Trio puissant et homogène à la fluidité musicale exemplaire, Shai Maestro, Jorge Roeder et Ziv Ravitz reviennent avec un nouvel opus plus personnel que jamais : The Stone Skipper. Étirant les frontières d’un jazz profond arrivé à maturation, le Shai Maestro Trio n’hésite plus à mettre un pied sur des territoires voisins, mariant les touches électroniques élégantes et l’apparition de voix en osmose avec son univers unique.

The third of DG’s series of seven Mozart operas conducted by Yannick Nézet-Séguin, and initiated by Rolando Villazón, in collaboration with Festspielhaus Baden Baden, U-Live, and sponsored by ROLEX.

Although this is Isaac Hayes' third long-player, he had long been a staple of the Memphis R&B scene — primarily within the Stax coterie — where his multiple talents included instrumentalist, arranger, and composer of some of the most beloved soul music of the '60s. Along with his primary collaborator, David Porter, Hayes was responsible for well over 200 sides — including the genre-defining "When Something Is Wrong With My Baby," "Soul Man," "B-A-B-Y," "Hold On, I'm Comin'," and "I Had a Dream."

With seven massive number one records trailing in his wake, Isaac Hayes donned his stylin', funky gold-chain link vest once again and capped 1973 with Joy, a set which might have proven the lucky-streak breaker – it missed the top spot by one place – but still waded into gold-record waters with ease. "Joy" itself, of course, was the album's crowning glory, a gargantuan 15-minute piece which essentially devoured side one of the album (the accompanying "I Love You That's All" is merely an afterthought).

Mutter's Beethoven Concerto was recorded live at the final subscription concerts of Karl Masur's long tenure as the New York Philharmonic's music director, and the beautifully played orchestral part is a tribute to his leadership. Mutter plays with a silken tone and astonishing technical command of her instrument–absolute ease in the stratospheric tessitura of the solo part, and an amazing array of microdynamic adjustments that display the infinite variety of pianissimos at her command.

In the spring of 1957, John Coltrane had gone through two years of artistic growth so concentrated it was astonishing even in the jazz world, where compressed musical development is far from unknown. As the other horn in the Miles Davis Quintet, Coltrane had moved from virtual obscurity to acclaim as the tenor saxophone innovator of the decade. Although major stylistic departures were to come, Coltrane was at a peak of the probing lyricism and strength of his middle period. With the interestingly contrasted baritone saxophonists Cecil Payne and Pepper Adams, and a rhythm section of great smoothness and swing, Dakar is a gem in the Coltrane discography.

Dominique Pifarély's quartet, with long-time musical companions Chevillon and Merville and newer associate Antonin Rayon, provides a marvelous context for the full range of the French violinist's expression. Pifarély thrives in the unstable territory between improvisation and composition. His pieces here establish ideas, structural elements and themes – provisional traces – to encourage textural, lyrical and abstract improvising to develop energetically in the moment. The interplay amongst the players is consistently dynamic and engaging, and Pifarély is inspired to some of his finest soloing. Tracé Provisoire was recorded at Studios La Buissonne in the South of France in July 2015.

Django and Jimmie is a new duet album featuring country artists Willie Nelson and Merle Haggard. The record marks the sixth collaborative album released by the duo and features guest artists Jamey Johnson and Bobby Bare. Django and Jimmie is a mix of originals as well as covers including Bob Dylan's famous title "Don't Think Twice, It's Alright".

One of the finest singers of our time and the world’s leading tenor, Jonas Kaufmann presents his personal tribute to one of opera’s most beloved composers, Giuseppe Verdi.

Nonesuch's Randy Newman Songbook series — comprising solo recordings of songs from throughout Randy Newman's five-decade career. Randy Newman's many honors include six Grammys, three Emmys, and two Academy Awards. The box set features 55 tracks, including four bonus tracks (("Feels Like Home," "A Wedding in Cherokee County," "Family Album: Homage to Alfred, Emil and Lionel Newman," and "I'm Dreaming").

For those who already appreciate Rachel Podger's unique brand of magic I'll just say that this return to recorded Bach is lovely and all that one could hope for. All that one looks for is here, and there is more. For those who are not familiar with Rachel Podger, she is a unique voice among violinists. She has absorbed the principles of late Baroque performance practice and made them a part of herself, so that the articulation and inflection of that rhetorical approach to music flows from her as a natural idiom of expression.

In addition to their positions of importance in the Miles Davis quintet of the mid-fifties, John Coltrane and Red Garland a series of studio dates for Prestige in 1957 and '58. Here, as in several of the others, Paul Chambers is the bassist and Arthur Taylor is the drummer, with Donald Byrd on trumpet making it a quintet. There are only three numbers, the title song "Black Pearls", an extremely swift version of "Lover Come Back To Me", and the fast "Sweet Sapphire Blues" which begins with Garland soloing from the gitgo in a long, upbeat exploration before Trane unfurls his "sheets of sound". Byrd gets into that rapid fire mode, in and among his evenly-cadenced lines and Chambers (plucked) and Taylor (brushes into sticks)…

This hybrid SACD contains stereo and 4.1 multi-channel audio and I think it's fantastic!
Many of us Tomita fans wondered why he put a mono recording of an old cartoon on the OKHOTSK FANTASY album, instead of doing a DAPHNIS AND CHLOE - ULTIMATE EDITION in discrete 4.1 channel Quadraphonic sound… Now it is clear, the OKHOTSK FANTASY album was his last. It was released in March 2016, and he passed away two months later. So he probably wasn’t able to finish it. Knowing this, we can wish that he had started putting his Quadraphonic albums on SACD sooner, but we can’t blame him for the last two SACDs, because he was 83 and 84 when he did them.

While there are only four men present for this session and arranging is certainly not stressed, Tadd’s composing is as potent as ever with such memorable items as “Mating Call,” “Soultrane,” “Gnid,” and “On a Misty Night” far above the usual “originals” that often appear on a recording date. To play these compositions, the aid of tenorman John Coltrane was enlisted. Trane’s tenor answered the mating call of Tadd’s music. Tadd’s intelligent comping, the strength of veteran John Simmons’s bass and the brightly burning power of the consistent Philly Joe Jones adds up to the solid sum that is the rhythm section. Each track has something to offer: the exotic “Mating Call,” the aptly named ballad that is “Soultrane”…

The fifteen 'miniatures' of this modestly-titled recording include new music by Italian pianist Glauco Venier as well as adaptations of Gurdjieff, Komitas, Dufay and more. This is Venier's first solo album for ECM, and as with his exemplary work with Norma Winstone on the acclaimed albums Distances, Stories Yet To Tell, and Dance Without Answer, his disciplined pianism always serves the needs of the pieces.