June Garber is making a comeback! The singer of South American origin had started her career as a backing vocalist for a jazz band founded in Toronto, Canada, in 1975. After a long break that lasted until the end of the 80s, June Garber had returned to the music scene, this time as a solo singer, a return appreciated by the Canadian public.

In this highly original programme, Julien Libeer and his partners bring us the smile and the light of Mozart: an absolutely radiant sonata for solo piano, a sonata for violin and piano in which joy triumphs over anxiety, a flamboyant trio from the time of Le nozze di Figaro, to say nothing of the Piano Quartet K478, a rare combination that allows the composer to play around on the frontiers of the concerto and chamber music. All of this in a surprising dramatic progression!

Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz and swing music singer. Nicknamed "Lady Day" by her friend and music partner, Lester Young, Holiday made a significant contribution to jazz music and pop singing. Her vocal style, strongly influenced by jazz instrumentalists, inspired a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills.

exter Gordon (February 27, 1923 – April 25, 1990) was an American jazz tenor saxophonist, composer, and bandleader. He was among the most influential early bebop musicians. Gordon's height was 6 feet 6 inches (198 cm), so he was also known as "Long Tall Dexter" and "Sophisticated Giant". His studio and performance career spanned more than 40 years.

Common Touch is an album by jazz saxophonist Stanley Turrentine featuring Shirley Scott recorded for the Blue Note label in 1968 and performed by Turrentine with Shirley Scott, Jimmy Ponder, Bob Cranshaw and Leo Morris. The CD reissue added one bonus track recorded in a different session and originally released on Ain't No Way (LT 1095, 1980). The other four tracks may be found on the CD reissue of Easy Walker. The Allmusic review by Scott Yanow, awarded the album 3 stars and states "Although not essential (no one seems to sweat much and none of the tempos are above a slow-medium pace), this lazy date has its pleasurable moments".

This is Cindy Bullens' first solo album from 1978. She started as a back-up singer for Elton John and toured with him several times. She then was featured on the Grease soundtrack performing several songs that won her an Grammy nomination. Desire Wire is an album that reflects many of her Grease roots as a singer/songwriter and
a soulful rock icon. This collection of songs has more hooks than a fisherman's cap. There are several hard rockin' tunes, i.e. Survivor, High School History, and Finally Rockin' most noticeably. The other songs are slower but are real heart-string tuggers, i.e. Desire Wire, Knee Deep In Love. This album gained her another Grammy nomination. Her next two albums echoed the feel of Desire Wire and were released in 1981 and 1986, both are great, if you can find them. Neither has been issued on CD to my knowledge. Her albums after that are more folk than rock and her new group, The Refugees, while very good, are just not my style. If you like rock from the late seventies, pick up this hidden diamond for your enjoyment!

Compositeur normand du début du XXe siècle et figure méconnue de la musique française, Gabriel Dupont fut pourtant l’un des derniers représentants du post-romantisme hexagonal, qui s’éteint avec lui à l’aube de la Grande Guerre.

For her fourth recital on Alpha Classics, mezzo-soprano Kate Lindsey has chosen to record two cycles, Schumann's well-known Frauenliebe und Leben and Faure's La Chanson d'Eve, a much more unfamiliar work.

The terrible Atalia, having eliminated the entire royal family in order to secure her power, reigns mercilessly over Jerusalem. But seven years later, the High Priest, determined to put an end to her tyranny, joins forces with General Ormano and the wise old Nourrice to bring little Joas, the only survivor of the massacre, to the throne. Emmanuel Resche-Caserta and the Ensemble Hemiolia make Francesco Gasparini's oratorio their own, bringing to life characters in the grip of fury, vengeance and exaltation.

In this masterful recording, Clément Lefebvre invites the listener to immerse themselves in the captivating and visionary world of Alexandre Scriabin.

This year, we celebrate a very special milestone: 10 years of Piano Day!

The works on this album document the development of Bartok's aesthetics from the nationalistic late romantic style of the symphonic poem "Kossuth" and the overtly romantic Four Piano Pieces to the folk-infused Sonatina and the ebullient Piano Sonata (there are two surviving early sonatas) composed in 1926, and which is in his mature style.

Marco Serino, for 20 years Ennio Morricone’s chosen violinist, is closely associated with Baroque music – which he has explored with specialists like Sigiswald Kuijken, Riccardo Minasi, Christophe Coin and Francesco Cera – and in particular with the music of Bach.

The fruit of passionately commited research exploring mainly pre-baroque and baroque repertoire, the ensemble, formed in 2015 at the initiative of lutenist Albane Imbs, has a permanent core of four women musicians, with guest artists according to the nature of each project.

It's not surprising that Lou Reed finds a kindred spirit in Edgar Allan Poe. The godfather of punk's early ambition was to bring the darker elements of great literature–decay, death, and decadence–to rock & roll. The Raven was born following a spoken-word performance of Poe's "The Tell-Tale Heart" during which Reed "came to understand it in a way I never had before." Accordingly, The Raven may strike Reed's longtime fans in a way the artist never has before. Although dark, the music is stylistically all over the place–from Velvet Underground-like rock instrumentals to actor Steve Buscemi's creepy lounge-lizard take on the anti-showbiz "Broadway Song," to moments that recall such diverse past Reed ventures as Metal Machine Music and the Bells. He even reprises two classics–"Perfect Day" and "The Bed" from Transformer and Berlin, respectively – in almost unrecognizable forms. Ornette Coleman and David Bowie drop in, and actors read text in which Reed mixes Poe's poems and stories with his own words. The opium references are surely Poe's; the explicit images probably all Reed's. It's hard to tell, though; the blend's that good. – Bill Holdship