The 12 tracks that appear on The Best of the Alan Parsons Project include some of their greatest singles, like "I Wouldn't Want to Be Like You" from 1977's I Robot and the inducing "Games People Play" off of The Turn of a Friendly Card. Even though these songs are splendid all by themselves, they seem to lose their conceptual weight when taken away from their original albums. As singles, they do act as a fine representation of how The Alan Parsons Project's music sounds and conveys its mysterious air, but even with a dozen singles on this album there's just too much of their other worthy material that is sadly left off.

Akuphone is proud to present Fuji-Yuki’s latest masterpiece, "One Butoh". A musical immersion into the most exciting avant-garde dance style of the past century. Created in Japan in the 1960s by Tatsumi Hijikata, butō is the "dance of the obscure body". It broke with the traditions of classical Noh and Kabuki Theater, which, at the time, seemed outdated in the national context. Nourished by a European artistic avant-garde, butō stands out as a mirror of the socio-political turmoil of a post-World War II Japan. One Butoh resonates as a perfect acoustic introduction to this subversive art and propels the listener deep into his own soul.
Fuji-Yuki is a Japanese vocalist who uses her voice like an instrument. With special vocal techniques, glossolalia and electronic pedals, she creates a wide variety of sounds. Inspired by the spirits of Buddhism and Shintoism, she creatively transforms her vocals into an ambient drone or prayers resonating in a church-like space. Her live performances are always different, depending on the place and space they take place in. She is also known as the vocalist of the experimental band Sarry.

2020/2021. More than 18 months without being able to make a gig. This space of time, this imposed "pause", was used to prepare a new album, a group album, as we had not realized for a long time.
Following the creation of a new line-up in 2020, we once again offered musicians to bring songs, Christian Vander never having made the deliberate choice to be Magma's sole composer. But in fact, none of the dozens of musicians who participated in this adventure had offered a new song for decades !
After "ZËSS", which hinted at a rather gloomy future, this bright and resolutely optimistic new album is the result of a collective work, an "Operation Kartëhl".

The Source is Kenny Barron’s first solo album to be released since his landmark 1981 recording Kenny Barron At The Piano (Xanadu). Like that initial, auspicious solo outing, The Source consists of Barron-penned originals (“What If,” “Dolores Street,” “Sunshower,” “Phantoms”), Thelonious Monk tunes (“Téo,” “Well You Needn’t”), Duke Ellington/Billy Strayhorn compositions (“Isfahan,” “Daydream”) and one standard from the Great American Songbook (“I’m Confessin’”). And, just like its predecessor of 40 years, The Source serves as a direct emotional connection between Barron and the listener, abandoning all sense of pretense and serving as a fountain of honest, intimate gestures that unfold organically, one right into the next; there are no canned goods for sale here, and nothing forced. The music draws from a seemingly bottomless well of stylistic perspectives under Barron’s command — including straightahead jazz, swinging standards, canonic classical music, barrelhouse blues, bossa nova and free improv — revealing exactly why the 79-year-old DownBeat Hall of Famer has long been esteemed as a master of his craft who thrives in any setting, whether playing solo, leading a trio or accompanying a featured artist. Barron’s every statement on The Source is expressed with uttermost elegance and virtuosity. The album could alternatively be titled Kenny Barron: All The Things You Are, as the NEA Jazz Master crafts a loving ode to jazz and its closest relatives using all the source materials that have made him who he truly is.

Leonard Slatkin has a special affinity for Russian music, and he conducts these Tchaikovsky performances with great authority and passion. The Fifth Symphony, despite its popularity, has proved an elusive piece to record really well. The problem lies with the finale, which can sound inflated and artificial after the moody music that precedes it. Slatkin paces the music to perfection, keeping up momentum and allowing time to savor the music's many attractive details. The slow movement rises to a climax of great intensity, without a trace of false hysteria. The Tempest is a gorgeous tone poem that ought to be better known that it is. Its inclusion here adds to the disc's attractions.

If you're looking for a recording of Locatelli's complete Opus 8 Violin Sonatas, look no further. These 1994 recordings by the aptly named Locatelli Trio are not only superbly played and beautifully recorded, they have the singular virtue of being the only available recordings of the works. That's alright: with violinist Elizabeth Wallfisch at the helm, they are uniformly first-rate performances. Wallfisch is herself a superior period instrument player who balances the virtuoso demands of the music with its undeniable melodic charm and harmonic invention, and she leads cellist Richard Tunnicliffe and harpsichordist Paul Nicholson in performances that amaze as well as delight the listener. Furthermore, when the trio becomes a quartet with the addition of violinist Rachel Isserlis for the final four sonatas for two violins and continuo, the best gets even better through the brilliant interplay of two skilled soloists. For lovers of virtuoso violin music of the Italian High Baroque, this is as good as it gets. Hyperion's sound is crisp but warm, detailed but deep.

