The ensemble of soloists of the Salzburg Wind Philharmonic devotes this CD to Francis Poulenc’s chamber music works for winds. Poulenc – a member of the Parisian group of composers known as Les Six – was particularly fond of woodwind instruments which corresponded with the tradition of his homeland and he created some of the most beautiful works written for wind chamber music. This ranges from the youthful Trio to late works dedicated to Arthur Honegger, such as his Clarinet Sonata, the Flute Sonata and Horn Elegy, and to the entertaining sextet, a declaration of love for his home town of Paris.

Lodovico da Viadana’s (1564–1627) life as a musician initially unfolded in Mantua, where he was appointed maestro di cappella of the Cathedral on 7 January 1594.

This remastered two-fer combines Alice Coltrane's 1969 release Huntington Ashram Monastery with World Galaxy from 1972. Originally, these LPs were released separately on Impulse. Both sets are spiritual in nature, with the first three cuts on H.A.M. combining the majestically meditative harp of Coltrane with Ron Carter on bass and Rashied Ali on drums and percussion. Coltrane switches to piano on the album’s final three cuts bringing the free jazz component into focus, especially from Ali, who is slightly subdued on this date. World Galaxy opens and closes with two compositions associated with John Coltrane: "My Favorite Things" and a section from his masterpiece "A Love Supreme." Alice Coltrane is featured on harp, piano, and organ with saxophonist Frank Lowe, bassist Reggie Workman, drummer Ben Riley, violinist Leroy Jenkins, and a full string section…

Some might think that guitarist Oz Noy, a celebrated voice in jazz-fusion over the last quarter century for applying his formidable guitar chops to funky rhythms and blues-based changes on 13 leader albums and hundreds of plugged-in concert performances, is not an obvious fit for Criss Cross, whose 420+-album catalog connects almost exclusively to the various tributaries of the hardcore acoustic jazz river. Noy, 52, begs to differ. "I've known about Criss Cross since my brother brought home albums when I was a teenager, " he says, discussing the back story of his label debut, Fun One, a creative, sophisticated and, shall we say, swinging trio encounter with pianist David Kikoski, bassist James Genus and drummer Clarence Penn.

Song X is a collaborative studio album by American jazz guitarist Pat Metheny and saxophonist Ornette Coleman. It is a free jazz record that was produced in a three-day recording session in 1985. The album features mutual Metheny/Coleman collaborator Charlie Haden on bass, Jack DeJohnette on drums, and Coleman's son Denardo on various percussion instruments. It was recorded at The Power Station in New York City between December 12 and December 14, 1985. A remixed and remastered version was issued on CD in August 2005, titled Song X: Twentieth Anniversary. Six unreleased tracks were added prior to the original eight songs. In The Penguin Guide to Jazz (2004), Richard Cook and Brian Morton said the more adventurous recordings on Song X showcased the jubilant playing between Coleman and Metheny, who not only "powered his way through Coleman's itinerary with utter conviction, he set up opportunities for the saxophonist to resolve and created a fusion with which Coleman's often impenetrable Prime Time bands had failed to come to terms." In a review of the album's 2005 reissue, Christgau wrote in Blender that all six bonus tracks were "strong enough to justify kicking off with them, and the perfect warm-up to an album Metheny was right to construct exactly as he did."

This second gathering of MTB (titled for the surnames of Brad Mehldau, Mark Turner and Peter Bernstein,) is an intense, focused recital that reinforces the exalted position each member holds in the 2024 jazz landscape. Everyone listens. No one overplays or goes for "house." The ambiance is one of concentrated excellence. When eminent jazz practitioners with shared histories convene in the studio without rehearsal or preparatory gigs, a perfunctory, by-the-numbers session is often the outcome. That is decidedly not the case on Solid Jackson, whose personnel, four of whom participated on the well-wrought day-after-Christmas of 1994 Criss Cross album titled Consenting Adults, reside in any hardcore jazz connoisseur's "top-five." All in all, the session is, as the cliche goes, "all killer, no filler," performed at a level that might have provoked Charlie Haden to respond with a hearty "Solid Jackson." "There was a natural blend," Bernstein says. "We all go way back, and everyone was very comfortable being around each other. One thing I like about making a record is that you're able to spend a day with people you've been meaning to hang out with for a long time. It's not just a party. You're working, too. But that's how we interact socially - by playing music. I was amazed. It's 30 years after we did the first one, but everyone is relatively intact. It's really a miracle. We're all still here; we get to play together again.

