The new solo triumph of guitar icon Mark Tremonti (Creed, Alter Bridge)!
After three decades, 18 full-length albums, and thousands of shows, Mark Tremonti continues to relentlessly push himself as a guitarist, a vocalist, and a songwriter, above all. This unstoppable drive has underscored his catalog earmarked by a GRAMMY Award, cumulative streams in the billions, and total sales of 60 million units worldwide across his inexhaustible output with Creed, Alter Bridge, and solo band Tremonti.
Mark Tremonti levels up all around on his 19th overall LP and sixth Tremonti full-length, The End Will Show Us How, out January 10, 2025 via Napalm Records…

Les Boréades is an ambitious 10-year Rameau project with the Centre de musique baroque de Versailles. The cast of Sabine Devieilhe, Reinoud Van Mechelen, Tassis Christoyannis, Thomas Dolié, Gwendoline Blondeel, Benedikt Kristjánsson and Philippe Estèphe is joined by the Orfeo Orchestra and Purcell Choir, two ensembles founded by Vashegyi himself. Devieilhe made her Erato debut with a Rameau recital, this time she takes the central role of Alphise, Queen of Bactria, who must defy the traditions of her country if she is to marry the man she loves. The theme of freedom, ‘la liberté’, is important in the opera; conceived in 1763 to mark the end of the Seven Years’ War, it had to wait more than 200 years for its first full staging. When the performers on this recording appeared in a concert version of Les Boréades at the Théâtre des Champs-Elysées in Paris, Concert Classique declared that “Rameau’s genius shines through at every moment.”

Most famous for his vocal and guitar work in the group Ten Years After, Alvin Lee had a long solo career after the band dispersed, still working in the hard rock, rockabilly, and British blues style that TYA did until his sudden death in Spain in the spring of 2013. This set captures his last live show, a concert held in Raalte, Holland, on May 28, 2012, with a crisp rhythm section of Pete Pritchard on bass and Richard Newman on drums. The show was recorded, and although it wasn't recorded to be an official release, Lee was pleased with the performance and authorized its release, not knowing, of course, that it would be his swan song.

This two-LP set lives up to its title. First Duke Ellington and his orchestra are heard in 1952 during a period when they were being overlooked by the jazz media but still producing a great deal of worthy music. The second half of this release is taken from a European tour in 1965 and features some prime late-period playing from trumpeter Cootie Williams.

This year, we celebrate a very special milestone: 10 years of Piano Day! What began in 2015 as an idea by Nils Frahm has grown into a worldwide tribute to one of the most beautiful instruments. Every year on the 88th day – a nod to the piano's 88 keys, artists, music lovers, and pianists unite to honor the boundless power and beauty of piano music.

Japanese edition with Bonus track.
Since forming in 1997, alternative rock trio Muse have ambitiously created a sound of their own, mixing elements of glam, pop, and symphonic music into a rock hybrid. While British fans have praised Muse for years, it wasn't until 2003's Absolution that Americans discovered the band and gave them their rightful props. Whether or not you championed the grand dramatics of Absolution, it was obvious that Muse are a solid and unique band, and Black Holes and Revelations, the follow-up, confirms those strengths with a passion. Rich Costey joins Muse in the co-production of this 11-song set; together, they create the band's most realized and meticulous album to date…

In the Dark is the 12th studio album by the Grateful Dead. It was recorded in one week in January 1987, and originally released on July 6, 1987. In the Dark was the band's first album in six years, and its first studio album since 1980's Go to Heaven. It became unexpectedly popular, achieving double platinum certification in the U.S. It reached #6 on the Billboard 200 chart, the Grateful Dead's only top ten album. The peppy "Touch of Grey" peaked at #9 on the Billboard Hot 100, the band's only top forty single; it also became a frequently played music video on MTV. "Hell in a Bucket" and "Throwing Stones" (for which videos were also made) also achieved significant album-oriented rock radio airplay.

Pianists André Previn and Russ Freeman team up with drummer Shelly Manne in a trio to play eight of their originals (along with the standard "Take Me Out to the Ball Game"), all given titles having to do with baseball. Double Play! was advertised as the first time that two pianists recorded what was then modern jazz together. Previn and Freeman had very complementary styles, making it difficult to know who was playing when, although a complete play-by-play is included.

