The second volume of many tracks from the Japanese Venus Records catalog. This sampler includes tracks from Phil Woods, Eric Alexander, Tsuyoshi Yamamoto, Alexis Cole, and many more.

The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest fingers of jazz seem to dance weightlessly along the wooden bridge; yearning, filigree and elegant.

Leslie Thompson Baxter (March 14, 1922 – January 15, 1996) was an American musician and composer. After working as an arranger and composer for swing bands, he developed his own style of easy listening music, known as exotica.

SOMM RECORDINGS: Belle Époque 1886 celebrates a golden age of French chamber music, uniquely coupling Cello Sonatas by César Franck and Benjamin Godard.

When the Bamberg Symphony and their principal conductor Jakub Hrůša went on tour in Germany with Mahler's Fourth Symphony in January 2020, no one would have thought that this symphony in particular would become a kind of "symphony of fate" of the year, for only two months later, the performance of major symphonic works was impossible for a long time after the "corona lockdown" in Germany, which hit cultural institutions particularly hard.

A frequent collaborator with both the BBC Philharmonic Orchestra and Jac van Steen, David Matthews’ new recording explores both the natural world and the symphonic idea, the second of which has, in his words, “obsessed me since I started composing at the age of 16”.

Sarah Vaughan, sometimes incorrectly referred to as Sarah Vaughan with Clifford Brown, is a 1954 jazz album featuring singer Sarah Vaughan and trumpeter Clifford Brown, released on the EmArcy label.

The Icelandic chamber music recorded on the album by Agnieszka Panasiuk (piano) together with Anna Wandtke (violin) and Pawel Panasiuk (cello) is characterized by varied expression, high emotional load and lyricism.

Ann-Margret Olsson (born April 28, 1941), known mononymously as Ann-Margret, is a Swedish-American actress, singer, and dancer.

These twelve astonishing tracks are drawn from a broad spectrum of early 70s West African psychedelic classics. Yet the fact that they scarcely registered on the Richter scale of contemporary underground music must surely be one of the greatest ironies of modern popular music, given that western counterculture drew so heavily on the musical, aesthetic and visual traditions of Africa.

À l’aube revenant est le quatorzième album studio de Francis Cabrel. Un recueil de treize nouvelles chansons tant attendues, le premier depuis In Extremis , paru il y a cinq ans.

Jaga Jazzist return with their new album Pyramid, where the legendary Norwegian eight-piece takes a deep dive into post-rock, jazz and psychedelia influences. It’s their first album since 2015’s Starfire, their ninth album in a career now spanning four decades, but it marks the group’s debut on Brainfeeder, the LA-based imprint curated by Flying Lotus. On Pyramid, Jaga Jazzist have crafted a suitably cosmic sound to match their new label home, all the while nodding to forebears spanning from 80s jazz band Out To Lunch and Norwegian synth guru Ståle Storløkken, to contemporaries Tame Impala, Todd Terje and Jon Hopkins.

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Karim Kamar is a contemporary classical pianist & composer from London. He has been performing as a solo pianist since 2013 and has built a reputation as an outstanding and unique composer and performer, having played at almost every major music venue in London including: The Jazz Cafe, The Forge, Ronnie Scotts and The Royal Albert Hall.

Johannes Auvinen is regarded among the best to ever wield a 303, but here commits his love for classic European synth music in a convincing style that holds up to comparison with inspirations ranging from Ash Ra Temple’s Jenseits to the iciest contours of the Sähkö label.

From the name of an ancestral wind transporting every grain of sand from the Sahara to the mountains of the Alps, the Fœhn trio takes you on a musical journey filled with emotion and bonding. Melodic and contemporary, Fœhn's music invites the public from the first notes to enter into its singular imagination, oscillating between acoustics and amplification, between intimacy and power.