Haydn wrote the six quartets of Opp 54 and 55 in 1788, by now a celebrated composer across Europe and still opera Kapellmeister at Esterházy. These period instrument players, whose very name declares their affinity for Haydn, excel in the latest in their Hyperion series. Ever spry in fast movements, faultless in dexterity and intonation, they find a special warmth of feeling in the slower moments: the songful Adagio Cantabile of Op 55 No 1, the puzzling, melancholy Andante of Op 55 No 2, the dark, hymn-like first bars of Op 54 No 2’s Adagio, out of which the violin soars in almost improvised, bluesy reverie. Too many pleasures to enumerate. Try for yourself.

The third studio long-player from the Grammy Award-winning hard rockers led by powerhouse vocalist Lzzy Hale, Into the Wild Life doubles down on the more radio-friendly elements that were introduced on 2012's Strange Case Of…, but it also plays fast and loose with the formula, pouring as many different stylistic elements as it can into each of its 12 (15 if you pick up the deluxe version) cuts. As per usual, Hale's tornadic vocals lead the charge, and she lays down some of her best work to date on stand-out cuts like "I Am the Fire," "Gonna Get Mine," the heartfelt ballad "Dear Daughter," and the blistering, aptly named "Mayhem," the latter of which eschews some of the more traditional hard rock Halestorm tropes (of which there are many) in favor of a nervy blast of pure punk-metal malevolence.

Sly and the Family Stone were an American rock, funk, and soul band from San Francisco, California. Active from 1966 to 1983, the band was pivotal in the development of soul, funk, and psychedelic music. During the late '60s and early '70s, Sly Stone and his family of funkateers were one of the most popular outfits in the U.S. and beyond. Their blend of classic Soul and future Funk created the blueprint that many other bands still follow over four decades later. This box includes great albums like A Whole New Thing (1967), Dance To The Music (1968), Life (1968), Stand! (1969) and There's A Riot Goin' On (1971).

This limited-edition CD, featuring Stan Getz, J. J. Johnson, John Lewis, and Gunther Schuller, presents one of the earliest examples of Third Stream jazz. Written especially for this release are new notes by Gunther Schuller. Recorded March 14, 1955 in NYC. Of the five compositions that were recorded for this album, three were specifically commissioned by Mr. Norman Granz for this date. The remaining two, "Django" and "The Queens Fancy", were older compositions of John Lewis that were specially orchestrated by Mr. Gunther Schuller for this session. The Modern Jazz Society Presents a Concert of Contemporary Music is an album of music composed by John Lewis and arranged and condducted by Gunther Schuller which was originally released on the Norgran label. Allmusic awarded the album 3 stars. The Penguin Guide to Jazz awarded the album a "Crown" of recommended jazz recordings.

Deafheaven announce a 6th album entitled 'Lonely People With Power', available March 28! As evidenced by the 1st single 'Magnolia', the American band returns to the unique style that made their 'Sunbather' album such a success, inviting Paul Banks from Interpol and Jae Matthews from Boy Harsher. Lonely People With Power' is Deafheaven's most ambitious album to date.

A la fin du règne de Louis XIV, le mystérieux Gaspard Le Roux compose pour le clavecin des suites d'une incroyable richesse qui peuvent être jouées à deux clavecins. C'est ce répertoire unique qui est aujourd'hui prétexte à une conversation musicale entre William Christie et Arthur Haas.

Antonin Reicha was a brilliant composer with a fascinating, inquiring mind. His wind quintets are well known, but his musical experiments included odd-numbered meters (there’s a delightful overture in 5/8 time on MDG), quarter tones, and massed timpani (a lesson not lost on one of his prize students, Hector Berlioz). The symphonies are more conservative in idiom, but brilliantly orchestrated, particularly for Reicha’s beloved woodwinds. Jan Caeyers and his Beethoven Academie play musically, and they are gorgeously recorded, but the overall effect is more correct than exciting.

Hadley Caliman recorded a few albums in the 1970s, then didn't record as a leader for several decades until after retiring from his teaching job, then came a series of CDs issued by Origin, of which this is the third. This reunion with fellow tenor saxophonist Pete Christlieb marks their first opportunity to play together since the mid-'60s, aside from one brief meeting in the 40-plus-year stretch leading up to this record date. Many two-tenor sax sessions end up being battles, but the two veterans are old friends who aren't trying to top one another and instead focus on inspiring each other's playing. The potent rhythm section includes pianist Bill Anschell, bassist Chuck Deardorf, and drummer John Bishop, all seasoned players who provide excellent support throughout the date. There's plenty of fire in the rousing workout of "Love for Sale." The very deliberate setting of "I Thought About You" features some of Caliman's most powerful solo work, while the two tenor men have a ball in the loping treatment of Freddie Hubbard's timeless jazz waltz "Up Jumped Spring." The bulk of the CD features strong original compositions. Caliman contributed the vibrant "Comencia," blending a slight Afro-Cuban flavor in a brisk bop vehicle, as well as the hypnotic "Gala," which proves to be the most dramatic performance of the session.

Recorded in June 1960, Swingin' on the Town was a bit of a retro affair at the time, since swing was no longer popular dance music, nor the cutting edge of jazz. Still, Eldridge was one of the best swing trumpeters of any era, and his music continued to deepen over the years; there was no reason for him not to play swing standards if he could still make them sound fresh. Throughout Swingin' on the Town, he does make it sound fresh. It helps that he's supported by bassist Benny Moten, pianist Ronnie Ball and drummer Eddie Locke, who keep things lively, but Eldridge is the focus here, and his performances are supple, swinging and charming. He doesn't do anything out of the ordinary, but he delivers the expected with grace. Not a major album in his catalog, but certainly an enjoyable one.

This double disc is a collaboration between Ryuichi Sakamoto and Christian Fennesz, with the former man taking a decidedly dominant role throughout. The concept behind the album is fairly straightforward: on each night of a 24-date tour, Sakamoto wrote and performed a piano piece in a different key. By tour's end, he'd explored every possible tonal variation within Western notation. He provided these short, jewel-like solo piano melodies to Fennesz, who laid them in soft beds of gently caressing electronics. The results are very pretty…

The Genius Sings the Blues began as a simple compilation. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singer’s migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles’ greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianist’s indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents.
From the iconic cover art to the distinguished music within, everything about the thematic record is iconic…