounds Of Winter
11 — Balulalow
12 — Cherry Tree Carol
13 — Lullaby For An Anxious Child
14 — The Hurdy-Gurdy Man
15 — You Only Cross My Mind In Winter

Sting - vocals
Dominic Miller - guitars
Kathryn Tickell - fiddle and Northumbrian pipes
Julian Sutton - melodean and Mary MacMaster: metal string Scottish harp
Vincent Ségal - cello
Daniel Hope - violin
Chris Botti - trumpet
Ibrahim Maalouf - trumpet
Stile Antico - vocal ensemble
Cyro Baptista - percussion
Bijan Chemirani - percussion
The Webb Sisters - vocals

Usually, winter is seen as a time of darkness, cold, and depression; a time of solitude and sometimes dislocated isolation. It is a time of stillness when all nature sleeps and everything is subdued. But it is also a time of renewal, a cleansing and a periodic cycle before everything awakens. The winter is also time of repose and celebration centering around Christmas and the holiday season. It is no wonder that winter holidays are centered around light and songs with subjects of renewal and a brighter, better life.

What began for Sting (aka Gordon Sumner) as recording a cycle of songs related to Christmas soon expanded into songs devoted and inspired by the winter season. Sting's latest music excursion should not come as a surprise, arriving right after the successful Songs from the Labyrinth (Deutsche Grammophon, 2006), his recording of songs by John Dowland, a 16th-Century English composer, lutenist, and singer.

If on a Winter's Night is full of songs that evoke the spirit of the season. It's often been said a composer is like a painter whose canvas is time and these songs focus on the coldest time of the year. Instead of choosing to walk the tired and well-trodden path of covering Christmas classics (the standard seasonal repertoire), Sting chose to take a different path by drawing his selection of songs from various sources. The choice of songs is rather obscure, spanning over several centuries including traditional Northumbrian ballads, lullabies, Christmas carols, and poems. The list also includes a few original songs from Sting's catalogue that suit the occasion, like "The Hounds of Winter" and "Lullaby for an Anxious Child." The title of the album was taken from a book by Italo Calvino, "If on a winter's night a traveler."

In his own words, the theme of winter has always been rich in inspiration and material. There are 17 songs on this CD and Sting shapes these old songs into a captivating contemporary statement with timelessness woven through every measure. The musicians gathered are more than just a backup band: each member is a skilled musician and is given ample space to shine. It seems like the band is fusing early music, folk, and jazz sensibilities and it all blends beautifully to make this a gorgeous whole.

This is deeply personal, profound music, with thoroughly engaging variety in each song. With each song, they capture the feel of the dark season and the album's simplicity conveys both the celebration and quietude that characterizes this time of the year.

If on a Winter's Night delivers a warm ambiance and at the same time coldness as hushed as the winter landscape and solace portrayed on the cover. The insightful selection of material, the artful arrangements, and the beautiful performances highlight the songs' universality. The songs may relate to one season in the year, but will be enjoyed well past this winter. ---Nenad Georgievski, allaboutjazz.com

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01. If I Ever Lose My Faith In You 04:46 
02. Englishman In New York 04:39 
03. Fields Of Gold 03:35 
04. Why Should I Cry For You? 07:46 
05. All Would Envy 05:36 
06. Tomorrow Well See 04:49 
07. The End Of The Game 06:21 
08. Whenever I Say Your Name 07:21 
09. Shape Of My Heart 04:50             play
10. Moon Over Bourbon Street 06:05 
11. Mad About You 04:45 
12. King Of Pain 05:40 
13. Desert Rose 04:45 
14. Fragile 04:51                       play

Bass – Ira Coleman
Conductor – Steven Mercurio
Guitar – Dominic Miller
Percussion – David Cossin, Rhani Krija
The Royal Philharmonic Concert Orchestra
Saxophone [Special Guest] – Branford Marsalis
Vocals – Jo Lawry
Vocals, Guitar – Sting 

Recorded September 21 at the O2 Arena, Live in Berlin was directed and produced by the Emmy-award winning team, Jim Gable and Ann Kim of Graying & Balding, Inc., in association with Universal Music Classical Management & Productions and Executive Produced by Chris Roberts and Sting's long-time manager, Kathryn Schenker, with music produced by Rob Mathes and Sting and mixed in stereo and 5.1 by Elliot Scheiner and Thom Cadley.

