The Ariadne’s thread unwound by Louis Sclavis throughout his travels and musical adventures naturally leads him to write original melodies, nourished here and there by a sonic audacity and a timeless aesthetic well known to the public. His new album, ‘Les Cadences du Monde’, is a sort of bubbling case of imagined music inspired by the photographic work ‘L’Usure du monde’ by Frédéric Lecloux.

The scandalous composer Carlo Gesualdo, Principe di Venosa, was also an excellent lutenist extolled by his contemporaries. At the end of the sixteenth century he received the first two prototypes of the archlute from his colleague Alessandro Piccinini in Ferrara, one of which he kept.

Debussy in Resonance is an invitation to experience Nature through the universe of Debussy and the sounds of Asia, immersing the listener in an awakening of the senses, where music, imagination and the forces of Nature are all one.

NEO reflects the use of classical forms in the 20th century – ‘neo classical’. It points to the future, and in music saw composers throwing off the romantic era’s excesses and striving for a new clarity and stability. However, the term NEO in this musical context shouldn’t always be seen as a case of ‘out with the old, in with the new’. The heritage of earlier romantic styles – Tchaikovsky, Borodin, Rimsky-Korsakov can be detected in the music by Scriabin, Prokofiev and Shostakovich on this album. In an uncertain and turbulent world, the old ways can be a comfort and provide a sense of stability.

Joo Yeon Sir writes in the booklet to her solo recital album ‘Solitude’, ‘Solitude was the state I found myself in along with the rest of the world in 2020. Concerts were suddenly postponed… and I was left eerily by myself at home’. When, the following year, and the time had come to record the album, Lockdown was reinstated.

collectif9, well-known for its innovative programming and its unique arrangements of the classical repertory, here tackles the music of Debussy, following a first recording devoted to Mahler (ALPHA770). With Clair de lune , La Mer and Des pas sur la neige , the Montreal collective invites us into a sumptuous theatre of shadows and waves: ‘Could we, as nine string players, perform Claude Debussy’s La Mer and do it justice?

Live at the Regal is a live recording of legendary blues guitarist and vocalist B.B. King. The album was recorded November 21, 1964 and is considered one of the greatest blues albums ever recorded; reaching #141 on Rolling Stone Magazine's list of 500 Greatest Albums of All Time. Live at the Regal was selected by the Library of Congress in 2005 for permanent preservation in the National Recording Registry.

Baby I'm-a Want You is the fourth album by Bread, released in 1972. Its singles included the title cut (which reached #3 on the Billboard Top 100), "Everything I Own" (#5), "Mother Freedom" (#37), and "Diary" (#15). This was the first Bread album to feature keyboards player Larry Knechtel.

Caught live with just her piano trio at Chicago's famous now-defunct nightclub, Anita O'Day is in an ebullient mood as she tosses off a series of standards and novelties…

Don Ayler’s discography as leader (rather than sideman in his brother’s bands) is limited to two revelatory tracks from a 1969 New York concert, included in Revenant’s Holy Ghost box set, an unreleased session for Amiri Baraka’s Jihad label, and the following triple LP set, recorded live at a concert in Florence, Italy in 1981.

The term ‘brunette’ refers not only to a young woman with brown hair, but also to a musical form that was highly fashionable from the late seventeenth century to the early eighteenth. The genre evolved from the air de cour, extremely popular in France since the beginning of the seventeenth century. The compositional process, however, remained very similar: to write a short, tender song, dealing with themes of love or nature, which could be sung alone or accompanied by a harmonic instrument.

In November 2015, I decided to get back into writing music, after a 12 year break, to make this demo. It took 8 months of full-time work, between December 2015 and July 2016, to compose & record. Then a 7- month break, during which I was the musical director for a project with Theatre Basel.

Two 16th-century masters of the Spanish vihuela, speaking afresh to the 21st century through the modern guitar of Giuseppe Chiaramonte.