Flesh Tone, Kelis' lone release through Interscope, brought about a pair of Top Five club hits. The creatively restless singer and songwriter nonetheless quickly moved on to working on her sixth album with a handful of U.K. garage and dubstep producers, including Skream, whose 2013 "Copy Cat" featured one of her most clever (and slightly creepy) turns. She changed course again and teamed up with TV on the Radio's Dave Sitek, whose Los Angeles house hosted loose recording sessions with an atmosphere that, according to Kelis, was "like a freakin' commune." Released on U.K. label Ninja Tune, Food sports a cover that doesn't seem nearly bright or colorful enough to reflect its sound - an eclectic and modern-sounding synthesis of classic pop and rhythm & blues with a lot of friskiness, some funk, and even a little twang…

Boris Giltburg has set out to study and film all of Beethoven’s 32 piano sonatas by the end of 2020. The project started as a personal exploration, driven by curiosity and his strong love of the Beethoven sonatas. These performances display Giltburg’s customary spirit and technical finesse, and also convey the electric atmosphere of the live recording.

Music of extraordinary range and power composed at the dawn of the Space Age, Ronald Stevenson’s 'Passacaglia on DSCH' was long claimed as the biggest single stretch of music ever written for piano. It is a veritable world tour of styles as well as a single-minded exploration of its generating motif, and rising star James Willshire, Who received five-star acclaim in 2011 for his Delphian debut disc of music by Rory Boyle, has the technique and vaulting ambition to match both the work's grandeur and its immense wealth of detail.

Unforeseen and born out of unique circumstances, this is a unique record. This is the first album I have made devoted entirely to French song. I think this is no more than my French listeners deserve. We have made numerous journeys together, from the Kingdom of the Two Sicilies to South America with Pasión, from Italy to the United States with Little Italy, but I thought it was finally time to play the music of our own native land, too. Thats why I am dedicating this album in its entirety to French song, but with a twist. Between the lines, as it were, in this repertoire, I have sought to highlight all the variety of genres and influences from near and far that are now intrinsic elements of French musical identity and heritage. As many are no doubt aware, I am passionate about different musical cultures from all over the world. As we explore the French repertoire, we shall make many musical discoveries on our travels…

Steven Osborne’s unerring command of the elusive ambiguities of Debussy’s piano-writing has already been amply confirmed by his earlier recording of the two books of Préludes; these lustrous new accounts of the Images, Estampes and Children’s Corner are every bit their equal.

Based on Victor Hugo’s most sensational play, Lucrèce Borgia, a scandalous tale of murder, torture, incest, homosexuality, drunkenness and orgies, Donizetti’s opera is one of the great masterpieces of Italian bel canto repertoire. While omitting some of its more excessive elements, the libretto by Felice Romani inspired Donizetti to compose superb arias, duets, ensembles and choruses, bringing each act to a stirring conclusion.

Maneuvering between grandiose retro motifs and a surprising sincerity, Michelle Gurevich’s songs are tragicomic, melody-driven, sentimental and suspended in shadowy glamour. Having released 3 albums under the moniker of Chinawoman, she now continues as Michelle Gurevich with her 4th and latest release – New Decadence. She combines dark realism with humour in smoky and intimate ballads delivered with cutting and fatalistic lyrics.

With this concept album, John van Heugten takes a new step in his music career. Under the name Millennium | Trilogy | Project he worked out a musical and textual story over 11 different songs, ranging from ballads, to power songs with a lot of tempo and mood changes. Van Heugten plays all the keyboard parts on the album. Next to that he found several musicians and vocalist to collaborate on the album. The story of the concept album is about Brynn. In Act 1: The Trial we follow Bryn during her character-building during her younger years, her alienation from society and her struggle to get her life back. The impact on her direct environment is also dealt with. The idea for the story is based on the story in the Millennium Trilogy books. The album is recommended for everyone who likes progressive rock and symphonic rock.

This album features trio performances by pianist Bud Powell, bassist Charles Mingus and drummer Roy Haynes that were recorded live at a Washington D.C. club; they were released for the first time in 1982. Powell is in consistently exciting form (this was one of his good nights) and the musicians sound inspired and creative during the set of bop-oriented standards. This recording concludes with a couple of excerpts from Bud Powell interviews held in 1963, giving listeners a rare chance to hear his voice.

It was filmed in the lead up to their 2015 Marillion Weekend at Port Zelande, the Netherlands, in March where they played three sets and performed 2001 album Anoraknophobia and 2004’s Marbles in their entirety…

Other than an album for the Italian Red label the previous March, this CD from the defunct Black-Hawk label was the first to feature trumpeter Tom Harrell with the Phil Woods Quintet. At this point in time, bassist Steve Gilmore and drummer Bill Goodwin had been with the band since its beginning 12 years before, while pianist Hal Galper was a five-year veteran. The repertoire on the set is quite strong, with a pair of less-played Duke Ellington pieces (the beautiful "Heaven" and "Azure") being performed along with Dave Brubeck's "The Duke," Sam Rivers' "222," the standard "I'm Getting Sentimental Over You" and Harrell's "Occurrence." Phil Woods sounds quite inspired throughout the date by Harrell's presence, giving him another horn to work off of.

Ella Fitzgerald and guitarist Joe Pass teamed up in a set of duets for this album. Because the emphasis is on ballads and not all of the songs are that well suited to Fitzgerald's musical personality (particularly "Lush Life" and "I Want to Talk About You"), this set is only a mixed success. Much more successful are "Don't Be That Way" and "A Foggy Day" but this is not one of the more essential Ella Fitzgerald records.