The members of the legendary Joshua Redman Quartet of the 1990s - Redman (saxophone), Brad Mehldau (piano), Christian McBride (bass) and Brian Blade (drums) - reunited after 26 years for the album "RoundAgain," released in 2020.

Their collaboration has been hailed as a summit meeting of two jazz masters - Enrico Rava, trumpeter from Trieste, and Fred Hersch, pianist from Cincinatti, share a deep affection for the tradition and a profound sense for melodic invention.

How did the Kinks respond to the fresh start afforded by Lola?

On October 27th, 1971, Lou Reed walked into the first recording session of his solo career.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology.

The second and final album from this funky British prog band originally appeared in August 1973, and features the talents of Stewart Francis (drums, vocals), Graham Maitland (keyboards, vocals), John Turnbull (guitar, vocals), and Norman Watt-Roy (bass, vocals).

Eastwood Symphonic is a tribute from Kyle Eastwood to his father Clint Eastwood. It takes the form of a contemporary musical walk into the heart of the legendary actor-director's extraordinary career. As a young man, Kyle Eastwood appeared in a few films made by his father, but what has united them above all else is their mutual passion for music. It is precisely that passion, so dear to Clint and such an everyday part of Kyle's life today, which has bound their relationship so closely over the years.

According to the composer and conductor Clarence Lucas, writing in 1935, “of the merits of d’Ambrosio… he always maintains his standard of elegance and never becomes commonplace”. By the way d’Ambrosio’s instrumental music was highly appreciated by contemporaries and played by the most acclaimed interpreters of his time, though nowadays seems hélas almost neglected. Alfredo D’Ambrosio (Naples, June 13, 1871-Paris, December 28, 1914) was a Neapolitan violinist and composer studying in Naples Conservatoire with Eusebio Dworzak, Ferdinando Pinto, Enrico Bossi, then in Madrid with Pablo Sarasate and in London with August Wilhelmj.

Among the musical genres that were most appreciated and cultivated in Vienna in the early eighteenth century, one that stands out decidedly is the chamber cantata. The Italian cantatas, which were favourite compositions for the cultivated entertainment of the court, were abundantly circulated in manuscript form and collected in a great quantity of books that made chiefly between the eighteen-tens and the eighteen-forties.

This debut album by the Leonkoro Quartet represents the culmination of their first years as an ensemble, years crowned with success and numerous prestigious awards. By bringing together in the same programme Maurice Ravel’s String Quartet in F major and Robert Schumann’s String Quartet in A major, Op. 41, No. 3, works that have accompanied them for a long time, they have created an album that bears witness to the brilliant beginnings of their collaboration. This album is therefore a materialisation of their enthusiasm, their passion and the source of inspiration that these two compositions represent for them.

Written in the final year of his life, Schubert’s Mass No. 6 in E-flat major is often regarded as the composer’s own requiem. In this recording, The Cleveland Orchestra is joined by soprano Joélle Harvey, mezzo-soprano Daryl Freedman, tenors Julian Prégardien and Martin Mitterrutzner, bass-baritone Dashon Burton, and The Cleveland Orchestra Chorus.

Recorded at the Village Vanguard on May 27 and 28th, 2022.

The yamato word for mirror, 鏡kagami, can be read as “kami (divinity) surrounding ga (self)”: if you look in a mirror, what you see is your own self surrounded by divinity. Kaori Uemura has called her tale Kagami , because she believes that music reflects the inner depths of the self in the same way as a mirror. Mirrors were used in art as a reflection of what is, and as an allegory of truth and wisdom, a means of knowing yourself as you are. This recording is also a tribute to the Baroque composers who saw music not only as a mirror of divine creation, but equally as a means of expressing human emotions through musical figures which could produce specific affects.

Pianist Francesco Piemontesi presents Franz Liszt’s Transcendental Etudes and Sonata in B Minor, two of the highest mountains to climb within the piano repertoire. The metaphor of climbing a mountain not only applies to the technical demands placed on the player, but also to the sublime nature of these works: colourful, poetic, lyrical, and bold in their construction. Piemontesi has taken his time before embarking on this epic journey, and the recording documents how his interpretation of these legendary works has matured over time. Unique to this album are the liner notes, written by Nike Wagner, the great-great-granddaughter of Liszt.