One of the first all digital (DDD) recordings ever produced, Mountain Dance was originally conceived as a “direct-to-disc” project for JVC that was later released on Grusin's own (GRP) label (very similar to the Sheffield Labs projects of the late 70's/early 80's).

After studying at the Cleveland Institute of Music, and the Hans Eisler Music Academy in Berlin, Mahani Teave was destined for a glittering career on the international concert stage having won the Claudio Arrau International Piano Competition in 1999, and later being selected as a Steinway & Sons artist.

Choral music holds a central position in Villa-Lobos’s catalogue of works, but among these famous pieces is a series of little-known transcriptions for a cappella choir taken from the standard classical repertoire.

The problem with the sizable majority of Christmas albums is they sound pretty much the same. Most yuletide records feature the same songs about Jesus or Santa that have been circulating for decades (if not centuries), and regardless of the genre, someone throws in sleigh bells or a "Ho Ho Ho" to remind you that yes, this is Christmas music.

High Pulp are an 8-piece band that emerged from the Royal Room, a legendary Seattle Jazz club where they held "Funk Church" jam sessions in 2017.

The dates are deceptive: the Viennese composer Ferdinand Rebay (1880-1953) remained largely unaffected by the turbulent musical currents swirling around him in the Austrian capital during the early 20th century.

Chris Baio, best known for playing bass in the Grammy Award winning band Vampire Weekend, is releasing his third studio album Dead Hand Control on Glassnote Records. The album was recorded over 18 months at Damon Albarn’s 12 Studios in London and at Baio’s personal studio, C+C Music Factory. Dead Hand Control volleys between explorations of the basic notion of caring for one another to themes of a society in upheaval.

Piotr Anderszewski takes a characteristically creative approach to Bach's Das Wohltemperierte Klavier (The Well-tempered Clavier).

Belgium's NEPTUNIAN MAXIMALISM (aka NNMM) is a community of “cultural engineers” with a variable line-up, mixing drone metal with spiritual free jazz and psychedelic music. The project was initiated in 2018 by multi-instrumentalist Guillaume Cazalet (Czlt, Jenny Torse, Aksu), who brought together veteran saxophonist Jean Jacques Duerinckx (Ze Zorgs) and two drummers, Sebastien Schmit (K-Branding) and Pierre Arese (Aksu).

UNITED created “People” with this sole purpose: to bring unity amongst people everywhere. As a band, the purpose has been simple––to love God and love people as people loved by God. Touring the record has been nothing short of incredible as stadiums filled to the brim across the earth just before we’d face a crucial and testing time in our world due to a pandemic. “The People Tour: Live from Madison Square Garden” is a moment we want to invite everyone into. It brings us back to main purpose of this record: to champion people everywhere to remember the good grace of this unshakable Gospel we have.

It is unbelievable that such a popular work in the current repertoire as Ludwig van Beethoven’s Violin Concerto Op. 61 only conquered the concert hall around three to four decades after its composition. The work ultimately gained its popularity through two revised printed versions published in Vienna and in London, which both reveal substantial revisions in the solo parts. The quest for Beethoven’s “original version” proves to be extremely complicated, as Beethoven himself offered up to four alternatives to the soloists in some spots of the manuscript.

Among Stephen Dodgson’s portfolio of more than 250 works are chamber operas, of which Margaret Catchpole: Two Worlds Apart is a most striking example.

Øernes Blues Band has toured the country sparsely for many years. The band consists of seasoned musicians who have played in many contexts and many genres, but our hearts have always been on the heavy and dance-friendly blues rock.

An early classic for Decca/RCA engineered by none other than Kenneth Wilkinson, who became so closely identified with the Decca sound that he retired when PolyGram acquired the company in 1980.

During the 1930s, Bliss, Britten, and Berkeley all contributed major works to the repertoire for string orchestra, following in the footsteps of Elgar and Vaughan Williams.