Amy Beach’s piano quintet proved a deservedly popular success in its early years. It makes a compelling—and surprising—match for Elgar’s own piano quintet: a late work contemporary with the cello concerto, and which inhabits the same emotional landscape.

The prospect of hearing Alina Ibragimova in two of the most important concertos written for the violin is in itself irresistibly enticing, but Shostakovich aficionados will also welcome an opportunity to hear the rarely performed original opening to the Burlesque of No 1, subsequently made less fearsome for the soloist at the request of the work’s dedicatee, David Oistrakh.

Charles Aznavour's double-disc Duos album boasts a lot of starpower and a bunch of his greatest hits, but there's less than initially meets the eye here. Sure, a quick glance at the track listing shows a long list of international superstars who team up with Aznavour to sing duets on the album, including Céline Dion, Julio Iglesias, Placido Domingo, Laura Pausini, Elton John, Johnny Hallyday, Nana Mouskouri, Sting, Josh Groban, Carole King, Paul Anka, Herbert Gronemeyer, Liza Minnelli, and Bryan Ferry. Even the late Edith Piaf, Frank Sinatra, and Dean Martin show up for duets. Moreover, the track listing reads like a greatest-hits collection, compiling the classics "Toi et Moi," "Hier Encore," and "La Bohème," among many others.

Aerosmith signed with Columbia early in the '90s, before their contract with Geffen expired, and, as part of the deal, they owed a live album to Geffen – hence the appearance of A Little South of Sanity, a double-disc set culled from tapes from the Get a Grip and Nine Lives tours. Considering its origins, the record couldn't help but feel a little like the contractual obligation it is, but it's to Aerosmith's credit that it doesn't sound entirely tired. Not that it sounds vital – Steven Tyler's adolescent schtick sounds particularly embarrassing as he approaches his 50th birthday, and newer material like "Falling in Love (Is Hard on the Knees)" or even the hit "Amazing" pales in comparison to their '70s and late-'80s classics.

Chris Ousey has had an excellent singing career that goes way back to the times of “Monroe”, “Virginia Wolf”, the fantastic “Heartland” an outstanding solo recording and more recently “Snakecharmer”. He is nicknamed “The man with the golden tonsils” and that is a fine accolade indeed for he has earned it. His effortless vocal range has gained him a top spot in the world of classic UK hard rock. Chris has already delivered us a fine solo album in 2011 called “Rhyme and Reason” with Mike Slamer at the production helm. It was very warmly received by fans and critics alike and featured some fantastic songs. The New CD “Dream Machine” is an extension of the foundations laid down four years ago: we have huge choruses, great songs and a production second to none.

You have to feel for Billy Squier (and his fans). His record label has done nothing but bungle his hits and best-of collections. Every couple of years they repackage what they claim to be his hits and best songs and every time they manage to find a way to leave off his fifth best song (after "The Stroke," "In the Dark," "My Kind of Lover," and "Everybody Wants You"), the aching and powerful "Lonely Is the Night" from his classic Don't Say No album. It may not have hit the singles charts, but it did climb pretty high on the mainstream rock chart and it was an AOR staple. It is also way better than any of the so-called hits from the late '80s/early '90s that bring up the rear of each hits disc.

Herencia means 'heritage,' and this album of Latin jazz draws on a rising star pianist's roots in Cuba and France. 24-year-old Harold López-Nussa was born into a Cuban musical dynasty, the nephew of famous pianist Ernan López-Nussa and the son of drummer Ruy López-Nussa.

After sharing Grammy nominations in three categories earlier this year (two for production on Kenny Garrett’s album “Seeds From the Underground” and one co-writing of a song on Denise Donatelli’s album “Soul Shadows”), returning to playing piano after a year-long hiatus due for medical reasons, and releasing his new album “Born to Be Blue,” Brown may be on the verge of getting the recognition that in-the-know jazz lovers have known he deserves.

Claudio Abbado and his hand-picked players of the Lucerne Festival Orchestra take their acclaimed Mahler cycle to a new level with this performance of the most complex and compelling of the symphonies, the intense, searching Ninth. Abbado brings all his renowned clarity of vision and the experience of a lifetime to this contradictory music – half valedictory, half life-affirming – and his “orchestra of soloists”, including some of the leading instrumentalists of our time, revels in the transparent textures and virtuosity of Mahler’s last completed symphony. “A rendition … of astonishing depth and subtlety” (Daily Telegraph).

This CD is a success on all levels. For this Latin jazz date, the rhythm section's power and energy constantly inspire the horn soloists. Tenor saxophonist George Coleman is in top form, altoist Kenny Garrett gets in his licks and flutist Dave Valentin, whose playing was often a bit watered down on his own GRP releases, takes what may be his finest recorded solo on "Cuchi Cuchi." Not to be overlooked is Ruiz's McCoy Tyner-inspired piano, which fuels the rhythm section and really pushes the horns. Ruiz wisely chose nine superior songs to perform, including several rarely heard in this type of setting.

The Storm Sessions is the latest glowing proof that Elkhorn are one of the most durable and adventurous platforms of the new guitar age. Snowed in with their friend Turner Williams (Ramble Tamble, Guardian Alien) on the night of an emotionally important gig, the duo-plus-one turned it into a cathartic blizzard-bound collaboration and rumination — and a new step for Elkhorn.