Studio Masters – HDMusic.me

Recorded at the tail end of 1969 with a cast of new collaborators, this album is a prime showcase of Erroll Garner’s two greatest strengths: his ability to completely reinvent well known songs, and his endlessly creative facility as a composer of original music. From his sultry “The Loving Touch” to the Afrofuturistic “Mood Island,” Garner’s originality again proves boundless.

Tracklist:
01. For Once in My Life (Remastered 2020) (3:26)
02. Yesterday (Remastered 2020) (3:08)
03. The Look of Love (Remastered 2020) (2:43)
04. You Turned Me Around (Remastered 2020) (8:04)
05. Mood Island (Remastered 2020) (4:39)
06. Spinning Wheel (Remastered 2020) (3:29)
07. The Loving Touch (Remastered 2020) (5:41)
08. Strangers in the Night (Remastered 2020) (3:46)
09. Feeling is Believing (Remastered 2020) (2:41)
10. Paisley Eyes (Remastered 2020) (3:01)
11. Not So Fast (Remastered 2020) (3:45)

Personnel:
Erroll Garner, piano
Wally Richardson, guitar
George Duvivier, bass
Gerald Jemmott, bass
Charles Persip, drums
Jimmie Smith, drums
Joe Cocuzzo, drums
Jose Mangual, congas

Produced by Martha Glaser

Digitally remastered

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Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development.

Francesco Corti and il pomo d’oro present Concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations.

Tracklist:
01. Harpsichord Concerto No. 1 in D Minor, BWV 1052: I. Allegro (7:12)
02. Harpsichord Concerto No. 1 in D Minor, BWV 1052: II. Adagio (6:38)
03. Harpsichord Concerto No. 1 in D Minor, BWV 1052: III. Allegro (7:23)
04. Harpsichord Concerto No. 2 in E Major, BWV 1053: I. Allegro (7:55)
05. Harpsichord Concerto No. 2 in E Major, BWV 1053: II. Siciliano (3:53)
06. Harpsichord Concerto No. 2 in E Major, BWV 1053: III. Allegro (6:11)
07. Harpsichord Concerto No. 7 in G Minor, BWV 1058: I. Allegro (3:24)
08. Harpsichord Concerto No. 7 in G Minor, BWV 1058: II. Andante (4:50)
09. Harpsichord Concerto No. 7 in G Minor, BWV 1058: III. Allegro assai (3:49)
10. Harpsichord Concerto No. 4 in A Major, BWV 1055: I. Allegro (4:04)
11. Harpsichord Concerto No. 4 in A Major, BWV 1055: II. Larghetto (4:42)
12. Harpsichord Concerto No. 4 in A Major, BWV 1055: III. Allegro ma non tanto (4:05)

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Only a few chamber music ensembles of the world-famous Leipzig Gewandhaus Orchestra are allowed to have the addition “Gewandhaus” in their name. That obliges! The musicians of the Gewandhaus Brass Quintett are all award-winning brass players and present the multifaceted diversity of their instruments with unusual programmes ranging from swinging baroque to jazzy groove. Their latest album focuses on compositions written especially for the quintet.
Compositions in the traditional style, onomatopoetic and rousing pictures by the Californian Kevin McKee, tonal experiments in the work of Steffen Schleiermacher or melancholic-jazzy harmonies with a touch of melancholy. The fundamentally different sounding world premiere recordings convey an impression of the colorful complexity of the brass sound.

Tracklist

01. Gewandhaus Brass Quintett – Brass Quintet: I. Allegro
02. Gewandhaus Brass Quintett – Brass Quintet: II. Adagietto
03. Gewandhaus Brass Quintett – Brass Quintet: III. Vivace [
04. Gewandhaus Brass Quintett – Iron Horse: I. The Blue Goose
05. Gewandhaus Brass Quintett – Iron Horse: II. Highball on White Pass
06. Gewandhaus Brass Quintett – Reminiszenzen
07. Gewandhaus Brass Quintett – Zögernde Klangordnung
08. Gewandhaus Brass Quintett – Passionetta in modo di jazz: I.
09. Gewandhaus Brass Quintett – Passionetta in modo di jazz: II.

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Violinist Giuliano Carmignola and cellist Mario Brunello: one of the greatest interpreters of Vivaldi and Bach, whose recent recording of the Sonatas and Partitas was described by the authoritative magazine Gramophone as ‘a definite first choice among period instrument recordings of these works’; and his long-time friend Mario Brunello, acclaimed for his personal reinterpretation of that same famous collection on the violoncello piccolo (A469).

Accompanied by the Milanese ensemble Accademia dell’Annunciata, they offer a highly original, experimental programme. Inspired by the three existing double concertos for violin and cello by Vivaldi – an unusual coupling in eighteenth century concerto literature – they revisit double concertos by Vivaldi and Bach (the famous BWV 1043 for two violins and BWV 1060 for violin and oboe), transposing the second solo part an octave lower on the violoncello piccolo.

