Featuring his popular composition "Frevo," Egberto Gismonti's Solo disc finds the great Brazilian guitarist ranging wide on a handful of stunning originals. Having already established himself as a composer in his native country and in Europe, Gismonti began to gain even wider notice with a series of topnotch ECM releases starting in 1977. His resumé includes work with such Brazilian heavyweights as Nana Vasconcelos (his longtime musical partner), Airto Moreira, and Flora Purim, as well as collaborations with jazz greats like Cal Tjader, Herbie Hancock, and Jan Gabarek. Here, Gismonti is just fine as he takes flight without any companions, treating listeners to a provocative and often meditative solo program.

Norway's Leprous return with a fearless and stunning new album, likely their most mesmerizing and impactful release yet.
"Melodies Of Atonement", the band's 8th studio album, contains 10 songs / 51 minutes of contemporary rock at its best.
Recorded by David Castillo (Opeth, Katatonia, Soen, etc.) at Ghost Ward in Sweden, the material was mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, etc.) and mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.).

Recorded by Sean Murray at the HR Recordings “Music Room” , Madrid. September 20th and 21st, 2024. Soundfield microphones. C. Bechstein Piano, (1899) Piano preparation by Mario Izquierdo Manzano. (Pianos Izquierdo S.L.) Violoncello by Martin Schleske, 2017. München. Germany. Special thanks to Sandy Gibbons.

35 years since their groundbreaking platinum-certified album Doolittle catapulted the band into the UK Top Ten, and 20 years since their celebrated reformation at Coachella, Pixies are deep into their second act, and in the midst of a creative purple patch. The Night The Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini- LP, Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career. Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s-era Fleetwood Mac are just some of the disparate wonders that inform the new songs.

In 1990 and 1991, Eric Clapton performed 42 nights at the Royal Albert Hall in London; 18 shows in 1990 and 24 in 1991. During the run of these shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. 24 Nights: Rock features 18 songs, has a running time of 2 hours 15 minutes and is available on 3 LPs or a 2 CDs. The CD format also includes a DVD of the full show. The rock show line-up varied from 4, 9 or 13 band members, and the musicians included Nathan East, Ray Cooper, Greg Phillinganes, Steve Ferrone. The 4-piece in 1991 featured Phil Collins on drums. Highlights of the songs performed include White Room, Layla, Pretending, Running On Faith, Old Love, and Lay Down Sally. The set also features excellent cover versions: a restrained reggae rhythm version of Bob Dylan’s “Knockin’ On Heaven’s Door, a blues-rock twist on the Bob Marley anthem “I Shot The Sheriff”, and the great J.J. Cale song “Cocaine”. The concert ends with the Cream classic “Sunshine Of Your Love”.

In 1990 and 1991, Eric Clapton performed 42 nights at the Royal Albert Hall in London; 18 shows in 1990 and 24 in 1991. During the run of these shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Clapton’s love of the Blues is well known, and the emotion and enjoyment of playing these songs with top-notch musicians is clear on these recordings and film.

Foster The People’s return with their long awaited fourth studio album, Paradise State of Mind. "The record started as a case study of the late Seventies crossover between disco, funk, gospel, jazz, and all those sounds. It was such a beautiful moment in time, when these different styles of music were cross-referencing each other – artists like Nile Rogers and Chic, the Tom Tom Club and Giorgio Moroder," says Mark Foster.

In 1983 when this performance was taped in Cannes, France during the Midem Festival, B.B. King was carrying one of the best bands of his entire career. Under the leadership of trumpeter Calvin Owens the band were tight and concise supporting B.B's stinging guitar and vocals to exceptional effect. These workouts on many of his greatest hits are the perfect introduction to the King of the Blues.

A composition pupil of Jules Massenet, Alfred Bruneau was largely responsible for introducing realism into French opera. His friendship with the writer Emile Zola, who shared his desire for theatrical naturalism, strongly informed his work, not least L’Attaque du Moulin (The Attack on the Mill) a ‘drame lyrique.’ The suite includes rustic elements, but also Mascagni-like verismo beauty tempered by a Gallic palette. Bruneau was a deft orchestrator with a taste for exotic color, and the excerpts from Messidor show the influence of Wagner on one of the most important but overlooked figures in turn-of-the-century French musical life. A Marco Polo release in 1994 has the same repertoire as this new recording from the Barcelona Symphony and Darrell Ang, however that album is no longer available, so this new release is a perfect opportunity to reintroduce these works.

Four-time Grammy winner Renee Fleming presents her first full-length Lieder album in almost two decades, featuring a selection of favorite songs from Brahms, Schumann, and Mahler, including Brahm's "Lullaby" and a breathtaking performance of Mahler's Rückert Lieder with Christian Thielemann and the Munich Philharmonic.

For the last two decades or so the works of the composer from Pesaro have no longer revealed very many mysteries to the historian and the opera lover, for even Rossini’s rarer works are now regularly performed. A few operas, however, still remained in the archives, among them Ivanhoé, a famous pastiche conceived by Rossini in collaboration with Pacini, his Parisian publisher. Its revival allows us to fill in a chapter of the history of music which had remained incomplete and above all to get to know the work with which Rossini introduced himself to Parisian audiences, before offering them Le Siège de Corinthe. The composer from Pesaro, indeed, had too great a sense of publicity to feed the critics’ curiosity, lightheartedly, a new opera.

The concertos for strings are a very special genre in Vivaldi's output. Contrary to the concertos for solo instruments, those offer a real balance and amazing range of colours between all the intruments concerned. Following a very successful first volume, released in 2004, Rinaldo Alessandrini and Concerto Italiano offer a new milestone recording in Vivaldi's instrumental music, full of colours and refinement.