The midwest, particularly the part of the midwest Eric D. Johnson hails from, is a largely flat expanse. Zipping through it on the highway, you’ll see cities and towns rise up in the distance, but blink and you’ll miss other man-made rejoinders to horizontal living dotting the landscape, hill after hill, built from the refuse of the past: landfills. Some of these hills make for great sledding spots, parks, and trails. Others turn organic waste into compost. The Landfill is something else entirely: a mountain dominating the landscape of Johnson’s heart.

Jörg Demus is considered one of the most sensitive and poetic interpreters of Robert Schumann's piano works. His approach was far more than mere technical skill; it was a profound immersion into the composer's emotional landscape.

More than seventy years after they were recorded, Peggy Lee’s celebrated 1955 World Broadcast recordings return as Too Marvelous for Words, a newly restored, digital-only 49-track collection from Peggy Lee Associates.

Elio Cesari, known by his stage name Tony Renis, is an Italian singer, composer, music producer, and film actor.

Lena Horne was an American singer, actress, dancer and civil rights activist. Horne's career spanned more than seventy years and covered film, television and theater.

June Christy was an American singer, known for her work in the cool jazz genre and for her silky smooth vocals. Her success as a singer began with The Stan Kenton Orchestra. She pursued a solo career from 1954 and is best known for her debut album Something Cool. After her death, she was hailed as "one of the finest and most neglected singers of her time."

This live recording of a concert given in Tokyo in November 2024 kicks off with a spikily rhythmic account of Suite No. 1 from Roussel’s ballet Bacchus et Ariane. Conductor Kazuki Yamada achieves a punchy sound with finely detailed string and woodwind playing alongside impactful outbursts of percussion.

Following the back-to-back releases of Everything Must Go and Chain Yer Dragon in 2025, Goose return with Big Modern!, a vibrant next chapter that expands the band’s signature indie rock sound with neon-lit inspired synths, driving rhythms, and soaring anthemic hooks. New tracks like “Good2B” and “Good Times // End Times” arrive alongside fan favourites “Big Modern” and “Torero,” capturing Goose’s adventurous spirit while delivering some of their most bold and dynamic studio recordings yet.

Bruce and the E Street Band perform a 27-song set in Belmont Park, NY. HIGHLIGHTS: “War” (written by Norman Whitfield and Barrett Strong, recorded by The Temptations and Edwin Starr), “Clampdown” (written by Joe Strummer and Mick Jones, recorded by The Clash), “Streets of Minneapolis,” “House of a Thousand Guitars” (performed solo acoustic), and the show-closing cover of Bob Dylan’s “Chimes of Freedom” all appear; “Land of Hope and Dreams” is the main-set closer. Tom Morello guests on 12 songs.

Breakfield prove that a simple name change can transform your entire world. After more than a decade of making music as Boy Named Banjo, the renaming brought a fresh energy to their music. Their 11-song self-titled LP came to life in collaboration with Sadler Vaden (Jason Isbell) and strays from the rootsy sensibilities of their formative years. Breakfield ranges from country-rock anthems to gorgeous ballads, showcasing a one-of-a-kind band fully in tune with their most adventurous instincts.

On Upside Down Mountain, Levitt’s first trio recording, he shares with the world what he has drawn out of his primary instrument, the acoustic bass guitar: a warm, singing, bell-like high-register sound of his own, with a focus on simple, direct, endlessly expressive melodies.

“Late Bloomer” is the debut solo album by Vims Mavims, a composer, bandleader, producer, music director, and bassist. The album was born out of a sense of identity, resilience, and the beauty of growing at one’s own pace. “This album is for everyone who listens to it and thinks, ‘I, too, am a late bloomer in some way,’” Vims comments. “Everyone has their time to bloom, and whatever that process may be, I hope this music resonates with your world and that you can blossom wherever you are in this universe.”

Duke Ellington is widely acknowledged as jazz’s greatest composer. While Ellington certainly experienced many artistic peaks—such as the 1927 Cotton Club “Jungle Band,” the 1940 orchestra with Ben Webster and Jimmie Blanton, the post-Newport 1956 band, and the mid-60s ensembles powered by drummers Sam Woodyard and Rufus Jones—he produced memorable compositions during every phase of his career. This live recording of the Smithsonian Jazz Masterworks Orchestra proves that point, as it features several rare masterworks composed between 1940 and 1968. Some of these pieces may be new to longtime Ellington fans, but each composition reveals a unique aspect of Ellington’s genius.

To celebrate the thirtieth anniversary of the legendary Quatuor Habanera (Paris), the Swiss-Slovenian saxophonist Maja Lisac Barroso presented the formation with an immense but fascinating challenge. To rehearse a work that is actually seen as the ‘epitome of a chamber music work for strings’: Schubert’s famous String Quintet, D.956. The artist spent two years listening to Schubert’s masterpiece every day, researching the work and its genesis, before finally arranging it for five saxophones. The result? Something seemingly impossible…

The self-titled fourth album from this Krautrock underground group is a fierce display of droning fuzz psychedelia that easily holds its own on the shelf next to the Stooges' Funhouse, Can's Tago Mago, and Kraftwerk's first three albums. While the group remains one of the more obscure footnotes in the German psychedelic underground, their first three albums were profoundly influential of the global neo-psychedelic scene, with groups such as Spacemen 3, Bevis Frond, Nurse With Wound, Fushitsusha, and High Rise citing this album as a key influence.