Born in 1968, Arve Henriksen studied at the Trondheim Conservatory from 1987-1991, and has worked as a freelance musician since 1989.

Diana Ross' glossy 1981-1987 tenure on RCA is the subject of this 18-track collection, which includes her hit tribute to the late Marvin Gaye, "Missing You." Other highlights include her cover of Frankie Lymon and the Teenagers' "Why Do Fools Fall in Love," "Mirror, Mirror," "Swept Away" and a solo version of the chart-topping "Endless Love".

With Steve Reich’s Music for 18 Musicians, the French ensemble Links presents a classic of the 20th century. Music for 18 Musicians is approximately 55 min utes long. The first sketches were made for it in May 1974 and it was completed in March 1976. Although its steady pulse and rhythmic energy re- late to many of my earlier works, its instrumentation, structure and harmony are new.

A rendition of a tango operita, commissioned by the Argentinian Ministry of Culture (this rendition anyway), was revived by violinist Gidon Kremer, who had such a love for the original LPs from Piazzolla and Horacio Ferrer that he wanted to recreate the music. Ferrer was kept on as El Duende (the Goblin) – the role that he created when he wrote the libretto thirty years earlier. Regrettably, Piazzolla had passed on prior to the remake. Nonetheless, the arrangements and orchestrations are remarkable. The suffering and the passion of Maria (the main character in the show) are perfectly portrayed by the tango. The music changes forms as her character progresses, taking on traditional tangos, modern tangos, milongas, waltzes, and other styles to reflect changes in Maria. The music is always well-composed. This is an opera for the display of modern music, and the tango of Piazzolla is modern music at its finest.

From the five-hundred-year old musical history of the Sufi Fakirs of Bengal to the virtuoso musicianship of Calcutta’s guitar master Debashsish Bhattacharya and Carnatic violinist Jyotsna Srikanth, this Rough Guide explores India’s spiritual connections with its ancient musical traditions.

R.E.M. abandoned the enigmatic post-punk experiments of Murmur for their second album, Reckoning, returning to their garage pop origins instead. Opening with the ringing "Harborcoat," Reckoning runs through a set of ten jangle pop songs that are different not only in sound but in style from the debut. Where Murmur was enigmatic in its sound, Reckoning is clear, which doesn't necessarily mean that the songs themselves are straightforward. Michael Stipe continues to sing powerful melodies without enunciating, but the band has a propulsive kick that makes the music vital and alive. And, if anything, the songwriting is more direct and memorable than before – the interweaving melodies of "Pretty Persuasion" and the country rocker "(Don't Go Back To) Rockville" are as affecting as the melancholic dirges of "Camera" and "Time After Time," while the ringing minor-key arpeggios of "So. Central Rain," the pulsating riffs of "7 Chinese Bros.," and the hard-rocking rhythms of "Little America" make the songs into classics. On the surface, Reckoning may not be as distinctive as Murmur, but the record's influence on underground American rock in the '80s was just as strong.

No composer looms over modern jazz quite like Johann Sebastian Bach, whose harmonic rigour seems to have provided the basis for bebop and all that followed. Listen to the endlessly mutating semiquavers tumbling from Charlie Parker’s saxophone and it could be the top line of a Bach fantasia; the jolting cycle of chords in John Coltrane’s Giant Steps could come straight from a Bach fugue and Bach’s contrapuntal techniques crop up in countless jazz pianists, from Bill Evans to Nina Simone. Bach certainly casts a long shadow over US pianist Brad Mehldau: even when he’s gently mutilating pieces by Radiohead, Nick Drake or the Beatles, he sounds like Glenn Gould ripping into the Goldberg Variations. Which is why it comes as no surprise to see Mehldau recording an entire album inspired by Bach. However, this is not a jazz album. Instead of riffing on Bach themes, as the likes of Jacques Loussier or the Modern Jazz Quartet have done in the past, After Bach sees Mehldau using Bach’s methodology. Mehldau plays five of Bach’s canonic 48 Preludes and Fugues, each followed by his own modern 21st-century response.

2026 marks both the 60th anniversary of Gaspar Cassadó’s death and the 150th anniversary of Pablo Casals’s birth.

Emilie Mayer - her works bear witness to an indomitable personality, despite having languished for so long in the shadow of her male peers. The musicians of the Akademie für Alte Musik Berlin have resolved to do her justice with this revelatory symphonic triptych of recordings. They begin with two of her most remarkable works played on period instruments, including a wondrous Blüthner piano handpicked by the soloist here, Alexander Melnikov.

The comeback album of the 80’s metal heroes MP (Metal Project), first album since 1992.
This new Album brings in pure raw classic heavy metal, just as the band has loved and celebrated it all their lives. No unnecessary adding to modern metal styles, that’s what other bands do enough. It’s not a concept album. Each song stands for itself. The music is the same tradition as Motörhead, Saxon and similar bands. Mot old-fashioned, but simply timeless and honest. In contrast to previous albums, I (singer Thomas) have only processed my own experiences and things that are close to my heart. Each song is based on an actual event or a deeply felt desire. For example, the song “Bloodline“ an anti-war song. It’s an appeal to stop all this war crap. In my opinion, the best lyrics I have ever written. The only song without a real backstory is “Demolator“. It’s about an evil monster that destroys everything…

Trumpeter Ian Carr's Belladonna was issued in 1972, following three acclaimed Vortex outings by his Nucleus ensemble - 1970's Elastic Rock and We'll Talk About It Later, and 1971's Solar Plexus. The original Nucleus had dissolved: multi-instrumentalist Karl Jenkins and drummer John Marshall joined Soft Machine, bassist Jeff Clyne left for Isotope, and Chris Spedding for session work. For Belladonna, the financially strapped Carr recruited pianist Dave MacRae, pre-Soft Machine bassist Roy Babbington, drummer Clive Thacker, Gordon Beck on Wurlitzer, and percussionist Trevor Tomkins. The album introduced the masses to future guitar hero Allan Holdsworth. Reed and wind player Brian Smith was the only remaining Nucleus member besides Carr. Nucleus' previous outings seemingly reveled in the tensions that existed between jazz improvisation and rock's forceful dynamics; Belladonna, by contrast, fully integrates them…