90125 is the eleventh studio album by the English progressive rock band Yes, released on 7 November 1983 by Atco Records.

The voices of Ella Fitzgerald and Louis Armstrong are among the most personal and beautiful that the history of music has given us, transcending eras, genres and languages.

If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective.

"Chevalier Mécanique" est un producteur ayant pour objectif de créer de la musique afin d'accompagner les auditeurs dans leurs activités quotidiennes: lecture, écriture, études, relaxation, méditation, jeux-vidéos, jeux de rôle ect…

Pedro Martins returns for his sophomore effort on Heartcore Records: Rádio Mistério.

Album The Electric Blues Cafe, Released on Label Blues Route / Delta 2023-05-30

A single LP collection of the b-sides and rarities featured alongside the singles from Tori's seminal release (and solo debut), Little Earthquakes. This is the first time these songs have been collected on a single release.

A pivotal record for contemporary times; bright, free, adamant, optimistic. Brain Worms is RVG’s fullest, most pristine album yet.

Over this collection of seven new tracks exploring the Cosmic Echo, Synphaera artist Martin Stürtzer blends his improvisational approach with ambient aesthetics, classic electronic, and his unique take on Berlin School sequencing.

Volume 2 of a double-length live set from the legendary Modern Jazz Quartet – recorded in Scandinavia in 1960, almost as a summation of the group's growing genius in the 50s! The tunes are a mix of John Lewis and Milt Jackson originals, plus other songs all given the wonderful MJQ twist – distilled into a sublime blend of piano, vibes, bass, and drums – all delivered with a sense of class, but never too much polish. Titles include "Pyramid", "It Don't Mean A Thing", "The Cylinder", "Round Midnight", "Bag's Groove", and "Skating In Central Park".

European Concert' is perhaps the classic of the Modern Jazz Quartet. The MJQ presented its jazz in a formally structured context, much like a chamber music ensemble in a classical context. This album, perhaps more than any of their studio recordings, illustrates how the band uses concepts of time, space, beat, rhythm and change to weave them into a seamless whole, where melody is the basis of improvisation, but never really constrains it.

"This is the type of album that led many bop purists to criticize the Modern Jazz Quartet (and John Lewis in particular) for being overly influenced by Western classical music. This album has seven of Lewis' compositions, episodic works arranged in a suite that portrays characters from a fictional Italian comedy based in the 1500s. Singer Diahann Carroll guests fairly effectively on "La Cantatrice." Despite being tied to a story, there are some strong improvisations from pianist Lewis and vibraphonist Milt Jackson on this unusual material. The release is not that essential but it is quite interesting." (Scott Yanow, AMG)

Brad Mehldau presents The Folly of Desire, a song cycle inquiring the limits of sexual freedom in a post-#MeToo political age, together with tenor Ian Bostridge, one of the greatest song interpreters of our times. Setting poetry by Blake, Yeats, Shakespeare, Brecht, Goethe, Auden and Cummings, Mehldau’s music shifts seamlessly between a jazz idiom and Classical art song, and the work explores a theme as timeless as it is topical. The stylistic diversity of this project is underlined by adding a selection of jazz standards, as well as a Schubert lied.

MPR presents the world premiere recordings of chamber music by the forgotten English genius Percy Hilder Miles, Professor at the Royal Academy of Music and teacher of Rebecca Clarke. This first volume showcases his Sonata in C for Pianoforte and Violoncello, Sonata No. 2 in G major for Pianoforte and Violin, and the Piano Trio in B minor. Led by Ian Tindale, the Ensemble Kopernikus Piano Quartet is an exciting young chamber group, praised for it's 'imaginative and demanding' programmes, combining well-known works with rarely- performed gems.

If the shadow of Mozart still haunts Schubert’s Symphony no.5, the Seventh (in no way ‘unfinished’ in the eyes of its creator) already looks far into the future. Pablo Heras-Casado and the musicians of the Freiburger Barockorchester lead us towards that Romantic élan. Their flexible approach, keen and swift in the earlier symphony, making room for shadows and mystery in its successor, meets the challenge of bringing out the contrast between these ‘two Schuberts’, here more audible than ever.