Underpinned by persuasive historical and musicological evidence, the approach first and foremost reveals their pleasure in working together on an innovative project. The outcome is a delightful opportunity to enjoy famous pieces in a totally different light.

Tracklist:
01. Sinfonia in D Major, RV 125: I. Allegro (2:16)
02. Sinfonia in D Major, RV 125: II. Adagio (3:02)
03. Sinfonia in D Major, RV 125: III. Allegro (1:36)
04. Concerto in C Major, RV 508: I. Allegro (4:43)
05. Concerto in C Major, RV 508: II. Largo (2:49)
06. Concerto in C Major, RV 508: III. Allegro (3:15)
07. Concerto in D Minor, BWV 1043: I. Vivace (3:33)
08. Concerto in D Minor, BWV 1043: II. Largo ma non tanto (6:12)
09. Concerto in D Minor, BWV 1043: III. Allegro (4:47)
10. Sonata in C Minor, DürG 14: I. Largo (2:40)
11. Sonata in C Minor, DürG 14: II. Allegro (3:24)
12. Sonata in C Minor, DürG 14: III. Grave (1:48)
13. Sonata in C Minor, DürG 14: IV. Giga (3:37)
14. Concerto in D Minor, BWV 1060: I. Allegro (4:59)
15. Concerto in D Minor, BWV 1060: II. Adagio (5:18)
16. Concerto in D Minor, BWV 1060: III. Allegro (3:38)
17. Concerto in E-Flat Major, RV 515: I. Allegro (4:21)
18. Concerto in E-Flat Major, RV 515: II. Largo (4:15)
19. Concerto in E-Flat Major, RV 515: Allegro (3:46)

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“Mabern Plays Mabern” is pianist Harold Mabern at his absolute best–playing his favorite original compositions with a sextet of close friends and associates in front of a live audience at Smoke Jazz Club in New York City. Mabern is joined by tenor saxophonist Eric Alexander, alto saxophonist Vincent Herring, trombonist Steve Davis, bassist John Webber, and drummer Joe Farnsworth on an energetic and romp through his catalog. The music on this release is now more highly anticipated and important to Mabern’s fans as he passed away suddenly in September 2019. Nat Chinen of WBGO described him then as “a pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues.”

Tracklist:
01. Mr. Johnson (9:45)
02. The Iron Man (8:01)
03. Lover Man (7:34)
04. The Lyrical Cole-Man (11:56)
05. Edward Lee (8:54)
06. It’s Magic (6:00)
07. The Beehive (7:34)
08. Rakin’ and Scrapin’ (10:09)

Personnel:
Harold Mabern: piano
Eric Alexander: saxophone, tenor
John Webber: bass, acoustic
Joe Farnsworth: drums
Steve Davis: trombone
Vincent Herring: saxophone

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Included in Rolling Stone’s Most Anticipated Albums of 2020 list, this dynamic collection of Kelsea Ballerini’s latest 13 songs is aptly self-titled – kelsea – not surprising since this is her most authentically, self-aware reflection to date. Writing or co-writing all of the songs on the record, It’s an introspective look into the emotions of the last two years of her life. Using songwriting as therapy, she explores everything from social anxiety to the importance of real friendships to new perspective on old heartbreaks to the realization that even the most independent, stubborn people need someone sometimes. The writing credits on this album are, in her words, “pretty RAD”. In addition to Nashville royalty Shane Macanally, Hillary Lindsay and Ashley Gorley, she wrote with Ed Sheehan, Tayla Parx, and Julia Michaels.

This is the first time Ballerini has been in the producer’s chair throughout the project, co-producing each track. She allowed the songs to drive the sonic personality of the record, resulting in a broad range of production elements/styles . Ballerini also set the collaboration bar high with two on this record… Stay tuned.

Tracklist

1. Kelsea Ballerini – overshare
2. Kelsea Ballerini – club
3. Kelsea Ballerini – homecoming queen?
4. Kelsea Ballerini – the other girl (with Halsey)
5. Kelsea Ballerini – love me like a girl
6. Kelsea Ballerini – love and hate
7. Kelsea Ballerini – bragger
8. Kelsea Ballerini – hole in the bottle
9. Kelsea Ballerini – half of my hometown (feat. Kenny Chesney)
10. Kelsea Ballerini – the way i used to
11. Kelsea Ballerini – needy
12. Kelsea Ballerini – a country song
13. Kelsea Ballerini – la

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Somm Recordings continues its acclaimed championing of neglected British composers with “Dame Ethel Smyth: Songs and Ballads” – 17 vocal works with piano and chamber orchestra accompaniment composed between 1886 and 1913.

