The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology. Newly remastered from the best available sources by Mark Obert-Thorn, Ward Marston and Andrew Hallifax, this comprehensive set features several new digital releases. It is a must-have for any follower of historical recordings.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology. Newly remastered from the best available sources by Mark Obert-Thorn, Ward Marston and Andrew Hallifax, this comprehensive set features several new digital releases. It is a must-have for any follower of historical recordings.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology. Newly remastered from the best available sources by Mark Obert-Thorn, Ward Marston and Andrew Hallifax, this comprehensive set features several new digital releases. It is a must-have for any follower of historical recordings.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology. Newly remastered from the best available sources by Mark Obert-Thorn, Ward Marston and Andrew Hallifax, this comprehensive set features several new digital releases. It is a must-have for any follower of historical recordings.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology. Newly remastered from the best available sources by Mark Obert-Thorn, Ward Marston and Andrew Hallifax, this comprehensive set features several new digital releases. It is a must-have for any follower of historical recordings.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology. Newly remastered from the best available sources by Mark Obert-Thorn, Ward Marston and Andrew Hallifax, this comprehensive set features several new digital releases. It is a must-have for any follower of historical recordings.

The Decca Conductor's Gallery series presents an A–Z of 23 conductors in a feast of classic recordings from Decca’s early years – 1929–1949 – including the golden age of its ‘ffrr’ technology. Newly remastered from the best available sources by Mark Obert-Thorn, Ward Marston and Andrew Hallifax, this comprehensive set features several new digital releases. It is a must-have for any follower of historical recordings.

Laughter erupts onto the scene like a mighty roar. Melodic riffs burst forth from the saxophone amid the lush tones of the vibraphone. The cello cuts across in thick, chocolatey slices, fading into a whisper at times. From out of the primordial darkness, a shapeshifting voice materializes, inviting us to partake in the ritual.

Euglossine bridges the complex harmonies of jazz fusion, the ornate synth performances of library music, and the rapidly evolving sentimental resonances of video game music. While Coriolis paints Euglossine as a scholar who has pored over the diverse branches of 20th century progressive composition, the reality of his playing cuts through preconceptions of elitism or excess typically attributed to these musical traditions — perfecting the sense of raw beauty and wonder that lodge our favorite tunes in our long-term memories.

We Want Miles is a double album recorded by jazz trumpeter Miles Davis in 1981, produced by Teo Macero and released by Columbia Records in 1982. The album combines recordings from the first live appearances by Davis in more than five years, at Boston's Kix Club, on June 27, 1981. Other tracks were recorded at Avery Fisher Hall, New York City, on July 5, and a specially prepared stage at Nishi-Shinjuku in Tokyo, Japan, October 4 of that year.

“What would human life be like,” asks Lisa Batiashvili, “without this range of emotions and feelings which we feel cannot be shared with anyone?”

Abstraction, with feeling. Saxophonist Paul Dunmall, a veteran experimental jazz musician, was feeling drawn to vitality. He wanted to organize a group of musicians that were driven by an underlying pulse and a central energy, beyond the abstract improvisations he had been familiar with for years. He had always appreciated jazz that had a driving, uplifting energy, and organized this quartet, inspired by these musicians’ previous improvisational performances. Alongside guitarist Steven Saunders, bassist Dave Kane, drummer Miles Levin, Dunmall produces an exuberant two-track, hour-long album, ‘World Without,' ranging from spontaneous crescendo to moments of quieter interlude.

Cain and Abel: War Dances for Prepared Piano is the second contemporary composition by the experimental pianist Christian Grifa, transcribed and set to music by paraphrasing bold sequences of notes on the score, along the lines of those of the previous composition, which develop in an anachronistic way the most classic of the biblical episodes after the creation of Man through God (the death and the killing of Abel at the hands of his brother Cain), and at the same time outline sacred, profane, philosophical and historical themes, highlighting the interesting archetypal reasoning that gravitates around the orbit of the same episode, on the which still today the man reflects, and asks himself important questions, without however being able to find a precise answer, bringing back to the mind and to the listener's ear a reflection of the key musical theme of the previous piano piece prepared "Hymn to the Earth”.

Mary Jane Dunphe is a poet, songwriter, vocalist, performer and video artist who has collaborated in diverse projects such as CCFX (dfa records), CC Dust, The County Liners (Wharf Cat), Vexx, and Pinocchio. Mary Jane Dunphe's work is an idiosyncratic assemblage of crooning and danceable avant-pop songs, full of longing, a love letter to no one in particular.

In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.