Pianists André Previn and Russ Freeman team up with drummer Shelly Manne in a trio to play eight of their originals (along with the standard "Take Me Out to the Ball Game"), all given titles having to do with baseball. Double Play! was advertised as the first time that two pianists recorded what was then modern jazz together. Previn and Freeman had very complementary styles, making it difficult to know who was playing when, although a complete play-by-play is included.

Waiting for Miracles is the first long-player by the Flower Kings since 2013's Desolation Rose. It marks a return from exile for the Flower Kings after 2018's Waiting for an Alchemist - which was billed to Roine Stolt's the Flower King. Here Stolt, Hasse Fröberg, and Jonas Reingold are joined by new members keyboardist Zach Kamins and drummer Mirko DeMaio who are not, based on what is here, fully integrated into TFK's aesthetic. This is a band offering that contains the complex mood, textural, and color changes, intricate melodies, atmospheres, and dynamics that are at the heart of TFK's musical signature.
Waiting for Miracles clocks in at 85 minutes but showcases TFK in a more economical mode compositionally. That's not to say the band are writing pop songs; their music remains challenging prog rock that recalls the sound and feel of the band's first five records…

A Norman composer from the early 20th century and a little-known figure in French music, Gabriel Dupont was one of the last representatives of French post-romanticism, which died with him at the dawn of the Great War.With a remarkable sense of harmony and an undeniable talent for colour, Dupont depicted fragments of life to evoke a sensation, a moment, an interior landscape.Cyrille Dubois and Tristan Raës capture his sensibility, rooted in the everyday life, in this complete recording, a new stage in their melodic odyssey, sublimating the art of a composer whose supreme refinement consists in being moved (and moved) by a wrinkle (‘La Rencontre’), a perfume (‘Crépuscule d'été’, ‘Le Baiser’) or a light (‘Douceur du soir’).

Though naturally closely associated with the organ and harpsichord, Bach had a special relationship with the violin, his father's instrument, throughout his life. Moreover, we know that he was a highly skilled player, performing regularly at the court of Weimar, and probably also at Kothen and Leipzig. He wrote and transcribed concertos and sonatas for violin, but above all created the unprecedented collection of Sonatas and Partitas for solo instrument. And it is precisely for this vehicle of pure virtuosity that Marco Serino's new project offers four masterpieces, only one of which - the Partita No. 2, the most ambitious work in the group - has survived in a version for violin. Both the first two Suites for cello and the Toccata and Fugue BWV 565, however, already boast an important tradition of violin transcriptions. Pervaded by the virtual polyphony so characteristic of the celebrated Sei solo, these extraordinary pieces, which are presented from a different perspective than usual, celebrate this art of transformation pursued by the artists of the Baroque as an ideal of continuous and fruitful metamorphosis.

In this highly original programme, Julien Libeer and his partners bring us the smile and the light of Mozart: an absolutely radiant sonata for solo piano, a sonata for violin and piano in which joy triumphs over anxiety, a flamboyant trio from the time of Le nozze di Figaro, to say nothing of the Piano Quartet K478, a rare combination that allows the composer to play around on the frontiers of the concerto and chamber music. All of this in a surprising dramatic progression!

All the Things We Are is a bit unusual in the Dave Brubeck discography. The pianist is heard in a quartet with altoist Lee Konitz on "Like Someone in Love" and a brief "Don't Get Around Much Anymore," with avant-garde giant Anthony Braxton (also on alto) featured on "In Your Own Sweet Way," while both Konitz and Braxton team up for "All the Things You Are." In addition, the Brubeck Trio (with bassist Jack Six and drummer Alan Dawson) plays an exquisite and frequently exciting 21-minute, five-song "Jimmy Van Heusen Medley." A total success, this "experimental" Brubeck set is highly recommended.

Markku Luolajan-Mikkola has a reputation for excellence and already has two Gramophone Awards. With a fan base to match, Luolajan-Mikkola is at the top of his game. In Luolajan-Mikkola’s Linn debut, he tackles the pinnacle of Bach’s productions for violinists: the Partitas and Sonatas. Luolajan-Mikkola transcribed these works for cello. His goal with this recording has been to encapsulate expression and emotion according to the character of each movement. A historically informed musician, he performs on baroque cello.

