Over three decades and dozens of millions albums sold, Joey Tempest (vocals), John Norum (guitars), Mic Michaeli (keyboards), John Leven (bass) and Ian Haugland (drums) as hardworking as ever, annually performing concerts worldwide and producing albums that are critically acclaimed by fans and the music industry alike. When it was time to release their third album ′The Final Countdown′, they had Journey—producer Kevin Elson onboard and a major American label behind them. Touring the UK, US and the rest of the world had always been the boys dream. They had put in the dog years and it was time for the big success. ′The Final Countdown′ sold 7 million records worldwide and the single was number one in over 25 countries and still is a big anthem all over the world until today. The album spent 70 weeks on the Billboard Charts and had four Top 40 singles. Europe had made it.

Ancient Grease is a clever moniker for a band, although Strawberry Dust were rather baffled to find themselves so named on their 1970 debut album, Women and Children First. Dust's reputation as a rousing live act was already cemented by several years of plying cover songs around the South Wales club circuit, which is where drummer John Weathers came across them. Impressed, he oversaw their demo, which landed Dust a deal at Mercury, then co-wrote, arranged, and co-produced their full-length. And thus begins the Racing Cars story, for Dust/Grease featured both the band's future frontman, Gareth "Morty" Mortimer, and guitarist, Graham Williams.

Actus Tragicus The words ‘art of dying’ sound strange to modern ears, perhaps. Although there are related philosophical, religious and ‘end of life’ health care, and much-debated legal concerns today surrounding the subject of dying, we moderns probably rarely, if ever, think of preparing for death as an art form. A central topic in sermons, hymns and contemplative literature, death and dying was a chief pastoral concern of the church of Johann Sebastian Bach’s day. Finding consolation and facing fears and anxieties near the time of death, and also as a part of everyday living, are arguably at the heart of the sacred vocal works of Bach, who is regarded by many as a kind of theologian in music.

Like Abou-Khalil’s other recordings, this CD is testament to the heights that can be reached, both artistically and humanely, when people from different cultures and backgrounds unite in creative curiosity and mutual respect. Without any of the musicians compromising their cultural heritage Abou-Khalil produces a music that is new yet strangely familiar, progressive yet equally traditional. With its opposites so homogeneous and natural, this music is fresh and sparklingly vivid as if it had always naturally existed in exactly this way.

In the Europe of the first half of the seventeenth century, instrumental music became a source of sonic and expressive experimentation. Influenced by vocal rhetoric, composers sought to replace words with a new musical language. The virtuosity of the instrumentalists developed, as did invention, improvisation and the search for surprising sonorities. Along with the organ or the harpsichord, the violin was the instrument of choice for experimenting with these new techniques. Italian and German composers of the seventeenth and eighteenth centuries such as Farina, Schmelzer, Mealli, Buxtehude, Biber, Pisendel and Bach vied with each other in imaginativeness… The violinist Chouchane Siranossian and the harpsichordist Leonardo García Alarcón – both loyal Alpha Classics artists – have chosen to explore this repertory, here including Bach’s sonatas BWV 1019, 1021 and 1023 among other pieces.

Nicholas Payton Realizes a long-cherished dream to record with icons Ron Carter and George Coleman, abetted by his longtime-collaborator Karriem Riggins on his album, Smoke Sessions.

RESIST will be Midnight Oil’s 15th studio release since they first exploded out of the post-punk scene back in 1978, blazing a singular trail of blistering gigs from Australia’s pubs and clubs to arenas and festivals around the world.

Craig Taborn’s Avenging Angel album was widely praised for the fresh ideas it brought to the solo piano idiom. “It reflects Mr Taborn’s galactically-broad interests,” said the New York Times, “along with his multifaceted technique,” while the Guardian saluted Craig’s “genius (there is no other word for it)" and his “world of whispered, wide-spaced figures, ringing overtones, evaporating echoes and glowering contrapuntal cascades”. Over the last decade Taborn has continued to refine and develop his approach, reaching new high ground with Shadow Plays, a stunning live recital from Vienna’s Konzerthaus. In this fully improvised concert, recorded in March 2020, Craig explores sounds and silences, swirling colours, densities and forms, creating new music in the moment with both poetic imagination and an iron grip on his spontaneously generated material.

GRAMMY-winning composer, bandleader, and pianist Arturo O’Farrill has fulfilled what he calls “a lifelong dream” with his signing to Blue Note Records and the release of his Blue Note debut …dreaming in lions… The album finds O’Farrill leading a colorful 10-piece assemblage he calls The Afro-Latin Jazz Ensemble, a scaled-down edition of his renowned Afro-Latin Jazz Orchestra. The program encompasses two inspired multi-movement suites that O’Farrill has conceived in collaboration with the Cuban Malpaso Dance Company: “Despedida,” a meditation on farewells, and “Dreaming in Lions,” inspired by Ernest Hemingway’s novella The Old Man and the Sea.