Violonist MI-Sa Yang and pianist Adam Laloum present a program that mirrors four composers of different sensitivities who, in their confrontation with the second Vienna School's radical theories, have each sought in a genuine, personal way, to provide an alternative solution to the problems raised by the evolution of the musical language.

‘Mingus’, the album by Joni Mitchell from 1975 is the result of a 45-minute meeting arranged by Mingus’s wife between Mitchell, who was drifting towards a style of music jazzier than her previous output and Charles Mingus. Mingus was sadly waiting to die from motor neurons disease. Unable to play, he was bored, and his wife was keen to get him interested in something. Mingus sang the melodies into a tape recorder, chords were added by Sy Johnson, and Joni wrote the lyrics and organised the recording sessions. The band on the album were members of Weather Report. Mingus died before the project was complete. To ensure enough material was ready for the album, Joni added a song of her own ‘Wolf’. The album was cooly received by admirers of both musicians.

Beethoven's five sonatas for cello and piano laid the foundations of twentieth-century musical thought. Under the fingers of Gary Hoffman and David Selig, these five monuments of musical history, though dating from the early nineteenth century, reveal all their premonitory dimension. For these two peerless musicians, this recording marks the culmination of an artistic partnership that began more than thirty years ago. Gary Hoffman and David Selig met in 1986 and have been programing Beethoven's sonatas for many years. Sometimes they even play them all in a single concert. Hoffman says, "I regret that the notion of individuality is being lost today. What is wonderful is to reveal the different 'characters' of the score. Even in Beethoven's quartets, there are voices that emerge from a sonic 'fusion'."

Volume 4 in a critically acclaimed survey of Bonporti’s music reaches Op.6, perhaps the most overlooked treasure in the output of the ‘gentleman from Trento’. This was the nickname bestowed on himself by Francesco Antonio Bonporti (1672 - 1749), who was born in the northern Italian city, and made his career as a musician in the surrounding region before dying in Padova.

Together with a horn quartet led by the renowned horn player Marc Gruber and the Schubert expert Paul Sturm on the fortepiano, a companion from a time with the Windsbacher Knabenchor, as well as a string ensemble, Sonat Vox present a compilation of selected romantic choral movements by composers such as Franz Schubert, Anton Bruckner and Johann Nepomuk Hummel. Sonat Vox illuminate motifs such as friendship, love, closeness to home and nature, but also address their opposites: longing, separation, loneliness and loss.

Reverberations (Travelling In Time) is the debut Primal Scream album that never was: 16 perfectly formed pop nuggets weighing in at just under 35 minutes. Boasting eleven previously unreleased BBC session recordings plus all five songs from the band’s first two Creation Records singles.

Expanded reissue of the 2006 release from co-founders of NRBQ.

Cellist Matt Haimovitz, the MDR Leipzig Radio Symphony Orchestra and its chief conductor Dennis Russell Davies present the first commercial recording of Ukrainian unsung composer Thomas de Hartmann’s cello concerto. De Hartmann was an important compositional voice in his own time, connected to the greatest musicians and artists of his era, but has sunk into oblivion after his death in 1956.

The case for Louise Farrenc no longer requires special pleading: she has emerged in the last decade as a major figure among French composers of the early-Romantic era, whose neglect in previous eras can only be understood in the context of her gender. Both live performances and recordings have revealed.

In the deepest reaches of the English countryside, there is a sublime sound emanating from the landscape, and its name is Haunt The Woods. Timely and yet oddly timeless, this surprisingly youthful quartet span musical decades and worlds. Recently signed with Spinefarm, it won’t be long before you hear plenty more from these musical mavericks, and with good reason. Formed in the hinterlands between Plymouth, Devon and Cornwall, Haunt The Woods deftly interweave alt-rock, folk, prog and pop with an epic level of pomp and poetic elegance that suggests a far longer tenure than their young years suggest.

‘Mingus’, the album by Joni Mitchell from 1975 is the result of a 45-minute meeting arranged by Mingus’s wife between Mitchell, who was drifting towards a style of music jazzier than her previous output and Charles Mingus. Mingus was sadly waiting to die from motor neurons disease. Unable to play, he was bored, and his wife was keen to get him interested in something. Mingus sang the melodies into a tape recorder, chords were added by Sy Johnson, and Joni wrote the lyrics and organised the recording sessions. The band on the album were members of Weather Report. Mingus died before the project was complete. To ensure enough material was ready for the album, Joni added a song of her own ‘Wolf’. The album was cooly received by admirers of both musicians.

Violonist MI-Sa Yang and pianist Adam Laloum present a program that mirrors four composers of different sensitivities who, in their confrontation with the second Vienna School's radical theories, have each sought in a genuine, personal way, to provide an alternative solution to the problems raised by the evolution of the musical language.

Beethoven's five sonatas for cello and piano laid the foundations of twentieth-century musical thought. Under the fingers of Gary Hoffman and David Selig, these five monuments of musical history, though dating from the early nineteenth century, reveal all their premonitory dimension. For these two peerless musicians, this recording marks the culmination of an artistic partnership that began more than thirty years ago. Gary Hoffman and David Selig met in 1986 and have been programing Beethoven's sonatas for many years. Sometimes they even play them all in a single concert.

Once again the groove is catchy, the way of shaping melodies utterly distinctive; these aspects define the sound of Shalosh. And once again, the trio is incredibly tight – after all, the band’s name does mean “three” in Hebrew. On “Tales of Utopia”, Shalosh have taken their music, their way of telling stories through sound, and placed them in the bigger context. Drawing elements from the Old Testament and the Odyssey, they combine Christian and Greek mythology in a way which is individual… rhapsodic. The connecting of world cultures gives a common thread to the album: a young hero is travelling into the unknown. But what is unknown to him is not just the external world, but also the inner self. Every journey also leads to increased self-awareness, and that makes him stronger. “Tales of Utopia” is about how utopian thinking is based on the preoccupation with one’s own self, on concentration and meditation. Keeping that focus well honed functions as the antidote to information overkill.

Four is a winner: that was the unanimous opinion of critics and audiences alike on the first album from German-Swedish supergroup 4 Wheel Drive. The eponymous debut disc from this band of bandleaders went straight to the top spot as best-selling jazz album in Germany for2019. And the media didn’t hold back with their praise either: “Four first-league jazz musicians with pure joy of playing and a love of good pop music”, said ZDF’s “heute-journal” about this spirited and enjoyable group, which combines trombonist/singer Nils Landgren, pianist Michael Wollny, bassist/cellist Lars Danielsson and drummer Wolfgang Haffner. AllAboutJazz, a leading American jazz website, asked whether this album might be worth adding to a listener’s collection, and answered the question succinctly:”4 sure”.