Chapman has long had a fascination, not just with American music, but the American South and West. So an album explicitly inspired by the country should come as no surprise. The joy is how much it highlights his fabulous guitar picking. “Sweet Little Friend from Georgia” and “Coming of the Roads” might seem relatively straightforward, but the more epic “Swamp” and “Gaddo’s Lake” delve into decidedly complex territory; in fact, the impressionistic “Swamp” is probably the record’s centerpiece. As an instrumental portrait of the southern states it’s loving, very finely honed, and played in a way that reminds you that Chapman is one of the best, and most undervalued, guitarists around. Even if “Jumping Geordie” has its origins on the other side of the Atlantic, it still fits in. For longtime fans, “Indian Annie’s Kitchen” brings back some memories of “Kodak Ghosts,” and throughout small touchstones of blues, country, and jazz slip by.

Born in New York in 1946, Swiss-American lutenist Hopkinson Smith graduated from Harvard with Honors in Music in 1972. His instrumental studies took him to Europe where he worked with Emilio Pujol, a great pedagogue in the highest Catalan artistic tradition, and with the Swiss lutenist, Eugen Dombois, whose sense of organic unity between performer, instrument, and historical period has had lasting effects on him. He has been involved in numerous chamber music projects and was one of the founding members of the ensemble Hespèrion XX. Since the mid-80’s, he has focused almost exclusively on the solo repertoires for early plucked instrument, producing a series of prize-winning recordings for Astrée and Naïve, which feature Spanish music for vihuela and baroque guitar, French lute music of the Renaissance and baroque, English and Italian music of the 16th early 17th century and music from the German high baroque.

Payne's Window offers further testament to unsung hero Cecil Payne's prowess on the baritone saxophone. Fronting a delightfully swinging sextet that includes pianist Harold Mabern and tenor saxophonist Eric Alexander, Payne delivers a wonderful mixed bag of originals and standards. Window boasts a nonchalant attitude that allows the music to swing effortlessly. On Payne's humorous "James," Mabern improvises on what seems to be "Mary Had a Little Lamb" as Payne, Alexander, and trombonist Steve Davis punch in with swaggering riffs. Payne's impeccable rhythms are still intact, as on the Latin-tinged "Spiritus Parkus" and "Southside Samba," while tunes like "Lover Man" and "That's It Blues" are imbued with bluesy mellowness. Payne's Window is a no-frills record that rewards with each listening.

A trim, at times, almost balletic Falstaff. If that seems a ludicrous contradiction, I should explain that it refers to Dutoit's spirited interpretation of the work, not the central character, though Falstaff himself has shed a few pounds in the process but is no less loveable. Indeed, Dutoit's swift tempo for the second section (at the Boar's Head) has the theme for Falstaff's 'cheerful look and pleasing eye' sounding less like Tovey's understandable misunderstanding of it as ''blown up like a bladder with sighing and grief''. The trimming down process is abetted by the Montreal sound, with lean, agile strings and incisive brass (the horns are magnificent). Some may feel a lack of warmth in the characterization. I certainly felt that the first presentation of Prince Harry's theme (0'40'') could have done with a richer string sonority. Doubtless, too, there will be collectors who, at moments, miss the generous humanity of Barbirolli, or the Straussian brilliance of Solti. And although Mackerras is wonderful in the dream interludes and Falstaff's death, the start of his fourth section, with Falstaff's rush to London only to be rejected by the new King, is short on teeming excitement and anticipation. (Gramophone)

"Troupeau Bleu" is the 1st and most famous album which had been recorded by the French Jazz-Funk band legend, Cortex. The obscure French jazz group that's been a favorite of funky collectors for years! In 1974, Alain Mion, Alain Gandolfi & Jeff Huttner formed the mythical band, Cortex, who then recorded several LPs, including the legendary "Troupeau Bleu". The album, recorded in 2 days in july 1975, is a real musical U.F.O, an unclassifiable record, a mixing of thousand flavours, the kind of records you will discover listening after listening. The result is a stunning electric groove with a feeling that's really fresh, nice and warm, and funky in all the right parts!

Snarky Puppy has built a loyal following with their adventurous blend of jazz, rock and funk based around a heavy touring schedule and live-in-studio video content. A rotating roster of some of the most talented musicians and multi-instrumentalists makes for a truly unique sound within the jazz fusion world. Their new live-in-studio audio and visual album, Empire Central, is a love letter to Dallas, representing Snarky Puppy returning to their funk, gospel roots.

Found Light may be Laura Veirs’ 12th studio LP, but it also, in many ways, feels like her debut. If 2020’s My Echo - written and mixed just prior to her 2019 split from her longtime husband, her longtime producer, and the father of her two sons - was her divorce album, Found Light is about what comes after. Found Light is a liberating collection of inquisitive and surprisingly assured snapshots of healing and personal growth, and her very first release with co-production credits. Despite the sadness and suffering that prompted these 14 graceful wonders, the result is a testament to the inspiration of independence, to shaping new possibilities for yourself even after great loss. It is a reminder that we are always capable of something more.

Marilyn McCoo & Billy Davis Jr. are founding members and lead singers of the original 5th Dimension. Marilyn & Billy left the group and won a Grammy award, which is among their collection of seven Grammy wins, with an even greater number of nominations. Billy Davis, Jr. has continued to attract attention as a soloist and a duo partner with his wife, Marilyn McCoo. Although Marilyn & Billy tour regularly, BLACKBIRD: LENNON-MCCARTNEY ICONS is their first major studio album in three decades, and it is inspired by the turbulent and tragic experiences of lives lost in the ongoing struggle for human rights and equality.

A Soul Ascends is a majestic, deeply moving sonic suspension drawn from the essence of Steve Roach’s visionary ambient/electronic music. A vast and intimate holding-the-space of heart-centered serenity and compassion, the album couples the body to the eternal flow of a vaporizing weightlessness — back to a divine nothingness, the Tabula Rasa where everything began.