Teddy Wilson was one of the swing era's finest pianists, a follower of Earl Hines' distinctive "trumpetstyle" piano playing. Wilson forged his own unique approach from Hines' influence, as well as from the styles of Art Tatum and Fats Waller. He was a truly orchestral pianist who engaged the complete range of his instrument, and he did it all in a slightly restrained, wholly dignified manner at the keyboard.

This set of George Enescu’s solo piano music traces a fascinating musical arc from his precocious years in Vienna and Paris, where he absorbed Brahmsian and French late-Romantic influences, notably in the Impromptus, to the brilliantly mercurial Piano Sonata No. 3. Whether in the Pièces impromptues, eloquent character pieces, or in the oceanic Piano Sonata No. 1, Enescu remains, in Pablo Casals’ words, 'the greatest musical phenomenon since Mozart', his unique musical language embracing Bach as well as the abiding vitality, and melancholy, of his native Romanian folk music.

Tanya Ekanayaka’s ‘Twelve Piano Prisms’ extend the concept heard on her album ‘Reinventions: Rhapsodies for Piano.’ They correspond to the twelve primary notes of the keyboard, and combine Sri Lankan melodies with music from other countries in a deeply personal representation of diverse cultures; their style inspired not only by a rich heritage of Western classical and indigenous world music, but also by pop, rock and film music. Dr. Tanya Ekanayaka is an internationally acclaimed and award-winning Sri Lankan-British concert composer-pianist regarded as one of Sri Lanka’s finest artists.

Witold Lutosławski’s few surviving apprentice works are suffused with the elegance of Ravel and the lush effusiveness of Szymanowski, and this is particularly true of the early Piano Sonata, heard here in Giorgio Koukl’s new and corrected edition based on the original manuscript. Further premières include the wistful A Kiss of Roxanne and the technically complex Invention. Including all of the folk-music tinted pedagogical miniatures, works for piano four hands and other occasional pieces, this is the most comprehensive edition of Lutosławski’s works for solo piano ever recorded.

The well-known Concert de la Loge, the period-instruments orchestra led by the violinist Julien Chauvin, comes back with the third episode of Haydn’s journey in Paris. His complete Parisian Symphonies recording continues this fall with the number 82 nicknamed “The Bear”. It is coupled with the Symphonie concertante for bassoon, horn, flute and oboe of one of his contemporaries, François Devienne.

Since her very first disc, Claire Désert has summoned the Schumannian rages in solo or in chamber music.

Unexpected? The pairing of viola da gamba and accordion is certainly that! But perhaps even more surprising is how well the singing strings of the veteran instrument harmonize with the subtlyvibrating reeds of the centuries-younger newcomer.

A most unusual cabinet of curiosities: “Finding pleasure even in meditating on what causes one’s pain”: that neatly defines the theme of this album of music from the cusp of the Sixteenth and Seventeenth centuries. Here Italian and English madrigals rub shoulders with motets and Tenebrae responsories.

"The harpsichord is perfect in its compass, and brilliant in itself; but, as one can neither swell nor diminish its notes, I shall always be grateful to those who, through consummate art sustained by good taste, manage to make this instrument capable of expression.’ Why is it difficult to play the music of François Couperin when it seems so simple at first glance? By offering precious information on the interpretation of his music (and more generally on the interpretation of French music of his time) in his treatise L’Art de toucher le clavecin (The art of harpsichord playing), Couperin provides us with the necessary elements for today’s performer, who seeks above all to respect the composer’s intentions.

Georg Philipp Telemann (1681–1767) is one of the most outstanding German Baroque composers and was an influential musical force in the first half of the 18th century. After initial success as a musician in Leipzig, in 1712 he was appointed the city director of music and Kapellmeister in Frankfurt am Main. He gained widespread international fame by 1737/38 at the latest by performing several concerts in Paris. Of his over 1,400 extant sacred cantatas, the maestro composed at least 54 for bass solo.

In recent years, Annelie lended her vocal talents, instrumental proficiency and musical versatility to other artists. On her debut album After Midnight, she deliberately explores and gravitates within the limitations of a single instrument. The album originated in some measure from half-finished songs and loose fragments of melodies. These impressions, however, continued to resonate with Annelie over a longer period and eventually forged into beautiful abstraction. 'At Night', the record's opening cut, lasts nine minutes and thirteen seconds; yet the sense of time immediately disappears once you get acquainted with the music's deft, spiraling progressions.

Sandro Perri returns with In Another Life, his first new solo album since the acclaimed Impossible Spaces from 2011 (which garnered a Best New Track and Top 50 Albums of 2011 from Pitchfork, among many other accolades). Perri has been called “one of the most singular producers in contemporary music” (Boomkat) and his long affiliation with Constellation through various electronic and singer-songwriter guises (Polmo Polpo, Glissandro 70, Off World) has produced a uniquely adventurous and iconoclastic discography. In Another Life expands on this in peerless fashion.

A gathering of legendary artists have come together to join the Count Basie Orchestra under the direction of Scotty Barnhart for this historic release celebrating the iconic band from its earliest years, throughout the decades with Sinatra and Ella, and through to today’s contemporary artists.

Waiting for the Sun was originally released in August, 1968. It was the band’s third platinum album in less than two years, and the first to top the album chart. Since its debut, the album has sold millions of copies around the globe and contributed to the Doors’ legendary canon with classics like “The Unknown Soldier,” “Five To One” and the #1 smash, “Hello, I Love You.”

Years before David Guetta helped steer dance pop’s mainstream crossover, the trendsetting French DJ/producer cut his teeth in Europe’s underground club circuit. This album honors both sides of his story: There’s a spread of glossy, pop collaborations featuring A-list voices from around the world (Sia, J Balvin, Stefflon Don, and Justin Bieber, among others), followed by gritty club cuts from his house music alias, Jack Back. In an interview with Jax Jones on Beats 1 about “Drive (feat. Delilah Montagu),” his collaboration with South African producer Black Coffee, Guetta described the tough, enlightening, and often magical process of bringing musicians from different scenes and cultures together to create. “We had friendly fights–but we did have fights,” he said, describing Black Coffee’s more minimal production style. “I’m like, ‘What do you mean it’s too big?’ There’s nothing that can be too big!’ He was Mr. Minus and I was Mr. Plus.”