Though he never really slowed down at any point, Neil Young stayed on an especially prolific streak as the 2010s bled into the 2020s. In addition to a steady rollout of archival material, official versions of long-bootlegged shows, and other miscellanea, Neil has produced albums of entirely new material at a rate unmatched by most artists in his age bracket who have been at it for as long as he has. World Record follows quickly behind the mellow rocking of 2021's Barn, and again finds Young ably backed by his longest-running comrades, Crazy Horse. This time around, however, the band worked with producer Rick Rubin, capturing everything live in the studio and sticking to an analog-heavy recording process. World Record is an album built of unlikely combinations that somehow work.

The Power of Rome is a strange work – thoughtful and seemingly with a profound philosophical message. It has some weird pages such as the Holstian fog that is the section from 6:00 onwards. Children’s March in this version has parts for four tenors and four basses rather than the orchestra alone version neatly enunciated by Boult on Lyrita. This is a quick march before tiredness has set in and is as much a jiggy dance as it is a march. As usual with Grainger there are some surprises, skirls and expostulations along the way. Bell Piece is a salon farewell – a touch Puccinian - rather pleadingly sung by James Gilchrist who is caught very early in his career.

Not much is known about the life of Tomaso Albinoni. He was the eldest son of a wealthy Venetian paper merchant. The family was very well off, and in his adult life Albinoni was financially independent. He thought of himself as an amateur musician. Although completely trained in his art, he did not seek professional employment in music. He was a fine performer on the violin, and one of the most prolific writers of the violin concerto in the high Baroque. Initially Albinoni attempted to compose church music, but did not meet with much success. However in 1694, with the publication of 12 trio sonatas and the production of his opera Zenobia, Regina de Palmireni, Albinoni had found his milieu.

Ronnie James Dio is one of the most beloved figures in rock history. His gifts, both as a singer and songwriter, are instantly recognizable, whether he was with Rainbow, Black Sabbath, Heaven & Hell, or leading Dio. Sadly, Dio lost his battle with stomach cancer in 2010, but his towering voice and legacy live on. To celebrate one of rock’s most powerful voices, an all-star group of his friends and fans recorded 13 of their favorite tracks for a tribute album that will raise funds for the Ronnie James Dio Stand Up and Shout Cancer Fund (diocancerfund.org). Produced by his longtime manager and wife Wendy Dio, the album includes contributions by such metal heavyweights as Metallica, Motörhead, Scorpions,Anthrax, and Rob Halford, as well as appearances by many of the musicians who performed with Dio over the years.

The chromatic harmonica is an instrument still finding its footing in the world of modern jazz music. Yvonnick Prené’s mission is to put the harmonica in its rightful place in the pantheon of instruments used to improvise. He makes a convincing case on his new recording, Listen!, as he eschews the trumpet in the classic jazz quintet setting and replaces it with the chromatic harmonica.

Ronnie James Dio is one of the most beloved figures in rock history. His gifts, both as a singer and songwriter, are instantly recognizable, whether he was with Rainbow, Black Sabbath, Heaven & Hell, or leading Dio. Sadly, Dio lost his battle with stomach cancer in 2010, but his towering voice and legacy live on. To celebrate Dio's life, an all-star group of his friends and fans recorded 13 of their favorite tracks for a tribute album, entitled "This Is Your Life," to raise funds for the Ronnie James Dio Stand Up and Shout Cancer Fund.

Op haar derde album trekt de Franse bluesrock gitarist Laura Cox de stijgende lijn van haar vorige twee albums moeiteloos door.

When José James released No Beginning No End 2 (2020), a collaborative effort that paired the forward-looking vocalist with a global all-star cast including Ledisi, Aloe Blacc and Laura Mvula, it was apparent that the genre-defying artist was back to stake his claim as the jazz singer for the hip-hop generation. In that light his new project, On & On, finds James throwing down the gauntlet on the past 100 years of jazz singing while charting a path forward for the culture.

The final evening of their 2003 summer tour found the Allman Brothers planning a special night on the friendly turf of Raleigh, NC, wrapping up yet another road trip with invitations to Susan Tedeschi, Karl Denson, and truly serious jazzbo Branford Marsalis to join the group on-stage. It was all captured by the state-of-the-digital-arts folks at Instant Live, who burn CDs of the shows and make them available to concertgoers who still have a few extra green ones in their pockets by evening's end. On the sprawling three-CD set documenting these particular proceedings, there is indeed some fine music, although in his Allmans premiere appearance Marsalis doesn't fare as well as jam band-friendly Denson; the sax-blowing Marsalis brother (heard on "Dreams" and "Whipping Post") seems shoehorned between the guitars and strains a bit over the loud rock groove.