In contrast to the earthy, rootsy qualities of Bella Donna, Stevie Nicks took a slicker, more high-tech approach on her third solo album, Rock a Little. But for all its glossiness, this pop/rock CD comes across as sincere and heartfelt rather than formulaic or contrived. From the catchy "I Can't Wait" to the intense "No Spoken Word" to the dark "The Nightmare," everything on Rock a Little is as honest as it is memorable. Assisting Jimmy Iovine and Rick Nowels with the production, Nicks wisely sees to it that technology adds to her songs instead of smothering or overpowering them.

After the success ofDuel (Opera Choice in BBC Music Magazine, Disc of the Month in Opera magazine, etc.), Giuseppina Bridelli presents a new solo project alongside the Quartetto Vanvitelli (recently awarded ‘5 Diapasons’ in the magazine Diapason for its second recording, devoted to the violin sonatas of Michele Mascitti), in which she tackles the fascinating world of the Italian chamber cantata for voice, continuo and solo violin.

La clarinette, instrument de prédilection de Mozart lui a inspiré deux partitions de chambre exceptionnelles, dont "Le Trio des quilles". La légende veut que Mozart l'ait conçu pendant qu'il jouait aux quilles avec quelques amis. Dans cette oeuvre, on atteint la plus haute conception de la musique de chambre : un équilibre parfait entre les parties, une grande homogénéité de timbres. Cette version interprétée par des artistes de renommée internationale est vraiment très expressive.

Violinist and director Johann Ernst Hartmann is mainly known to posterity for his Danish Singspiel though he actually wrote far more instrumental music than songs. A disastrous fire in the Christianborg Palace in 1794 destroyed a large number of his manuscripts so it’s uncertain quite how many symphonies and other concerted music he did write – only one Symphony ever made it to publication, the First, which was published by Hummel in Amsterdam in 1770.

L7 had the sound, style, and tough-grrrl attitude to hit it big in the aftermath of grunge's mainstream breakthrough, but unfortunately, the band was too often hampered by uneven songwriting. The Best of L7: The Slash Years collects four songs apiece from Bricks Are Heavy, Hungry for Stink, and The Beauty Process: Triple Platinum (although, as the title suggests, there's nothing from the fine Sub Pop album Smell the Magic). It's a pretty good distillation of the cream of those records, even if there are still a few tunes on Bricks Are Heavy that could have made the cut on a less mathematically selected best-of. In fact, as L7's most pop-oriented record, Bricks Are Heavy is still a slightly more accessible introduction, since following that album, the band tended to rely more on sheer power than melody. Nevertheless, The Best of L7: The Slash Years does encapsulate what the group was all about, and it's a great way to dig deeper into their catalog without having to buy all the individual albums.

Pianist Misha Alperin appears with a quintet on this set of mysterious original compositions. His longtime colleague, Arkady Shilkloper, plays French horn and flugelhorn and is joined by Tore Brunberg on tenor saxophone, Terje Gewelt on double bass, and ECM stalwart Jon Christensen on drums. Combining Russian folk, modern classical, and free jazz influences, Alperin's music ranges from the icy minimalism of "Morning" and "Alone" to the atonal fanfares of "Afternoon," the eerie unison melodies of "Psalm No. 1" and "Psalm No. 2," and the jumpy parallel-fifth motives of "Ironical Evening." Most memorable is the exquisite "North Story," a sparse invention framed by a descending pattern of seven gorgeous chords. In contrast, "Etude," one of the disc's more upbeat and exuberant pieces, is based on darting, tightly executed 16th-note patterns. The program ends with the sole non-original, Harald Saeverud's "Kristi-Blodsdraper (Fucsia)," a beautiful folkish ballad.

Decca Classics is proud to present Jessye Norman – The Unreleased Masters, showcasing never-before-heard recordings of one of the greatest classical singers of all time. The set includes Wagner and Strauss song cycles, and a live recording of an eclectic programme of cantatas by Haydn, Berlioz and Britten.

Guns N' Roses: London 1991 includes never-released, newly-mixed songs from the Guns N' Roses iconic show at Wembley Stadium on 8/31/91.

The new album from Jason Isbell and the 400 Unit, tackling issues such as gun violence, the opioid crisis, and women's rights all through Isbell's signature songwriting lens.

Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar.