As a producer and sideman, Bombay-born percussionist and singer Trilok Gurtu has become something of a godfather to London's emerging Asian Underground movement, but he's also been quietly releasing solo albums for the last decade. The latest finds him teamed up with bassist Kai Eckhardt de Camargo (good luck sorting out the ethnicity of that name), guitarist Jaya Deva, sitar player Ravi Cherry, and several high-profile guests (including Neneh Cherry, who sings a touching tribute to Ravi's and her late stepfather) for a program of cross-cultural jamming.

Cut from the same cloth as the band's 1973 Deliver the Word LP, War's 1975 Why Can't We Be Friends? is a masterpiece in its scope and breadth. And, emerging as the last work the band would do for its longtime label, United Artists, it became a fitting swansong, powering up the charts and giving War its fourth and final number one hit…

Grażyna Bacewicz was an outstanding, extremely versatile artist. Her life contradicted the then popular view that a woman, by its very nature, cannot achieve excellent results in several spheres of artistic activity in a way that a man could. Among her most popular works are those written for violin. However, the new album, which will be released at the beginning of March, is devoted to her piano compositions.

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmo- spheres. Prairie has played in selected venues and festivals across Europe and for instance toured with Apparat. “And the Bird Said: Cut Me Open and Sing Me” is the second full length album on Denovali Records.

Khmer is surely the most unusual album ever released by ECM — unusual because the label, which is best known for elevated chamber jazz, presents the solo debut of trumpeter Nils Petter Molvaer as a production that plays with modern electronica methods while not eschewing the well-known ECM aesthetic. Molvaer's music is somewhere between scary and majestic, and changes between ominous ambient sounds and hard breakbeats, along which atonal screeching guitars combined with melancholic melodies, create a fascinating melange.

The legendary 1967 Gene Clark recordings. Also includes six additional previously unissued & unknown recordings.

“This is not at all what I wrote, but play it like this. Do play it this way!” exclaimed Dmitri Shostakovich after Yudina performed the freshly written 24 Preludes and Fugues. This exclamation contains the key to understanding of Maria Yudina’s performing art – a controversial and disputable one that left a profound imprint on the cultural environment of the twentieth century. The 10-album set is the biggest part of Maria Yudina’s surviving studio and concert recordings from the Melodiya archive made between 1948 and 1969.

When Johnny Griffin and Eddie "Lockjaw" Davis entered a New York studio with producer Orrin Keepnews on May 3, 1962, they did some things that were unusual for the two-tenor team. They played mostly ballads, they didn't engage in any tenor battles and - most surprising of all - they didn't perform together on any of the tunes. Griffin was featured on four songs, Davis on another four. The same rhythm section - Horace Parlan, bassist Buddy Catlett and drummer Art Taylor - was always present, but Parlan played piano on the songs featuring Griffin and celeste on the songs featuring Davis. For whatever reason, the performances remained in the can for 42 years; they weren't even mastered until 1966, and they finally saw the light of day when Fantasy released Pisces in 2004…

Unravel is a journey through the life span of Herd of Instinct. The album consists of unreleased tracks from previous albums, improvisations, and newly recorded material.
Furnance, recorded in 2011, is an intense improvisation featuring Markus Reuter on his newly developed U8 Touch Guitar. The experimental track, Alice Krige Pt. 1 & 2, is the complete 10-minute version as it was originally intended. The piece was cut in half for the Conjure album. Alice was based around an improvisation with trumpet player Joel Adair and drummer Jason Spradlin. Later additional players were asked to improvise over the foundation to keep the spirit of spontaneous composition…

Equally talented as a pianist and singer, Dena DeRose performs a wide range of material on A Walk in the Park. Possibly the biggest surprise is the obscure and touching Al Jolson ballad "All My Love." Other highlights include a swinging "How Deep Is the Ocean," her revival of Duke Ellington's obscure "The Lonely Ones," and a fine rendition of "I Concentrate On You." A couple burners would have added variety to this generally satisfying effort, which finds Dena DeRose in subtle but expressive form while accompanied by tasteful playing from bassist Martin Wind and drummer Matt Wilson. ~ AllMusic Review by Scott Yanow

