After the uncharacteristic misstep that was The Epidemics, Shankar returned to his roots with nobody told me and showed us that his flair for Carnatic vocals is almost as deeply fleshed as his improvisational gifts on the double violin. And while he has never quite recaptured the magic of Who’s To Know, that same generative spirit is present here in every gesture of his bow. The recording is far more intimate than anything else he has put out. For that reason alone it bears repeated listening and the nuances that repetition brings to each new experience. He is also accompanied by some staggering talents, among them V. Lakshminarayana (father of the venerable L. Subramaniam and pioneer of the Indian violin, he died the year following this session), Zakir Hussain on tabla (who, if you’re reading this, probably needs no introduction), and ghatam master Vikku Vinayakram…

Singer and oud player Dhafer Youssef is one of the most appealing stars of world music, yet his music still resists categorisation within that vague genre. Last year we heard him in a "supergroup" with Omar Sosa and Anga Diaz, but he sounds more comfortable accompanied by the talented crop of Norwegian musicians loosely associated with "nu-jazz". This cool style of playing, loose-limbed and hard-edged, provides the perfect backdrop to the Mediterranean warmth of Youssef's compositions. The most significant collaborator is producer-guitarist Eivind Aarset, who supplies backdrops of wide-ranging style and density, while remaining empathetic to Youssef's musical personality. Youssef can be deep, light-hearted, complex, funky and achingly romantic, sometimes all within one song. The album's pace is leisurely, full of atmosphere, groove and great playing, but rarely self-indulgent; you never forget whose album it is. By taking the most positive aspects of nu-jazz, Aarset and Youssef have forged a thrilling new sound that could make Divine Shadows a crossover hit.

Vocalist and violinist Alice Zawadzki, pianist Fred Thomas (who also plays the vielle and drums here) and bassist Misha Mullov-Abbado present a rare alchemy on their trio debut, fusing folk idioms from a multitude of sources with free flowing interplay and fluid structures. Inhabiting their own stylistic realm, the trio encompasses folk song, chamber music, improvisation and acoustic jazz, and on Za Górami they present the full span of their reach in a mesmerizing whole. Ladino traditionals are heard alongside striking renditions of Gustavo Santaolalla’s “Suéltate Las Cintas” and Simón Díaz’s “Tonada De Luna Llena”. The title-lending Polish traditional “Za Górami” is performed in a poignant interpretation by Zawadzki and the Renaissance piece “Je Suis Trop Jeunette” finds a kindred spirit in Fred Thomas’s monody-inspired setting of James Joyce’s in “Gentle Lady”. The album was recorded at the Auditorio Stelio Molo in Lugano and produced by Manfred Eicher.

Hijazz Project is a gathering place of the most famous musicians in Turkey. Each one individually has their own bands and personal projects, play in different festivals, working in different productions. Hijazz Project for them, is a way to surrender their togetherness in this music of synthesis they make hand in hand, without any ego, matching to the idea of Mevlana and Sufism. They play from Hamamizade Ismail Dede Efendi to W.A.Mozart… from Hasselman to Nayi Osman Dede.. from J.S.Bach to Tamburi Cemil Bey.. mixed with the jazzy mood, powered by Budapest Symphonical Orchestra conducted by Alparslan Ertungaalp. HiJazz Project's first concert was supported by Turkiye Is Bankasi in 2003. in 2007 the band is supported by Arif Mardin (R.I.P), who had great effort for Hijazz Project to perform in the Istanbul Jazz Festival. He made it but passed away on the concert day. So we dedicate our 2007 Istanbul Jazz Festival performance to his loving memory. He was the only music producer in the world who made the world a better place.

The Bird Of A Thousand Voices by Tigran Hamasyan is a mesmerizing musical journey that showcases the artist's virtuosity and creativity. Released by Believe Digital Gmbh, this album features a fusion of jazz, folk, and classical influences, creating a unique and captivating listening experience.

