With each subsequent release, Jazz Is Dead continues to exalt the legacies of iconic musicians who have shaped the fabric of Jazz across generations, genres, and continents. For their latest installment, the label connected with the late great Tony Allen, best known for his foundational work as the drummer for Fela Kuti's Africa 70, and later Egypt 80. Over the course of Allen's recording career, he defined the Afrobeat sound, meshing Funk & Jazz influences with Nigerian Highlife to create a cross-cultural dialogue that has gone global.

Although the bel canto repertoire was crucial to Callas’s career, and she played a significant part in reviving its fortunes, she never sang any of the roles – from both serious and comic operas – that are represented in this recital. Gramophone said: ‘It is extraordinary how the whole quality and color of Callas’ voice changes as she moves from one character to another – for example, from the grand manner appropriate to the Babylonian queen [Semiramide] to the passion of the spoiled Italian duchess [Lucrezia Borgia] and thence to the simple charm of the countrywoman Adina [L’elisir d’amore]’.

This recital of Austro-German repertoire (albeit composed to Italian and English texts) was prompted by Callas’s indignation on discovering that her EMI producer, Walter Legge, had chosen his wife, Elisabeth Schwarzkopf, for a recording of the Verdi Requiem. ‘If your wife can sing my repertoire, then I can sing hers,’ declared Callas.

Only one of the roles represented in this Verdi recital figured in Callas’s stage repertoire: Elisabetta in Don Carlo, which she performed at La Scala in 1954. From the same opera she also sings Eboli’s mezzo-soprano showpiece “O don fatale”, a feature of her recitals in the early 1960s. An adventurous choice are Mina’s arias from the rarely-heard Aroldo (Verdi’s reworking of Stiffelio): ‘The vivid pronunciation of the words, the burning emotion conveyed by tone-color, and the powerful and eloquent sense of rhythm, are all memorable. So is the fearless quality of Callas’s singing,’ said Gramophone. When it came to Desdemona’s scene from Act IV of Otello, the critic wrote: ‘Verdi’s music is brought to life as by no other artist. Her voice is in fine state: very beautiful, and drawing a full glorious line’.

Clara Schumann and Johannes Brahms were bound together for four decades by a great artistic friendship. They shared a common interest and exchanged ideas on a personal and artistic level. The violinist Sophia Jaffé and the pianist Björn Lehmann have been duo partners for many years and are now putting all their experience and love for Brahms and Schumann into a new GENUIN CD. The program includes the three violin sonatas by Johannes Brahms and three violin romances by Clara Schumann – conceivably different works in their scope, yet related in their view of the world and art: romantic treasures, recorded with dedication!

Leading Swedish composer Jesper Nordin’s soundscape lies at the crossroads of Swedish traditional music, rock and improvised music. On this recording, Daniel Harding and the Swedish Radio Symphony Orchestra perform Röster (‘voices’), a trilogy whose works are each based on different kinds of Swedish music which the composer sees as being part of his background. In Åkallan (‘Invocation’), Nordin has used the traditional vocal technique called kulning as his starting point.

From his teens onwards, Mischa Elman was regarded in his lifetime as one of the greatest violinists of the 20th century. A student of the legendary Leopold Auer, Elman was one of the first of the great Russian-Jewish violinists to dominate violin playing in the 20th century. This CD – the first in a series of Elman releases from Biddulph – includes short pieces by Tchaikovsky and Wieniawski, including the latter’s Second Violin Concerto in D minor, Op.22. Made in the early 1950s, these recordings have never appeared on CD before, and vividly document Mischa Elman with his fabled luscious tone.

Tatjana Masurenko and the Yaruss Quartet are therefore in good company when they clothe the music of the Russian Romantics in novel acoustic garments. Using viola, soprano domra and alto domra, accordion and double bass, they play 19th century works in their own arrangements, using gut strings for all of their instruments, the domras sounding somewhat like Italian mandolins. In this guise, compositions by Rimsky-Korsakov, Musorgsky, Borodin and Glazunov seem lighter, more open and agile, their music expressing a fresh elegance with different colours, taking on a completely new character.

Pianist Helen Davies is the daughter of a Bohemian mother and Anglo-German father and her family has always been acutely aware of their European heritage. Connections was conceived during the COVID-19 UK lockdown in March 2020. Much of the music on this recording was created by German composers, hence the decision to focus on that link, recording music which they felt connected them back to some of their familial roots.

Cellist Ashley Bathgate releases her third solo album featuring her performance of Steve Reich’s Cello Counterpoint alongside three new works that take advantage of the versatile format of soloist with layered tracks. Composers Emily Cooley, Alex Weiser, and Fjóla Evans wrote works that expand on Reich’s template, exploring harmonic, dramatic, and gestural contrasts. The homogeneity of timbre inherent in works for layered tracks of the same instrument gives the listener a sense they are hearing a hyper-cello; the compositional strategy both echoes studio techniques that are ubiquitous in commercial music while also amplifying more Romantic impulses of extroverted expression and immersive textures.

"Santana" is the eponymous debut album by the latin rock band Santana. Consisting largely of instrumental music, the album was highly anticipated following the band's performance at the Woodstock Festival in 1969. At the time of its recording, Santana was a free-form jam band, but would later change their style to include more conventional songwriting. The album peaked at #4 on the Billboard 200 pop albums chart and featured the hit singles "Jingo" and "Evil Ways". In 2003, Santana was ranked #149 on Rolling Stone magazine's list of the 500 greatest albums of all time.

"Santana (III)" is Santana's third studio album and was released in September 1971. It is often referred to simply as "III" or as "Man with An Outstretched Hand". The third and last album by the same members who played at Woodstock, it has been considered by many to be the band's peak, musically. The album was the last Santana album to reach #1 on the charts until Supernatural in 1999. Two singles came from III: "Everybody's Everything" and "No One to Depend On".