While the world came to a stop during the pandemic, the three-piece retreated in the studio to write and record upcoming album ‘Drif’. In the band’s fashion, they sought for forgotten songs, made ruffling leaves into instruments and wrote lyrics spreading messages of love for each other and respect for nature. ‘Drif’ will be HEILUNG’s most immersive and successful work to date. In their own words: “Drif means “gathering”. A throng of people, a horde, a crowd, a pack. In symbiosis with the album title, Drif consists of a flock, a collection, a gathering, a collage of songs, that much like little flames were seeking towards each other, to join, to bond, to create, and be greater together. This album has very clearly dictated its own path. Our attempts to tame it was repeatedly fruitless and once we came to this realization, the creative flow surged forward with immense force. So much so that sometimes it felt like the songs wrote themselves. All the songs on Drif have their own stories. They have each their place and sense of belonging, with inspiration not only from Northern Europe, but from the ancient great civilisations.”

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

The two-time GRAMMY® Award-winning and multi-platinum artist returns with her first album on Epic Records, TORI.. The 15 track release features songs from her 2023 digital EP along with the hit single “high water” and much more.

One of the many jazzmen who started out playing hard bop but went electric during the fusion era, Joe Sample was, in the late '50s, a founding member of the Jazz Crusaders along with trombonist Wayne Henderson, tenor saxman Wilton Felder, and drummer Stix Hooper. The Crusaders' debt to Art Blakey's Jazz Messengers wasn't hard to miss - except that the L.A.-based unit had no trumpeter, and became known for its unique tenor/trombone front line. Sample, a hard-swinging player who could handle chordal and modal/scalar improvisation equally well, stuck to the acoustic piano during The Crusaders' early years - but would place greater emphasis on electric keyboards when the band turned to jazz-funk in the early '70s and dropped "Jazz" from its name.