The Lamb Lies Down on Broadway (50th Anniversary Super Deluxe Edition) will provide a deep dive into the music and visual elements around this seminal album and pivotal period of time for the band. The album was the pinnacle of the band’s early success and is regarded as one of the most important progressive rock records of all time.

Kevin Hays has been at the forefront of the jazz scene for the last twenty years, racking up an impressive resume with the most demanding leaders including Sonny Rollins, John Scofield, Joe Henderson, Art Farmer and Joshua Redman. His playing is complex and infused with a modern-classical sense of harmony and form but his feel is still pure jazz.

Andrew Yiangou’s programme is a fascinating view into the musical world of one of the most enigmatic composers of the 19th century. On 29 April 1844 in Paris’s Salle Erard, Charles-Valentin Alkan returned to the platform after an absence of six years. Bach, Scarlatti, Beethoven and Weber featured, as well as four of Alkan’s latest compositions. Two of these appear on Andrew Yiangou’s recital here – the Op.22 Nocturne and the Op.23 E minor Saltarelle. The centre piece in the programme is the misleadingly titled Sonatina in A minor, Op.61. This is a large-scale sonata of huge technical challenges.

Filigranes brings together three works that, although from different periods, are united by their shared poetic dimension. Ravel's Trio weaves melodies into a fluid narrative carried by surprising inspirations and a great richness of harmonic colors. Through these three works, music and literature intertwine, time and space overlap, allowing poetry to emerge not only through words, but also in the subtle interplay between melody, harmony, and timbre.

Debussy: Trio avec piano en sol majeur, CD 5, L. 3; Fauré: Trio avec piano, Op. 120; Escaich: Lettres mêlées; Boulanger, L: D'un matin de printemps.

Michel Béroff has an intimate relationship with the music of Olivier Messiaen, which he plays since childhood and whose language he speaks quite naturally. As an undisputed culmination of the repertoire for two pianos, the "Visions de l'Amen" accompany Michel Béroff and Marie-Josèphe Jude for many years, right up to the current recording of this work that Messiaen himself created together with his wife Yvonne Loriod, a preferred interpreter of his works.

With the latest collaboration between electronic ambient visionary Deborah Martin and renowned oboist Jill Haley, the artists traversed even deeper into sonic playgrounds surrounding acoustic and electronic textures and voicings, melodies and impressionist sound tapestries. Like their previous releases on Spotted Peccary Music, Rendering Time compels with a lightness and poetry that seems an unlikely match with the more prevalent, often darker electronic tones of ambient music. The album exudes with their collaborative spirit, blending instruments and inspiration into something both forward thinking and evoking antiquity: the cascade of the passing ages in ten hypnotic pieces.

BELIEVE’s debut album ‘Spirits of the Dead are Watching’ is a potent statement from four of Australia’s most experienced and dedicated improvisers. A powerhouse unit of rare intimacy, flexibility and passion, BELIEVE connects the spectrum of contemporary creative sound making with the fluid, anything is possible momentum of free jazz.

Sofia Gubaidulina was an iconoclastic maverick whose work is synonymous with unprecedented openness and autonomy. The rarely performed Revue Music for Symphony Orchestra and Jazz Band is an eclectic subversive masterpiece that caused a scandal at its premiere in the USSR in 1978 – the official reaction to which posed a considerable threat to Gubaidulina’s entire family. It contrasts greatly with the sensual piano concerto Introitus, heard here in the revised version created by the composer in collaboration with Alice Di Piazza. Worlds collide in Figures of Time – a work that combines chaotic effects with unifying harmony. The programme also includes the Chaconne for solo piano with its atmospherically dense process of transformation.

The Quatuor Dutilleux's debut album is based on an idea that is less about a story written by four people and more about four narratives that ultimately combine to form a constellation. This revolves around French music for string quartet, from the time before the string quartet genre to the present day, from writing to interpretation.

The music featured on this CD has a unique origin. Hildegard von Bingen (1098-1179), a mystic, theologian, and German composer, claims to have heard these melodies during supernatural experiences. While other visionaries may lose touch with reality and fall into ecstasy, Hildegard experiences her visions while remaining completely alert. She later conveys what she has seen and heard through imagery, writings, and music. The title of this CD, Vox Aeternitatis, refers to the divine voice that instructs the mystic to write down her revelations.

Natasha St-Pier revisite les grandes chansons françaises dans un album intimiste et raffiné. Cet album est un hommage au patrimoine musical français.

Recordings act as sonic snapshots in time, individual chapters in the ongoing autobiographies musicians compose throughout their careers. Listening to albums has forever been one of the most accessible ways we relate with musicians, embracing any variety of creative efforts that shape the soundtracks of our lives. But even within the intimacy of the best examples of recorded music, a peculiar sense of distance exists. Most often it’s the length of space between a recording and its release date, but at times it’s also how removed listening to an album can feel from experiencing the music live.

In May 1747 Johann Sebastian Bach traveled to Potsdam to visit Frederick II of Prussia, whose son Carl Philipp Emanuel served as the Court’s first cembalo and his pupil Christoph Nichelmann as the second. This visit is well-documented, with a famous encounter between Frederick, a musically trained monarch, and Bach. Frederick invited Bach to test Gottfried Silbermann’s new fortepianos and demonstrate his organ-playing skills on various church organs. During this meeting, Frederick presented Bach with a musical challenge: he provided a theme in C minor and asked Bach to improvise a three-voice fugue based on it. Remarkably, Johann Sebastian did this on the spot, without any prior preparation. What follows is also fairly well known, but from this point onwards the interpretation of events becomes crucial.

On their last recording for Lawo Classics, the Oslo Philharmonic under the baton of Vasily Petrenko were described by The Guardian as 'an orchestra in fine form, with classy wind soloists and big-toned strings', so it was only natural that they should join forces again in this new recording of Prokofiev's 7th Symphony coupled with Myaskovsky's Sinfonietta, Op. 68 No. 2.