Although Coltrane only recorded one proper album for Blue Note (Blue Train), he is credited as a sideman on several dates for the venerable jazz label. This disc paints the picture with two numbers from Blue Train (the title track and "Locomotion") and cuts from dates with Paul Chambers ("Just for the Love" from 1956's Whims of Chambers), Johnny Griffin ("Smoke Stack" from 1957's Blowin' Session), and Sonny Clark (the title track from 1957's Sonny's Crib). Rounded out by an early side with McCoy Tyner ("One and Four") and a sample from Coltrane's only meeting with Cecil Taylor (Kenny Dorham's "Shifting Down"), Trane's Blues will no doubt be of interest to fans looking beyond the tenor great's extensive Prestige, Atlantic, and Impulse! catalogs.

Radio Noisz Ensemble, successor of the folk group Emma Myldenberger, came from the Weinheim an der Bergstrasse area and released its only LP, "Yniverze" in 1982. It was compared to works of the Third Ear Band, Between, and Tri Atma. "Odiszée-Parck", appearing only as a small cassette edition, followed in 1983. The music on this album is of a significantly freer style, more unwieldy and harder to digest than its predecessor; less meditative. Once again the oboe is the leading instrument, and also the remaining instrumentation, featuring English horn, zither, double-bass, violin, flutes, etc. is quite unusual.

Wolfram Spyra is a German composer of electronic music. He began his career in the early 1990s constructing 'soundscapes' and installations around Germany. He has collaborated with a wide range of visual artists, musicians, producers and DJs. He has released several albums, starting in 1995 with Homelistening Is Killing Clubs. Spyra's focus is on instrumental electronic music, seamlessly blending interesting samples, synthesizers, percussion and other elements together in unique ways. While sometimes experimental, most of his music has a certain accessibility in terms of the rhythmic and melodic components. Though frequently associated with the retro or "Berlin school" sound pioneered by Klaus Schulze and others, he uses modern ambient electronica elements extensively, creating his own rich sound that defies easy categorization.

This is a sort of self-portrait of the Great Organ of the Royal Chapel of Versailles, delivering all its aspects, enhanced by the choice of a repertoire emblematic of the baroque era: the major classic French organ works (Couperin, Marchand, de Grigny, Corrette) composed to glorify the very specific aesthetics of instruments like that of Louis XIV's Chapel; but also to reveal its other sound riches, transcriptions of chefs d'oeuvres, from Le Sommeil d'Atys by Lully, to the contredanses of Rameau's Boréades. To add a new dimension to the organ's sound universe and to enhance its orchestral qualities, modern editing and "re-recording" processes were gently used to serve the superposition of musical voices, as if invisible hands filled in for the organist in certain works, which are true Proust's "madeleines" for Gaétan Jarry. He goes all out to play the instrument of Versailles "for the Glory of God and the King"!

​In this album Clara Andrada, solo flutist of the Frankfurt Radio Symphony, performs three 20th century flute concertos together with the orchestra conducted by Jaime Martín. Malcolm Arnolds delightful Flute Concerto No. 1 makes a pleasant addition alongside Nielsens and Iberts flute concertos. Jaime Martín, himself an excellent flutist, is a perfect companion to these works. This is the orchestras second album for Ondine, and continues the fruitful collaboration between Jaime Martín and Ondine that has already produced three albums previously.

Composed in 1911, Bluebeard’s Castle is Béla Bartók’s only opera – a radical masterpiece which has secured a place alongside the other innovative music dramas of the same period, from Debussy’s Pelléas et Mélisande to Berg’s Wozzeck. Planning to write a one-act opera, Bartók settled on a libretto by Béla Balázs with the kind of surreal and/or macabre themes that would soon feature in his two ballets, The Wooden Prince and The Miraculous Mandarin. The main source for the libretto text was a play by Maeterlinck, a retelling of Perrault’s gruesome tale of Barbe-Bleue, the sinister yet strangely seductive wife-killer.

Following their successful album Overtures from Finland (CHSA 5336), Rumon Gamba and Oulu Sinfonia present another programme of works from their native land. The album takes its title from Selim Palmgren’s four-movement suite, written in 1904, offering richly atmospheric character pieces celebrating the changing seasons. Several of the works here take inspiration from the natural world, not least Kurkikohtaus (Scene with Cranes) which Sibelius composed as incidental music for a play by his brother-in-law, Arvid Järnefelt. Robert Kajanus is often considered the father of Finnish music.

This programme brings together composers who, for the most part, were compelled to flee their homeland. In 1920, Ivan Wyschnegradsky took refuge in Paris, where he wrote for a quarter-tone piano at a time when, in Russia, the slightest dissonance was considered a political provocation. Andrzej Panufnik left his native Poland in 1954. Alfred Schnittke settled in Hamburg in 1990, eight years before his death, having spent most of his life in the Soviet Union. Although Schubert never moved away from Vienna, the pain and solitude of his inner exile are palpable in his music.

Celebrated clarinettist Julian Bliss is joined by conductor Taavi Oramo and the BBC Scottish Symphony Orchestra to perform concertos by Magnus Lindberg and Kalevi Aho. “In my opinion, the Lindberg and Aho clarinet concertos are two of the greatest of the 21st century. These works demand everything from the performer—one moment navigating passages of extreme virtuosity and precision, the next exploring the most beautiful and breath-taking writing. They require total commitment; there’s no holding back, making them both thrilling to perform. Recording these concertos with the incredible BBC Scottish Symphony Orchestra and the brilliant Taavi Oramo was an absolute privilege” - Julian Bliss

Orbit Culture is a band poised. The Swedish quartet’s Century Media debut, “Death Above Life”, is not merely a statement of how far the band has come, but it is the sound of metal in the most modern sense. ”This record represents change, a new beginning,” says Orbit Culture guitarist, vocalist and songwriter, Niklas Karlsson. “It brings up a lot of good and bad emotions but it’s a big change for the better. It feels like a rebirth.” From the album’s scorching opener, “Inferna” to its clench-fisted title track to the elegiac closer, “The Path I Walk”, It’s clear: Orbit Culture is at the top of their game. Aside from their DIY ethos and their uncompromising, disturbing dark-on-dark visuals Karlsson credits his love for soundtracks and cinematic soundscapes for fleshing out Orbit Culture’s sound and vision…