More than twelve years after its initial incursion into the music of Brahms, the Belcea Quartet now presents an eagerly awaited complete recording of his string quartets. A powerful style and a sense of musical architecture are the two qualities most often attributed to the Belcea, which is now one of the top international quartets. And those characteristics blossom to the full in Brahms. For the Piano Quintet, its members are joined by Till Fellner. This Austrian former student of Alfred Brendel is one of today’s most respected pianists, combining grace, rigour and musical intelligence. In September 2016 the Belcea Quartet will embark on a tour that will take it to the United States and most countries in Europe.

Since her high-profile victory at the 2005 Rostropovich Competition (she is the only winner ever to have taken both the First Prize and two special jury prizes), Marie-Elisabeth Hecker has belonged among the cellists who really count in the world. For her very first sonata recording, she is reunited with her partner both on the concert platform and in private life, the stylish pianist Martin Helmchen, in a programme of Brahms. The combination of the cellist whose playing was described by Die Zeit as ‘moving and instinctively beautiful’ and the pianist whom Diapason calls a ‘master of sound, tempo and articulation’ promises to be a moment of true chamber music, lyrical and brimming with complicity.

This young trio that takes its name from the legendary violinist Adolf Busch (1891-1952) has already made its name on the international scene as one of the most talented of the new generation, picking up on its travels enthusiastic reactions from public and press – as well as several prizes at the major competitions. ‘ . . . what impressed most was the group’s effortless musicianship and unity of thought and attack. The threesome even seemed to be breathing in synch’, wrote The Times after one of their concerts at the Wigmore Hall.

The German soprano Anna Prohaska joins Alpha Classics for several recording projects. Her first recital brings together two superb African queens - Dido & Cleopatra - and follows them all over Europe during the first century of opera, from the 1640s to 1740. A firework display of arias, virtuosic and tragic by turns, written by the leading personalities of Baroque music (Cavalli, Handel, Purcell, Hasse) and composers still awaiting rediscovery such as Sartorio, Graupner and the Venetian Castrovillari.

Swiss guitarist Christoph Denoth is considered one of the foremost guitarists of the younger generation, much praised for his rich sound and musical expression. For this new recording from Abbey Road he joins the London Symphony Orchestra under Jesús López Cobos to perform three much loved works for guitar and orchestra – Rodridgo's much loved Concierto de Aranjuez, the Nocturnos de Andalucía by Lorenza Palomo, and a new orchestral arrangement by Denoth of Joaquín Malats Serenata Española.

Following the Rock*A*Teens’ 2014 reunion at the Merge 25 festival and the reissue of their last LP Sweet Bird of Youth, the group returned to touring and playing live. Restless with the need to move forward, the band began writing and recording new music.

Their time-honored custom of fusing obsession with spontaneity has been refined through experience and wisdom. Hardly Electronic explores the evolution of old friendships, the sadness of losing touch, the inadequacies of technology, and finally, the desire for reconnection with songs like “Bye Bye Crow” and “Slanted by Six.” Themes of connectivity for the online generation are on display in the war cry chorus of “Don’t Leave It in Our Hands,” while songs like “Bristol Sky” and “January Says” hint at how the same technology-connected culture can create division and distance, even in the most personal of relationships.

Too Much in Love to Care' is Claire Martin's first US studio recording for fifteen years and guest stars Kenny Barron, 'one of the top jazz pianists in the world' (LA Times). It was named 'Best New Album' at the 2013 British Jazz Awards.

After Harmonium's second album, Si On Avait Besoin d'une Cinquième Saison, Serge Fiori's group kept on growing. From a three-piece folk-pop outfit, it had now reached the level of a rock band, including a drummer (Denis Farmer), a cast of guest musicians (reedist Libert Subirana taking the place of Pierre Daigneault, guitarist Robert Stanley, a choir including singer/songwriter Richard Séguin and Beau Dommage's Pierre Bertrand) and a full symphonic orchestra lead by Neil Chotem. L'Heptade (from "hepta" – seven) constitutes the pinnacle of the band's creativity.

Described by Jazz Times as ‘…one of the next big deals on jazz piano…’, Alexi Tuomarila is amoungst the finest pianists on the European Jazz scene right now. Known for his work with Polish ECM trumpeter Tomasz Stanko, Tuomarila has quietly grown into a musical force to reckon with. A true sculptor of sound, the pianist and composer has the ability to mould awe-inspiring melodic lines with precision and rhythmic finesse, decorated with a vibrant imagination, energy undercut with melancholy.

The Atlanta Rhythm Section swings, and that makes them prime contenders to join Lynyrd Skynyrd in filling the Southern rock void left by the Allman Brothers' painful dissolution. Unlike any of the competition, including Skynyrd, the Rhythm Section has developed a subtle synthesis that uses a pop sensibility where other bands plug in country influences. There's little doubt that with proper luck the Atlanta Rhythm Section could become the biggest hitmakers of any Southern band.

Hailing from Finland but now resident in Brooklyn, New York, Olli Hirvonen won first prize in the 2016 Socar Montreux Jazz Electric Guitar Competition. Significantly, the jury was presided over by John McLaughlin. "Arps" opens with cascades of Robert Fripp-like quick-fire obligato notes, rapidly ascending and descending the fretboard and instantly hooking the listener. The tentative beginning to "Gravity" belies its complexity, first sounding the very essence of McLaughlin's 4th Dimension but by the guitar break Hirvonen's guitar begins to emulate the allegrissimo glissandi so typical of Allan Holdsworth in full flight. There's also some fine tenor work here from Walter Smith III.

What makes this album worth hearing is that Joe Purdy delivers all the songs with conviction, his arguments one would hope are persuasive or at the least would help some who hear them question their pre-programming and ingrained attitudes. One can hope, hoping is not yet a crime. And because of this Who Will be Next? sits in a tradition from Guthrie, Dylan and others, through Steve Earle up to today. Sits in that tradition, has its rightful place, is not shallow of intent but burns with conviction and a zeal for a better world. Sometimes songs should matter, sometimes they do matter. Joe Purdy matters.

Alvin Lee got itchy feet after some years mainly working in the studio. He’d quit Ten Years After to take a break from endless touring, but the lure of the road drew him back and the result was the ironically titled Ten Years Later that was a splendid platform for the virtuoso guitarist to get his rocks off, once again. One of the fastest and accomplished of rock guitarists, Lee returns with a new band that captures the progressive vision that Ten Years After did in the late 60s. Lee's rifling guitar is the album's centerpiece with it's energized, stinging riffs standing out over the rhythm section. The music is a fusion of solid rock and blues that reflects the cream of 60s and 70s blues rock influences, and also reinforces Lee's prominence among virtuoso rock guitarists. Comprising Ten Years Later is Tom Compton on drums, Mick Hawksworth on bass, Bernie Clarke and Mick Weaver on keyboards.

Alvin Lee always works with red hot drummers and one of the delights of this excellent album is the driving drum work of American funkster John Susswell, visiting England when Alvin was planning this 1978 solo effort. Vintage performances by the guitarist are sparked by a tasty rhythm section that includes stalwart bass player Alan Spenner. Ten top tracks written by Alvin include the intriguing ‘Chemicals, Chemistry, Mystery & More’.