To date, Stefano Battaglia’s ECM discography has taken the listener to many different places. The Italian pianist has reinterpreted art songs of Alec Wilder on In The Morning, set a dedication to Pina Bausch amid improvised duets on Pastorale, created new structures in the moment with Dominique Pifarély on Raccolto, drawn inspiration from mythical and legendary locations on The River of Anyder and Songways as well as from diverse way stations in the biography of a great Italian polymath on Re: Pasolini. Cultural and other influences flow into his music from very many directions.

Originally financed with the winners' prize from a newcomer contest, the pieces of 'Proud Like A God' have never lost anything of their unbridled kick-ass power. Together with the producer Fabio Trentini, with whom they had already developed the original demos in 1994, the Guano Apes have now dug the analogue original tapes especially for the anniversary edition from dark archives, the songs completely dedusted and give them a modern, contemporary Sound-Make Over awarded.

This a fabulous Paul Horn album, but you must accept that it is something of a "period piece" which was designed to have broad, mass, commercial appeal at that time (1966) and, for whatever reason, simply didn't (and I like to think that that was because it was simply too good! Paul's tone on the flute, alto flute and bass flute (often rendered without any vibrato at all) is gorgeous and his musical concept is unique. The tunes are very short, so he doesn't get a chance to stretch out much, but it does't really matter, because the stark simplicity in his lines (both on the heads and the improvising) is every bit as bold as it is striking. And (you may be surprised to hear me say this but I mean it) his musical style has the same stark clarity, simplicity and honesty that I have only heard from John Coltrane on the classic Ballads album.

With this first album under his name, the guitarist just thirty years old synthesizes a journey already rich in experiences and influences. On songs like Present that sings or Douvan sung by Nicolas Pelage, it demonstrates a rare melodic meaning. His compositions are both sophisticated and sincere. His lyrical, natural phrasing takes this group as a parade on a feast day; always collective, this multicolored music never deviates the thread of a clear, assumed and joyful line.

Sugar Mountain: Live at Canterbury House 1968 the third installment from Neil Young's Archives although through some weird filing system this is Vol. 00, possibly because this dates before either of the previously released volumes in Archives Performance Series culls highlights from Neil Young's two shows at Canterbury House in Ann Arbor, MI on November 9 and 10, 1968. Like its two predecessors in the Archives series, the concerts captured on Sugar Mountain are legendary among Neil Young collectors, in this case because of the gentle, tentative version of the title track that showed up on Decade prior to this, the only official release from the concert.

In 1979 Art Pepper was recorded at two sessions that yielded two fine albums, So In Love and The New York Album. There was more first-rate material recorded in those two sessions than would fit on two LPs so difficult choices had to be made as to what material not to include on the albums released at the time. Those choices were not necessarily made on the basis of the quality of the performances but with respect to such considerations as length and congruence of repertoire within an album.

Hille Perl is the most successful viola da gamba player of our time. Now she has found a fabulous combination of musician friends for her new Handel album: Dorothee Mields, one of the best baroque sopranos, along with lutenist Lee Santana and the redoubtable La Folia Barockorchester. The repertoire chosen includes Handel’s Cantata “Tra le fiamme,” while the rarely recorded “cantata spagnuola” and the cantata “La bianca rosa” are combined with two chaconnes, the famous hornpipe and other smaller pieces. An impressive recording full of musical colour, dynamism, virtuosity and compositional diversity.

This enthralling recital by the young American pianist George Li, silver medallist at the 2015 International Tchaikovsky Competition, marks his recording debut and launches a new relationship with Warner Classics. Captured at a live performance in the Mariinsky Concert Hall in St Petersburg, it presents a dramatically conceived programme of works by Haydn, Chopin, Rachmaninov and Liszt: a descent into deep darkness; re-emergence into the light, and a concluding, boisterous celebration.

14 years after his first recording, the acclaimed baritone and "most moving singer of the world" (The Telegraph) turns back to Die schöne Müllerin together with long-time collaborator and pianist: Gerold Huber.

"California", the comeback album from Riverdogs, the band featuring Def Leppard and Last In Line guitarist Vivian Campbell, released on July 7 via Frontiers Music Srl. Featuring original members Campbell, Rob Lamothe (vocals, guitars) and Nick Brophy (bass, vocals), along with drummer Marc Danzeisen, the band's fifth album is Riverdogs' first new music since the eight-song mini album, "World Gone Mad", came out in October 2011.

There is a distinguished tradition of albums devoted to solo bass on ECM, but Provenance is the first to showcase the electric bass guitar. Björn Meyer, born in Sweden and long based in Switzerland, has shaped a distinctive voice on his instrument within diverse contexts. He has worked alongside Persian harpist-singer Asita Hamidi, Swedish nyckelharpa player Johan Hedin and Tunisian oud master Anouar Brahem; and for a decade, Meyer was a member of Nik Bärtsch’s Ronin, in which his throbbing bass guitar was often a lead instrument.

1973 was a fantastic year for Gainsbourg. Jane published 'Di Doo Dah', her first solo album early that year, composed and written largely by Serge collaboration with Jean-Claude Vannier.

1970 is arguably the most personal recording that Cohen has made so far in his career, as the title refers to the year he was born. This album pushes all boundaries of jazz, we are dealing with the closest we can get to POP with Avishai. Unity, compassion, and togetherness have been recurrent themes in Cohens work to date, and he gives full vent to those feelings in the new album, especially with the piece "Song Of Hope." He also sketches out a more confessional emotional landscape with "My Lady" and "Move On", where he broaches the joy of love and the pain of heartbreak, drawing on the vocabulary of classic songwriters such as Stevie Wonder.

Charles Aznavour turned 90 in 2014. His passion for singing and performing on stage determinedly, relentlessly carried him over the years. Having performed before audiences since the age of 9, the young man grew into the great Charles, music-hall icon, cornerstone of French song and one of the very few Gallic artists with a truly international following over the decades. Today, the miracle is not over. Aznavour is singing, Aznavour is touring the world. Charles Aznavour talks about his profession with modesty, sincerity and relevance.

Beethoven took a massive stride forward in the development of the symphonic form with the 'Eroica'. Not only is the work written on an unprecedented scale, it also lays the very foundations of Romanticism in music.The symphony mirrors Beethoven's own emergence from despair and he used it to symbolize mankind's capacity for greatness. He initially dedicated the score to Napoleon whom embodied his view of greatness. However, when Napoleon crowned himself Emperor, Beethoven furiously removed the dedication from the score.