Live in Berlin captures Sting, for the first time, on the acclaimed Symphonicity world tour, which has garnered rave reviews from sold-out performances in prestigious venues such as Red Rocks in Denver, the Hollywood Bowl in Los Angeles, the Metropolitan Opera House in New York, London's Royal Albert Hall, among others.

“Live In Berlin” to zapis koncertu Stinga z The Royal Philharmonic Concert Orchestra pod dyrekcją Stevena Mercurio. Występ zarejestrowany 21 września w berlińskiej sali O2 Arena odbył się w ramach doskonale przyjętej przez publiczność i krytykę trasy promującej płytę „Symphonicities”. Znalazły się tu największe przeboje z repertuaru Stinga i The Police w orkiestrowych opracowaniach, m.in.: „Roxanne”, „Every Little Thing She Does Is Magic”, „King Of Pain” oraz Fields Of Gold”. Gościem specjalnym koncertu jest Branford Marsalis.

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1. Next To You 2:30
2. Englishman In New York 4:23
3. Every Little Thing She Does Is Magic 4:56
4. I Hung My Head 5:31
5. You Will Be My Ain True Love 3:44
6. Roxanne 3:37
7. When We Dance 5:26
8. The End Of The Game 6:07
9. I Burn For You 4:03
10.We Work The Black Seam 7:18
11.She’s Too Good For Me 3:03
12.The Pirate’s Bride 5:02

Sting - Primary Artist, Acoustic Guitar, Vocals
with:
Royal Philharmonic Concert Orchestra
London Classical Players Ensemble
New York Chamber Consort Ensemble

Musicians:
Dominic Miller - Acoustic Guitar, Guitar, Electric Guitar
Rob Mathes - Acoustic Guitar, Piano, Conductor

Gerald Gregory - Concert Master
Jackie Shave - Concert Master
Lisa Kim - Concert Master
Steven Mercurio - Conductor

David Finck - Acoustic Bass
Chad Yarborough - Horn
Larry Di Bello - Horn
Theo Primus - Horn
David Peel - Horn
Ira Coleman - Bass
Dick Clark - Trombone
Birch Johnson - Trombone
Jeff Nelson - Bass Trombone
James De La Garza - Trumpet
Dylan Schwab - Trumpet
Jeff Kievit - Trumpet
Jim Hynes - Trumpet
Anthony Pleeth - Cello
Aaron Heick - Clarinet
Marcus Rojas - Tuba
Shelley Woodworth - Oboe
Jo Lawry - Background Vocals
David Cossin - Percussion
Joe Bonadio – Percussion

Symphonicities is Sting’s tenth studio album, sharing its name with his most recent tour and no doubt playfully reminiscent in title to Synchronicity, the final album from his band The Police all the way back in 1983. Heralded as Sting’s greatest hits, re-imagined for symphonic arrangement, he is joined by the Royal Philharmonic Concert Orchestra in a delightfully alternative album suitable for fans old and new alike.

Symphonicities doesn’t waste time with tune-up notes or gentle whisperings. Any doubts that an orchestral arrangement of Next To You could ever match the fast-paced, rock-based guitar riffs of the original 1978 The Police classic are quickly cast aside when a furious wave of violins rushes forward in perfectly measured harmony, keeping both Sting and the listener on their toes as the album begins.

Listening further, Englishman In New York, Every Little Thing She Does Is Magic and Roxanne are all present and correct. Unsurprisingly, they provide some of the album’s biggest highlights too: these are songs that have been around for a long time, covered to death by many different artists over the years. Yet with the backing of a full orchestra and the original recording artist sounding as passionate and vocally powerful on them as ever, new life is born. It is a wonderful feeling to rediscover the melodic and lyrical beauty of these timeless classics in a way that doesn’t cheapen their memory in the slightest.

