Aujourd’hui Jehan Titelouze fait plus ou moins figure d’australopithèque. Mais il est tout de même le fondateur de la tradition de l’orgue français. Il y a près de 400 ans, un éditeur parisien a publié cette collection de 39 pièces, premier recueil français d’œuvres pour clavier d’un seul et même compositeur. Titelouze explore 12 des plus populaires hymnes de son temps. Dans ces « fugues et ricercars » il développera le langage polyphonique du XVIe siècle en utilisant des dissonances, des accords de septième et le chromatisme laissant ainsi entrevoir les nouveaux chemins que la musique allait prendre.

In some ways, For Free plays like the culmination of David Crosby's late career purple patch. Working once again with James Raymond – his son who has turned out to be an unusually empathetic and intuitive producer – Crosby mines similar territory as he has on the records he's released since 2014's Croz, yet For Free contains its own distinctive vibe…

Orange is a reference to Georges Perec. Just as in Perec’s literary works everyday events and common keepsakes stand for a collective memory, so the music moves in a way that speaks of a shared expanse: different modes are assembled like a puzzle, creating an overall picture of associative images. In Perec’s creations, key words and places become way stations in a labyrinth of memories.
"Je me souviens" is a key sentence around which the Parisian poet Georges Perec (1938-1982) has constructed a patchwork of narrative aphorisms. At the same time, he is open to interpretation, and so Perec’s work acts as a stimulus for Michael Riessler, as he brings his musical perceptions and awareness into play…

All Things Must Pass is the third studio album by English rock musician George Harrison. Released as a triple album in November 1970, it was Harrison's first solo work after the break-up of the Beatles in April that year. It includes the hit singles "My Sweet Lord" and "What Is Life", as well as songs such as "Isn't It a Pity" and the title track that had been overlooked for inclusion on releases by the Beatles…

The Peppermint Trolley Company are quintessentially '60s Southern Californian, capturing the soft fallout of folk-rock and psychedelia, all wrapped up in the studio gleam of Hollywood. Tinsel Town played a large role in the group's existence as they became best-known as the singers of the theme songs for the Brady Bunch and Love, American Style, gigs they received because they had a sweet commercial sound that should have hit the Top 40 even if it never did (the closest they came is with the minor hit "Baby You Come Rollin' 'Cross My Mind," a bubblegum spin on Glen Campbell). The Peppermint Trolley Company's problem wasn't a lack of good collaborators - on their eponymous 1968 debut, Chad Stuart of Chad & Jeremy, provided arrangements, Roger Nichols appears on his song "Trust" - or a dearth of material but that they lacked a strong identity, too easily moving from lite psychedelia to gently rolling folk-pop…

Overlooked German band with great love for 70's progressive rock, led by (professional chemist) Arne Schaefer, also leader of the side-project Apogee. They were formed at the dawn of the 90's by Schaefer and drummer Stefan Maywald, who were members of the new wave band ''Vague Venture''. Keyboardist Ekkehard Nahm saw Scahefer playing at a solo concert and meant to be the third member of the band's early years. The Frankfurt-based trio recorded their debut in 1994 with Schaefer playing basses, guitars and handling the vocals.
As Schaefer is a devoted fan of Peter Hammill, plenty of the material is song-based without lacking in instrumental intensity…

Ukrainian pianist Igor Gryshyn performs the music of one of his greatest compatriots, pianist-composer Viktor Kosenko, alongside repertoire by a figure who inspired Kosenko’s output: Russian composer Alexander Scriabin. This album brings Kosenko’s music into the spotlight and reveals a composer deserving of wider attention. Kosenko’s Études, Op. 8 brim with a wealth of ideas, encompassing the chromatic fluidity and shifting colours that show Scriabin’s influence with other stylistic traits ranging from full-blooded Romanticism to jazz. Scriabin’s Four Preludes, Op. 22 date from early in his career and demonstrate his love of Chopin’s music as he takes elements of Chopin’s style to new extremes of expression. The Sonata No. 4 in F sharp major, Op. 30 was composed at a crossroads in Scriabin’s life, and reflects his increasingly vivid treatment of music as a vehicle for his ecstatic, intoxicating visions.

The UC College-Conservatory of Music (CCM) Wind Symphony releases a new recording, "Grand Pianola Music", featuring works by George Gershwin and John Adams, the recording showcases faculty artist Michael Chertock, student artist Giuliano Graniti and alumni artist Fabio Menchetti (DMA Piano, '19).

The sun has set, it’s cocktail hour and you need some sounds to help you settle into the evening. These are those sounds. More than four hours of the very best after-hours jazz around. Whether sultry saxophone, cool singing, muted trumpet or relaxed piano, this Late Night Jazz is the perfect accompaniment to your wee small hours.
Stan Getz, John Coltrane, Cannonball Adderley, Carmen McRae, Jimmy Scott, Miles Davis, Lee Morgan, Donald Byrd, Kenny Barron and many others.

Paul McCartney must not only have been conscious of his slipping commercial fortunes, he must have realized that his records hadn't been treated seriously for years, so he decided to make a full-fledged comeback effort with Flowers in the Dirt. His most significant move was to write a series of songs with Elvis Costello, some of which appeared on Costello's own Spike and many of which surfaced here…