Trumpeter Jun Iida's warm, inviting tone, astute composition choices and his sublime sense of melody lead the way on his debut recording.

Iida Antola's debut album "The truth about love", with Kirill Kozlovski on piano.

At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

La bohème is an opera in four acts, composed by Giacomo Puccini between 1893 and 1895 to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème (1851) by Henri Murger. The story is set in Paris around 1830 and shows the Bohemian lifestyle (known in French as "la bohème") of a poor seamstress and her artist friends.

The Cure’s new album, Songs of a Lost World, is set for a live release called Songs of a Live World Troxy London MMXXIV.
Released at the start of November, Songs of a Lost World is the band’s first album in 16 years, and their first number one album in the UK since 1992’s Wish. On the day of release, The Cure performed the album in full at London’s Troxy venue, and it’s this live performance which makes up Songs of a Live World. Whilst the performance on the night also saw The Cure play a number of hits and fan favourites, Songs of a Live World is limited to the tracks from the new album.

Step into the world of rising indie pop vocalist NIA NADURATA with her debut EP Still Living With My Parents - a musical journey through the highs and lows of emerging adulthood.

Surrounded by violinists Sarah Nemtanu, Deborah Nemtanu and Yibin Li, Christophe Giovaninetti, eminent chamber musician, presents his compositions to us for the first time. Six solo, duo, trio and quartet pieces make up this album. They were composed over the last ten years and draw their inspiration in part from the minimalist and repetitive American school of music. Four of them have the particularity of being constructed from motifs borrowed from works by Vivaldi, Bach, Paganini and Bruckner. “My inspiration lies mainly in a general idea capable of freeing itself from time, a more or less suspended atmosphere, a floating state of being” (C.Giovaninetti).

The Russian musician of French descent, Grigory L'vovitch Catoire (1861-1926) is little known outside his country. However, this composer who was passionate about the French and German music of his time left to posterity a deeply touching work. Completed in 1921, his Quintet in G minor is considered his testamentary score. It expresses with passionate tenderness, the twilight of a romanticism that draws on Slavic as well as French and Germanic aesthetics.

This energizing collection of alternative rock songs fuses hard-hitting guitar riffs, grooving bass lines, slamming drum grooves, and catchy male and female vocals that explore themes of self-confidence, seized opportunities, and rediscovered freedom.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

“Chopin at Midnight” is a reimagining of some of my favorite Chopin pieces for solo piano. I’ve wanted to do a solo piano / classical project for years, and Signum’s Steve Long embraced my vision. While Chopin mostly wrote for small, live performances in the salons of Paris, I’ve wondered for some time what his compositions would sound like if he were alive today in the age of streaming? What lengths would they be; which motifs would he choose to repeat; which tempi and miking techniques would he use?

Exploring the sessions that yielded the ahead- of-it’s-time ‘I Hear A New World’ album. Previously unheard versions and out-takes! All in superb new clarity, taken directly from joe meek’s own tape archive.

Dan Briggs from Between The Buried And Me's solo project. It is an ethereal electro-rock project, with material being written as early as 2012.

Quiet Houses are an indie-folk duo made up of Edinburgh-bred, Manchester-based Jamie Stewart and Hannah Elliott.

In popular mythology Haydn’s name is far less closely associated with the piano sonata than with the string quartet or symphony. Though a more than competent pianist (one writer in London described his playing of the brilliant fortepiano solo in the Symphony No 98 as ‘neat and distinct’), he was by his own admission no ‘wizard’ on the keyboard, and unlike Mozart and Beethoven never wrote sonatas for his own performance. Yet the keyboard remained central to Haydn’s creative process. His morning routine would invariably begin with him trying out ideas, for whatever medium, on the clavichord, the harpsichord or, from the 1780s, the fortepiano; and he composed prolifically for keyboard through most of his adult life, beginning with the harpsichord works he produced for aristocratic pupils during his ‘galley years’ in Vienna and culminating in the three great sonatas (Nos 50–52 in Hoboken’s catalogue) inspired by the sonorous Broadwood instruments he encountered on his London visits.