Malcolm Earl "Mal" Waldron (August 16, 1925 – December 2, 2002) was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from college.

ke Abrams Quebec (August 17, 1918 – January 16, 1963) was an American jazz tenor saxophonist.

Théodore Gouvy, a Saarland-Lorraine composer, combines French grace, elegance and clear structure with German thoroughness and depth.

When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, Kathy McCord was released in 1970. Although the label would go on to establish a fine reputation in jazz, “Kathy McCord” was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusion of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as ‘I’m Leaving Home’.

A journey through passion, vision, and sensuality, this album brings together three luminous works for voice and orchestra. At its heart is Ernest Chausson’s “Poème de l’amour et de la mer”, Op. 19 – a sweeping, late-Romantic meditation on love and loss, where human emotion dissolves into the vastness of the sea.

Newly arrived in Paris, where he meets again his ex-pupil Marie-Antoinette, Gluck decides to court the Parisian public by revising one of his great Viennese successes: Orfeo ed Euridice.

When we think of the waltz, it is easy to imagine the ballrooms of European high society in the eighteenth and nineteenth centuries. However, to dismiss it as just another formal ballroom dance does it a great disservice! Evolving out of earlier peasant dances and breaking through to the ballroom, it was the waltz that for the first time allowed dancers to face one another and revolve together in an embrace. This was nothing short of a shocking outrage to many, and yet, the waltz persisted, breaking social norms and resistance. It then broke geographical boundaries as well as it began to spread across Europe and become a dance of many different national flavours.

Rossfelder started playing the guitar at the age of 5.

Arising from a passion shared with his father, Luis Fernando Pérez is inviting you to explore his ‘encores’, the little pearls he only reveals to the audience at his concerts. This album, recorded in a single session, combines masterpieces with rare items, paying tribute to those like his father who supported and inspired him from the very start.

Sources inconnues was born from these (non-exhaustive) questions. A piece from Jean-Yves Labat de Rossi’s album En Voyage —musician known as Mr. Frog and cofounder of the Ad Vitam records label— lent its name to this musical recollection. Is this yet another concept album gathering random pieces that have nothing to do with each other merely adorned with a clever, enigmatic title and a misleading premise, all in an attempt to dress itself up in pseudo-intellectualism and wrap the whole thing in a trendy, marketable theme? Reader, listener, trust me. If I had any kind of marketing plan, I’d have recorded Beethoven’s last 3 sonatas or Chopin’s Four ballads instead of starting out with a monograph dedicated to Moondog and following that up with Alan Hovhaness, Philip Glass, Erik Satie and Keith Jarrett.

L'Enlèvement du Sérail (French Version) avec Florie Valiquette, qui inclut aussi la participation de Gaétan Jarry et l'Orchestre de l'Opéra Royal, est un enregistrement vocal de l'œuvre de Mozart, avec un enregistrement de Mathias Vidal disponible dans le catalogue d'Apple Music Classical et sur Deezer.

Mozart died barely 11 months after completing his final piano concerto, No. 27, in January 1791. It’s one of the composer’s most serene concertos, full of wit and beauty, with a piano part that eschews technical difficulty for songlike elegance. Whether, as has been suggested over the years, the piece contains hints of a man resigned to his fate, doesn’t matter. Mozart was at the height of his inventive powers, and the piece is treated here to a performance of lightness and grace by a team of musicians determined never to overstate and risk romanticizing Mozart’s sublime utterings. Even when Mozart veers into minor-key territory, the storm clouds dissipate almost as soon as they gather.

RossoPorpora made its Arcana debut with an album dedicated to Luca Marenzio, which received widespread critical acclaim, including the German Record Critics' Award, Classic Voice’s Disc of the Month, a Diapason rating of 5, and five-star reviews from Musica and Amadeus. It was described as “magnificent” by Early Music Review and hailed as “a desert island disc” by Forum Opéra. Now, with its second album, the ensemble turns to one of the cornerstones of 17th-century music: Claudio Monteverdi’s Sixth Book of Madrigals. In a deeply immersive exploration of the composer’s inner world during his final years in Mantua, RossoPorpora delivers a profoundly moving interpretation of the many masterpieces contained in the collection—Lamento d’Arianna, Lagrime d’Amante sul sepolcro dell’Amata, Zefiro torna, Oimè ’l bel viso, Qui rise o Tirsi—which together mark one of the highest achievements in the history of the madrigal.

25-year-old rising American violinist Karisa Chiu, noted for her “easy virtuosity … humor, nuance… [and] playful[ness]” (Cleveland Classical), and renowned Chinese pianist Zhu Wang (“a thoughtful, sensitive performer” —New York Times) unite for Chiu’s debut album, HOME. Influenced by her Chicago upbringing, pandemic discoveries, and Korean and Chinese family roots, the recording reflects on the various interpretations of “home” in Chiu’s life, with works by Jean Sibelius, Claude Debussy, Augusta Read Thomas, Cyril Scott, and Gabriel Fauré.

Following her internationally acclaimed and multi-award-winning 2023 debut, Rising Sun, pianist Shuteen Erdenebaatar returns with Under the Same Stars—an exquisite duo album with the rising ACT Music artist Nils Kugelmann on contra-alto clarinet and upright bass. Meditative, romantic, and daring, this duo paints poetic miniatures with strokes of jazz, classical, and cinematic music. Alto Recorder and Mongolian horsehead fiddle features add soulful mystery.