There are often instances where an artist’s genius is not truly recognized until well after their passing.

This set of 11 energetic original compositions for organ trio is Darren Heinrich’s fourth album as a leader.

An important new recording, ‘The Spirit of Love’, featuring chamber music and songs by British composer Alisa Dixon (1932-2017), will be released on the Resonus Classics label on 22nd August.

Caity Gyorgy (pronounced George) is a 3 time JUNO award winning Canadian vocalist known for singing bebop and swing music.

Pianist Karin Fernandes has been awarded First Prize in 21 piano competitions across Brazil, including at the prestigious 1999 Prêmio Eldorado de Música.

In 2025, the Austrian jazz guitarist and composer Harry Pepl (1945-2005) would celebrate his 80th birthday.

Ben Thomas' music lives in a world where tradition and innovation meet with effortless grace.

Previously unreleased in full, this celebrated live performance recorded live in 1977 for WCOZ that originally appeared on "The Name of This Band Is Talking Heads". Cut at 45rpm and featuring fourteen tracks (seven are previously unheard from the original two-track tapes) recorded at Northern Studios on November 17, 1977, this blistering performances includes "Psycho Killer", "Pulled Up", "Uh-Oh, Love Comes to Town", "A Clean Break (Let's Work)" and more.

Philip Glass' Etudes, Vol. 1 arranged or Accordion by Iwo Jedynecki.

Based in Tel Aviv and New York, flutist Mattan Klein has developed a significant international presence since his time at Berklee in the '90s. With fellow Jerusalem native, guitarist Ezequiel Hezi Jait, they formalized their years of musical connection by forming ZurHub in 2017. Deeply invested in creating a unique fusion of the rhythms of Brazil with Jazz harmonies and improvisation, their work also pulls from Israeli folk and classical music.

Anton Rubinstein always regretted that his status as an elite pianist eclipsed his reputation as a composer. Recent recordings have shown that his music is melodically distinguished and attractive, as these two major works from the mid-1860s show. Cast on a wide canvas, the Fantasia in E minor conforms to Romantic grandeur in its gestures, which also include Beethovenian echoes in the finale. The Five Pieces are condensed character studies, evoking Chopin and Schumann, and ending with a brilliant Toccata. The Trot de cavalerie, a march for mounted troops, was a popular genre in the 19th century.

Bassist, composer, and recording engineer Mike Pope taps into the music and musicians who represent several pivotal life phases over his striking 30-year career, as well as from broad positions in the great timeline of jazz. From trumpeter Randy Brecker, a foundational figure in modern jazz, to saxophonist Roxy Coss, a brilliant leader representing the next guard, to the young guitarist Amaury Cabral who Pope heard at Berklee, they join Pope contemporaries, pianist Geoffrey Keezer and drummer Nate Smith, for a vivid set of originals, along with modern arrangements of music from Bird and Coltrane.

Professors Robert DiLutis and Rita Sloan are joined by cellist Carrie Bean Stute for this recital highlighting trios written for clarinet, cello and piano that Beethoven and Brahms dedicated to those close to them.

Soprano Tineke Van Ingelgem and pianist Aaron Wajnberg present Je ne t’aime pas, a captivating selection of songs that explore the complexities of love and emotional strength through the works of Kurt Weill, Francis Poulenc, and Benjamin Britten. These three composers, active in the first half of the 20th century, shared a deep connection with their librettists and were at the forefront of musical innovation.

Christopher O’Riley’s THE WELL-TEMPERED CLAVIER BOOK II continues the pianist’s exploration of Bach’s masterpiece. A true expedition into the second set’s finest of details, O’Riley delves beyond the notes themselves and into the spaces between them, sifting through the silence for every last possibility of rhythmic flexibility and potential for expression. With preludes and fugues more intricate and complex than those of the first, the second book provides an even richer opportunity for the discovery of texture, articulation, and hidden meaning within the music.