0PN live ensemble member, NYC’s Kelly Moran joins Warp to issue her new album of sync-ready electro-acoustic composition.

The Belgian pianist Thérèse Malengreau has a particular interest in the relationship between music and the visual arts. With her first disc on BIS she offers us a rare opportunity to acquaint ourselves with the music of Hans Erich Apostel, banned as ‘degenerate’ by the Nazis in 1938, and a rarity in performance ever since. At the same time, her disc allows us insight into the interplay between composers and artists in other disciplines during the first decades of the twentieth century, in the context of movements such as Der Blaue Reiter, the arts magazine Der Sturm or the Vienna Workshop.

An exciting mix of styles, especially for a formative mid Fifties album - several of the tracks are the typically energetic Skiffle songs that made Lonnie a star in the first place and several others are much more downbeat and slower. We see him even attempt a track with jazz backing in "How Long, How Long Blues". Honestly, it's a little peculiar. Lonnie combines jazz and blues in such a rickety and loose way that it almost falls apart at several moments. Thankfully, the sheer bizarre nature of the track keeps it all together. The other weaker moment is the short "I'm Alabammy Bound" - too repetitive and bare to stir more than brief notice from me, but still short enough to not become filler.

This is the ninth installment in Ronald Brautigam's series of the complete piano concertos by Wolfgang Amadeus Mozart. As on previous discs, Brautigam whose 'muscular yet sensitively nuanced command of Mozartian discourse' (BBC Music Magazine) is supported by Die Kölner Akademie under Michael Alexander Willens.

Pascal Dusapin has composed a number of works for the stage, one of the more recent being the opera Penthesilea, after the play by Heinrich von Kleist. From the opera he has also fashioned Wenn Du dem Wind…, the concert suite which opens this disc. Although beginning and ending with a single line from a solo harp, throughout its course takes the listener through the extremes of love, war and the demands of inflexible laws.

Familiar, but unfamiliar – known, but not well-known – this is the credo of the figure humaine kammerchor and its founder and conductor Denis Rouger. On their first release "Kennst du das Land …" the artists present French as well as German solo songs in arrangements for choir. The songs by Gabriel Fauré, Hugo Wolf, Fanny Hensel, Claude Debussy, Clara Schumann and others can be experienced anew through the choral interpretations. The young chamber choir is accompanied by the pianists Julia Kammerlander and Katharina Schlenker.

The idea for The John Psathas Percussion Project, Vol. 1 began in 2013 with John Psathas’ piano and gamelan piece Waiting: Still which Omar Carmenates arranged for percussion trio. While unknown at the time, this arrangement launched a five-year-long relationship that culminates in Carmenates’ debut for PARMA Recordings. For The John Psathas Percussion Project, Vol. 1, Carmenates acts as arranger, director, and performer, and is joined by a roster of talented musicians including pianist Daniel Koppelman and drum set soloist Justin Alexander.

"I’ve been playing and studying Reger’s piano music for a long time now. In the 1990s, not long after graduation, I recorded his complete works for solo piano. Ever since then, I’ve been featuring Reger frequently in my recitals: not only solo piano pieces, but chamber music including violin, clarinet and cello sonatas, the works for two pianos, piano trios, quartets, and Lieder. Reger composed an impressive quantity of music in almost all genres.

Anita Sings the Most is a 1957 album by Anita O'Day. The album was recorded in Los Angeles on January 31, 1957. In addition to vocalist O'Day, the musicians were pianist Oscar Peterson, guitarist Herb Ellis, bassist Ray Brown, and Milt Holland or John Poole on drums.

Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship. Miss Wonderful is a 1959 album by Peggy Lee that was arranged and conducted by Sy Oliver.

This new release from Centaur features a programme of well known works for violin and piano from Brahms and Schumann performed by Alexander Meshibovsky and Raisa Kagramanova. Alexander Meshibovsky was born in Kharkov, USSR. After graduating from the Kharkov conservatory, he joined the Russian Concert Agency as a soloist, performing throughout the USSR. In 1975 he began his career in the West, making solo appearances with European and American orchestras, performing on radio and television, giving recitals and master classes in Germany, Austria, Switzerland, France, Belgium, and Norway, and even returning for a triumphant tour of the USSR.

It Could Happen to You is an album by jazz trumpeter and vocalist Chet Baker. It follows a formula similar to two other Baker albums, Chet Baker Sings (1954) and Chet Baker Sings and Plays with Bud Shank, Russ Freeman & Strings (recorded in 1955, released in 1964) in which he updates existing standards in a hipper, jazzier fashion. Unlike the aforementioned records, on It Could Happen to You, on a few tracks, Baker plays no trumpet whatsoever, opting to scat in place of an instrumental solo.

There is a bit of mis-information surrounding this album, and I’ve seen more than one inaccurate review, so to clear up a few things first, “Go West Man” is not a big band album and the arrangements on here are not by Quincy Jones. Although there is some good music on here, in some ways, this second album in Quincy Jones’ young career is somewhat of a disappointment. Jones’ first album was a great success and revealed a young big band arranger with some fresh new sounds, so I would imagine his new fans were disappointed to find out that Jones only served as a conductor and producer, not arranger, on his follow-up LP. There are three different mid-sized groups that Jones works with on here, including two groups led by saxophone summits and one group led by a trumpet quartet. All three groups have a piano, bass and drums rhythm section. Each of the three groups is given three songs which leads to nine songs total on the album if you are keeping score at home.

By virtue of his warm, flamboyant stage manner, longevity, constant touring, and appearances in the mass media, Tito Puente is probably the most beloved symbol of Latin jazz. But more than that, Puente managed to keep his music remarkably fresh over the decades; as a timbales virtuoso, he combined mastery over every rhythmic nuance with old-fashioned showmanship watching his eyes bug out when taking a dynamic solo was one of the great treats for Latin jazz fans.