Two Sasamis exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record.

Vincent Bernhardt verbindet konsequentes Instrumentalspiel mit fundierter musikwissenschaftlicher Arbeit und ist dadurch ein allumfassender Musiker: international anerkannter Cembalist und Organist, Doktor der Musikwissenschaft, Dirigent und Pädagoge.

Hamilton Leithauser's 5th studio album This Side of the Island (co-produced by Aaron Dessner of The National) boldly turns away from the folk-rock vibes of his two previous records and introduces a groovier, bass-heavy, modern sound — a sound undoubtedly influenced by several decades of music. Inspired by events in Hamilton’s personal life, the album's lyrics showcase his unrelenting optimism and biting wit and as they consider heavy themes of solitude, love, loss, and resilience.

Yunjie Chen’s new album featuring Franz Liszt’s Transcendental Études is an exceptional addition to any classical music collection. Renowned for his interpretative depth and technical prowess, Chen brings a fresh perspective to these intricate works.

Alessandro Deljavan: The Last Breath is not just an album; it is a moment of personal and artistic reflection.

If there has ever been an album that fit perfectly into the label sound of CTI Records and then still completely escaped this categorization, then it was "Sugar" by Stanley Turrentine.

Houston, Texas born tenor saxophonist Curtis Amy found his way to Los Angeles in the mid-1950s where he became embedded in the West Coast Jazz scene and began recording for Pacific Jazz in 1960.

Russian pianist Oleg Akkuratov (b. 1989), like the amazing Nobuyuki Tsujii, is a blind pianist of extraordinary skill and accomplishment.

A.J. Croce, the son of the influential folk singer Jim Croce, has built up an equally impressive discography over the past 20 years, both as a solo artist and as an advocate of his father's influential career.

BENMONT TENCH's new album, The Melancholy Season, is his second solo record after four decades at the keyboards in Tom Petty and the Heartbreakers. Released on Dark Horse Records, The Melancholy Season is Tench's true arrival as a singer-songwriter, without compromise or doubt. It was produced by Jonathan Wilson (an acclaimed singer-songwriter and touring guitarist for Roger Waters), Father John Misty and Margo Price. The album's core studio band included Dawes' Taylor Goldsmith on guitar, Sebastian Steinberg of Soul Coughing on bass and Wilson on drums, among other instruments, with contributions from Jenny O. and Sara Watkins. Tench "couldn't be happier" about finding a home for The Melancholy Season at Dark Horse Records, saying its "An emotionally resonant label for me. And they have George's music, Cat Stevens, Joe Strummer - these are writers. To be in that company, it's perfect."

Having built a devoted following and one of Americana's proudest discographies, Jason Isbell, who has already recorded several live albums, delivers his solo acoustic tour de force. Foxes in the Snow is a quietly powerful set that proves his songwriting muse shows no signs of deserting him anytime soon. The rising lines of the chorus hook in "Eileen" are supported by his always sharp observations: "It ended like it always ends/ Somebody crying on the phone/ You tell each other you can still be friends/ But you both know you're on your own." Atop a sturdy melody Isbell seems to mix imagination with his publicly shared marital struggles ("And now that I live to see my melodies betray me/ I'm sorry the love songs all mean different things today") in "Gravelweed," whose choruses test the upper limits of his vocal range. There's nowhere for Isbell to hide on these tales, which lays bare his voice and guitar playing.

Many live albums from the golden age of jazz have titles that explicitly evoke the storied environs in which they were recorded—Village Vanguard, the Lighthouse, Ronnie Scott's, the Keystone—where the history of the venue imparts its own sort of co-sign on the music that was performed there. Those naming conventions also help the listener imagine themselves in the room at the same time, and, typically, in the name of consistency, these recordings occurred during a single stretch of shows. Getz Au Go Go breaks several of these rules. Its title comes from the storied Greenwich Village club, the Cafe Au Go Go (where Lenny Bruce was arrested and Grateful Dead played their first N.Y.C. show), and indeed, most of these tracks were recorded in that smoky, intimate setting on an evening in May 1964.

Contemporary jazz icons Bob James and Dave Koz mark a unique milestone with this aptly titled duo album Just Us, a piano and saxophone only collection of fresh originals and colorful re-imaginings of Great American Songbook standards. Its inspired format ventures spontaneously beyond the trademark sounds that fueled their superstardom and years of Billboard chart-topping successes into something entirely new, and fresh. A must listen for any fan of these artists.

The first album issued on his own label, Numa Records, Berserker signified the beginning of a new period in Numan’s career, where he would take his sound in a new direction.

Machine + Soul is the eleventh solo studio album by the English musician Gary Numan, released in 1992.