'Charm' is the debut release from Naya Baaz - a groundbreaking new collaboration between two extraordinary musicians, both of whom have achieved a rare level of mastery in demanding musical traditions from opposite sides of the globe. Recent Guggenheim Fellow, Rez Abbasi moved from Karachi to California as a child and has built up a formidable reputation as a guitarist who combines his love of Jazz (evidenced on his last major release, ‘Django-Shift’) with an international array of influences from South Asia and beyond: Josh Feinberg is one of a handful of Western musicians to excel at the challenging legacy of the Hindustani sitar, specializing in the Maihar Gharana style from North India, and also a jazz bass player who studied with Paul Bley and Dave Holland. ‘Josh earnestly understands jazz harmony and chromaticism as well as Indian musical traditions’ says Rez ‘That’s a very rare combination’. Completing the endlessly flexible line-up are Jennifer Vincent’s bespoke five-string cello, opening up possibilities to add both basslines and melodies, and Satoshi Takeishi’s specially augmented drumset.

On "Songs and Symphoniques: The Music of Moondog," Ghost Train Orchestra teams up with the trailblazing Kronos Quartet to celebrate and reimagine the music of Louis Hardin, aka Moondog, the ground-breaking composer and poet who lived on the streets of New York City in the 50s and 60s, and influenced the minimalists Philip Glass, Steve Reich and Terry Riley. A blind composer who moved from Kansas to New York City and built his own instruments and mythology, Moondog's story and music continue to be an inspiration to many.

The Best Of The MPS Years presents you all the classics and highlights of George Duke’s time at the Black Forest label on one album.

As for the years 1962, 1963 and 1964, Sony also released for 1969 an extremely limited "50th Anniversary Collection" with unpublished recordings of Bob Dylan. The goal is not to lose the copyright on these recordings in Europe.

American top pianist Kenny Werner and Scandinavian star saxophonist Benjamin Koppel have become musical brothers through 15 years of ongoing frequent musical collaboration. Their duo album WALDEN was highly acclaimed, as has their long line of other releases, including COALITION with Lionel Loueke and FREEBOP with David Liebman.

When the world-renowned Canadian pianist came to Villingen in 1961, there was a mood of intense excitement all round. Hans-Georg Brunner-Schwer (HGBS), former owner of the hifi dynasty SABA who died in 2004, had just set up the first version of his studio, equipped with the most advanced recording technology of the time, above the living-room in his villa. This was the bait used by the piano enthusiast to attract the famous pianist to the Black Forest. After a guest performance in Zurich, Peterson climbed into a limousine and embarked on a journey across the mountains. As soon as he arrived, along with bassist Ray Brown and drummer Ed Thigpen, the international star was led to the Steinway grand in the living-room where a number of excited guests were eagerly waiting. "I listened to him play 'til four o'clock in the morning and lost the desire to ever hear the Beatles again!", says Matthias Brunner-Schwer, HGBS' son, still starry-eyed half a century later. The legendary pianist himself was equally delighted when he listened to the recording of the nocturnal living-room performance, never before having heard such a direct and pristine piano sound on tape.

[Ahmed] is the quartet of Pat Thomas (piano), Joel Grip (double bass), Antonin Gerbal (drums) and Seymour Wright (alto saxophone). Together, the group re-arrange and re-imagine in real time the music of composer, bassist and oud player Ahmed Abdul-Malik (1927-1993).

Heinichen’s Mass employs especially the capabilities of the brass to achieve a festive majesty in sound. A four-voiced trumpet choir in combination with the double choir layout lend Zelenka’s Te Deum a festive character. Hans-Christoph Rademann brings choir, orchestra and soloists to their highest level of performance.

Antonio Lucio Vivaldi is arguably one of the best-known baroque composers. However, the rediscovery of the Prete Rosso in modern times took place quite recently. The history of this rediscovery might still offer us some surprises. This recording is aiming to be part of this history, featuring the most recently discovered Vivaldi sonatas for violin and continuo, including the latest discovered works by the Venetian composer (added to the RISM as RV 820 and RV 205/2), as identified by Javier Lupiáñez in 2015, and presenting the first recording of the RV 205/2.

These are Mozart's greatest orchestral works, and they are so rich and full of variety that the "period" instrument approach often makes them sound lackluster and limited in mood. It's especially important to use a fortepiano that combines warmth of tone with clarity. So many of them sound like keyboard xylophones, with a dull low end and little if any sustaining power. Fortunately, Malcom Bilson has selected an attractive-sounding instrument that can hold its own in dialogue with John Eliot Gardiner's very forceful and dynamic accompaniments.