Some critics have argued that these reinterpretations don’t stray far enough from their original incarnations. Although I largely disagree with such sentiments, it isn’t exactly hard to sympathise with such complaints either: swap the clarinet solo in Englishman In New York back to a soprano saxophone and you certainly wouldn’t be a stone’s throw away from the original song. Personal taste will largely dictate whether the changes introduced dampen or elevate the original songs for each individual listener.

Yet it does sound different enough to warrant praise and to Sting’s credit there is plenty of reinterpretation here where it counts. Some songs would suffer greatly if too far removed from their original versions; changes to each arrangement are made with respect. Roxanne in particular has a beautiful new introduction that will be notable in its absence whenever the original song is played on the radio from now on. Elsewhere, Sting’s back-catalogue is allowed to shine with tunes making appearances that casual fans may have previously passed over, but will certainly remember from now on.

Overall, Symphonicities is a delightful album that tries something new and largely delivers. Each song was written by Sting throughout his illustrious career, earning him the right to redeliver them in this new style. The fact he has done so without it seeming like a mere cash-in is admirable, although I am somewhat suspicious that this is only a one disk release. The twelve songs selected work well but Symphonicities does omit many more obvious choices that would have made great inclusions. As a result, a few points must be knocked off while I wait for the as-of-yet unannounced Symphonicites 2. ---Marty Mulrooney, alternativemagazineonline.co.uk

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1-1 	Bring On The Night / When The World Is Running Down You Make The Best Of What's Still Around 	
1-2 	Consider Me Gone 	
1-3 	Low Life 	
1-4 	We Work The Black Seam 	
1-5 	Driven To Tears 	
1-6 	The Dream Of The Blue Turtles / Demolition Man 	
	
2-1 	One World (Not Three) / Love Is The Seventh Wave 	
2-2 	Moon Over Bourbon Street 	
2-3 	I Burn For You 	
2-4 	Another Day 	
2-5 	Children's Crusade 	
2-6 	Down So Long 	
2-7 	Tea In The Sahara

Backing Vocals – Dolette McDonald, Janice Pendarvis
Bass – Darryl Jones
Drums – Omar Hakim
Guitar – Sting
Keyboards – Kenny Kirkland
Saxophone – Branford Marsalis

Sting really got carried away with the idea that his supporting crew for Dream of the Blue Turtles was a real jazz band, and technically, he was kind of right. He did pluck them straight out of Wynton Marsalis' backing band (thereby angering Wynton and emboldening his anti-rock stance, while flaring up a sibling rivalry between the trumpeter and his saxophonist brother Branford -- a veritable hat trick, that), and since he was initially a jazz bassist, it seemed like a good fit. At the very least, it seemed like a monumental occasion because he documented the entire development of the band and making of Dream with a documentary called Bring on the Night, releasing a double live album as its soundtrack just a year after the debut hit the stores. This could be called hubris (and it will be called that here), especially because the appearance of the live album feels like a way of showcasing Sting's jazz band and jazz chops. Most of the songs run around five minutes long and there are no less than three medleys, two of which marry an old Police number with a tune from Dream. Arriving as a second solo album, it can't help but feel a little unnecessary, even if the loose, rather infectious performances show what Sting was trying to achieve with his debut. Even so, this is a record for the cult, and while it will satisfy them, to others it will seem like, well, hubris. ---Stephen Thomas Erlewine, AllMusic Review

Wydając bardzo udany album “The Dream Of The Blue Turtles”, Sting rozpoczął karierę solową (choć niektórzy upierają się, że tą należy tak naprawdę datować od albumu “Synchronicity”). Sting wyruszył też w trasę promującą album, zabierając w roli akompaniatorów basistę Darryla Jonesa (znanego z zespołu Milesa Davisa), saksofonistę Branforda Marsalisa, pianistę Kenny’ego Kirklanda, perkusistę Omara Hakima i dwie wokalistki. Trasę udokumentował podwójnym albumem koncertowym, zbierającym fragmenty koncertów z Arnhem, Paryża i Rzymu.

