Sun Ra was a true innovator, releasing music that was a bit different to his peers from his earliest output. But what would Sun Ra have made of today’s music scene? If he is looking down from his cosmic realm, he’ll be pleased to know that his music from the past still sounds eerily futuristic. Recorded in just one day, on October 10, 1961, The Futuristic Sounds of Sun Ra features 11 tracks. Among the selections is the Latin-influenced opener, “Bassism,” the bluesy “Of Sounds and Something Else,” and the aptly named, “What’s That?,” which breaks into a four-saxophone improvisation, stands out as an example of Ra’s early experimental work.

The second album from alto saxophonist Remy Le Boeuf's big band Assembly of Shadows, 2021's Architecture of Storms is an enveloping production showcasing his kinetic improvisation and deeply textured compositional skills. The album is the follow-up to the group's Grammy-nominated 2019 eponymous debut and once again displays their progressive, cross-pollinated approach to modern creative jazz.

In many countries, state-owned radio companies took a significant role in recording and broadcasting music that did not interest commercial firms. This was also the case in Finland. Even though Finnish Broadcasting Company Yleisradio, known as Yle, was not actually a state corporation but a license-based joint-stock company, it was a public service that had a total monopoly on the Finnish radio waves.

Multiple Grammy winner Composer, Arranger Conductor Vincent Mendoza has 35 Grammy Nominations across his storied career, including his sixth Grammy for his last Album Freedom Over Everything. For his latest offering Olympians Mendoza is joined by Metropole Orkest, which he has led as chief conductor for the past six years. It is a bright, zingy and as the title suggests, triumphant record to add to Mendoza’s outstanding career. Mendoza has written arrangements for a wide variety of pop and jazz artists from Joni Mitchell, Sting, Melody Gardot, Elvis Costello and Bjork to Joe Zawinul, John Scofield and Randy Brecker.

Blood Red, composed by Mikko Hassinen, is a kind of soundtrack to a fictional story taking place in late 16th-century Istanbul.

The music made by Quincy Jones during the second half 1950s was a stunning example of contemporary jazz during that pivotal decade for the form. Listening back today to these groundbreaking records delightfully illustrate how the dynamic musician, performer, composer and arranger first introduced his extraordinary skills to the world. After spending the first half of the decade working for other musicians, including a number of freelance commissions arranging songs for renowned artists such as Dinah Washington, Duke Ellington, and his close friend Ray Charles, Jones soon decided it was time for him to take the lead. The first album release to feature Quincy as a named artist was the 1955 release on Mercury Records 'Jazz Abroad' on which he featured alongside jazz drummer Roy Haynes. Next up was, 'That's How I feel About Jazz' featuring an all star cast including Art Farmer, Lucky Johnson & Phil Woods - following which he would record and release a further six albums before the end of the 1950s, all for Mercury. Quincy Jones first eight albums, all released during this period, are featured on this 4CD set in their entirety, in glorious re-mastered sound, making this package the most complete Quincy Jones 1950s collection available today.

The New Herd group of Toshiyuki Miyama was one of the most creative larger ensembles in Japan during the 70s – a group that was neither slavish to the sort of older modes you might guess from the "herd" reference to Woody Herman's band, nor tied up in some of the more commercial directions that some of the other big bands were taking at the time! Instead, they had an ear for the new developments in color, tone, and phrasing that opened up in groups like this in the post-Kenton generation – but managed to swing a bit more too – never too bogged down in their own sense of perfection to loosen up at all the right times. You'll hear the group at their best here on this late 70s album – on titles that include "Grand Guignol", "Fancy Ball", "A Falling Star", "Art Gallery", "Flower Arrangement", and "Blue Sail".

What happens when an orchestra that is so determined to break the barriers of big band and what jazz should be, attempts to take on the greatest and holiest of Jazz works? Why, you’d get 1977’s grand masterpiece Toshiyuki Miyama & The New Herd’s Orchestrane: New Herd Plays John Coltrane. This has been one of my absolute favourite discoveries of 2020 and I’m surprised it’s not talked about more. Miyama and band are well known for their adventurous experiments with the big band sound and concept even reaching as far out as free jazz on occasion. However on Orchestrane, they pay respects to the source material by being more restrained yet injecting new life into these timeless classics. Far from derivative perhaps even a giant step for big bands and orchestras in the modern age.

