Although Steve Miller had been slugging it out since the late 60's as a blues-rock guitarist, it wasn't until his 1973 release, "The Joker", that he finally found his most marketable niche in radio friendly rock. Here Miller abandoned his edge and his rootsy sensibilities, and leaned toward a lighter, more melodic approach. This is typified in the title track, a shuffling groover with an infectiously hooky chorus that went on to become a monstrous smash, and something of a signature song for Miller.

This program of Western classical masterpieces from Brahms and Grieg highlight the virtuosic beauty of staple pieces in the piano solo repertoire. Programming these two composers together enables listeners to hear the similarities between these two seemingly very different classical icons.

2018 will be branded as “Gewandhausjahr”: Gewandhausorchester celebrates its 275th birthday and the inauguration of Andris Nelsons as new Gewandhauskapellmeister.

Christian-Pierre La Marca and Lise de la Salle recall the intense musical relationship between Paris and Moscow through works by Rachmaninoff and Fauré, alongside transcriptions for cello and piano of opera arias by Saint-Saëns, Prokofiev, Stravinsky, Tchaikovsky and many more.

Debussy began composing La Mer in 1904, in Burgundy, but as he wrote to fellow composer André Messager, his memories of the sea were “worth more than a reality whose charm generally weighs tooheavily on the imagination”. He continued to work on the score, however, while staying in Jersey, and then in Dieppe.

Canadian Country Music Hall Of Fame inductee, Paul Brandt’s latest body of work will be released in the form of two companion EPs in 2018. The first, The Journey YYC: Vol. 1 is set for April 6, 2018. Production on the EP was helmed by Brandt and long-time collaborator Ben Fowler along with Full Circle Music’s Seth Mosley and X O’Connor. This multiple © Grammy Award winning team represents a collection of songs spanning from singer/songwriter to outlaw and traditional all the way to today’s pop influenced Country Music.

The angel as a symbol of the tango-dance, death and resurrection

Un « twitter » n’est pas seulement le réseau où les messages se limitèrent un temps durant à cent quarante caractères seulement, c’est aussi – surtout même, à la base – un gazouillis, plus particulièrement aviaire ; et d’innombrables compositeurs, bien avant Messiaen, se sont penchés sur la stylisation des chants d’oiseaux dans leurs œuvres.

Impressionism is a term which has always been a contentious issue. Painters, musicians and writers have expressed great wariness over this nomenclature. Hence, this term is only used herein to add a “colour,” a particular hue to this musical programme. It is also of interest to posit that a common theme has existed from the time of the French composers at the end of the Nineteenth Century up to today. This liaison can be drawn between Fauré, Debussy, Dutilleux, Florentz, et al., and it does not stop there.

Secular French 20th century choral music. Arsys Bourgogne embarks on a journey through the landscape of secular French 20th century choral music with Naissance de Vénus, a recording featuring emblematic repertoire such as the Trois chansons by Claude Debussy and Maurice Ravel, Un soir de neige by Francis Poulenc, as well as the Cinq rechants by Olivier Messiaen. Lesser known jewels, such as Joseph Canteloube’s Chants paysans, Darius Mihaud’s Naissance de Vénus and the virtuosic À contre-voix by Florent Schmitt round out this fine collection of French a cappella works.

“That’s Me”, Rieke Katz’s new album title says it all. The eleven songs on the record are orchestrated intelligently and lean towards well-tested classic sounds, thus bidding you welcome in the life of this charismatic singer. Third of the album is an absolute novelty to this likeable Karlsruhe-based singer. As her first album was solely composed of English texts, she now also sings in her native tongue of German. The amazing side effect of singing in German is the enhancement of her, already, impressive vocal range, thus building a bridge between pop and jazz. But “That’s Me” also expands the subjects of this vocal-jazz-pop artist with grounded funk – having “earworm” potential.

Infinite, a deluxe, limited-edition, audiophile boxed set from Analogue Productions, contains all six legendary albums by The Doors - the self-titled 1967 debut (one of rock's most important), Strange Days, Waiting For The Sun, The Soft Parade, Morrison Hotel and the visceral L.A. Woman. Each album has been remastered in multichannel for hybrid SACD by Doug Sax and The Doors' original engineer Bruce Botnick.

Daniele Pollini is famous Italian pianist Maurizio Pollini’s son. He was born in 1978. He made ​​his debut as a pianist at the Rossini Opera Festival in Pesaro in the summer of 1997. He also participated in the Salzburg Festival and the Ruhr Piano Festival and made ​​his successful debut in Paris and in the United States.

This original stereo LP Record album was released as RCA Victor Records LSP-4017 in 1968…the record has the RCA Victor Deep Groove black label with silver print and the "Dog" logo and "RCA Victor" in white at the top and "Stereo Dynagroove" in silver at the bottom. Chet Atkins (guitar) is featured on this album with Sonny Osborne (banjo) and others.

Run a quick internet search for Paul de Jong’s name, and one word pops up again and again in reference to his music: “genreless.” That description has been appended to his output since his time in The Books, the celebrated collage-pop duo he co-founded with Nick Zammuto, and their breakthrough album, The Lemon of Pink, which featured a sublime combination of found sounds, samples pulled from old records (guitar, piano, and cello melodies), and glitchy vocals that pulled as much from experimental electronic music as they did from Americana. After the band broke up in the late ‘00s, de Jong made his solo debut in 2015 with IF, a record that could be considered a continuation of The Books’ sound.