Founded in the vibrant musical haven of Brussels in 2015, Azmari have been crafting a truly unique tapestry of musical exploration. Melding intricate jazz textures with intoxicating oriental influences, mesmerizing ethio grooves, enigmatic dark funk, and the pulsating beats of dub music, Azmari defies conventional labels to weave a narrative of sonic innovation and artistic liberation. Influences range from an eclectic array of artists, including Okay Temiz, Heliocentrics, Whitefield Brothers, Surprise chef, Antibalas and Sons of Kemet.

First recording work of the duo Gabriele Mirabassi and Simone Zanchini. Disco fun, brilliant, full of a thousand ideas and musical colors. Eight pieces, most of which written by the performers themselves, where the compelling dialogue between the two instruments, alternating atmospheres of popular flavor with other cultured ones, reaches peaks of pure lyricism. The one made up of Gabriele and Simone is a real duo: absolute mastery of their instrument, strong individual imprint, inexhaustible personal creativity, but great understanding and sense of general balance. An album strongly linked to the EGEA tradition, but which explores new and stimulating directions through the use of an absolutely original language.

Secret Story is among the more provocative recordings in Pat Metheny's oeuvre. Combining the relaxed groove of the early Pat Metheny Group recordings, it is full of odd sounds, exotic instrumentation, and the participation of members of the London Orchestra conducted by Jeremy Lubbock. Along with regular group members – bassist Steve Rodby, drummer Paul Wertico, percussionist Naná Vasconcelos, pianist-keyboardist Lyle Mays – numerous guests adorn these tracks as well: bassists Charlie Haden and Will Lee, percussionist Armando Marcal, vocalist Mark Ledford, jazz harmonica legend Toots Thielmans, Gil Goldstein, and Pat's brother Mike Metheny. But what's most notable is that none of these players are constants, as this is most certainly a Metheny solo effort: Secret Story is his own song, so to speak. His acoustic and electric guitars are augmented by synthesizers and samplers, and no matter how lush these proceedings get, they are never overwhelmed by production.

Amos Hoffman is an internationally recognized Israeli jazz guitarist and oud player, celebrated as a pioneer in blending Middle Eastern rhythms and melodic themes with modern jazz. MINOR OPERATION is his sixth album, recorded with an outstanding trio featuring Santi Debriano on bass and the legendary Lenny White on drums.

From anger to love: In a trio of organ, sax, and cello, Rain Sultanov is facing the dark side of the soul.

On 31 October 2000, Cuban jazz pianist Omar Sosa gave an extraordinary concert at Bremen's Schlachthof with a magnificent band, including US rapper and hip-hopper Sub-Z. Sosa's musical work covers an enormous range. Of course, his music is characterised by his musical roots and his Cuban origins, but the basis is formed by Latin jazz and Afro-Cuban rhythms as well as traditional North African music, which he likes to combine with elements of merengue, salsa, soul, funk, classical music and even hip hop. In other words: Omar Sosa is always exciting, especially live. This was also ensured by the superb backing band that accompanied Omar alongside Sub-Z at this concert from the Bremen Schlachthof: saxophonist Sheldon Brown, bassist Geoff Brennan, percussionist Gustavo Ovalles and drummer Elliott Kavee.

“It’s probably fair to say that only Cyro Baptista could concoct a mix of music to include Brazilian, Mexican, and Afro-Cuban forms with hints of jazz, funk, and whatever else may fit, sometimes with multiple forms within the same song. Yet, even while you may not detect the particular style or have a total grasp on what he’s up to, he somehow makes it accessible and infectious.” Jim Hynes, Glide Magazine

By the time he was twenty, Joseph Tawadros had already received a significant music fellowship and an ARIA nomination for his first album. He's gone on to become one of the most respected Oud players in the world, performing a concert of his original music at the BBC Proms and being awarded the Order of Australia medal along the way. For the last few two years he's been stuck in London during the pandemic, finishing off an album that he began in New York, but in the Drawing Room he's looking forward with a tour and mystery new project on the way.

Blood Red, composed by Mikko Hassinen, is a kind of soundtrack to a fictional story taking place in late 16th-century Istanbul.