Critically acclaimed art-rock band Art in America returns with Rise, the long-awaited follow-up to its groundbreaking self-titled debut album. Rise follows years of anticipation and requests from fans for more music from a band that, upon their arrival, blazed new trails in the American progressive rock scene, and then simply vanished. Art in America was the first band to feature a concert harp as a main instrument in a rock band, and Rise takes full advantage of Shishonee Flynn’s Lyon & Healy pedal string harp as well as her introducing Indian tambura and Japanese koto into the new album.

Guitarist Phil Manzanera and saxophonist Andy Mackay (Roxy Music) are set to release a new live album, AM PM Soho Live, recorded in an Intimate venue in Soho with special guest and original Roxy Music drummer Paul Thompson. A thrilling combination of deeply instinctive instrumental interplay between saxophone and guitar swathed in ambience and unique textures, it felt impossible to pinpoint. In part classical purity, caressing and inviting, in others a throbbing invitation to an electronic Bossa Nova dance floor. The album features reimagined versions of material from their AM PM studio album alongside previous compositions from Roxy and solo albums that the band debuted during the Soho residency. Engineered by Mike Boddy.

This CD is about quality not quantity - less than thirty minutes in total, but absolutely some of the most incredible music Zorn has ever composed. Dramatic, intense, mercurial, challenging, and endlessly virtuosic, Zorn’s writing for strings is amongst the most exciting ever achieved in the classical world. Here he expands the fabulous Jack Quartet to a quintet and sextet with the addition of two of the most accomplished musicians in the New York scene: Yura Lee and Michael Nicolas. Composed in 2020, during the initial months of the Covid-19 lockdown, these are two of Zorn’s greatest masterpieces, beautifully recorded at Oktaven by Ryan Streber, and passionately performed by six members of Zorn’s inner circle.

Prepare to raise a glass and stomp your feet as The Pogues' seminal album, 'Rum Sodomy & The Lash,' celebrates its 40th anniversary. Originally released on August 5th 1985, the album captured the raw energy and poetic lyricism that defined The Pogues, solidifying their place as one of the most influential bands of their generation.Today (August 5th) marks the 40th anniversary of that original release date.

Cécile McLorin Salvant presents Oh Snap, which features twelve very personal songs along with a cover of a verse from the Commodores’ 1977 hit “Brick House”. The album was mostly recorded outside of a traditional studio environment, showcasing her genre-spanning tastes and influences. The album includes appearances by longtime collaborators Sullivan Fortner, Yasushi Nakamura, and Kyle Poole, as well as cameos from singers June McDoom and Kate Davis.

Drummer Johnathan Blake presents his powerful third Blue Note album My Life Matters, a suite of music that he composed as a commission for The Jazz Gallery that serves as a dual treatise on the importance of family values and the social imperative to stand up in the face of injustice. Co-produced by Derrick Hodge, the album features saxophonist Dayne Stephens, vibraphonist Jalen Baker, pianist Fabian Almazan, and bassist Dezron Douglas plus special guests DJ Jahi Sundance and vocalist Bilal.

Their storied 1978 album produced by Chuck Plotkin (Bruce Springsteen, Bob Dylan) makes its “official” debut.

Mike Campbell knocked on the dressing room door and brought in a friend to meet Los Straitjackets. It was the late 1990s and through a chance encounter with Campbell, the band found themselves opening a series of shows for Tom Petty & The Heartbreakers. Mike introduced his friend: “You gotta meet these guys. They sound like the early Beatles… if they didn’t sing.”

The legendary debut studio album from Stevie Nicks & Lindsey Buckingham. Buckingham Nicks is the only studio album by Lindsey Buckingham and Stevie Nicks as a duo, prior to them joining Fleetwood Mac. Originally released in 1973 and unavailable for decades, the album has been sourced from the original analog master tapes for its long-awaited return to vinyl. Released on September 5, 1973, Buckingham Nicks quickly faded from commercial view but never disappeared from the cultural conversation. Recorded at Sound City Studios in Los Angeles and produced by Keith Olsen, the album introduced Nicks and Buckingham’s tightly wound harmonies and sharply contrasting songwriting voices across 10 tracks—ranging from the folk-rock shimmer of “Crystal” to the sunbaked strut of “Don’t Let Me Down Again.”

Sarah McLachlan first emerged as a global phenomenon over three decades ago, introducing an unprecedented new voice into the pop canon: soulful, spellbinding, and supremely capable of transforming pain into transcendence. On her first album of new material in 11 years, Better Broken finds the Canadian singer/songwriter widening her creative circle and furthering her legacy with songs that speak an uncompromising but radically illuminating truth about the state of the human condition.

Recorded live in Birmingham during a Contemporary Music Network tour in 2002, Tramonto finds UK pianist John Taylor (1942-2015) in celebratory, outgoing mood, fronting one of his most dynamic and quick-witted groups, with US musicians Marc Johnson and Joey Baron – the energetic team that would later collaborate on the critically-lauded ECM recording Rosslyn. Here the repertoire features the well-known Taylor tunes “Pure and Simple”, “Between Moons” and “Ambleside” (heard in an epic 15 minute version), as well as the Ralph Towner-composed title track and Steve Swallow’s “Up Too Late”, which swirls from bop phrasing to free playing, and includes high arco soloing from Johnson, and skittering drums from Baron. In all, a welcome reminder of what a creative force John Taylor could be, as leader of an outstanding piano trio.

This edition of Art Blakey's Jazz Messengers is an unusual one. The personnel includes Blakey veterans Lee Morgan (returning to the band after some success as a leader), Curtis Fuller, and Victor Sproles, along with John Hicks (who appeared on three other Blakey records) and the tenor saxophonist John Gilmore (of Sun Ra fame) in his only appearance with the band. As was typical of Blakey-led groups, the emphasis is on original material by its members; the one Broadway show tune included, "Faith," is from a long since forgotten I Had a Ball. Morgan's driving blues "'S Make It" is easily the highlight of the session, though Hicks' richly voiced "Waltz for Ruth" and Fuller's Latin-flavored "Little Hughie" also deserve to be better known than they are. It's a shame that this was the only recording by this particular lineup of the Jazz Messengers, as Gilmore's strong blowing complements Morgan very well.