Waiting for Miracles is the first long-player by the Flower Kings since 2013's Desolation Rose. It marks a return from exile for the Flower Kings after 2018's Waiting for an Alchemist - which was billed to Roine Stolt's the Flower King. Here Stolt, Hasse Fröberg, and Jonas Reingold are joined by new members keyboardist Zach Kamins and drummer Mirko DeMaio who are not, based on what is here, fully integrated into TFK's aesthetic. This is a band offering that contains the complex mood, textural, and color changes, intricate melodies, atmospheres, and dynamics that are at the heart of TFK's musical signature.
Waiting for Miracles clocks in at 85 minutes but showcases TFK in a more economical mode compositionally. That's not to say the band are writing pop songs; their music remains challenging prog rock that recalls the sound and feel of the band's first five records…

A Norman composer from the early 20th century and a little-known figure in French music, Gabriel Dupont was one of the last representatives of French post-romanticism, which died with him at the dawn of the Great War.With a remarkable sense of harmony and an undeniable talent for colour, Dupont depicted fragments of life to evoke a sensation, a moment, an interior landscape.Cyrille Dubois and Tristan Raës capture his sensibility, rooted in the everyday life, in this complete recording, a new stage in their melodic odyssey, sublimating the art of a composer whose supreme refinement consists in being moved (and moved) by a wrinkle (‘La Rencontre’), a perfume (‘Crépuscule d'été’, ‘Le Baiser’) or a light (‘Douceur du soir’).

Though naturally closely associated with the organ and harpsichord, Bach had a special relationship with the violin, his father's instrument, throughout his life. Moreover, we know that he was a highly skilled player, performing regularly at the court of Weimar, and probably also at Kothen and Leipzig. He wrote and transcribed concertos and sonatas for violin, but above all created the unprecedented collection of Sonatas and Partitas for solo instrument. And it is precisely for this vehicle of pure virtuosity that Marco Serino's new project offers four masterpieces, only one of which - the Partita No. 2, the most ambitious work in the group - has survived in a version for violin. Both the first two Suites for cello and the Toccata and Fugue BWV 565, however, already boast an important tradition of violin transcriptions. Pervaded by the virtual polyphony so characteristic of the celebrated Sei solo, these extraordinary pieces, which are presented from a different perspective than usual, celebrate this art of transformation pursued by the artists of the Baroque as an ideal of continuous and fruitful metamorphosis.

In this highly original programme, Julien Libeer and his partners bring us the smile and the light of Mozart: an absolutely radiant sonata for solo piano, a sonata for violin and piano in which joy triumphs over anxiety, a flamboyant trio from the time of Le nozze di Figaro, to say nothing of the Piano Quartet K478, a rare combination that allows the composer to play around on the frontiers of the concerto and chamber music. All of this in a surprising dramatic progression!

All the Things We Are is a bit unusual in the Dave Brubeck discography. The pianist is heard in a quartet with altoist Lee Konitz on "Like Someone in Love" and a brief "Don't Get Around Much Anymore," with avant-garde giant Anthony Braxton (also on alto) featured on "In Your Own Sweet Way," while both Konitz and Braxton team up for "All the Things You Are." In addition, the Brubeck Trio (with bassist Jack Six and drummer Alan Dawson) plays an exquisite and frequently exciting 21-minute, five-song "Jimmy Van Heusen Medley." A total success, this "experimental" Brubeck set is highly recommended.

Markku Luolajan-Mikkola has a reputation for excellence and already has two Gramophone Awards. With a fan base to match, Luolajan-Mikkola is at the top of his game. In Luolajan-Mikkola’s Linn debut, he tackles the pinnacle of Bach’s productions for violinists: the Partitas and Sonatas. Luolajan-Mikkola transcribed these works for cello. His goal with this recording has been to encapsulate expression and emotion according to the character of each movement. A historically informed musician, he performs on baroque cello.

"Exilarch" is the third album by Rhys Fulber, artist and producer behind Conjure One. The current single, "Like Ice," features vocals by one of dance music's most sought after voices, Jaren Cerf. As a member of industrial rock outfit, Front Line Assembly and later, Delerium, Fulber went on to sell a quarter of a million albums in the US and over a million units worldwide with the collaborative album, Karma. On Conjure One's self-titled debut, two singles - "Tears From The Moon" and "Sleep" - placed #1 on the UK Club Chart and #3 on Billboard Hot Dance Music/Club Play chart.