Better known for his works for orchestra or solo piano, Claude Debussy also composed a wealth of beautiful chamber music. This disc featuring the Pražák Quartet and the Kinsky Trio Prague (and invited guests) offers a selection of six works, ranging from the Piano Trio No.1 of 1879, via a fascinating chamber arrangement of the always popular 'Prélude à l'après-midi d'un Faune' to his last work, the Cello Sonata written in 1915. This audiophile quality multi-channel SACD presents these works a unique coupling, not featured on any other disc.

"Eye Of The Beholder" is the 1977 classic by GRAMMY Award-winning percussionist Ray Barretto. It features Barretto’s signature fusion of Latin-jazz. It includes the standouts “Here We Go Again”, “Tumbao Africano” and “Senor Funk”. It would reach the Top 40 on the Billboard charts.

Since his arrival in New York in 2005, Israeli guitarist Yotam Silberstein has made an impact on the scene with his precision bebop lines and fleet-fingered improvisations. For the recording of “The Village”, Yotam Silberstein surrounded himself with close friends, Aaron Goldberg (piano), Reuben Rogers (bass) and Gregory Hutchinson (drums), who collectively could only be described as a world-class, dream-team rhythm section, allowing the grandeur of the guitarist’s mastery to shine through unadulterated.

Bobby Bare and Skeeter Davis' first duet album, Tunes for Two, was moderately successful in 1965, but it took five years for a follow-up to materialize. "Your Husband, My Wife" was one of the last albums Bare made for RCA before moving to Mercury, and the title track was his last RCA hit until he returned to the label a few years later.

JD Allen's career ascendence suggests that he's making plenty of the right choices. The native of Detroit has been on the New York scene since 1993, when his youthful precociousness earned him a spot in “Jazz Ahead”, the singer Betty Carter's acclaimed touring program for up-and-comers.

The big star on the Japanese Venus Records' roster and one of the top tenor saxophonists of his generation, Eric Alexander's latest release is a Latin jazz album. Leading his regular quartet consisting of the powerful Harold Mabern on piano, Nat Reeves on bass and Joe Farnsworth on drums, Alexander blows his powerful horn on the bossa nova and Cuban rhythms.

For any recording to be successful, both the soloist and orchestra must be riding the wave of Tchaikovsky's exulted imagination. This is achieved wholeheartedly in an impeccable interpretation by Julia Fischer - remarkably only 22 years old at the time - and the Russian National Orchestra. Fischer maintains the rich sonority that is so integral her playing, even under the most relentless technical pressure, whilst conductor Yakov Kreizberg leads the Russian National Orchestra masterfully in what becomes almost a race for expression between orchestra and soloist.

The Mandelring Quartett's latest double release is dedicated to French repertoire. The first CD, released in April 2021, presents Maurice Ravel's ground-breaking string quartet and the equally colourful one by his contemporary Fernand de La Tombelle. This second release juxtaposes Claude Debussy's quartet with Jean Rivier's two companion works rooted in neoclassicism - an exciting combination!

Trance is Meredi's second album. The songs are about the longing for the here and now. The longing to lose oneself, to let oneself fall. "I always wanted to create the feeling of release" say's the Berlin composer, producer and pianist. Sometimes one tone can open worlds. One idea runs through 7 pieces. The piano is accompanied by strings and synthesizers. It is the longing for the here and now.

This is Lucile Boulanger’s first solo recital. The French gambist, universally praised for her natural and moving playing – BBC Music Magazine even described her as ‘the Jacqueline du Pré of the viola da gamba’ – juxtaposes Bach with Carl Friedrich Abel, a great master of the bass viol and a close friend of the Bach family.

One hundred years of Romanticism, about sixty years of post­romanticism and another sixty of filologic research and adhesion to "original versions" of past musical compositions got used to us badly.

Jonathan Coe hoped for a career in music before becoming a celebrated novelist, playing keyboards in various bands before What a Carve Up! established his career as a writer in 1994. The Rotters' Club, a winner of the Wodehouse Prize in 2001, got its name from the title of an album by Hatfield and the North, giving a clue to his interest in the progressive rock and jazz-rock fusion music of the 1970s.

Elliot Ho Yat Leung (IPA: eliːət lœŋ) is a composer who seeks to blend the five human senses through poignant musical storytelling. He is the youngest recipient of the prestigious Huabiao Award for music. The South China Morning Post observed Leung as a composer who writes “evocatively with flair and romance.”

Following "Left Arm Blues", an octet-recording acclaimed by the public and the critics, Fabien Mary continues to deploy his talents by extending them for the first time on the scale of a large orchestra. Drawing on the seasoned Vintage Orchestra, the most Parisian of all big bands, the trumpeter embarked on an impressive writing work from which emerged an entire original repertoire, in the great tradition of large-scale jazz. In "Too Short", the swing never gets the short end of the stick!

Paul von Klenau's (1883-1946) grandiose Ninth Symphony in eight movements was composed in Copenhagen 1945 as his last major work; an extraordinary fusion of a Requiem with Latin text and a traditional symphony for orchestra, choir and four soloists. The manuscript then lay unknown for more than fifty years until it appeared in the 2001 discovery of a large collection of Klenau manuscripts in Vienna, and not until March 2014 after a thorough editing by The Royal Library in Copenhagen did it receive its first performance by the Danish National Symphony Orchestra conducted by Michael Schønwandt. This world premiere recording presents the full symphony; a magnificent opus of both tonal, atonal and even twelve-tone passages, very far removed from the style that predominated in the post-Nielsen Danish music of the 1940s.