Jedna (dwie) płyty studyjne – i zaraz album koncertowy? Lekko to bezczelne. Z reguły tzw. żywce wydaje się, gdy zespół/muzyk ma już na koncie kilka płyt studyjnych i jakąś pozycję na rynku. Tyle że akurat Sting, oprócz albumu solowego, miał na swoim koncie także dużą liczbę swoich kompozycji nagranych i wydanych pod szyldem The Police – i to te kompozycje stanowią większość repertuaru płyty. Same koncerty były też dość specyficzne: już sam skład zespołu akompaniującego byłemu już Policjantowi wskazuje, że Sting postanowił nawiązać do czasów sprzed The Police. Do czasów, gdy grywał na kontrabasie w jazzowych klubach Newcastle. Zresztą, już na „Dream” jazzowych akcentów było bardzo wiele.

Chwilami Sting odcina się od Policyjnej przeszłości bardzo wyraźnie: znany z drugiej płyty The Police “Bring On The Night” ma zmienioną rytmikę, stracił charakterystyczny puls reggae, do tego wzbogacają go saksofonowe sola i wokalne improwizacje. Utwór tytułowy został zresztą połączony z „When The World Is Running Down”, również rozbudowanym o różne solowe popisy (m.in. długie, jazzujące solo fortepianu), które w pewnym momencie nabiera nieco soulowego odcienia.

Utwory z solowej płyty Stinga również doczekały się „podjazzowania”: „Consider Me Gone” już w oryginale miało przyjemną jazzującą wibrację, tutaj – za sprawą instrumentów dętych – ten jazz słychać jeszcze bardziej. Utwór tytułowy ze „Snu o niebieskich żółwiach” doczekał się połączenia z „Demolition Man”, rozbudowanym o m.in. syntezatorową solówkę. „Moon Over Bourbon Street” przedstawiono w wersji zbliżonej do oryginału (zresztą akurat ten utwór podjazzowywania zresztą nie potrzebował). W „Children’s Crusade” nieco rozwleczono jazzującą wstawkę w środku. Nie do końca potrzebnie.

Bardzo fajnie wypada za to „One World (Not Three)”: zamiast kombinować, udziwniać całość swingującym rytmem i jazzowymi podziałami rytmicznymi, Sting zaproponował przyjemne, letnie reggae – a więc formę jak najbardziej dla siebie naturalną i typową. Zresztą „One World” w pewnym momencie płynnie przechodzi w „Love Is The Seventh Wave”. Całość przyjemnie ubarwia lekka, popowa solówka saksofonu i dawka luźnego jamowania na żywo. W „Another Day” również liczbę kombinacji ograniczono, zostawiając zwięzłą, dynamiczną piosenkę. Niespecjalnie Sting kombinował też z pięknym utworem "Tea In The Sahara", przedstawiając go w wersji zbliżonej do oryginału

Właśnie, jazz jazzem, ale… Przy całym szacunku dla kunsztu muzyków: nie da się ukryć, że mamy tu do czynienia z pop-jazzem, czy też smooth-jazzem: te solówki saksofonowe chwilami podjeżdżają elegancką, ale – knajpą, całość - choć ta mieszanka jazzu, rocka, popu i soulu wypada całkiem interesujaca - jest przez to trochę za bardzo wygładzona. OK. – jest to płyta jak najbardziej do posłuchania, a przy okazji dokumentacja intrygującego okresu w karierze Pana Żądło. ---Piotr „Strzyż” Strzyżowski, artrock.pl

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01.A Day In The Life
02.Be Still My Beating Heart
03.Brand New Day
04.Dead Mans Rope
05.Desert Rose
06.Fields of Gold
07.Fragilidad
08.Lo How a Rose Eer Blooming
09.Russians
10.Shape of My Heart
11.Stolen Car Take Me Dancing
12.The Book of My Life (feat. Anoushka Shankar)
13.They Dance Alone
14.When We Dance
15.Why Should I Cry For You
16.You Only Cross My Mind In Winter
17.Sisters of Mercy (with The Chieftains)

