First issued in the '60s, this collection of musical Christmas cheer is packed full of the smoothly sung, sentimental favorites associated as much with Nat King Cole himself as with the season. The singer's performance of "The Christmas Song" is an unforgettable classic reprised here twice, once in an updated version that includes a contemporary vocal from his daughter, Natalie, and also in Cole's original 1946 recording. Other traditional religious favorites like "I Saw Three Ships" and "Away in a Manger" are also featured, in a setting that, with its well-arranged orchestral accompaniment, manages to sound both sophisticated and folksy.

The Sound of Jazz brought together 32 leading musicians - a Who's Who of the swing era - including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry "Red" Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on "Fine and Mellow". This program was originally presented by "The Seven Lively Arts" on December 8, 1957 over CBS Television Sunday. This session is different music from the broadcast, as it was recorded for release by Columbia Records.

Although Rosemary Clooney had a major part in the famous film White Christmas back in 1954, this was her first full Christmas album and it was a big seller when it was released late in 1996. From the jazz standpoint, there is not much here, as Clooney is accompanied by a huge orchestra conducted and mostly arranged by Peter Matz.

It might seem like an unusual move, a double live album. Especially within the scene we are from but the live album was once a staple of most bands career and something we all grew up with in our collection. Pouring over tour dates, gear information and killer live pics. Ok so it's not 'Live After Death' but you can see the attraction and taste the romance involved, right? Fact is though we hadn't planned it, it was basically a happy coincidence, the good people at Bang Your head who took such a risk booking us the first time on a more traditional old school rock festival had us back for the fourth time, gave us a proper headlining set length and happened to mention afterwards that they had a mobile recording device rigged up and ready to go.

Ensiferum are a true powerhouse when it comes to folk-inspired melodic death metal, something they hammer home more resolutely than ever with eighth full-length Thalassic.

Crown Of Thorns serves as the band’s twelfth studio album as The Crown and is the dynamic, groundbreaking follow-up to 2021's Royal Destroyer. The band made distinctly different creative choices to ensure that the LP’s ten songs would stand as a unique collection.
“For me, Cobra Speed Venom and Royal Destroyer are like siblings,” says guitarist Marko Tervonen. And while Royal Destroyer was termed a “a ridiculously catchy album,” The Crown wanted to “make sure that we would take a step forward, get a bit more out of the comfort zone on Crown of Thorns.”
It's very few bands who have a revered and established career - The Crown celebrated their 30th anniversary in 2020 (their first eight years spent as Crown of Thorns) - yet up the ante continually. With 2018’s Cobra Speed Venom the band reached the same lofty heights as their 2002 landmark release, Crowned in Terror. And with the barbaric Royal Destroyer, and now, 2024’s powerful and unique Crown of Thorns, the metal vets rage with a rekindled fire and ferocity while honoring their roots.

On Heavy Metal - the debut solo album from Cameron Winter - the Geese frontman unravels his eclectic influences into a surreal mosaic of modern songwriting. Rumored to have been composed in abandoned basements, taxi back seats, and in impromptu jam sessions in public spaces, Heavy Metal draws on both the chaos of the road and Winter’s greater sense of existential dread.

Originally recorded in 1995 in Prague at the famous Karlin Studios (the former broadcasting hub of the occupying Soviet forces), Food of Love has been out of print for many years. With a stellar line up of Julian Nicholas, Emil Viklický, joined by Robert Balzar and the late Dave Wickins, this remarkable album was laid down in two days. The freshness and spontaneity of the music making was in Julian’s view, due to the fact that he and Dave Wickins were great friends and had already made albums together, and, in Emil they had met a kindred spirit. Food of Love sounds freshly minted, as all great music making does… Play on!

Recorded at the Philharmonie de Paris and one and a half years after releasing his magnum opus "Music For Animals"—described by PopMatters as “a musical waterfall of monumental proportions”

On his new album ‘Bosquejos do Brasil’ jazz saxophonist Lucas Santana (Brazil, 1993) brings contemporary Brazilian and Latin American music in a classical context, paying homage to the likes of Jobim, Bonfá and Nascimento. Lucas also wrote six new compositions that reflect his personal, musical journey between classical and jazz. Line up jazz quartet plus string quartet. This CD represents the culmination of a long journey, says Lucas. “It is a collection of musical ideas that blend the spontaneity of jazz, the beauty and rich melodies of Brazilian music, with the structured beauty of classical music.”

Romain Leleu and his musical partner Julien Gernay, captivated by the sounds of the unique instruments in the Musée de la musique, invite us on a whirlwind tour around the land of the French trumpet and cornet. Other musicians have joined them to add a touch of horn and trombone to these pieces, whether originals or transcriptions of emblematic works from a ‘Belle Époque’ indeed!

Since their inaugural presentation, Paganini’s Twenty-Four Caprices have consistently garnered admiration from audiences, with their mesmerizing effect attributed to the exceptional technical proficiency demanded of the performer. Conversely, it is uncommon for performers to project anything other than their own instrumental excellence, with the technical content of the performance becoming the primary focus for listeners. François Sochard, concertmaster of the Orchestre de chambre de Lausanne, has risen to the challenge with his first solo album, which is as sensitive as it is daring.

Linde Tillmanns presents her new album “Stillness, Chaos, Thoughts, Feelings” containing 12 compositions by her hand for sextet and trio.

The program “Musical Moments by Schubert and Rachmaninoff” explores two distinct approaches to the same musical concept. For Schubert, Musical Moments embody an intimate form, where simplicity and poetry unfold through brief and elegant pieces. Composed in 1827, a year before his death, these six miniatures distill the essence of his work, alternating between lyrical melodies and darker atmospheres, as a tribute to the fleeting nature of time.

The River' is concerned with how a location holds and hide memories, and inadvertently how perspective and time creates unreliable narrators.