Published in 1886 and receiving their first recordings in English are the five Op.3 Songs and Ballads. Dedicated to Livia Frege, the singer to whom Mendelsohn and Schumann dedicated some of their finest songs, they blend images of the natural world with themes of lost love to reveal Smyth as a songwriter of already considerable gifts. Dedicated to Smyth’s mother and exploring themes of motherhood while shot through with images drawn from troublesome dreams, the five Op.4 Lieder, settings of German texts, exalt in an emotional palette that ranges from tenderness to trenchant emotion. Three Songs from 1913, composed during the period of Smyth’s suffragette activity – which saw her jailed for two months for throwing a stone through a cabinet minister’s window – deftly combine the political and personal. With lyrics by the suffragist Ethel Carnie Holdsworth, Possession is dedicated to Emmeline Pankhurst, On the Road: a marching tune to Pankhurst’s daughter, Christabel. The Clown sets a text by Maurice Baring, whose biography Smyth wrote in 1938. Written for voice and chamber orchestra, the Four Songs from 1908 boast exquisite orchestrations that revel in Smyth’s associations with artistic circles in France and were hailed by Debussy as “tout à fait remarquables”. – Somm Recordings

Tracklist

1. Odelette – Lucy Stevens/Elizabeth Marcus/Berkeley Ensemble
2. The Dance – Lucy Stevens/Elizabeth Marcus/Berkeley Ensemble
3. Chrysilla – Lucy Stevens/Elizabeth Marcus/Berkeley Ensemble
4. Anacreontic Ode – Lucy Stevens/Elizabeth Marcus/Berkeley Ensemble
5. On the Hill
6. The Lost Hunter
7. Near the Linden Tree
8. It Changes What We’re Seeing
9. Fair Rohtraut
10. Tanzlied
11. Schlummerlied
12. Mittagsruh
13. Nachtreiter
14. Nachtgedanken
15. The Clown
16. Possession
17. On the Road: A Marching Tune

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British vocalist, born May 22, 1959, in Manchester, United Kingdom. Former lead singer of The Smiths. Morrissey started his career as a lead singer for punk bands. He formed Sulky Young (renamed The Tee Shirts) and later joined The Nosebleeds (formed in the early 1970s under the name Wild Ram) with Billy Duffy (The Cult), replacing Ed Banger and Vini Reilly. However, in his autobiography Morrissey denied ever being a member of The Nosebleeds. He claims that Duffy recruited him after the break up of The Nosebleeds and they wrote songs together. For their live performances they hadn’t decided on a band name. They roped in the rhythm section of The Nosebleeds and Paul Morley used this name for a live review.

After the superb side project California Son, which he entirely dedicated to unexpected and occasionally obscure covers (Roy Orbison, Melanie, Laura Nyro, Buffy Sainte-Marie, Dylan, 5th Dimension, Jobriath, Phil Ochs, Tim Hardin, Joni Mitchell, Carly Simon), Morrissey returns to his own compositions. This time, the ex-Smiths vocalist (who is also known for his vocal points of view that often get written about in the tabloids) delivers an eclectic array of songs that is distinctly less rock’n’roll on the whole. This time, the sound is rather pop, often groovy but never overly seductive, the climax being the single Bobby, Don’t You Think They Know? sung in a duet with disco soul powerhouse Thelma Houston. Some tracks even sound rather like The Smiths… Lyrically, Moz unsurprisingly remains anti-everything: media, establishment, open-mindedness, consumerism. As for his Marmite crooner’s voice, it excels in the final track My Hurling Days Are Done, punctuating a rather interesting thirteenth album. – Marc Zisman

Tracklist

01. Morrissey – Jim Jim Falls
02. Morrissey – Love Is On Its Way Out
03. Morrissey – Bobby, Don’t You Think They Know? 04. Morrissey – I Am Not a Dog on a Chain
05. Morrissey – What Kind of People Live in These Houses?
06. Morrissey – Knockabout World
07. Morrissey – Darling, I Hug a Pillow
08. Morrissey – Once I Saw the River Clean
09. Morrissey – The Truth About Ruth
10. Morrissey – The Secret of Music
11. Morrissey – My Hurling Days Are Done

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Robert Orledge’s research into Debussy’s sketches and incomplete drafts has resulted in the unearthing and reconstruction of numerous lost masterpieces, the piano versions of which are given their première recordings here. Unknown versions of famous pieces such as La Fille aux cheveux de lin and an unused movement from Le Martyre de Saint Sébastien appear alongside the ecstatic Prélude de l’Histoire de Tristan. This uniquely valuable programme also includes the life-affirming Suite for No-ja-li (Le Palais du Silence) with narration.

