BOOM. It's the first thing you hear, the first thing you notice. A bass drum strike so hard and heavy, it's sound carries for blocks. In fact, you probably feel it before you actually hear it. BOOM BOOM. A bottom-end so deep, it let's everyone know: the band is on it's way. BOOM BOOM BOOM And before you can even see 'em, you can hear 'em, clearing the way: angel trumpets, devil trombones, rat-a-tat snares, pulsing tubas, and at the center of it all, the anchor, the rock, the gravity that keeps it all from spinning out and flying off into space, the bass drum. The steady beat that lays the foundation for every feat the brass band can accomplish. The beat that sets the slow and reverential pace for a walk of remembrance towards the cemetery. The beat that dictates the rhythm of the joyous dance on the corner. The beat that puts butts in motion. That bass drum beat is the heartbeat of New Orleans, the organ that pushes the blood through the arteries and veins of our city streets, and the biggest and strongest heart was Kerry "Fat Man" Hunter. When the bass drum was strapped over his shoulders and the mallets were in his hands, he let 'em know-loud, proud and undeniable was his style, and it's that style that's at the heart of For Fat Man, the new recording by the Preservation Hall Brass.

A metaphysical hike into the heart of the Alps. Borrowing the conventions of the symphony, these recordings set listeners adrift in a field of snow draped pines and towering wind-shorn peaks. The meeting of traditional instrumentation and ambient structures string each movement as beads of dew on a silent meadow - unified and free-standing. The thread binding these ecstatic pieces is their hope to elevate listeners to the higher climes for a walk among transcendent slopes.

Steppenwolf were one of the pioneering bands of American hard rock, conjuring the roaring sound of a biker gang laying claim to the highway on hits like "Born to be Wild" and "Magic Carpet Ride." Like most early hard rock acts, Steppenwolf's approach was steeped in the blues, but with an added level of lyrical swagger and a full-bodied attack that added hints of acid rock. The key elements of their sound were the rough, throaty vocals of leader John Kay, the hard, barking tone of the eclectic guitar, and the thick, muscular voice of the overdriven electric organ.

The critical reception of Schumann's violin sonatas?like that of much of the composer's late output?has vacillated over the course of the intervening centuries. Written for and first performed by some of the leading violinists of the day, all three are now recognized for the masterpieces they undoubtedly are, needing no apology: and we are fortunate indeed to be in a position to enjoy such dedicated performances as these.

Producer, drummer and Hamburg’s Jazz Prize Winner of 2021 Silvan Strauss has already been a household name in the German Jazz bubble when he released his debut LP „FACING“ (via KFR 2021) - a collection of Madlib-soaked beats with hazed-out contemporary jazz. The two years since Strauss stepped out as a solo artist and composer have been more than impressive: Fans were able to follow in real time how Strauss’ talent reached international spheres such as Montreux Jazz Festival (2022). Also virtually he gained momentum through his viral drum improvisation on IG and TikTok up to the point, where music giants like Pete Rock and Queen Latifah praised Silvan’s unique bounce.

Everything I Love features Kevin Fort's fresh arrangements of several jazz classics alongside five original compositions. Inspired by the great bebop pianists of the past and present—such as Bill Evans, Red Garland, Bill Charlap, and Benny Green—the album offers a joyful exploration of the swinging, straight- ahead side of the piano trio tradition.

Hurry Up Tomorrow is the upcoming sixth studio album by the Canadian singer-songwriter the Weeknd, scheduled to be released through XO and Records. It will serve as the final part of an album trilogy that began with After Hours (2020) and continued with Dawn FM (2022).

The eleventh and final release in The Orlando Consort's comprehensive Machaut survey easily maintains the standards of its predecessors. The closing couplet of the final track?'Their singing will be sublime/ Harmoniously will they render him praise'?might well serve as a motto for the Orlandos' achievement, not only in this album but throughout an illustrious career.

Barb Jungr is arguably Britain’s best kept jazz secret, despite a substantial body of recorded work and a long track record of performing, having started singing at the age of 2 on bus rides in Rochdale.

Among the works of the Red Priest that were absolutely unknown until the end of the 20th century, and which the naïve label has revealed with great perseverance for almost twenty-five years, are the works intended for the stage.

'In Session' is the new album from platinum selling & MOJO Awards winning artist Rumer. Having moved to the USA for a period of time, Rumer began working on a studio project to celebrate the work of Joni Mitchell.

Acclaimed Swedish rockers THE NIGHT FLIGHT ORCHESTRA are set to release their cinematic seventh studio album and Napalm Records debut, Give Us The Moon, on January 31, 2025!

The title work on this album is A Plastic Theatre, an extended setting of a five-act text by Katie Schaag exploring the connotations—whether positive or negative—of all things ‘plastic’. Joanna Marsh’s response is a work of pathos and humour, a tone which carries through to several of the other works presented here.

Moseley is founder and CEO of Fair Trade Services, the largest independent record label in Christian music. Moseley considered entering the ministry as a youth attending a Baptist church in Oklahoma City.

Body and Soul is a studio album by jazz singer Billie Holiday, released in 1957.