Bernard Haitink & London Symphony Orchestra started their Bruckner cycle with this album. Haitink’s previous releases on LSO Live (Beethoven: Complete Symphonies & Triple Concerto & Strauss: Ein Alpensinfonie) are very good, & now he continues this line. Bernard Haitink is internationally renowned for his interpretations of Bruckner and is widely recognised as the world’s leading Bruckner conductor.

Upon first listening to this album, it's hard to imagine that many if any listeners would think that it was a premiere recording for the artist, or that the artist in question was all of 17 years of age when it was made. Argentinean pianist Adriel Gomez-Mansur's choice of repertoire does not focus on the flashy, the ostentatious, or the bravura as one might expect. Rather, many of his selections, such as the Liszt Consolation No. 3 and Schumann Traumerei, are from the more introspective and serene portion of the repertoire. In these works, Gomez-Mansur demonstrates a musical maturity and depth well beyond his young years at the time of recording.

Since Harry Belafonte and Miriam Makeba had appeared together in concert frequently in the early '60s, customers spying an LP called An Evening with Belafonte/Makeba might reasonably have assumed that the record would contain a joint live performance by the two, and that might help explain why this album charted in the Top 100 despite its challenging material. To begin with, it is not a live album, but rather a studio recording. And it isn't so much a duo album, for the most part, as a joint album; Belafonte and Makeba perform together on only two tracks, "Train Song" and "Cannon." Otherwise, they split up the selections, each appearing on five.

Of Miles Davis's many bands, none was more influential and popular than the quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Davis's muted ballads and medium-tempo standards endeared him to the public. The horns' searing exposition of classics like "Salt Peanuts" and "Well, You Needn't" captivated musicians. The searching, restless improvisations of Coltrane intrigued listeners who had a taste for adventure. The flawless rhythm section became a model for bands everywhere. Steamin' With The Miles Davis Quintet is, in many respects representative of the total work of the quintet, it affords an excellent opportunity to examine just what this remarkable music was and how it was made. Such chemistry is inexplicable, and so, apparently, is the personality of the man who generated it.

Belafonte was an established all-around entertainer and actor by the time of this album, so it could be seen in a sense as a return to "roots" styles. In any case, it's all-out calypso, with backing by the Trinidad Steel Band, and qualifies as one of his most energetic albums, even getting rambunctious at times.

Harry Belafonte's first album features a solid variety of songs from American folk tradition, learned during his studies of folk music at the Library of Congress in the early 1950s. He had signed with RCA Victor in 1952, recording a series of well-received singles. Belafonte's new-found love for music of the West Indies can be found in songs such as "Man Piaba" (which he wrote) along with songs from English and Scottish tradition such as "Lord Randall" and "The Drummer & the Cook." Songs from African-American tradition include the chain gang song "Tol' My Captain" and the ubiquitous "John Henry." Mark Twain was a good initial effort, but Belafonte's repertoire and delivery would get stronger with the next album.

Christopher Cross' debut was a huge hit and widely acclaimed, at least among industry professionals (critics didn't give it a second listen), leading to multi-platinum success and Grammys. In retrospect, it might seem like the kind of success that's disproportional to the record itself, especially to hipper-than-thou younger generations, but in truth, Christopher Cross was a hell of a record – it just was a hell of a soft rock record, something that doesn't carry a lot of weight among most audiences.

Two of today's most passionate and inspirational artists join forces in the recital programme that brought audiences to their feet at the Menuhin Festival in Gstaad in Summer 2011. The chemistry between Hélène Grimaud and Sol Gabetta left critics and audiences nothing short of euphoric and this first duo recording captures the revelatory magic of their collaboration.

The ‘justly celebrated’ Jack Liebeck (as described by The Strad) follows in the footsteps of Heifetz and Perlman in championing Bruch’s now neglected Violin Concerto No 2, originally written for Sarasate. Three shorter concertante works for violin and orchestra complete the album (Bruch thought the Adagio appassionato one of his best works) which marks volume 21 in our highly regarded Romantic Violin Concerto series.

Vitalic’s fourth album is a tribute to disco legends Giorgio Moroder and Patrick Cowley. Glittering, strange, and ultra-nostalgic, it has nods to '80s New Wave (“Waiting for the Stars”) and Kraftwerk-era synth-pop (“Hans Is Driving”), the latter of which features vocals by fellow French producer Miss Kittin. An otherworldly cover of Supertramp’s 1982 hit “Don’t Leave Me Now” closes out the album.

For the first installment of the Mahler Edition on CAvi-music, Adam Fischer leads a live performance of the Symphony No. 7 in E minor, assembled from different concerts in late November 2015. Perhaps the oddest of Mahler's symphonies in its structure and quirky mix of vernacular styles, the piece has been unofficially nicknamed "The Song of the Night," due to its dark first movement, its two Nachtmusiken, and the shadowy Scherzo at its center; only the bright and bumptious Rondo-Finale alleviates the pervasive nocturnal feeling.

The brand new album from Max Richter DGs best-selling artist/composer with music crafted from 2015s outstanding ballet production Woolf Works, a critically-acclaimed ballet triptych by choreographer Wayne McGregor, inspired by the life and works of English novelist Virginia Woolf.

This Columbia LP features Miles Davis' Sextet (with John Coltrane and Cannonball Adderley) and the Thelonious Monk Quartet (with Pee Wee Russell) at the 1958 Newport Jazz Festival; their rapid version of "Ah Leu Cha" is thunderous and "Straight No Chaser" swings like mad. This set also includes three laid-back selections ("On Green Dolphin Street," "Fran Dance," and "Stella by Starlight") from a slightly earlier studio date, along with a different version of "On Green Dolphin Street" from 1961. This classic music has since been reissued on CD. Review by Scott Yanow

Poni Hoax, groupe maudit et inaccessible formé par Laurent Bardainne en 2006 sort son quatrième album, Tropical Suite. A ceux qui les croyaient disparus, le groupe était en voyage loin de sa propre histoire, dans les faubourgs sombres de São Paulo, Capetown ou Bangkok.

'Little Fictions' was recorded in Scotland and Manchester and sees the band collaborate with the string players of The Hallé Orchestra, the Hallé Ancoats Community Choir, members of London Contemporary Voices and session drummer Alex Reeves. As with the previous three elbow albums it was produced by Craig Potter.