Vault Treasures Restored: The French Collection is a specialized digital compilation album featuring the legendary American singer, actress, and cabaret star Eartha Kitt. The release highlights Eartha Kitt's distinct mastery of French-language cabaret music, a signature style she developed while performing extensively in Europe early in her career.

“The Only Way” is out now! We’re excited to share the debut album by Focusyear Band 26. Created over the course of the band’s Focusyear, the album brings together original music shaped by a year of collaboration, concerts, and time in the studio.

The Mood Mosaic is a compilation series widely known for it's eye-catching cover art (I wonder why?), but believe us when we say they are jam-packed with hard to find classics in the funk, jazz-funk, soul and rare groove genres.

Mutant, in proud partnership with Universal Pictures, and Back Lot Music, are proud to present the premiere physical media release of 3x Academy Award®-winning composer Ludwig Göransson's original soundtrack to Christopher Nolan's 2026 motion picture The Odyssey. The Odyssey, is a mythic action epic shot across the world using brand new IMAX® film technology. The film brings Homer's foundational saga to IMAX® film screens for the first time and opens in theaters everywhere on July 17, 2026.

The Violin Sonata No. 25 in F major, K. 377, by Wolfgang Amadeus Mozart is a 1781 sonata in three movements. The work was the third of six violin sonatas published in Vienna by Artaria and Co. in November 1781. This piece was dedicated to the pianist Josepha Barbara Auernhammer.

In the mid 1960s, Chess Records released a series of The Real Folk Blues albums that compiled singles from the careers of some of its greatest artists. John Lee Hooker’s The Real Folk Blues differed from many of the other compilations as it featured newly-recorded sessions for the label. These legendary 1966 recordings capture the essence of his signature sound and approach to the blues. Standout tracks include “One Bourbon, One Scotch, One Beer,” “Stella Mae” and “I’m In The Mood."

When Philip Glass was asked to compose incidental music for a Broadway production of King Lear in 2019, he immediately knew he wanted to write for string quartet: “I know how to write for string quartet. I love its range of emotion.” Indeed, this concert version of the play’s score is his ninth work for string quartet, a medium he employs to great effect to depict the tumult, violence, and despair at the heart of Shakespeare’s classic tragedy.

The release of the debut album “Mas um Melodia” by Cláudia Sofia from Mindelo fits seamlessly into a whole series of amazing new musical discoveries from the Cape Verde Islands, which have been enriching the world music genre with interesting grooves and sounds for many years. The 10 original compositions by the singer and guitarist from the island of Sao Vicente, home of the icon of Cape Verdean music, Cesária Évora, who died in 2011, clearly show the cultural connection between the island of Sao Vicente and Brazilian music, in line with the Évora classic “Sao Vicente é um Brasilin”. (Sao Vicente is a little Brazil).

Sudamericano is a musical journey across the rich and diverse landscapes of South America. From the high Andes to the rivers of the Río de la Plata, from the arid north to Patagonia’s lush forests, Leonardo Andersen captures the continent’s cultural and geographical variety through the expressive language of the guitar. The album blends indigenous, European, and African musical traditions, reflecting South America’s vibrant and evolving heritage.

The 1961 solo acoustic album by Lightnin’ Hopkins features the legend at his finest. Showcasing Hopkins’ guitar and vocals, Blues in My Bottle shines a spotlight on his blues mastery. The album contains Hopkins’ performances of originals, traditional standards, and renditions of covers. This album has been newly remastered from the original tapes and is available on hi-res.

Experience the raw, unscripted magic of Cory Wong live at New York City’s legendary Blue Note Jazz Club. Recorded during his week-long residency, 'On A Random Tuesday' captures Wong trading large-scale orchestrations for an intimate, groove-heavy masterclass alongside world-renowned saxophonist Joshua Redman.

Aside from a few vocal pieces, Johann Jakob Froberger’s work is divided into two categories: on the one hand, pieces of French inspiration, usually played on the harpsichord, and on the other, pieces of Italian inspiration, performed on both the harpsichord and the organ. The works featured in our programme are drawn from this latter category.

It was only natural that an artist with such an encyclopedic bent as Friedhelm Flamme would one day turn his attention to the work of the organist and composer Richard Bartmuß (1859–1910). For one thing, forays into the late Romantic period are likely to serve as a welcome counterbalance to the North German Baroque organ music that cpo has recently released on a total of 22 CDs; on the other hand, the work of this contemporary of Mahler and Strauss—who served as court organist in Dessau from 1890 onward—deserves attention that goes beyond mere occasional diversions. To date, only a fraction of the compositions Bartmuß left behind have been published; yet this small selection—from which Friedhelm Flamme has made a dramaturgically successful choice here—opens up a vast, promising field that urgently needs to be explored: Neither the two (of a total of four) sonatas nor the two great chorale fantasies, nor the powerful prelude and the magnificent toccata from Opus 36 leave the slightest doubt about this.

Richard Wagner regarded his British colleague Cipriani Potter as an “old-fashioned but quite charming composer”; on May 28, 1855, in London, Wagner conducted Potter’s Symphony in G minor with such meticulous care that not only was the “elderly, friendly eccentric” but also the audience was thrilled. And how could they not be, when this magnificent work from 1832 contains just about everything expected of the highest caliber of orchestral music—and everything that had by then become familiar from the historical giants Haydn and Beethoven —without, however, falling into that tasteless style of imitation that clumsily panders to prevailing tastes. A delightful piece of the times, the Duo concertant for violin, piano, and orchestra from 1827, follows the Symphony in D major (composed in 1834) to conclude the fourth installment of the upcoming complete recording series: a three-movement showpiece with which the “quirky old eccentric” certainly need not hide behind comparable works by Weber, Hummel, and other virtuoso contemporaries.

Bach And The Baroque Organ Tradition is a classical album by organist Roberta Schmid released in July 2026. It features 11 tracks exploring traditional baroque organ masterworks, including pieces like Johann Sebastian Bach's Organ Sonata No. 1 in E-Flat Major (BWV 525) and Dietrich Buxtehude's Passacaglia in D Minor (BuxWV 161).