Like Stuart Hamm, Jeff Berlin finds himself to be neither a fusion player or a rock player, but rather somewhere uncomfortably in between. His chops are unmatched; however, like Al Di Meola, this has always presented the issue of musical integrity. His importance to aspiring bass players cannot be overstated; however, to the casual listener this session will sound too uneven. The opening track, "Pump It!," featuring Buddy Miles on lead vocals, sounds stiff and contrived. He does redeem himself though on "Joe Frasier (Round 2)," an expansion of a song he wrote while with Bill Bruford. His tribute to Rush "All The Greats" and to J.S. Bach "Bach" contain impressive playing, but are far too repetitive to sustain any interest beyond his solos.

A celestial journey is what Sun Ra and His Arkestra created with Space is the Place. Sun Ra’s opus, at its simplest, is a trip through outer-bound melodies, planetary bodies, eras in time, crystals, and space caravans. You will be transported a world away!

Mahler’s Breakdown is the extraordinary arrangement of the band’s chief composer, Leonhard Kuhn, and turns the symphony upside down: 110 years later, Mahler’s departure towards a new musical language is skilfully continued, just as his wish to fill the parts with soloists. In the 50-minute techno version of the ‘Sinfonia Maledetta’, as an Italian copyist expressed it, Jazzrausch Bigband unleashes its instrumental versatility and sheer momentum. Through their energetic improvisations, the 15 musicians take Mahler’s and Kuhn’s music into the here and now. A rave to enjoy listening to, a symphony to dance to.

Craftman Records presents Shuko Mizuno's "Jazz Orchestra '73". Recorded August 23, 1973 (Part 1), and September 2, 1973 (Part 2). Alto Saxophone – Isao Kimura, Kazumi Oguro, Baritone Saxophone – Shigeru Hirano, Drums – Isao Yomoda, Electric Bass – Masaaki Ito, Tenor Saxophone – Mamoru Mori, Seiji Inoue, Trombone – Masamichi Uetaka, Takahide Uchida, Takashi Hayakawa, Teruhiko Kataoka, Trumpet – Kazumi Takeda, Shuji Atsuta, Shin Kazuhara, Yoshikazu Kishi.

In 1964 John Coltrane recorded A Love Supreme with McCoy Tyner, Jimmy Garrison, and Elvin Jones. It's one of most influential and imposing jazz suites ever written, and on this debut CD for the Palmetto label, The Lincoln Center Jazz Orchestra, featuring Wynton Marsalis, adapts Coltrane's immortal composition to the big band. Not to be outdone by his brother Branford's quartet version of this material recorded live on DVD, Wynton and company skillfully extend and elaborate on the Coltrane's work, and preserve the soul-searching spirit of the four-part suite, which deals with the blues, 4/4 swing, Afro-Latin rhythms, and ballads. Pulsed by Carlos Henriquez's sure-footed basslines, Herlin Riley's spiritual syncopations and Earl Lewis's profound pianisms, saxophonist Wess "Warmdaddy" Anderson's Tranish cries, and the leader's triumphant trumpet tones are as fluent and fierce as ever. Collectively, this brilliant orchestra goes where no large ensemble has gone before.

The album pays homage to some of Argue’s key influences with original songs dedicated to R. Buckminster Fuller, Alan Turing, and Mae West. Fellow Nonesuch artist Cécile McLorin Salvant, with whom Argue collaborated on her long-form musical fable Ogresse, joins the ensemble for “Mae West: Advice.” Dynamic Maximum Tension’s eleven tracks, on two CDs, also include a response to Duke Ellington’s “Diminuendo and Crescendo in Blue,” titled “Tensile Curves,” among other original songs.

“Le Sacre du Printemps” (The Rite of Spring) by Igor Stravinsky is regarded as a key work of classical music of the 20th century. Due to its rhythmic and tonal structures, interspersed with numerous dissonances, it created turmoil in the audience at its world premiere in Paris in 1913, but was then able to quickly establish itself as a central work in the repertoire of concert halls.