Tracklist:
1. L’enfant prodigue, L. 57: I. Prelude (Arr. R. Orledge for Piano) (2:48)
2. Rodrigue et Chimène, L. 72: Prelude (Arr. R. Orledge for Piano) (4:58)
3. Preludes, Book 1, L. 117: No. 8, La fille aux cheveux de lin (1907 Version) (0:48)
4. Prélude à ‘L’histoire de Tristan (Arr. R. Orledge for Piano) (4:29)
5. Preludes, Book 2, L. 123: No. 5, Bruyères (1912 Version) (3:48)
6. Toomai des éléphants (Completed by R. Orledge) (6:34)
7. Petite valse (Completed by R. Orledge) (2:09)
8. Fêtes galantes, Tableau 1 “Les masques” (Excerpts Arr. R. Orledge for Piano) (7:10)
9. Le martyre de saint Sébastien, L. 124: III. Le concile des faux dieux (Arr. R. Orledge for Piano) (4:30)
10. Le palais du silence, L. 130 (Excerpt Arr. R. Orledge for Narrator & Piano) (17:19)
11. Le roi Léar (After Debussy’s L. 107): Prelude (3:53)
12. Le roi Léar (After Debussy’s L. 107): Fanfare d’ouverture (0:58)
13. Le roi Léar, L. 107: II. Le sommeil de Lear (3:38)
14. Le roi Léar (After Debussy’s L. 107): La mort de Cordélia (3:38)
15. Le diable dans le beffroi (After Debussy’s L. 101) (11:38)
16. A Night in the House of Usher (After Debussy’s L. 112) (6:28)

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Full of joyful esprit Robert Schumann wrote his Davidsbündlertänze: A tender, lively, thoughtful, romantic wedding-eve party! With this the pianist Nikola Avramovic, prize winner of numerous competitions, opens his new Genuin album with piano music of the 19th century. Alongside Schumann, the programme includes Chopin and Liszt, and Avramovic gives this virtuoso, glittering yet profound music the breath it needs: From Schumann’s contrasting characters Florestan and Eusebius to Chopin’s highly emotional Ballade No. 4 and Liszt’s multi-layered arrangements of folk music. Really large arches are created here!

Tracklist

1. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 1, Lebhaft
2. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 2, Innig
3. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 3, Mit Humor
4. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 4, Ungeduldig
5. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 5, Einfach
6. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 6, Sehr rasch
7. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 7, Nicht schnell
8. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 8, Frisch
9. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 9, Lebhaft
10. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 10, Balladenmäßig. Sehr rasch
11. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 11, Einfach
12. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 12, Mit Humor
13. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 13, Wild und lustig
14. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 14, Zart und singend
15. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 15, Frisch
16. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 16, Mit gutem Humor
17. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 17, Wie aus der Ferne
18. Nikola Avramovic – Davidsbündlertänze, Op. 6: No. 18, Nicht schnell
19. Nikola Avramovic – Ballade No. 4 in F Minor, Op. 52
20. Nikola Avramovic – Schwanengesang, S. 560: No. 3, Aufenthalt (After Schubert’s D. 957 No. 3)
21. Nikola Avramovic – 19 Hungarian Rhapsodies, S. 244: No. 14 in F Minor

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After a double album dedicated to Boccherini and acclaimed by critics, Ophélie Gaillard and the Pulcinella Orchestra reveal the incredible sound palette of Vivaldi, one of the most brilliant venetian musicians. Drawing on the finest cello works of the composer, Ophélie Gaillard’s selection places great emphasis on the concerto, for one, two or even four performers. It also includes an exclusive reconstruction of the Concerto RV 788. The vocal interventions of Lucile Richardot and Delphine Galou light up the program like rays of sun through the clouds. The album alternates between moments of great emotion, sometimes even dolorous as in the Largo of the Concerto RV 416 and moments of passion and frenzy (in the concertos RV 419 or 409) that evoke the Summer from the Four Seasons. This music thus unveils all its mysteries in the interplay of lights and shadows, giving its name to this recording.

