What 1989's Arara hinted at, 1991's Brasileiro delivers with a vengeance, for at long last, here is a genuine, back-to-Brazil tour de force by expatriate Mendes. Taking up the long-abandoned thread of his prophetic Primal Roots album of 1972, Mendes went back to the taproots of his heritage, calling upon a plethora of explosive Brazilian rhythms and sounds recorded mostly in Brazil. Though he returned to California to pile on additional tracks from L.A. sessionmen and give the production a finished sheen, there is no sense of any watering down; the thrust of the music bears the added weight and polish easily.

Cyrus Chestnut's third Atlantic CD continues to showcase his tremendous growth as a thought-provoking pianist and composer. "In the Garden" is an inspirational solo indicating his gospel roots. "East of the Sun (And West of the Moon)" proves his ability to create a novel trio arrangement of a standard tune covered by numerous musicians. The remaining tracks include a number of outstanding originals, especially the reflective "My Song in the Night" and the playful "Maria's Folly."

Kenny Werner improvised ballads that reflect his impressions of New York City for this 2009 solo piano session. The Brooklyn native's lyrical touch is present throughout this delightful recording, capturing the stillness of early morning in his moving "First Light/East River." Anyone who has visited the World Trade Center and since returned to view the starkly empty spot where it once stood can't help but be moved by Werner's poignant "Ground Zero," a piece conveying anguish at the terrible loss of life.

This is a logical tribute album from one great bassist (Brian Bromberg) to another (Jaco Pastorius). The front of the CD purposely resembles Pastorius' debut recording and the program features six Pastorius songs (including two versions apiece of "Come on, Come Over" and "Teen Town"), Joe Zawinul's "A Remark You Made," the R&B standard "The Chicken," and Bromberg's "Tears." A master at tapping his bass and equally skilled on electric and acoustic basses, Bromberg also has the ability to sound a bit like Pastorius when he wants. This excellent tribute set uses different personnel and instrumentations on each selection and shows off the many sides of Pastorius, both as a bassist and as a composer.

On October 2nd, ANAAL NATHRAKH will release their 11th full-length, Endarkenment, via Metal Blade Records.

Live recorded at "16th acid mothers temple festival" tokuzo (nagoya), 9th december 2017.

“I don’t really understand how I make music,” says Josie Boivin, who records and performs as MUNYA. “I feel like it’s coming from another world.” Other-worldly is an apt descriptor for MUNYA’s music. The songs are at turns playful and melancholy, as catchy as they are strange, light and airy but full of powerful emotion.

Home and the people who make it have captivated Lori McKenna for years. Over the last three decades, as she became a wife and mother of five, she has also emerged as one of the most respected, prolific singer-songwriters in popular music. Her 2016 release The Bird and the Rifle netted three Grammy nominations, along with Americana Music Association nods - all firsts for McKenna as an artist. Then, she made history: In 2016, she became the first woman ever to win the Country Music Association’s Song of the Year two years in a row thanks to co-writing Little Big Town’s Girl Crush and penning Tim McGraw’s no. 1 Humble and Kind solo. Both songs also clinched back-to-back Grammy wins for Best Country Song. In 2017, she became the Academy of Country Music’s first female Songwriter of the Year. The Tree [2018], her eleventh studio album, was nominated for the 2019 Americana Awards Album of the Year. 2020 brings a new record for McKenna, The Balladeer, produced by Dave Cobb.

Le nozze di Figaro is one of the most successful comic operas ever. Director David Bösch is a born storyteller. He likes to focus on the classics, and is known for his poetic approach. In this new production of Le nozze di Figaro, the hectic, bubbly story of Figaro’s eventful wedding party is visually interpreted in a revolving stage set.

A-Tom-Ic Jones, Jones' cleverly titled third album, featured no major hit singles and failed to chart in the U.S. Jones sings well, but he doesn't have the material to match his performance, making the album noticeably weaker than his first two collections.