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1. Fragile
2. Mad About You
3. Englishman In New York
4. Fields Of Gold
5. All This Time
6. Sister Moon
7. Russians
8. If You Love Somebody Set Them Free
9. We’ll Be Together
10. If I Ever Lose My Faith In You
11. Moon Over Bourbon Street
12. They Dance Alone
13. Fortress Around Your Heart
14. Love Is The Seventh Wave
15. Why Should I Cry For You?
16. The Soul Cages
17. Be Still My Beating Heart
18. Saint Agnes And The Burning Train

Gordon Matthew Thomas Sumner CBE, known professionally by his stage name Sting, is an English musician, singer-songwriter, and actor. Gordon Matthew Thomas Sumner was born in Wallsend, Northumberland, England, on 2 October 1951. He was the principal songwriter, lead singer, and bassist for the new wave rock band The Police from 1977 to 1984, before launching a solo career. With The Police, Sting became one of the world’s best-selling music artists. Solo and with The Police combined, he has sold over 100 million records. In 2006, Paste ranked him 62nd of the 100 best living songwriters. He was 63rd of VH1’s 100 greatest artists of rock, and 80th of Q magazine’s 100 greatest musical stars of 20th century.

In the Queen’s Birthday Honours 2003 Sting was appointed a Commander of The Most Excellent Order of the British Empire For services to the Music Industry. In 2007, the French Government appointed Sting (along with Police bandmates Andy Summers and Stewart Copeland) a Chevalier of the Ordre des Arts et des Lettres. Sting was honored by the Upright Citizens Brigade team, Fambly, in the form of a 30-minute sketch comedy show devoted to the 1999 song “Brand New Day”. He was formally invited to the encore performance of the show, held at the theatre on November 7, 2011, via the Twitter hashtag #StingUCB.

Sting has received a number of Grammy nominations during his solo career. Including the Grammy Awards won by The Police, Sting has received 16 awards.---short-biography.com

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01 The Hounds Of Winter   
02 I Hung My Head   
03 Let Your Soul Be Your Pilot   
04 I Was Brought To My Senses   
05 You Still Touch Me   
06 I'm So Happy I Can't Stop Crying   
07 All Four Seasons   
08 Twenty Five To Midnight   
09 La Belle Dames San Regrets   
10 Valparaiso   
11 Lithium Sunset

Drums – Vinnie Colaiuta
Guitar – Dominic Miller
Keyboards – Kenny Kirkland
Vocals, Bass – Sting 
+
Bagpipes [Northumbrian Pipes] – Katherine Tickell
Choir [The East London Gospel Choir] – Lance Ellington, Monica Reed Price, Shirley Lewis, Tony Walters
Fiddle – Katherine Tickell
Organ [Additional Hammond Organ] – Gerry Richardson
Pedal Steel Guitar – B.J. Cole
Saxophone – Branford Marsalis
Saxophone [The Memphis Horns] – Andrew Love
Trumpet [The Memphis Horns] – Wayne Jackson

Falling somewhere between the pop sensibilities of Ten Summoner's Tales and the searching ambition of The Soul Cages, Mercury Falling is one of Sting's tighter records, even if it fails to compel as much as his previous solo albums. Though he doesn't flaunt his jazz aspirations as he did in the mid-'80s, Mercury Falling feels more serious than The Dream of the Blue Turtles, primarily because of its reserved, high-class production and execution. Building from surprisingly simple, memorable melodies, Sting creates multi-layered, vaguely soul-influenced arrangements that carry all of the hallmarks of someone who has studied music, not lived it. Of course, there are many pleasures in the record -- for all of his pretensions, Sting remains an engaging melodicist, as well as a clever lyricist. There just happens to be a distinct lack of energy, stemming from the suffocating layers of synthesizers. Mercury Falling is a record of modest pleasures; it's just not an infectious, compulsive listen. ---Stephen Thomas Erlewine, AllMusic Review

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