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This series of the complete harpsichord concerti of C.P.E. Bach is one of the most important and monumental recording projects of the century so far… it is a whole planet of delights and amazing discoveries.

En Ylanoon, tras el inmenso maremoto que arrasó las costas de las tierras de Arran, los elfos azules han erigido su nueva capital sobre las ruinas de la ciudad de Ennlya. Sin embargo, unos extraños asesinatos amenazan ahora con diezmar a las distintas comunidades… Mientras, en Ora, la kicha está causando estragos en el bosque de Torunn. Los elfos adictos a ella no son más que una sombra de sí mismos y pasan el tiempo enajenados, ajenos al mundo mientras sus cuerpos se consumen. Por su parte, el emperador de Dumn maquina para convencer a su pueblo de ir a la guerra contra los silvanos

Mozart claimed to dislike the flute and, for that matter, the harp as well which also plays a prominent role in this compilation. But in spite of that, he produced music for the flute in a variety of genres all of which is delightful and much of which is masterful. This release on Philips's "duo" series presents an excellent opportunity for an overview of Mozart's works for flute, well played. It also offers a rare opportunity to hear a variety of performers on the flute and other instruments and orchestras.

A killer 2CD set – one that features 4 full albums from the country duo of Porter Wagoner and Dolly Parton! First up is We Found It – a gem of a record from the glory days of the Porter Wagoner/Dolly Parton partnership on record – a set that's overflowing with original material penned by each of the singers, which gives the whole thing a way of feeling a lot more personal and pointed than most other country duo albums! Porter and Dolly really share the vocal chores equally – and maybe break off less into the separate modes of some of their earlier records, but in a good way – on titles that include "Love City", "I've Been Married", "Satan's River", "I Am Always Waiting", "That's When Love Will Mean The Most", and "How Close They Must Be".

As a jazz critic, the first thing I notice with Myriam Alter’s latest release, cleverly titled It Takes Two, is a friendly reminder: Alter is not a jazz musician. The music on It Takes Two, as with most of the music from her releases over the years (dating back to the early 1990s), bespeaks of more elemental musical qualities and less so about altered chords (not to mention chord changes), intricate arrangements or rhythmic complexity, all qualities that are typically found in most of the music we call jazz.

Not only is Cyrille Aimée, the young French Dominican singer, one of the most adept and charismatic stylists of her time, her band is also one of the greatest two-guitar combos ever. In this live setting, Adrien Moignard’s acoustic blend of gypsy jazz, folk, and bebop, and Michael Valeanu’s warmth and limitless versatility on electric come together to frame every arrangement with creative élan and impeccable taste. Aimée covers Sondheim, Sidney Bechet, Michael Jackson, and Thelonious Monk in ways that connect funk, western swing, jump blues, and more in a seamless continuum, with clutch support from bassist Dylan Shamat and drummer Dani Danor.