Tracklist:
1. Cello Concerto in G Minor, RV. 416: I. Allegro (3:27)
2. Cello Concerto in G Minor, RV. 416: II. Largo (2:41)
3. Cello Concerto in G Minor, RV. 416: III. Allegro. (2:59)
4. “Sovvente il sole” (from Andromeda liberata, RV Anh. 117) (9:21)
5. Concerto for 2 cellos in G Minor, RV. 531: I. Allegro (3:35)
6. Concerto for 2 cellos in G Minor, RV. 531: II. Largo (4:05)
7. Concerto for 2 cellos in G Minor, RV. 531: III. Allegro. (3:00)
8. Concerto for cello and bassoon in E Minor, RV. 409: I. Adagio – Allegro molto (3:43)
9. Concerto for cello and bassoon in E Minor, RV. 409: II. Allegro (1:44)
10. Concerto for cello and bassoon in E Minor, RV. 409: III. Allegro. (2:28)
11. Concerto for violoncello piccolo in G Major, RV. 414: I. Allegro molto (3:25)
12. Concerto for violoncello piccolo in G Major, RV. 414: II. Largo (3:00)
13. Concerto for violoncello piccolo in G Major, RV. 414: III. Allegro (3:14)
14. Sinfonia for strings and basso continuo in C Major, RV. 112: I. Allegro (1:39)
15. Sinfonia for strings and basso continuo in C Major, RV. 112: II. Andante (2:25)
16. Sinfonia for strings and basso continuo in C Major, RV. 112: III. Presto (1:31)
17. Concerto for 2 violins and 2 cellos in D Major, RV. 575: I. Allegro (2:52)
18. Concerto for 2 violins and 2 cellos in D Major, RV. 575: II. Largo (2:18)
19. Concerto for 2 violins and 2 cellos in D Major, RV. 575: III. Allegro. (3:39)
20. Cello Concerto in B-Flat Major, RV. 788 “per Teresa” (2:41)
21. Concerto for violoncello piccolo in B Minor, RV. 424: I. Allegro non molto (3:44)
22. Concerto for violoncello piccolo in B Minor, RV. 424: II. Largo (2:40)
23. Concerto for violoncello piccolo in B Minor, RV. 424: III. Allegro non molto. (3:23)
24. “Di verde ulivo” ( from Tito manlio, RV. 738) (6:15)
25. Cello Concerto in D Minor, RV. 405: I. Allegro (2:39)
26. Cello Concerto in D Minor, RV. 405: II. Adagio (2:46)
27. Cello Concerto in D Minor, RV. 405: III. Allegro. (2:22)
28. Cello Concerto in A Minor, RV. 419: I. Allegro (2:03)

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Pascal Rogé, long considered the greatest exponent of French piano repertoire is joined by his pianist wife Ami in a program devoted to Les Six – the group of composers brought together by Jean Cocteau in 1917 and who created a musical reaction to the suffocating influence of German romanticism upon French musical culture. Based in Montparnasse the name was inspired by Balakirev’s ‘The Five’ and the journalist Henri Collet’s 1920 article ‘Les cinq Russians, les six Français, et M.Satie’. Satie gets a look in on this album with his ‘Parade’ closing the programme. The album includes the 1920 L’Album des Six, Scaramouche by Milhaud, Cinq Bagatelles for piano 4 hands by Auric, Two Pieces for 4 hands op.7 by Durey and works by Honegger and Tailleferre.

Personnel:
Pascal Rogé, piano
Ami Rogé, piano

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These recordings that celebrate those 20 years are aptly called The Independent Years. They are a collection of rare and unreleased recordings from live concerts and TV shows and demonstrate what it takes to be a successful musician and songwriter. Real talent is much rarer than people imagine. And in Paul Carrack that talent is here to be heard in all its raw emotion. Each Paul Carrack show is different, he sings how he feels, with the ability to channel those emotions to his many fans.

Tracklist:
1. Too Good to Be True (Live at Symphony Hall, Birmingham, 2017) (4:12)
2. Happy to See You Again (Live at Buxton Opera House, 2004) (4:47)
3. Nothing More Than a Memory (Live at Buxton Opera House, 2004) (5:12)
4. When You Walk in the Room (Live at Bonn, Germany, 2005) (3:02)
5. Make Your Mind Up (Live at Cork Opera House, 2019) (6:49)
6. Groovin’ (Live at Cornbury Festival, 2019) (4:08)
7. Let Me Love Again (Live at Preston Guild Hall, 2016) (3:53)
8. What’s Going On (Live in Holland, 2012) (3:53)
9. Dance to the Music (Live at Buxton Opera House, 2004) (3:53)
10. From Now On (Live in Holland, 2012) (4:19)
11. Long Ago (Live in Holland, 2012) (4:08)
12. Beggar on a Beach of Gold (Live at Liverpool Philharmonic Hall, 2004) (5:09)
13. I’m Losing You (Live at London Palladium, 2014) (3:01)
14. Nothing Without You (Live in Holland, 2012) (4:56)
15. Beautiful World (Live in Holland, 2012) (6:57)
16. Dedicated (Live at Royal Theatre Carré, Amsterdam, 2018) (3:50)

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Pearl Jam release their much-anticipated eleventh studio album, Gigaton, on Monkeywrench Records / Republic Records. Produced by Josh Evans and Pearl Jam, Gigaton marks the band’s first studio album since Grammy award-winning Lightning Bolt, which was released on October 15, 2013.

