Amnesty International commemorates its 50th anniversary with the release of an album featuring the cream of the world’s music talent covering Bob Dylan songs, with contributions from a huge variety of artists including Adele, Patti Smith, Pete Townshend, Ke$ha, The Gaslight Anthem, Sting, Jackson Browne, Elvis Costello, Sinéad O’Connor, Kris Kristofferson, Bad Religion, Marianne Faithfull, My Chemical Romance, Bryan Ferry, Pete Seeger and many more. Entitled Chimes of Freedom: Songs of Bob Dylan the album features 73 tracks on four CDs.

Trumpeter Chris Botti drops the synthesizers and drum loops of his previous effort, Thousand Kisses Deep, for a more elegant and traditional sound on When I Fall in Love. While Thousand Kisses Deep maximized Botti's penchant for mixing perfect pop songs with his Miles Davis-influenced jazz style, it nonetheless featured many of the electronic and processed sounds predictable on modern smooth jazz releases. By eschewing such "go to" pop-jazz production techniques as drum machines and synthesized strings in favor of the real instruments here, Botti ironically sounds utterly groundbreaking on what is ultimately a straight-ahead orchestral jazz album. While nowhere near as improvisationally adventurous as its predecessors, When I Fall in Love is still a revelation in the tradition of Sketches of Spain, Clifford Brown With Strings, and Wynton Marsalis' Hot House Flowers. Mixing standards and contemporary pop tunes all in a straight-ahead style, Botti gives his minimalist Miles-ian horn sound a chance to breath and be enjoyed on its own.

Bring on the Night is a 1986 live album by Sting recorded over the course of several live shows in 1985 and released in 1986. The title is taken from a song by The Police from their 1979 album Reggatta de Blanc. The songs performed include Sting's early solo material from the studio album The Dream of the Blue Turtles, and from his time with The Police, with a few of the performances played as medleys of the two. The touring band features the prominent jazz musicians Branford Marsalis, Darryl Jones, Kenny Kirkland, and Omar Hakim. Despite not featuring any hit singles, the album reached number 16 on the UK Album Charts and won Sting a Grammy Award in 1988 for Best Pop Vocal Performance, Male.

Ten Summoner's Tales is the fourth solo studio album by the English rock musician Sting. The title is a combined pun of his family name, Sumner, and a character in Geoffrey Chaucer's The Canterbury Tales, the summoner. Released in 1993, it explores themes of love and morality in a noticeably upbeat mood compared to his previous release, the introspective The Soul Cages released in 1991 after the loss of both his parents in the 1980s. This album contained two US hits; "If I Ever Lose My Faith in You" reached No. 17 on the Billboard Hot 100 and "Fields of Gold" reached #23. Ten Summoner's Tales was shortlisted for the 1993 Mercury Prize. In 1994, it was nominated for six Grammy awards, winning Best Engineered Album, Non-Classical, Best Male Pop Vocal Performance ("If I Ever Lose My Faith in You") and Best Long Form Music Video. It did not win Album of the Year, Record or Song of the Year.

Fields of Gold: The Best of Sting 1984–1994 is the first compilation issued by Sting. It features hit singles from his first four studio albums The Dream of the Blue Turtles, …Nothing Like the Sun, The Soul Cages, and Ten Summoner's Tales.

Recorded to benefit the Special Olympics, this has some of the biggest names in contemporary music, most covering seasonal favorites with mixed success. Outstanding tracks include The Pretenders "Have Yourself a Merry Little Christmas," with Chrissie Hynde giving a touching performance. Run-D.M.C.'s topical "Christmas in Hollis" relies heavily on sampling "Back Door Santa," and may head you toward the dance floor. Alison Moyet's stately version of "The Coventry Carol" is beautifully haunting. Only the Material Girl, Madonna, embarrasses herself with an overly campy "Santa Baby".

The Police never really broke up, they just stopped working together – largely because they just couldn't stand playing together anymore and partially because Sting was itching to establish himself as a serious musician/songwriter on his own terms. Anxious to shed the mantle of pop star, he camped out at Eddy Grant's studio, picked up the guitar, and raided Wynton Marsalis' band for his new combo – thereby instantly consigning his solo debut, The Dream of the Blue Turtles, to the critical shorthand of Sting's jazz record. Which is partially true (that's probably the best name for the meandering instrumental title track), but that gives the impression that this is really risky music, when he did, after all, rely on musicians who, at that stage, were revivalists just developing their own style, and then had them jam on mock-jazz grooves – or, in the case of Branford Marsalis, layer soprano sax lines on top of pop songs.

Ten Summoner's Tales is the fourth solo studio album by the English rock musician Sting. The title is a combined pun of his family name, Sumner, and a character in Geoffrey Chaucer's The Canterbury Tales, the summoner. Released in 1993, it explores themes of love and morality in a noticeably upbeat mood compared to his previous release, the introspective The Soul Cages released in 1991 after the loss of both his parents in the 1980s. This album contained two US hits; "If I Ever Lose My Faith in You" reached No. 17 on the Billboard Hot 100 and "Fields of Gold" reached #23. Ten Summoner's Tales was shortlisted for the 1993 Mercury Prize. In 1994, it was nominated for six Grammy awards, winning Best Engineered Album, Non-Classical, Best Male Pop Vocal Performance ("If I Ever Lose My Faith in You") and Best Long Form Music Video. It did not win Album of the Year, Record or Song of the Year.

