Anthony Jambon Group is a project bringing together five talented young musicians and friends, led by its leader, Anthony Jambon. This guitarist with multiple influences offers in his first album an eclectic music, turns energetic and tender, of a simple beauty, accessible to all. "Precious Time" sounds like a parenthesis, a moment suspended where one takes the time to live. This disc is composed of 8 long pieces of palpable energy, each with its own history. The music fuses, combining precision of writing, rhythmic complexity, beaches of improvisation and transcendental melodies. With their first album, this welded and virtuoso group invites us to travel in this space-time filled with an extraordinary emotion and sensitivity.

“The Shape of Water” is a 2017 American fantasy drama film directed by Guillermo del Toro and written by del Toro and Vanessa Taylor. The film stars Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Michael Stuhlbarg, and Octavia Spencer. An other-worldly fairy tale, set against the backdrop of Cold War era America circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa’s life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment. Alexandre Desplat wrote the score.

Michael Buble is back doing what he does best - delivering some absolute classics in his own unmistakable style. On this occasion it is to the theme of Christmas, as he delivers a number of festive favourites including 'Jingle Bells', 'White Christmas' and 'Silent NIght' amongst others. The perfect accompinament to a Christmas Day gathering around the tree. Christmas,” produced by David Foster, Bob Rock and Humberto Gatica was recorded primarily at the legendary Capitol Recording Studios in Hollywood and The Warehouse Studios in Vancouver. It includes guest performances by Shania Twain, Mexican singing star Thalia, long time collaborators Naturally 7 and The Puppini Sisters.

Unlike many of his radical new music colleagues, Bruno Maderna (1920-1973) had a great affection for older music, especially that of the Italian Renaissance and Early Baroque eras. But his transcriptions had little to do with the orthodoxy of so-called ‘historically informed’ interpretation. In the belief that works of art can be removed from their original contexts, he used contemporary instrumental resources to discover new meaning and a new validity in the works of old masters.