Rolling Stone writer Kory Grow gave the album a positive review, rating it 4 out of 5 stars. Grow wrote that Gigaton is “an admirable, inspiring example of grown-up grunge”. Spin writer John Paul Bullock was also positive toward the album, writing, “Gigaton has a little something for everyone. It’s a complex, dynamic album full of earnest emotion and subtle humor”. Mojo, in yet another positive review, wrote, “Strong and loose, political and personal, Pearl Jam get the balance absolutely right”.

Tracklist

1. Who Ever Said (05:10)
2. Superblood Wolfmoon (03:49)
3. Dance Of The Clairvoyants (04:25)
4. Quick Escape (04:46)
5. Alright (03:43)
6. Seven O’Clock (06:14)
7. Never Destination (04:18)
8. Take The Long Way (03:41)
9. Buckle Up (03:36)
10. Comes Then Goes (06:02)
11. Retrograde (05:22)
12. River Cross (05:52)

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‘Satin Doll’ is a futuristic homage to historical jazz. Three musicians – Gendel on saxophone and other things, Gabe Noel on electric bass, and Philippe Melanson on electronic percussion – engage in simultaneous synchronized sonic construction/deconstruction of well-known jazz standards, including Miles Davis’s ‘Freddie Freeloader,’ Charles Mingus’s ‘Goodbye Pork Pie Hat,’ and Duke Ellington’s ‘Satin Doll’.

Grounded in jazz’s diverse history and powered by that unquenchable desire to improvise, explore, and discover that is the essence of the genre, the new world of brass-and-rhythm meets effects-and-plug-ins is one of today’s most exciting musical vortices. Gifted with a fertile imagination and obvious affinity for the palettes of sound available in the digital world, Los Angeles-based “saxofonist,” Sam Gendel crafted a tribute that uses compositions by Duke Ellington, Charles Mingus, Miles Davis and others as the basis for electronic adventures he’s devised in league with electric bassist Gabe Noel and electronic percussionist Philippe Melanson. With a saxophone that only occasionally sounds like a horn, the experimental results are often startling—which in some ways is the point. While the chords of Miles’ “Freddie Freeloader” are instantly recognizable via a synthy pulse, the percussion is random and refuses to fall into a steady rhythm. Opening with a descending smear of sound, the title track, famous for being Ellington’s set closer, becomes a wide open canvas over which Gendel plays a long, languid solo. Even Hoagy Carmichael’s “Stardust,” the most famous of the so-called jazz standards here, is stretched and made utterly new thanks to a haunting, almost human voice-like tone, and a snap-and-pop rhythm track. Although he admits that he’ll probably never do another album like this, Gendel says in the liner notes that “It’s not a joke, there’s no irony. When we play “Stardust,” that’s me thinking about Lester Young, straight up.” Recorded quickly like the bebop albums of old, these electronic jams, captured in dry, ringing sonics, have a psychedelic mindset, fluid sense of space, and respect for creating atmosphere and soundscapes that add appealing fresh energies to classic tunes. The surprising, diverse Satin Doll is one artist’s vision of a future not defined by labels, but classified by the imagination of its creators. – Robert Baird

Tracklist:
1. Afro Blue (3:16)
2. Saxofone Funeral (3:55)
3. Satin Doll (3:46)
4. Goodbye Pork Pie Hat (4:06)
5. Stardust (4:24)
6. The Theem (3:15)
7. O Ovo (2:37)
8. Cold Duck Time (4:59)
9. Freddie Freeloader (2:37)
10. Glide Mode (3:54)
11. In a Sentimental Mood (3:39)
12. Love Theme from Spartacus (3:10)
13. SXFN FNRL (1:02)

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In 2016, Shabaka Hutchings made his debut with Impulse! with Your Queen is a Reptile, recorded with Sons of Kemet. Since his beginnings, the saxophonist and posterboy for the blossoming new British jazz scene has collaborated with plenty of artists (Sun Ra Arkestra, Heliocentrics, Anthony Joseph, Floating Points) and beefed up plenty of groups (The Comet Is Coming, Melt Yourself Down). With Shabaka & The Ancestors, he is joined by musicians from Johannesburg for an eclectic and engaged jazz record, blending spirituality and shamanic feelings. Four years after Wisdom of Elder, We Are Sent Here By History continues the South African adventure. Once again surrounded by a subtle but powerful rhythm section (bassist Ariel Zamonsky, drummer Tumi Mogorosi and percussionist Gontse Makhene), an inspired wind section (alto saxophonist Mthunzi Mvubu and trumpeter Mandla Mlangeni) and pianists Nduduzo Makhathini and Thandi Ntuli, Shabaka creates solid links between a jazz inherited by Sun Ra, Pharaoh Sanders and Don Cherry and the vast plethora that is African music. Zulu chants (We Will Work (On Redefining Manhood)) and texts sung by Siyabonga Mthembu that touch on ecology as much as the relationships between men and women reinforce this torrent of music. We Are Sent Here By History (better than its predecessor) is a snapshot of an era which questions the future of its protagonists, but is also a study of the values and sounds to conquer the future. – Marc Zisman

