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.

A programme for inner peace, combining music by Hildegard, Arvo Pärt, Will Todd and Anna Clyne.

Emil von Sauer and Conrad Ansorge had the privilege of studying under the legendary Franz Liszt, who preferred to be known as an advisor, rather than a teacher.

Live Life This Day: Celebrating Thad Jones is the latest album from Miho Hazama, the distinguished Japanese / New York based composer, arranger, and conductor, in collaboration with the Danish Radio Big Band.

the early nineteenth century, the house concert was the most common form of musical performance in Vienna. Professionals Tfeatured alongside aristocratic music lovers and ambitious bourgeois amateur musicians, and composers presented their works.

Eighteenth-century Venice was the epitome of splendor: architectural, pictorial, theatrical, musical and vocal.

Highly virtuosic, intense and passionate: Gran Caprice - these are works for violin written by violinists for violinists.
Maxim Brilinsky shows lyrical lines - with the possibilities of bowing and fingering technique utilised to the utmost.

The second instalment of our Momentum diptych offers a mirror image in two pieces never before recorded together: the young fin-de-siècle Strauss in his last chamber work, and the Korngold of the post-war period, still decked in the colors of Hollywood.

The Codex Faenza is one of the most significant Ars Nova manuscripts, captivating musicians and musicologists alike. The remarkable collection features instrumental arrangements on Italian and French vocal works by renowned 14th-century composers like Francesco Landini, Guillaume de Machaut, Jacopo da Bologna, and Bartolino da Padova.

Fülöp Ránki was born in Budapest, Hungary, in 1995. At age eight he was accepted into the Pál Járdányi Music School where he studied under Erika Becht. He was later tutored by Edit Hambalkó before entering the Franz Liszt Music Academy, where his teachers were Jenő Jandó, István Lantos and Rita Wagner.

It is remarkable not only that the London-based Noah Max (b. 1998) should have composed four string quartets by his mid-twenties; their stylistic range is also surprisingly wide. No. 1…

The violin concerto is a big favourite among classical music lovers, and audiences love to hear the works of Beethoven, Brahms, Mendelssohn, Tchaikovsky and their Baroque forerunners. But how about concertos for violin by female composers?