Sacred Love is the seventh studio album by Sting. The album was released on 29 September 2003. The album featured smoother, R&B-style beats and experiments collaborating with hip-hop artist Mary J. Blige and sitar player Anoushka Shankar. Some songs like "Inside" and "Dead Man's Rope" were well received; and Sting had experimented with new sounds, in particular the more rock-influenced "This War". Sting's collaboration with Blige, "Whenever I Say Your Name", won the Grammy Award for Best Pop Collaboration with Vocals at the 46th Grammy Awards in 2004.

The Very Best of… Sting & The Police is a compilation album issued by Sting, and released by A&M Records in 1997. Conceived at the time when Sting had just released his fifth solo effort, Mercury Falling (hence equalling his personal tally with the one of The Police), the album mixes a selection of the Sting's Police-era songs with later hits recorded under his own name. It originally featured one new track, a remix of the 1978 song "Roxanne" by rap artist Sean "Puffy" Combs. The album was reissued in 1998 by PolyGram International with "Russians" removed and 3 additional tracks, "Seven Days", "Fragile", and "De Do Do Do, De Da Da Da", being added.

Sting recorded 'The Bridge' during the pandemic with a coterie of trusted musicians beaming into his studio remotely. That easy sense of musical camaraderie, connection and kinship is on full display in the lead single 'If It's Love', an unabashed pop song which is lent wings by a whistled refrain, joyful handclaps, and uplifting brass and strings. The urgently staccato, electric guitar-driven 'Rushing Water' soars with Sting's trademark melodic invention and vivid imagery. The decidedly romantic 'For Her Love' is a delicate pledge that harkens back to some of Sting's classic ballads. That said, Sting can breakdown the genesis of 'Harmony Road', a jazzy jam that artfully combines fever-dream, social realism and autobiography. The circle of trust of a group of likeminded musicians pulling in a myriad of brilliant directions but with one accord, is a solid foundation of 'The Bridge'. Super Deluxe Album in gatefold packaging, featuring six live tracks from The Panthéon in Paris. Also includes poster and two Japan only exclusive bonus tracks.

On the day that the second live album of Sting's illustrious solo career (and third if you count the Police's 1995 Live! set) was to be recorded in Tuscany, Italy, the widely respected singer/songwriter/bassist was beset with one of the world's worst horrors of all time. The show was to be recorded and broadcast live on the Web on September 11, 2001, the day of the World Trade Center tragedy. Instead of canceling it altogether, Sting went on with the recording (although the Web broadcast was scrapped except for a single song), resulting in the release of the 15-song All This Time, just two short months later. Featured are a trio of Police-era classics inventively rearranged ("Roxanne," "Don't Stand So Close to Me," and "Every Breath You Take") and renditions of many solo selections: an expansive "If You Love Somebody Set Them Free," "Brand New Day," "If I Ever Lose My Faith in You," and the poignant folk-like ballad "Fields of Gold."

Sting spent the entirety of his career studiously avoiding the appearance of having a good time, which is why his 2018 collaboration with reggae star Shaggy seemed so odd: at the age of 66, the rock star decided it was finally time to crack a smile. 44/876 – a collaboration named after the phone codes for their respective home countries – is most certainly a party record, albeit one that cooks at a low simmer as it swings between fleet-footed reggae sunsplash tunes and mellow grooves. If Sting seems subservient to Shaggy, that makes sense. Shaggy specializes in doing one thing well, while Sting took it as a point of pride that he could do anything from jazz to symphonies.

Ten Summoner's Tales Review by Stephen Thomas Erlewine
After two albums of muted, mature jazz-inflected pop, the last being an explicit album about death, Sting created his first unapologetically pop album since the Police with Ten Summoner's Tales. The title, a rather awkward pun on his given last name, is significant, since it emphasizes that this album is a collection of songs, without any musical conceits or lyrical concepts tying it together. And, frankly, that's a bit of a relief after the oppressively somber The Soul Cages and the hushed though lovely, Nothing Like the Sun. Sting even loosens up enough to crack jokes, both clever (the winking litany of celebrity pains of "Epilogue[Nothing 'Bout Me]") and condescending (the sneeringly catchy cowboy tale "Love Is Stronger Than Justice[The Munificent Seven]"), and the result is his best solo record. In places, it's easily as pretentious as his earlier work, but that's undercut by writing that hasn't been this sharp and melodic since the Police, plus his most varied set of songs since Synchronicity. True, there isn't a preponderance of flat-out classics – only the surging opener "If I Ever Lose My Faith in You," the understated swing of "It's Probably Me," and the peaceful ballad "Fields of Gold" rank as classics – but, as an album, Ten Summoner's Tales is more consistently satisfying than anything else in his catalog.

Early in his solo career, Sting defined himself as a man of taste, choosing to work with jazz musicians instead of rockers. Inevitably, this meant he walked the thin line between sophisticated pop and adult contemporary, but he did it with grace from 1985's Dream of the Blue Turtles to 1993's Ten Summoner's Tales. Unfortunately, Fields of Gold: The Best of Sting doesn't illustrate what a deft trick he pulled off with that quartet of albums. Naturally, Fields of Gold concentrates on his hit singles, just like any other greatest-hits collection, but Sting's material sounds surprisingly tame in this context. Sure, there is a number of great songs here – enough to state his case as a fine songwriter or to satisfy his casual fans.