The CD features a new stereo mix plus bonus tracks including the ultra-rare (performed once only) Guts on My Side.
Starless and Bible Black is even more powerful and daring than its predecessor, Larks' Tongues in Aspic, with jarring tempo shifts, explosive guitar riffs, and soaring, elegant, and delicate violin and Mellotron parts scattered throughout its 41 minutes, often all in the same songs. The album was on the outer fringes of accessible progressive rock, with enough musical ideas explored to make Starless and Bible Black more than background for tripping the way Emerson, Lake & Palmer's albums were. "The Night Watch," a song about a Rembrandt painting, was, incredibly, a single release, although it was much more representative of the sound that Crimson was abandoning than where it was going in 1973-1974…

Trumpeter, bandleader, composer, and one of the most important figures in jazz music history, and music history in general. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.

With 2013's English Electric, Orchestral Manoeuvres in the Dark made a record that paid tribute to their heroes Kraftwerk, while also embracing their own mid-'80s sound, which made them the darlings of the John Hughes set. They must have liked the formula they used to get that result, because they repeat it on 2017's The Punishment of Luxury. Now down to the duo of Andy McCluskey and Paul Humphreys, they've once again crafted a sleek and shiny synth pop album that has all the clean lines of their original incarnation and all the gloss of their poppiest era. It makes for a very nostalgic listening experience, but it never feels like a museum piece, especially since neither man's voice sounds like it has aged a day…

Recorded in one wintry week on the North York Moors, The Unthanks In Winter is an extensive, completist time-capsule of the season, featuring Christmas tunes known throughout the western world, mixed with the traditional and the newly written, all passed with great care and love through The Unthanks filter. With most pieces drifting into the next, In Winter is a dream-like winter fantasia, embracing both the dark and the light in the most ritualistic of seasons. Moving in and out of focus, like a memory, its a bittersweet hymnal to our shared winter experience.

Played by rising star Francesca Bonaita with pianist Saskia Giorgini, whose Piano Classics and Pentatone recordings have won many awards (Critic's Choice) and 5 star reviews. Karol Szymanowski (1882-1937) was one of Poland's most important and original composers. Szymanowski's style is eclectic, standing in the long romantic tradition. He imbued his works with exoticisms, impressionistic flourishes and a general sense of freedom and imagination.

As if the flood of compilations called Best of Bowie in 2002 weren't confusing enough – there was a different track listing for each territory around the world, all bearing the same name and album cover – in 2004, a double-disc version of Best of Bowie was released in U.S., which was different than the "bonus CD" edition released in North America in 2002. It's not too different – a slightly different sequencing, it's a track longer, it has a couple different songs (and there's an edition with a bonus CD containing remixes) – but even if the details are slightly different, the overall gist remains: this is an excellent double-disc overview of Bowie's '70s and '80s peak.

After signing with Reprise in 1975, Al Jarreau has become a master of both studio and stage. He is one of the most exciting and critically acclaimed performers of our time. This recordingis his first-ever holiday album. Christmas includes the singer's disctinctive vocal spin on a dozen yuletide classics.

Although they certainly had an experimental and exploratory side, at least for a garage band, the Electric Prunes were always considered first and foremost a singles band by Reprise Records, and the group's singles were carefully mixed to sound perfect coming through a mono car radio, while the LP versions of the same songs would be mixed for a home-based stereo system, which means the radio mixes were much punchier. This 24-track set collects all of the Prunes' singles for Reprise during the heady psychedelic period of 1966 through 1969, including the classic hit "I Had Too Much to Dream (Last Night)," the Bo Diddley-rhythmed "Get Me to the World on Time," and other oddities that didn't get much or any radio time like "Wind-Up Toys," which rides an intriguing, staggered beat and shows that this band could have done just fine if left alone to develop.

MANKAI is a new band project by Berlin-based drummer and composer Max Santner. The collective consists of Dora Osterloh (vocals), Silvan Schmid (trumpet), Simon Jermyn (bass) and Max Santner (drums and composition). On the new album NAME THE COLOR, spontaneity, creativity and musical interaction merge into an independent band sound. Compactly composed structures, open sound textures, repetitive melodic patterns and interlocking - overlapping rhythms form the framework for collective improvisation. The focus is always on mutual listening and the attempt to develop new sound worlds in the process of joint experimentation.