Coping with loss is never easy. Some are completely defeated by the death of a loved one, choosing to retreat into isolation. Others prefer to reflect, celebrate the life that was lived, and play on. Saxophonist Charles Davis is part of the latter group. Davis lost his wife—Lori Samet-Davis—in April of 2012, but he didn't let that loss break his will to create. This album, a straight ahead display of artistic expression and affection, is given up in tribute to her.

Stefano Cantini, noto anche con lo pseudonimo di Cocco (Follonica, 1956), è un sassofonista italiano di genere jazz, apprezzato come solista al sax soprano. Nella sua carriera ha collaborato con musicisti jazz tra i quali Michel Petrucciani, con cui suona nel 1994-95, Chet Baker, Dave Holland, Enrico Rava, Billy Cobham, Kenny Wheeler, Dave Liebman, Ares Tavolazzi, Stefano Bollani e Paolo Fresu.

It's a bold concept; take Pink Floyd's iconic Dark Side of the Moon (Harvest, 1973) and reinterpret it in a big band jazz setting. With upwards of forty million copies sold, every note, every nuance of Floyd's eighth album is so firmly entrenched in the minds of the band's legion devotees that to tamper with the work in any way is to leave oneself open to facile criticism. French-Vietnamese guitarist Nguyên Lê, however, is nothing if not adventurous. Lê has already demonstrated on Purple: Celebrating Jimi Hendrix (ACT Music, 2007) and Songs of Freedom (ACT Music, 2012)—his tribute to classic pop and rock songs of the 1960s and 1970s—that he can breathe new life into old material without being overly reverential.

Lydmor's new album 'CAPACITY' is a musical maze full of alluring mysteries. At the same time, it is part of a process of liberation, which is about opening oneself up and discovering one's capacity. For her previous album, Lydmor travelled to Shanghai. But on her new album, Lydmor has mostly travelled deep into herself. 'CAPACITY' is a contrasting musical work where fiction and reality merge into a multifaceted sound universe. It is the electronic pop artist's most personal, complex and conceptual album to date.

While no organists music bench would be respectable without dog-eared copies of the Suite gothique (especially its concluding, Toccata, no mere knock-off of Widors showier counterpart) and C minor Toccata, there are vanishingly few albums dedicated to the organ music of Léon Boëllmann (1862-1897), making this Brilliant Classics reissue of Piet van der Steens album all the more enticing a proposition to organ buffs. A short-lived contemporary of Louis Vierne, Boëllmann composed in most classical genres, notably chamber music, but it is his output for organ that has assured him immortality, for its hand-in-glove harmony with the instruments of Aristide Cavaillé-Coll that represented the high-point of French organ building in the Gothic style, never knowingly underequipped. Boëllmann wrote accordingly, to take advantage of the new French organs with their prodigious array of registral colours and dynamic variation. Beyond the imperishable but ubiquitous Suite Gothique, the album offers discoveries galore, in the pomp and circumstance of the little-known Fantaisie, the perfumed refinements of the selection from his liturgically focused Heures mystiques, the quietradiance of the G major Offertoire and the ingenious Carillon from the Douze pièces. The Prelude pastoral opening the Deuxième Suite is a real charmer, and deserves to stimulate a Boëllmann renaissance along with much else here. It was recorded in 1977 by Piet van der Steen along with most of the shorter pieces on the Cavaillé-Coll organ of the Augustinuskerk in Amsterdam (first issued as an LP by the Cantilena label), whereas the Suite Gothique and Heures Mystiques excerpts date from 2002, on the Schyven organ of the Church of Ss Peter and Paul in Oostend.