The album is dedicated to the music genre "Ragtime", a genre particularly pronounced at the end of the nineteenth and the beginning of the twentieth century. Ragtime is characterized by a syncopated, i.e., "dragging" rhythm, which is why it got its name.

Australian vocalist Jo Lawry has forged an impressive solo career with a global fan base, while earning deep respect as a ‘musician’s singer’ within and beyond jazz circles. She’s also spent nearly a decade performing and recording with Sting and has worked with Paul Simon and Peter Gabriel. The two albums she released as a singer/songwriter/producer, Taking Picture (2015) and The Bathtub and the Sea (2017) garnered critical acclaim. Now, more than 10 years since her last solo jazz album, Lawry presents Acrobats, unequivocally returning to the genre alongside globally in-demand bassist Linda May Han Oh and versatile drummer Allison Miller.

In Nowruz, their accomplished debut album, the Aga Khan Master Musicians (AKMM) draw on music from Central Asia, China, the Middle East, and North Africa to create a strikingly original body of work where living musical traditions meet and meld. Acclaimed virtuosos on their respective instruments, the six members of AKMM deftly blend pipa, qanun, dutar, viola d’amore, saxophone, and a panoply of percussion into a soulful new musical language that comes alive in these eloquent performances.

Beyond the Music is a special 15-CD edition celebrating contralto Marian Anderson, the first Black singer at the Met. On April 9, 1939, a cold Easter Sunday, a woman in a fur coat walked down the steps of Lincoln Memorial, ready to perform open-air after being refused the largest hall in Washington because she was Black. As contralto Marian Anderson raised her voice to sing the words of My Country, ’Tis of Thee to the 75,000 who gathered to listen to her, an unforgettable historic moment unfolded. The great voice of “The Lady from Philadelphia,” first discovered by her local neighborhood, took her to global fame on the stages of Europe, Asia, and America. She became the first Black woman to perform at the Met in New York, she sang for presidents and kings, was honored with the Presidential Medal of Freedom, and with her dignity, courage, and unwavering belief in equal rights she became an icon in her supportive role for the civil rights movement.

King Crimson’s 1973 album Larks’ Tongues in Aspic is to be reissued for its 50th anniversary in an all encompassing four-disc set that includes brand new Steven Wilson Dolby Atmos, 5.1 and stereo mixes and “the complete recordings of every session recorded for the album”.

The selections begin with the Festival Overture, a somewhat blustery, bombastic piece that, nevertheless, makes a good, rousing curtain raiser. So, it works in the capacity for which the composer doubtless intended it. Maestro Niklas Willen and the Royal Scottish National Orchestra give it their all, and if one doesn’t expect something more substantial, it does its job.

John Corigliano's music has been commissioned, performed, and recorded by some of the most prominent orchestras, soloists, and chamber musicians in the world. He is the recipient of a Pulitzer Prize, five GRAMMY Awards, the Grawemeyer Award for Music Composition, and an Oscar. The Piano Concerto ranges in expression between lyricism and atonality and is extremely virtuosic and theatrical, while the competition piece Fantasia on an Ostinato investigates the performer's imagination and musicality through minimalist techniques. The devilish discipline of etude Fantasy contrasts with the improvisatory origins of Winging It, while Prelude for Paul echoes the soul of Rachmaninov.

IT'S FOUR YOU was a CD recorded & released in 1994 by the Australian Beatles tribute group The Beatnix. It featured the performances of Steven Shipley, Bruce Coble, David Wood & John Taylor, the four musicians who would go on to become the founding members of THE BEATELS shortly after this album was recorded. The idea for the album came from Australian music writer Glenn A Baker, and the album was originally released on Glenn's record label, Raven Records, in 1994. Glenn had seen the band perform, & knew what they were capable of, & so he approached them & asked if they would be interested in spending a few weeks in the studio recording and mixing 19 songs that Lennon & McCartney had written, but never released by The Beatles. Some tracks had never been recorded by The Beatles - they had been given to other NEMS artists such as PJ Proby, Cilla Black, & Peter & Gordon. Many tracks had gone to number one on the charts.

It is rare to find a disc as creatively programmed as this BIS release. Enhanced by lovely performances, played with great devotion to the memory of the recently-deceased Japanese master, the repertoire was chosen by conductor Tadaaki Otaka and producer Robert Suff, who organized it not only in the most effective succesion, but in a manner that illustrates the works’ individual meaning and illuminates Takemitsu’s career. All but one of the compositions are from Takemitsu’s late period. The other, the Requiem for Strings, is one of the earliest works to win him fame. Fantasma/Cantos II, for trombone and orchestra, is among the last Takemitsu compositions. Both it and the Requiem provide considerably more forward harmonic motion than the other four works, which are in Takemitsu’s typical “Japanese garden” meditative style, a kind of revival of French impressionism using harmonies that are more like Messiaen’s than Debussy’s.

New Gospel Revisited is the new album from the fearless and formidable American composer and trumpeter Marquis Hill. A live recording that revisits and reinterprets his debut 2012 album New Gospel, this time round employing a band of super-heavyweight musicians including Walter Smith III, Joel Ross, James Francies, Kendrick Scott and Harish Raghavan. Marquis Hill’s rise over the last few years has been striking and there’s no letting up. Since winning the prestigious Thelonious Monk Institute Jazz Composition award he has demonstrated full command of his art and built a reputation for synthesizing what he describes as the essential elements of the Africa-American creative heritage including contemporary and classic jazz, hip-hop, R&B, house and neo-soul.

This album is INCREDIBLE. The way Bobby Hutcherson, Grant Green and John Patton lock in on their lines is almost surreal. The selections groove, but they're also deep, and the the musicians seem to connect on a deeply spiritual level. - - This is NOT just another Jazz organ combo album. It takes a new direction - - the sound is modern and progressive… John Patton at times is earthy and bluesy and at other times, very off center and mesmerizing. Melodically the stuff he's doing is almost Coltrane-esque, however, John's style is to understate things, and play with your sense of melodic imagination. Its an interactive listen, but if you're not feeling deep, you can say, "What the heck !" and get up and dance and it'll be just as good. This is probably one of the most inspired sessions to come out of those studios.

Recorded "live" in concert at the culmination of the trio's first tour since the lockdown began, this set reflects the exhilaration found in playing before a hungry audience in a beautiful concert hall. Featuring eight originals and 2 standards, this audiophile-quality album is destined to become a go-to in your music library. Good pasta, great acoustics, a wonderful piano with equally-great drums and bass to play on. "Live In Italy," the Erskine Trio at it's best.