Joe Louis Walker is quite the triple threat. Not only is he a superb blues guitarist, with remarkable fluency and imagination, he's also an excellent singer (as you might expect from someone who came up through gospel groups), and an excellent writer with a strong penchant for soul music. For the most part, his blues isn't the heart-wrenching type, but deals with mistrust and double-dealing ("Messed My Mind Up") and good times ("Custom Cars, Gibson Guitars"). Throughout he blurs the line between blues and soul, which effectively makes this one of the best soul albums in a long time, as he shows on "Do You Love Me" and "You Don't Love Me Girl." With "Soldier for Jesus" his blues mixes with gospel, and some wonderful guitar work…

It may be far too obvious to even mention that Norah Jones' follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But that's probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting – who knew? Feels Like Home could be seen as "Come Away with Me Again" if not for that fact that it's actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single "Sunrise," some reworked cover tunes, some interesting originals, and one ostensible jazz standard.

A wild, freewheeling, and ultimately successful attempt to merge psychedelia with jazz-rock, Soft Machine's debut ranges between lovingly performed oblique pop songs and deranged ensemble playing from drummer/vocalist Robert Wyatt, bassist Kevin Ayers and organist Mike Ratledge. With only one real break (at the end of side one), the songs merge into each other - not always smoothly, but always with a sense of flair that rescues any potential miscues. Wyatt takes most of the vocals, and proves himself a surprisingly evocative singer despite his lack of range. Like Pink Floyd's The Piper at the Gates of Dawn, Vol. 1 was one of the few over-ambitious records of the psychedelic era that actually delivered on all its incredible promise.

Mind Over MIDI is the project of Norwegian Ambient producer and musician Helge Tømmervåg. His discography goes all the way back to 1996. Transit is the second release for Shimmering Moods. Coincidence or not, this album is a great match with Andrew Sherwell’s Nostalgia: here too the arrangements of (virtual) choirs define the atmosphere. Floating and stretched to suggest timelessness, even though the individual tracks are relatively short (each around the 3-4 minutes) which is quite unusual for this kind of music.

Naxos intend to record Vivaldi’s entire orchestral corpus, and Raphael Wallfisch’s integral four-disc survey of the 27 cello concertos inaugurates this visionary, though plainly Herculean undertaking. Soloist and orchestra employ modern instruments; director Nicholas Kraemer contends that authentic protocols can be ably met by contemporary ensembles and, in articulation, style and ornamentation, these pristine, engaging readings have little to fear from period practitioners. Wallfisch’s pointed, erudite and spirited playing is supported with enlightened restraint by the CLS, directed from either harpsichord or chamber organ by Kraemer, whose sensitive continuo team merits high praise throughout. Without exception, these Concertos adopt an orthodox fast-slow-fast three-movement format. Wallfisch, dutifully observant in matters of textual fidelity, plays outer movements with verve, energy and lucidity, such that high-register passagework, an omnipresent feature of these works, is enunciated with the pin-sharp focus of Canaletto’s images of 18th-century Venice, which adorn the covers of these issues.

Praise of the beauty of nature and eternal life are the subjects of the sacred poems by B. H. Brockes which Handel set to music in his "Nine German Arias". In these nine pieces for soprano and a small group of instruments, to be chosen at will, Handel drew in many places on music from his own operas, with the voice part in the German arias adapted to be less virtuosic and more deeply expressive. The "Three German Arias", recorded for the first time on this CD, by Johann Mattheson, which were formerly attributed to Handel, are a real discovery for the repertoire. The soprano Monika Mauch is accompanied in her beautiful interpretation of the arias by the specialist ensemble L'arpa festante.

On the strength of the immense success of Dido & Aeneas and King Arthur, in 1692 Purcell went on to produce The Fairy Queen, based on Shakespeare’s A Midsummer-Night’s Dream. The work is, in fact, a ‘semi-opera’, or ‘opera with dialogue’, in which only some of the crucial scenes are provided with music. But this version of A Midsummer-Night’s Dream by the ‘Orpheus Britannicus’ became almost as famous as the play that inspired it, with its love scenes, its supernatural scenes and its innate sense of musical humour investing it with an irresistible savour and enchantment.This title was released for the first time in 1989.

Mozart’s friend Franz Xaver Dussek (in whose summer villa he completed Don Giovanni) was a pianist, celebrated teacher and the leading composer of instrumental music in Prague. Like his compatriot Vanhal, Dussek completed his musical training in Vienna and, unsurprisingly, his works reflect the strong influence of composers such as Hofmann, Haydn and Dittersdorf. Dussek’s symphonies, most of which appear to have been composed in the 1760s and 1770s, are works of great charm and vivacity, cleverly orchestrated and full of striking melodic ideas as this recording amply demonstrates.

Best known for his classic blues, jazz and guitar instrumental sounds, Duke Robillard cuts loose in style on his 2023 album Six Strings Of Steel. Credited to Duke Robillard & His All-Star Band, the 12-track, 60-minute CD features Duke’s guitar and vocals backed up by a top-flight band including long-time Robillard band members Mark Teixeira (drums), Bruce Bears (keys), Marty Ballou (bass), and Doug James (sax), in addition to recently added band member, Chris Cote (vocals). Guesting is Katie Shore (fiddle) of Asleep at The Wheel.

Multi-platinum selling and Grammy-Award winning cultural icon Kenny G announced the release of Innocence, the legendary saxophonist’s 20th studio album, available everywhere early December through Concord Records. The highly anticipated new album will feature 12-tracks, all of which embrace the theme of lullabies, a cultural and familial tradition that is very special to Kenny. From renditions of timeless pieces such as “Rock-a-Bye Baby,” and Harold Arlen’s “Over the Rainbow,” to seven original tracks, fans can expect Kenny’s signature soprano saxophone to uplift audiences throughout, as it aims to conjure aural nostalgia of the highest order.