Both Scriabin and Langgaard believed that through their music they could pave the way for a spiritual revolution. The piano offered a perfect and very intimate medium for their highly personal harmonic and expressive vocabularies. Scriabin drew on daemonic associations in his Piano Sonata No. 9 to liberate the old tonal system, whereas Langgaard explored his youthful fascination with Catholicism in music of fanaticism and ecstasy. Langgaard’s The Flame Chambers and Scriabin’s Vers la flamme are feverish musical twins that exemplify both composers’ explosive intensity.

Sonny Rollins is the most enduring tenor saxophonist of the bebop and hard bop eras, but also one of the greatest jazz saxophonists of all time. His fluid and harmonically innovative ideas and easily accessible sound have influenced generations of players. Nicknamed "Newk," he served early apprenticeships with bop masters from Bud Powell and Miles Davis to Max Roach & Clifford Brown.

This ambitious video and musical project was co-ordinated by Tom Galley (brother of former Whitesnake guitarist Mel Galley) - the albums are concept affairs, centred on the theme of supernatural phenomena. However, utilizing an impressive list of guest musicians has not always guaranteed a good result, and Phenomena went some way towards proving this truism. With Neil Murray (bass), Cozy Powell (drums), Mel Galley (guitar) and Glenn Hughes (vocals) among the initial line-up, great things were evidently expected for Phenomena.

Bryan Lee: Live and Dangerous features the celebrated guitarist and his Blues Power Band performing a concert at the Montreal Spectrum, October 17, 2003.

When headbanger historians look back on the important heavy metal and hard rock bands that were active during the '70s, Mahogany Rush's name doesn't come up nearly as often as Led Zeppelin, Black Sabbath, Deep Purple, Kiss, Van Halen, Judas Priest, Blue Öyster Cult or Aerosmith – and that is regrettable because Frank Marino led one of the '70s' most exciting hard rock/metal outfits.

The Laura Anglade Quintet’s debut recording is entitled ‘I’ve Got Just About Everything’. “This record is a collective effort,” explains Anglade, “We are always setting new goals as a band and challenging and learning from each other. I think the key is a shared level of humility and desire to do this music justice. With the exception of Easy Way Out, this record is our take on lesser-known standards outlining the tradition. Branching out from the quintet’s combined influences, on top of the carefully thought out melodies, I truly believe that these tunes offer themes and experiences that are indeed timeless. Music creates a safe space for self-digging by freeing the listener to approach it without constraints.

The Cello Concerto no.1 was Villa-Lobos’s first major orchestral work. Filled with youthful energy and displaying an eclectic style, it is the sound of the composer finding his voice. Three decades later and with his reputation at its height, the inspired melodies and flowing style of the Fantasia sees Villa-Lobos giving free rein to his vivid imagination. Composed for the Brazilian cellist Aldo Parisot, the no less inventive and lushly scored Cello Concerto no.2 from 1953 suggests man’s solitude when facing the vastness of nature.

A complete performance of Domenico Scarlatti’s 555 keyboard sonatas would take over two days of continuous playing, and the majority are still little-known today. This 28th volume features a wide selection of these original, imaginative and colourful works. It includes spritely dances (K.7), an energetic triple-time romp (K.55) and a Spanish influenced evocation of flamenco (K.142) – among many other examples of Scarlatti’s seemingly limitless musical invention.

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.

Édith Piaf is almost universally regarded as France's greatest popular singer. Still revered as an icon decades after her death, "The Sparrow" served as a touchstone for virtually every chansonnier, male or female, who followed her. Her greatest strength wasn't so much her technique, or the purity of her voice, but the raw, passionate power of her singing.

Glenn Miller's reign as the most popular bandleader in the U.S. came relatively late in his career and was relatively brief, lasting only about three and a half years, from the spring of 1939 to the fall of 1942. But during that period he utterly dominated popular music, and over time he has proven the most enduring figure of the swing era, with reissues of his recordings achieving gold record status 40 years after his death. Miller developed a distinctive sound in which a high-pitched clarinet carried the melody, doubled by a saxophone section playing an octave lower, and he used that sound to produce a series of hits that remain definitive examples of swing music.

One of the prototypical Italian-American crooners, Vic Damone parlayed a smooth, mellow baritone into big-time pop stardom during the '40s and '50s. Early in his career, his inflection and phrasing were clearly indebted to Frank Sinatra, who once famously called him "the best set of pipes in the business." Overall, though, Damone's style was softer than Sinatra's and owed less to the elasticity of jazz, especially since he was a solo performer who never served an apprenticeship with a swing orchestra.

Known to music fans around the world as the “King of the Boogie,” John Lee Hooker endures as one of the true superstars of the blues genre. His work is widely recognized for its impact on modern music – his simple, yet deeply effective songs transcend borders and languages around the globe.

Udo Dirkschneider has done a very cool thing and recreated the classic Accept album Balls to the Wall to celebrate it’s 40th anniversary with the help of some excellent friends, and it’s pretty damn amazing. Let’s start with Joakim Broden of Sabaton’s duet on the opener “Balls to the Wall”; what a great remake with a darker vocal style. The music is very faithful to the original recording, with precision heavy guitars, bass and drums punching hard, and great vocal duets.

Nothing is the third album from DARKSIDE: nine transmissions of negative space, telepathic seance, and spectral improvisation. On their first two reinventions, Nicolás Jaar and Dave Harrington entered the studio with a clutch of scattered ideas to mold into what became the revered Psychic(2013) and Spiral (2021). But Nothing reflects a search for form borne out of spontaneous elliptical jams, acoustic riffing, and digital levitations. And in a fundamental shift from their first dozen years as a band, the duo recruited their longtime friend and collaborator, the drummer and instrument designer Tlacael Esparza, to become a full-time member.