Brazilian music is held in the highest regard by aficionados throughout the world for many reasons. There are many qualities in the music that shine through from this country, with its diverse population and geography. Though there are many genres of music that have originated in Brazil, it is the overwhelming emotional content of the music that has hooked generations of listeners.

NMB are releasing their much-anticipated fourth album, Innocence & Danger. The band comprise Neal Morse, Mike Portnoy, Randy George, Bill Hubauer & Eric Gillette. With NMB’s previous two releases being concept albums, it’s perhaps remarkable that Innocence & Danger is a series of unrelated songs, but drummer Mike Portnoy says “After two sprawling back to back double concept albums in a row, it was refreshing to get back to writing a collection of unrelated individual songs in the vein of our first album.”

“It’s probably fair to say that only Cyro Baptista could concoct a mix of music to include Brazilian, Mexican, and Afro-Cuban forms with hints of jazz, funk, and whatever else may fit, sometimes with multiple forms within the same song. Yet, even while you may not detect the particular style or have a total grasp on what he’s up to, he somehow makes it accessible and infectious.” Jim Hynes, Glide Magazine

Guitarist Bill Frisell’s new double LP Orchestras documents two inspired concert-hall engagements arranged by Michael Gibbs for Frisell’s long-standing trio with bassist Thomas Morgan and drummer Rudy Royston: one featuring the nearly 60-piece Brussels Philharmonic, conducted by Alexander Hanson; and one with the 11-piece Umbria Jazz Orchestra, under the musical direction of Manuele Morbidini. But as with so much of Frisell’s music over the past four decades, a relatively straightforward concept and a familiar songbook yield quietly stirring revelations. The music showcases a level of comfort and interactivity that far transcends the vast majority of “with strings” projects on the jazz record shelf. Sweeping orchestration evoking landmark film scores and Gil Evans alike move nimbly within and around the trio’s telepathic rapport, and Frisell’s shimmering trademark tone melds gorgeously with symphonic strings and brass.

This debut album, from Germany based ensemble Conceptus, features music for tenor and ensemble by Butterworth, Warlock, Holst and Bridge, in addition to Timothy Collins’ Sea Song. Collins has composed and arranged extensively for the ensemble.

Bára Gísladóttir (b. 1989) considers sounds, instruments and ensembles as living organisms. In VAPE, Hringla and COR, the Icelandic composer and double bassist engages with the largest musical organism of all: the symphony orchestra. Inspired by death metal or techno as much as by Scelsi or Penderecki, the foreboding atmosphere of her music is cut through with irony, puns and black humour. After all, organisms themselves – especially human bodies – contain the potential for both comic excess and self-annihilation. In these three works we follow Gísladóttir’s fascination with language and coincidence; we hear an uncompromising interrogation of the body’s excesses and ailments; and, most of all, we see life, vaporous and between states, neither dark nor light.

William Howard's latest album, "Sixteen Nocturnes and a Lantern," brings listeners a rich tapestry of piano masterpieces. The carefully curated selection traverses genres and eras, from Clara Schumann's timeless elegance to the contemporary allure of Howard Skempton's "Lantern" (2023). As one of Britain's preeminent pianists, Howard's solo career, marked by performances at prestigious festivals and renowned venues such as Wigmore Hall, has been augmented by his central role with the Schubert Ensemble, one of the country's most successful chamber groups. A recipient of the Royal Philharmonic Society Award for Best Chamber Ensemble, Howard's collaborative and educational contributions have left an enduring impact.

Vol. 4 by Lucha Villa, released through the collaborative efforts of Musart-Balboa and Concord, is a vibrant reimagining of the iconic Mexican singer's classic album. This meticulously remastered edition enhances Villa's powerful vocals and timeless mariachi and ranchera arrangements, offering both new listeners and long-time fans an enriched auditory experience. The release celebrates Lucha Villa's enduring legacy in Latin music, preserving the emotional depth and cultural significance of her work with modern sound quality.

Jazz harmonica virtuoso Hendrik Meurkens began his career in Germany playing vibes. In 1992, a trip to California led to his signing with the prestigious Concord label and established him as the first major new voice on the harmonica since Toots Thielemans. His 28 CDs have received rave reviews and strong airplay and he has been listed repeatedly in the Downbeat and Jazziz Polls.

In a very casual-sounding way, Canadian vocalist Angela Verbrugge offers truths of the heart, urgent and genuine. A gentle authenticity without pretense that lends a light-hearted tenderness and a speaking naturalness. With the stellar accompaniment of NY and Canadian players such as pianists Ray Gallon & Miles Black, bassists Cameron Brown & Jodi Proznick, and drummers Anthony Pinciotti & Joel Fountain, Angela's take on Bernstein's "Somewhere" is sweetly sustaining, "Born to Be Blue" is a playful piano/voice duet, and "If the Moon Turns Green" is a masterpiece of delicate ardor.

Montgeroult: Piano Sonata op. 5 no. 3 in F sharp minor; Etude No. 7; Etude No. 8; Etude No. 17; Etude No. 28; Etude No. 37; Etude No. 55; Etude No. 62; Etude No. 89; Etude No. 101; Etude No. 111; Fantasy in G minor, from Cours complet pour l'enseignement du forte piano.

“Radio Afloat”, the vision of a radio lost at sea, evokes a reflection on the intertwined destinies of people and the natural world, which manifest even louder in times of collective pain; a commentary on the ebb and flow of politics of power, conflict and dominance that exacerbate the vulnerability of the land and those who tend to it. As ideologies clash and agendas unfold, the fragility of our ecosystems and the livelihoods they support hangs in the balance.

“It’s time. Africa, it’s time. It’s time that Africa changes. It’s time our leaders change. Everything that happens in Africa is extraordinary. We have everything: water, earth, sun, fields of oil, gas. We have all this in Africa, but Africa is still poor. It’s time we change our way of thinking. It’s time for Africans to take their destiny into their own hands. If not, others will take it.”

The 2CD and double white vinyl deluxe editions of “Nonetheless“ include the bonus four-track EP, “Furthermore”, featuring completely new recordings of “Heart”, “Being boring”, “Always on my mind” and “It’s a sin”.

Alan Leonard Broadbent MNZM (born 23 April 1947) is a New Zealand jazz pianist, arranger, and composer known for his work with artists such as Sue Raney, Charlie Haden, Woody Herman, Chet Baker, Irene Kral, Sheila Jordan, Natalie Cole, Warne Marsh, Bud Shank, and many others.