"Exilarch" is the third album by Rhys Fulber, artist and producer behind Conjure One. The current single, "Like Ice," features vocals by one of dance music's most sought after voices, Jaren Cerf. As a member of industrial rock outfit, Front Line Assembly and later, Delerium, Fulber went on to sell a quarter of a million albums in the US and over a million units worldwide with the collaborative album, Karma. On Conjure One's self-titled debut, two singles - "Tears From The Moon" and "Sleep" - placed #1 on the UK Club Chart and #3 on Billboard Hot Dance Music/Club Play chart.

Ferdinand Ries occupies a remarkable place in the history of music. He was famously a friend and pupil of Beethoven and a virtuoso pianist. His extensive oeuvre opened up the musical aesthetics of Viennese Classicism to Romanticism. Completed in 1826, the Piano Trio in C minor, Op. 143 features two lively, fast movements surrounding a poetic Adagio, reminiscent of the era’s finest opera arias. Very different is the Grand Trio in F minor, WoO 86. It features four thematically interwoven movements that traverse emotions from despair to passion and eventual peace.

Junko Onishi has long been one of the most popular pianists in Tokyo. Her years backing famed jazz masters in the States along with her vibrant attitude to the music have earned her respect and fans. This new release comes nearly a decade after her last one, 1999’s rock groove outing “Fragile.” This recording is entirely different from that one, with several self-penned numbers, three Eric Dolphy tunes and three standards. Recorded in New York, except for a live medley at Tokyo Blue Note, it is a vital new work that finds Onishi’s forceful playing unbridled. The result is much more of her as the accomplished and powerful musician she truly is.

The large-scale Bach Organ Landscapes project featuring J.S. Bach's entire organ oeuvre recorded on a range of instruments aims to provide an overview of organ-playing and organbuilding traditions that were key to Bach's composing. With a keen eye to the unique cultural organ legacy of the places associated with Bach, Halubek has placed Bach's original sound at the heart of his project. The recordings are accompanied by digital material that offer an almost tactile access to the great composer's sound universe.

Erik Bosgraaf Bosgraaf was born in Drachten, Netherlands. He received his Master of Arts in musicology from Utrecht University in 2006. In 2007 Bosgraaf, under the supervision of musicologist Thiemo Wind, released a 3-CD-box with compositions of the Dutch composer Jacob van Eyck (1589–1657), a collection which attained unexpected commercial success and sold more than 25,000 copies. In the 2011–12 season he was nominated by Concertgebouw Amsterdam and the Centre for Fine Arts, Brussels, on behalf of the German ECHO music award organisation, to take part in the Rising Stars series for a tour of the most important concert halls in Europe.

Fun House is the second studio album by American rock band The Stooges. It was released on July 7, 1970 by Elektra Records. According to Billboard magazine, Fun House is set in hard rock and improvisation. Music critic Robert Christgau characterized the album as "genuinely 'avant-garde' rock" because of the music's apt "repetitiveness", "solitary new-thing saxophone", and "L.A. Blues", which showcases the "old avant-garde fallacy … trying to make art about chaos by reproducing same." Greg Kot called Fun House "the Stooges' punk jazz opus". In 2003, Rolling Stone ranked Fun House number 191 on their list of the 500 greatest albums of all time.

Top Priority is Rory Gallagher's tenth album. It was his fourth and final studio album for Chrysalis Records. The album was the second with his revised power trio band. Like the previous album Photo-Finish, Top Priority is a return to hard rock. The ballads, acoustic and folk influences that were seen on albums such as Calling Card are replaced by more conventional but powerful blues rock.

Leszek Możdżer, Lars Danielsson, and Zohar Fresco celebrate 20 years as one of jazz’s most celebrated trios with Beamo—an album that reaffirms their artistry while boldly venturing into new tonal territory. Central to this groundbreaking work is Możdżer’s use of three differently tuned pianos (A = 440 Hz, A = 432 Hz, and a decaphonic scale), reshaping traditional tonality into something intriguingly unstable yet profoundly beautiful. Danielsson’s double bass and viola da gamba weave these tonalities into a cohesive, resonant whole, while Fresco’s intricate rhythms glisten with depth and brilliance.