The Complete works for Harpsichord of Jean Henry D'Anglebert performed by Karen Flint on the 1627 & 1635 Ioannes Ruckers Harpsichord and the Anonymous c. 1690 Parisian harpsichord inscribed "Ioannes Ruckers, 1620' from the Flint Collection of Antique Instruments with notes by Bruce Gustafson.

The perfect case of a pianist who sounds completely relaxed in the studio and, because of that, manages to balance assertiveness and poetry in ideal proportions. Gerhard Oppitz is a penetrating Brahmsian, bracing in the youthful works, quietly confiding in the later ones.

Ferocious and uncompromising in their execution, Carcass' ability to intricately dissect the innards of death metal, and display them for us to sonically understand has been their point of excellence for over three decades. In December 2019 the band released their first single in over 5 years "Under The Scalpel Blade," followed by a 4 song EP entitled "Despicable" (October 2020), setting a potent precedent for the full length album to come in 2021: "Torn Arteries". With the album title itself referencing an old demo created by original drummer Ken Ownback in the 80’s, "Torn Arteries" sits as a bookend on the modern side of the Carcass discography, connecting directly back to where everything began over 30 years ago. Most will find that the only real struggle when indulging in "Torn Arteries" is fighting the desire to start it over the second it finishes…

The Serbian-American Paris-based pianist Ivan Ilic has signed a new multi-album recording contract with Chandos Records, following internationally acclaimed recordings of works by Godowsky and Feldman. His first project on the label is a series devoted to the solo piano works of the Czech composer Antoine Reicha, a contemporary and lifelong friend of Beethoven. Although best known for his contributions to the repertoire for wind quintet, Reicha wrote vast quantities of solo piano music, most of which has never been recorded. The manuscripts, preserved in the Bibliotheque nationale de France, were published only recently.

Destruction is a German thrash metal band, formed in 1982. They are often credited as one of the "Big 4" of the German thrash metal scene, the others being Kreator, Sodom and Tankard. In addition to helping pioneer black metal by containing several elements of what was to become the genre, Destruction was part of the second wave of thrash metal in the late 1980s, along with American bands Testament, Sacred Reich, Death Angel and Dark Angel…

Universal’s 2010 collection Icon rounds up recordings Johnny Cash made during his stint on Mercury in the ‘80s, which means that the versions of “I Walk the Line,” “Cry Cry Cry,” “Guess Things Happen That Way,” “Get Rhythm,” “Hey Porter,” “Wanted Man,” “Ring of Fire,” and “Folsom Prison Blues” included here are not the original hit versions. They’re perfectly fine remakes supported by such ‘80s vintage recordings as “The Night Hank Williams Came to Town” and a cover of Harry Chapin’s “Cat’s in the Cradle.” This will inevitably be a let-down for those looking for the originals, but they’re solid versions and this collection is enjoyable for what it is.

Remember the excitement you first felt drawing circles as a kid? That profoundly innocent sense of being able to construct anything inside, outside, on, or upon those circles? Faces, trees, noses. Birds. bees, roses. A wide, westward, indigo sky. A fathomless blue ocean of liquid imagination. That's what it's like when you fully and gratefully engage with NYC based pianist/composer Yaniv Taubenhouse's third go round Moments In Trio Volume Three: Roads.
With his fiercely limber rhythm mates, bassist Rick Rosato and drummer Jerad Lippi, the pianist's elegant musings evolve like a lived-in winter's day. A squall here, a flurry there. But they never leave you cold like some artisans…

Listening to the music on this two-disc set, you may wonder why the chamber works of Swedish Romantic composer Franz Berwald are not more frequently recorded. It can't be because of his themes, which are strong, sweet, and distinctive; or because of his harmonies, which are powerful, rich, and cogent; or because of his forms, which are innovative, inventive, and indestructible. The only possible reason for this music's neglect is that there's only so much room in the world for great music, and unfortunately, Berwald, Schubert, Schumann, Mendelssohn, Brahms, and Dvorák have apparently already occupied all the space allocated to chamber music of the Romantic period. Still, anyone listening to the music on this two-disc set will have to wonder if there's not enough room for Berwald, too.

CeeLo Green has never made a bad album, and isn’t about to change his ways with Heart Blanche, which overflows with positive energy. The key track is “Est. 1980s”, a euphoric celebration of his musical influences, set to the kind of flanged guitar groove popular in an era when “Michael Jackson was king, Aaron Neville was God, and Run DMC looked just like me”. The period influence is confirmed by the sampled Taxi theme used for “Sign of the Times”, and by the departed comics (Belushi, Pryor, Williams) eulogised in “Robin Williams”, his tribute to the late comedian. Elsewhere, “Mother May I” suggests the teenage CeeLo straining at the parental leash, while “Music to My Soul” offers uplift to those “living in darkness”. The standard dips slightly in the later stages, but the grooves throughout are sleek and snappy, and CeeLo himself has rarely sounded better.

High Stakes & Dangerous Men is the thirteenth album by British hard rock band UFO, released in February 1992. It is the only UFO studio album to feature guitarist Laurence Archer and drummer Clive Edwards, both former members of Wild Horses.

A glorious collection of choral music by British composers, recorded live during services of Choral Evensong in King’s College Chapel. Popular anthems like Hubert Parry’s I was glad and Patrick Hadley’s My beloved spake are included alongside settings of the Magnificat and Nunc dimittis through the centuries. Included here are settings from Byrd’s Great Service and Weelkes’ Short Service, alongside Stanford’s setting in G and William Mathias’ Jesus College Service. Recorded between the summers of 2018 and 2019, this selection presents music from Stephen Cleobury’s last year as Director of Music at King’s College after 37 years in post.

There may be hope for jazz fusion after all. If there were no other evidence, trumpeter Chris Botti's terrific album would be enough to give hope to even the most jaded bebop snob. This is that rarest of things: a completely unchallenging record that is also richly rewarding. Botti's approach is lyrical but spare; the production is dark, warm, and rich. A sense of deep and quiet romanticism pervades everything, and while Botti never really lets loose and wails, he manages to make his chops obvious on tunes like "Cubism" and the funky "On the Night Ride." Most of the songs are powered by a gentle funk groove, and one even features a vocal cameo by Gen-X poster girl Edie Brickell. Jazz snobs will get sucked into this delicious music despite themselves; fans of Kenny G and Najee will think it's "real" jazz and consider themselves sophisticated for liking it so much…