Jasper Sloan Yip is the award-winning songwriter at the helm of the eponymous Canadian folk-rock sextet. His 2010 debut, Every Day and All at Once, charted on college radio, appeared on network television, and landed Jasper showcases at festivals all over Canada. Three years later, Jasper released his ambitious follow up, Foxtrot. The earnest naïveté of Every Day and All at Once was gone, replaced with pensive introspection and expansive instrumentation. The album was an immediate success, garnering both critical praise and heavy radio play across Canada. And now, after successful tours in Canada and Europe, Jasper is released his third and most impressive LP to date, Post Meridiem. Lush, orchestral, and cinematic, Post Meridiem is a seamless narrative that is sonically grandiose while intensely intimate.

Newly remastered: After a split with Chrysalis, the album was the band’s first on the CBS/Epic and their fifth overall. It had been almost two and a half years since Parade and their old label had wasted no time in issuing two greatest hits sets The Singles Collection and The Twelve Inch Mixes, in 1985 and 1986 respectively.

The totemic belonging of family, identity, and shared history of bodies that carry the same beats and rhythms. The unhinged joy of intimacy, and the sensation of truly being seen by someone whose witness you’ve longed for. The warm safety you’ve finally nurtured inside yourself, a radical act of solitude and recognition and acceptance. The kind of love that makes you free, that gives you courage.

Le saxophoniste Pierrick Pedron revient au jazz de la plus belle des manieres avec l’album Unknown realise par Laurent de Wilde. Pour son neuvieme album, Pierrick Pedron au jeu de saxophone alto toujours aussi lyrique revient au format jazz apres avoir explore les vibrations de la soul et des musiques psychedeliques.

When Charles de Brosses, a judge and writer from Dijon, goes to Italy in 1739-1740, he hopes to find History of the Roman Republic, a legendary text written by Salluste, in the first century B.C. but lost since antiquity. His collection will not bear fruit, but in the letters he writes to his friends during his voyage, he gives us the most living portrait of the Italy of his time. Curious about everything, he doesn't omit going to Venice and seeing for himself how the ''nation is crazy'' about music: There are hardly no evenings without an academy somewhere; people rush…to listen with as much enthusiasm as if it were the first time.

Violinist Edwin E.S. Kim is actively performing throughout the world with Europe as a centre. Edwin Kim who is appraised as the most rising violinist in this era, collaborated invitational performances with Biel Symphony Orchestra Switzerland, Gottingen Symphonie Orchester Germany, Prague Chamber Orchestra Czech, Regensburg Philharmonic Orchestra Germany, Arizona Symphony Orchestra United States and etc. He also presented numerous recitals and chamber concerts in Germany, Austria, Poland, Spain, Italy, the United Kingdom and etc.

Music is flux. Only the printed music on the page appears to us to be something objective, inalterable. Yet, the actual experience of music, which occurs anew and uniquely in each performance, is subjected to continual changes in spite of all “faithfulness to the original.” Personal experiences of life inform the effect of the music. It is the power of great music to convey its individual message at any time to every person. Thus the recordings on this album represent an invitation to undertake a very personal journey into Beethoven’s world.

They were both just twenty years young and always good for a musical laugh when they composed the serenades we have recorded on this CD. One of them, Wolfgang Amadeus Mozart, wrote his “Haffner Serenade” KV 250 for Sigmund Haffner d. J., who had commissioned him with a “Braut Musick” for his sister Marie Elisabeth's wedding with Franz Xaver Anton Späth from Salzburg. The other one, Othmar Schoeck, 130 years later humorously reverberated this genre, which had peaked in Mozart’s works composed from 1769 until 1779.

Even though Handel's œuvre for solo keyboard is somewhat irregular and less extensive than that of Bach or Domenico Scarlatti, it remains nevertheless immensely fascinating and surprising. In fact, by exploring the various genres (suite, capriccio, fugue, chaconne, …) outside of the famous Walsh collections of Suites (1720 & 1733), we discover the composer's many distinct faces. For his first solo album Philippe Grisvard looks also at composers who played essential roles in the development of Handel's style, such as Zachow, Krieger, Mattheson and Babell and thus draws a vivid and colourful picture of Handel's life.

This 12-CD set assembles, for the first time, all the recordings that the French conductor Louis Frémaux made (for EMI) with the City of Birmingham Symphony Orchestra during his tenure as its Principal Conductor (1969-1978). These recordings helped to build the CBSO’s international reputation before the arrival of Simon Rattle as its Principal Conductor in 1980.

Roberto Negro is one of the key figures of Tricollectif, a movement of particularly active French musicians. A graduate of the Conservatoire de Chambéry, Roberto Negro took classes with Benoît Delbecq, the pianist of Kartet. It is part of an impressive number of formations from this collective off the beaten track: La Scala, quartet very oriented contemporary classical music, with Théo Ceccaldi (vl), his brother Valentin (cello) and Adrien Chenebault (dm); Garibaldi Plop with Valentin Ceccaldi and Sylvain Darrifourcq (dm); Kimono with Christophe Monniot (as); Loving Suite for Birdy So ​​with Elise Caron (voc) and a string quintet but also Les Metanuits, duet with Emile Parisien dedicated to G. Ligeti's quartets.

"Complacency is such a disease when you’re in a band,” says Tyler Connolly, singer and guitarist for Theory. “People are so afraid to progress, but you have to change you can’t just write the same song over and over. So when I saw where this record was going, I said to the other guys, ‘We’re in a car and it’s going off a cliff. Do you want to jump out or ride it to the bottom?’" With their sixth studio album, Wake Up Call, Theory hit the reset button, diving into a new sound, a new approach, even a new location. The more melodic, intimate style that defines the project is a bold move for one of the leading rock bands in the world. Since forming in British Columbia in 2001, Theory of a Deadman Connolly, guitarist Dave Brenner, bassist Dean Back, and drummer Joey Dandeneau have placed nine songs in the Top 10 on the rock charts, including the Number One hits “Bad Girlfriend,” “Lowlife,” “So Happy,” and “Angel.”

Since their deal with OVO Sound was announced in 2013, the road to stardom has been slow but steady for Majid Jordan. They boast 2 great EPs and a critically acclaimed debut album but despite their immense talent (which we recognise), have never quite found themselves as popular as a label mate like PARTYNEXTDOOR for example. They hope to change that with their sophomore album The Space Between. The thirteen track project features label-mates Partynextdoor and Dvsn. The last few weeks has seen two other OVO releases. Dvsn dropped their album Morning After earlier in the month while Partynextdoor's Seven Day EP came out before that.

For cosmic action film Thor: Ragnarok, composer Mark Mothersbaugh (The Royal Tenenbaums, 21 Jump Street) seemingly pulled out all the stops: harp, strings, electronics, and soaring brass work together to give a sense of maximalist peril in “Ragnarok Suite.” Although the film’s a superhero-laden sci-fi adventure, tracks like the coldly folky “Twilight of the Gods" give a sense of the Norse mythology that inspired the world of Thor.

Freddie Hubbard's fourth CTI recording (and the second one with Don Sebesky arrangements) certainly has a diverse repertoire. In addition to his originals "Povo" and "Sky Dive" (both of which are superior jam tunes), the trumpeter stretches out on the theme from The Godfather and Bix Beiderbecke's "In a Mist." The charts for the brass and woodwinds are colorful; there is a fine supporting cast that includes guitarist George Benson, Keith Jarrett on keyboards, and flutist Hubert Laws; and Hubbard takes several outstanding trumpet solos.