What a voice, what a jazz feel! At the latest since Samara Joy won the "Sarah Vaughan International Jazz Vocal Competition" in 2019, it is no longer a secret that a very great jazz singer of a new generation is maturing here

Steve Turre was passed the jazz torch early in his career by some of the music’s greatest masters – Art Blakey, Rahsaan Roland Kirk, Woody Shaw and Ray Charles, among others. In recent years he’s kindled the same flame in a younger crop of rising stars.

Essentially, Supergrass' eponymous third album is a refined, subdued extension of In It for the Money. Where that album was a supremely confident, head-spinning musical kaleidoscope,

Edenbridge An Austrian symphonic metal group fronted by powerhouse vocalist Sabine Edelsbacher, Edenbridge deliver a cinematic blend of melody-driven power metal that incorporates elements of gothic, progressive, and neo-classical metal.

The Swedish virtuoso recorder player Emelie Roos is a multifaceted musician. Having grown up with folk music, violin, recorder and singing, Emelie is today active as a soloist, chamber musician, pedagog and producer. Emelie has played together with the leading Baroque orchestras and ensembles of Sweden. She has been engaged as a soloist with both symphony orchestra and string orchestra, and as a theater musician in theater and opera house. As artistic director of Höör Barock, Emelie has, together with lutenist Dohyo Sol, managed to create an international centre of Early Music in their small hometown.

With sympathetic chants by composers spanning a full three hundred years, this programme finds the choir of St John's on top form and offers a masterclass in the genre.

Recorded at the famed Sam Phillips Studios (Memphis, TN) with producer Matt Ross-Spang and help from Sima Cunningham and Macie Stewart, known collectively for their work in the indie-art-pop band Finom (formerly known as Ohmme), Iron & Wine preset LORI – their take on four of their favorite Lori McKenna tracks.

Since 1999, Gogol Bordello has been bringing their unique fusion of punk rock and Eastern European influences to the world, including their legendary theatrical and rambunctious live shows. From its inception, Gogol Bordello has been a band of immigrants, with members hailing from Ukraine, Ecuador, Russia, and Ethiopia.

Death Cab’s mix of youthful fragility and deep, romantic yearning is one of the hallmarks of modern rock. Even at their most melodramatic, they maintain composure in ways their emo ancestors didn’t, and their 10th album in a now-25-year career is no exception. But like the imagery behind its title, Asphalt Meadows is a rougher sound than the sometimes porcelain smoothness of their 2010s albums, mining similar tender—brisk New Wave (“I Miss Strangers,” “Asphalt Meadows”), gentle Americana (“Rand McNally”), and big, atmospheric ballads (“I’ll Never Give Up On You”).

Julien Ehrlich and Max Kakacek could hear the staggering differences in the songs they were writing for their third album as Whitney, Spark —the buoyant drum loops, the effortless falsetto hooks, the coruscant keyboard lines. They suddenly sounded like a band reimagined, their once-ramshackle folk-pop now brimming with unprecedented gusto and sheen. But could they see it, too?

Berlin-based producer Julien Bracht has an extensive and impressive CV in music. Having been part of electronica group Lea Porcelain, he managed to perform for infamous online platform COLORS. He also toured Europe and landed an official remix for Grimes. Since then, he’s took his production skills solo and has developed a unique, melodic and melancholic techno sound that’s quickly becoming revered.

"It is a special album. Probably it became special because it did not set this as an aim. It is special because it does not seek new ways at any cost, does not want to mediate or convince anybody of anything. It is special because the motivation of the musicians playing on the album went beyond self-expression. They set themselves free of inner compulsion to give way to music. And finally, it is special because however, it draws on well-known methods, it is new, sincere, easy, spontaneous, calm and exciting at the same time." (Gabor Varga)

For his album "About Time", pianist and composer Florian Christl has written pieces for piano and string orchestra for the first time. Thematically, he negotiates in his melodic, cinematic-atmospheric compositions the perception of time and the beauty that lies in the awareness of the transience of things "With this album I go in search of the moment, in search of the here and now. Focusing on what is now, it is about the awareness of the inevitable fleetingness and transience of life and the ability to recognize a fragile beauty in this fleetingness," Florian Christl explains Great emotional moments orchestrated with wide-screen string sounds and intimate quiet moments portrayed in piano miniatures combine on "About Time" to create a poetic musical experience. For the recording of "About Time", Munich-based pianist and composer Florian Christl collaborated with the NDR Radiophilharmonie and conductor Ben Palmer. Special guest on the album is violinist Niklas Liepe.

For the 2018 opening celebration of the Berklee Institute for Jazz and Gender Justice, Teri Lyne Carrington asked her students to select and perform songs from the famed jazz Real Book - a compilation of lead sheets or scores of jazz standards - written by women composers. When she released there was only one in the entire book, Carrington, a Grammy Award winning virtuoso jazz drummer, composer, inter-disciplinary artist, activist and educator, who has worked tirelessly over the last decade to advocate for inclusivity and raise the voice of women, trans and non-binary people in jazz, set out to shift the narrative.

This double LP release features one of Miles Davis’ final great bands: John Scofield on guitar, Bill “The Other Bill Evans” Evans on saxophones, flute and electric piano, Darryl Jones on bass, Al Foster on drums, and percussionist Mino Cinelu. Miles was back in amazing form (“incandescent and iridescent as ever,” critic Greg Tate noted), when he mounted the stage at the Theatre St-Denis during the Festival International De Jazz De Montreal in July 1983, and this revelatory performance has been lovingly mixed and mastered for its first ever release on vinyl.