Tracklist:
1. They Who Must Die (10:09)
2. You’ve Been Called (6:29)
3. Go My Heart, Go To Heaven (6:38)
4. Behold, The Deceiver (6:00)
5. Run, The Darkness Will Pass (4:07)
6. The Coming Of The Strange Ones (6:28)
7. Beast Too Spoke Of Suffering (2:57)
8. We Will Work (On Redefining Manhood) (5:23)
9. ’Til The Freedom Comes Home (7:06)
10. Finally, The Man Cried (5:47)
11. Teach Me How To Be Vulnerable (2:46)

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Following the success of his previous Orchid Classics albums, Stewart Goodyear returns with his spirited, insightful interpretation of the complete Beethoven Piano Concertos, recorded with Andrew Constantine conducting the BBC National Orchestra of Wales for a release that coincides with Beethovens 250th anniversary year. Goodyear made his Orchid debut with an album of Ravels solo piano music, hailed as a major achievement (Classics Today). More recently, his sensational album with Chineke! Orchestra and Wayne Marshall featured Goodyears own music alongside Gershwins Rhapsody in Blue, the performance of which earned 5 stars in BBC Music Magazine. Now, Goodyear returns with perhaps his most ambitious recording yet: the complete Beethoven Piano Concertos. There is the Haydnesque wit of the Piano Concerto No.1, with its exquisite Largo; a pared-down, Mozartian orchestra for the Concerto No.2 with its playful Turkish finale; and in the Concerto No.3, premiered alongside the Fifth Symphony, Beethoven establishes a new intimacy between soloist and orchestra. This relationship reaches new depths in the intricately linked Piano Concerto No.4, and the set culminates in the majestic Emperor Concerto, No.5.

Tracklist:
1. Piano Concerto No. 1 in C Major, Op. 15: I. Allegro con brio (17:01)
2. Piano Concerto No. 1 in C Major, Op. 15: II. Largo (11:27)
3. Piano Concerto No. 1 in C Major, Op. 15: III. Rondo. Allegro scherzando (9:09)
4. Piano Concerto No. 2 in B-Flat Major, Op. 19: I. Allegro con brio (13:42)
5. Piano Concerto No. 2 in B-Flat Major, Op. 19: II. Adagio (8:20)
6. Piano Concerto No. 2 in B-Flat Major, Op. 19: III. Rondo. Molto allegro (6:01)
7. Piano Concerto No. 3 in C Minor, Op. 37: I. Allegro con brio (16:33)
8. Piano Concerto No. 3 in C Minor, Op. 37: II. Largo (10:17)
9. Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo. Allegro (9:07)
10. Piano Concerto No. 4 in G Major, Op. 58: I. Allegro moderato (18:13)
11. Piano Concerto No. 4 in G Major, Op. 58: II. Andante con moto (4:33)
12. Piano Concerto No. 4 in G Major, Op. 58: III. Rondo. Vivace (10:09)
13. Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor”: I. Allegro (20:12)
14. Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor”: II. Adagio un poco mosso (7:54)
15. Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor”: III. Rondo. Vivace (10:20)

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Aporia is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths’ sawtooth waves, Aporia approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog – but a fully realized collaborative musical piece.

After Music for Insomnia in 2008, a collection of instrumentals on the theme of sleep disorders, Sufjan Stevens has produced another collaboration with his stepfather. Lowell Brahms, the husband of his late mother, about whom he spoke in the introspective Carrie & Lowell in 2015, is one of the people who have counted in the career of the Michigan songwriter. Together, they started Asthmatic Kitty Records in 1999, through which Stevens released many of his works, and most importantly, they play together whenever they meet. From these regular jam sessions stretching back over the past ten years, Stevens has meticulously extracted the “10% magic moments” before setting to work on this musical patchwork with his team. The result: a psychic journey between ethereal guitars and cosmic synths, on the borders of ambient and New Age, invoking at once Vangelis, Mike Oldfield, John Carpenter and Boards of Canada – and even a bit of the spirit of Neil Young’s Dead Man soundtrack. One to listen to in a yurt during your next shamanic retreat. – Smaël Bouaici

Tracklist:
01. Ousia (02:33)
02. What It Takes (03:23)
03. Disinheritance (01:13)
04. Agathon (03:02)
05. Determined Outcome (02:12)
06. Misology (01:49)
07. Afterworld Alliance (02:47)
08. Palinodes (00:32)
09. Backhanded Cloud (01:26)
10. Glorious You (01:49)
11. For Raymond Scott (00:34)
12. Matronymic (00:57)
13. The Red Desert (02:54)
14. Conciliation (01:20)
15. Ataraxia (01:12)
16. The Unlimited (02:14)
17. The Runaround (03:35)
18. Climb That Mountain (03:00)
19. Captain Praxis (02:13)
20. Eudaimonia (02:19)
21. The Lydian Ring (01:02)

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The debut of the Taracea ensemble creates a bridge between past and present. The Madrid-based trio’s artistic project is to combine early music, jazz and improvisation. Its founder Rainer Seiferth, a German musician who lives in Spain, plays the vihuela, the Spanish counterpart of the Renaissance lute. Belén Nieto is a flute and recorder specialist and a regular member of Jordi Savall’s ensembles. The double bass player Miguel Rodrigáñez is at home in jazz, flamenco and classical music.

If there is a movement for ‘new’ early music, Michel Godard was one of its founders: the French virtuoso of the serpent blends in perfectly with the group. Percussionist David Mayoral combines East and West on zarb, riq and darbuka. The young Spanish singer and percussionist Isabel Martín performs a song by the Spanish Renaissance composer Juan del Encina. This album is called ‘Akoé’ (‘Listening’) in ancient Greek: each of the musicians brings his or her own sound and ideas and becomes an integral part of an inextricably interwoven texture.

Tracklist:
01. Preludio (1:12)
02. Come Again, Sweet Love Doth Now Invite (5:12)
03. Amarilli, mia bella (6:29)
04. Cuchilleros (4:53)
05. Innsbruck ich muss dich lassen (4:53)
06. Marizápalos (6:21)
07. ¡Ay triste que vengo! (5:43)
08. Mille regretz (3:19)
09. Passamèze (3:40)
10. O Quam mirabilis est (3:46)
11. Tant que vivray (5:43)

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Seven years after Bob Geldof reunited with The Boomtown Rats for the first time since their 1986 split, the group release a new album Marking 2020 — the Year of the Rat — with a new 10-song collection called Citizens of Boomtown, the band’s first LP since 1984.

Tracklist:
1. Trash Glam Baby (3:54)
2. Sweet Thing (3:11)
3. Monster Monkeys (4:25)
4. She Said No (3:56)
5. Passing Through (4:36)
6. Here’s a Postcard (3:52)
7. K.I.S.S. (3:11)
8. Rock ‘n’ Roll Yé Yé (4:55)
9. Get a Grip (4:00)
10. The Boomtown Rats (5:20)

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Erroll Garner – Feeling is Believing (Remastered) (2020) [Official Digital Download 24bit/96kHz]

Francesco Corti & Il Pomo d’Oro – J.S. Bach: Harpsichord Concertos (2020) [Official Digital Download 24bit/96kHz]

Gewandhaus Brass Quintett – Customised (2020) [Official Digital Download 24bit/96kHz]

Giuliano Carmignola, Mario Brunello – Bach & Vivaldi (2020) [Official Digital Download 24bit/96kHz]

Harold Mabern – Mabern Plays Mabern (2020) [Official Digital Download 24bit/48kHz]

Kelsea Ballerini – kelsea (2020) [Official Digital Download 24bit/44,1kHz]

Lucy Stevens – Ethel Smyth – Songs & Ballads (2020) [Official Digital Download 24bit/96kHz]

Morrissey – I Am Not A Dog On A Chain (2020) [Official Digital Download 24bit/96kHz]

Nicolas Horvath – The Unknown Debussy: Rare Piano Music (2020) [Official Digital Download 24bit/96kHz]

Nikola Avramovic – Schumann, Chopin & Liszt – Debut (2020) [Official Digital Download 24bit/96kHz]

Ophelie Gaillard and Pulcinella Orchestra – Vivaldi: I colori dell’ombra (2020) [Official Digital Download 24bit/96kHz]

Pascal Roge & Ami Roge – Les Six & Satie (2020) [Official Digital Download 24bit/96kHz]

Paul Carrack – Paul Carrack Live: The Independent Years, Vol. 5 (2000-2020) (2020) [Official Digital Download 24bit/44,1kHz]

Pearl Jam – Gigaton (Explicit) (2020) [Official Digital Download 24bit/96kHz]

Sam Gendel – Satin Doll (2020) [Official Digital Download 24bit/44,1kHz]

Shabaka and the Ancestors – We Are Sent Here By History (2020) [Official Digital Download 24bit/96kHz]

Stewart Goodyear – Beethoven: The Complete Piano Concertos (2020) [Official Digital Download 24bit/96kHz]

Sufjan Stevens – Aporia (2020) [Official Digital Download 24bit/44,1kHz]

Taracea – Akoe: Nuevas Musicas Antiguas (2020) [Official Digital Download 24bit/96kHz]

The Boomtown Rats – Citizens of Boomtown (2020) [Official Digital Download 24bit/96kHz]