For the fifth instalment of the critically acclaimed Schubert+ series, Can Cakmur juxtaposes the Viennese composer with his illustrious elder Ludwig van Beethoven, for the first time in this series.

Telemann's Fantasias represent the most important current discovery in the gamba repertoire and are destined to become one of the cornerstones of the repertoire. The compositions, full of musical references to many different styles, are a compendium of how Italian and French influences permeated the purely German language to create a specific style, but it is also an example of visionary creativity, as Telemann anticipates many structural elements that define what will become the galant or pre-classical style. Moreover, using the genre Fantasia, Telemann shows us a portrait full of audacity, freshness and compositional freedom hitherto unknown.

Joseph Holbrooke, an all-star ensemble from the mid-1960s dedicated to free improvisation, brought together three of the most influential British improvisers: guitarist Derek Bailey, bassist Gavin Bryars, and drummer/percussionist Tony Oxley. Though their recorded legacy is sparse, the group briefly reunited in 1998, leading to the acclaimed The Moat Recordings. Last Live 2001 captures their final performance, recorded in Antwerp in January 2001, and stands as a newly unearthed gem from Gavin Bryars’ archives. This release is both a document of the trio’s fearless musical dialogue and a moving tribute to Bailey and Oxley.

Telemann's Fantasias represent the most important current discovery in the gamba repertoire and are destined to become one of the cornerstones of the repertoire. The compositions, full of musical references to many different styles, are a compendium of how Italian and French influences permeated the purely German language to create a specific style, but it is also an example of visionary creativity, as Telemann anticipates many structural elements that define what will become the galant or pre-classical style. Moreover, using the genre Fantasia, Telemann shows us a portrait full of audacity, freshness and compositional freedom hitherto unknown.

Two of Us is the second studio album by American singer Robert Goulet, released in August 1962 by Columbia Records. It was produced by Jim Foglesong. The album debuted on the Billboard Top LPs chart in the issue dated September 1, 1962, and remained on the chart for 55 weeks, peaking at number 20. It debuted on the Cashbox albums chart in the issue dated August 25, 1962, and remained on the chart for a total of 38 weeks, peaking at number 17.

Oscar and two-time Grammy-nominated singer-songwriter Stephen Bishop launched his illustrious career with his debut smash album Careless in 1976. Now, he’s closing the chapter on 50 remarkable years in the music industry with his 20th and final album THIMK,out August 15 - a lifetime of stories captured in one unforgettable album. THIMK also features a stunning lineup of Bishop’s closest friends and legendary collaborators, including Art Garfunkel, Jimmy Webb, Graham Nash, Dave Grusin, Michael McDonald, Kenny Loggins, Christopher Cross, David Pack, Gerry Beckley and Dewey Bunnell of America, David Benoit, Marilyn Martin, among many other extraordinary talents.

At the risk of repeating myself, if you’re going to cover someone else’s song, then you need to bring something new to the table. Those who opt for faithful renditions of beloved songs are either deluded into thinking that they can improve on something already iconic, or they are merely riding the original artist’s coattails. Neither is a good look!

Nicola Vicentino was renowned in his day as a music theorist and inventor of the microtonal archicembalo keyboard instrument, but it is the striking harmonic sophistication of the madrigals that keep his name alive today. These world premiere recordings of madrigals from the Fifth Book of 1572 are interspersed with instrumental pieces that explore comparable chromatic universes, including Giovanni Maria Trabaci’s remarkable Toccata e recercar cromatico, and the first instrumental canzona ever published: Canzon la Bella.

The Church Studio In Session series is an exclusive and immersive recording and listening experience where guests are provided with individual headphones delivering a personalized mix of vocals and multi-track instrumentation. Acclaimed composer, guitarist, and sonic visionary Chris Combs kicked off this series, bringing together a handpicked ensemble of dynamic players for the session, including Hank Early of Turnpike Troubadours, Dan Oestreicher of Trombone Shorty & Orleans Avenue, along with Tulsa singers/MCs, Tea Rush, and 1st Verse. The sound is urgent and expansive, capturing the raw energy, experimentation, and creative alchemy of live collaboration. The genre-defying journey blends jazz, soul, and ambient textures, while delivering a deep, groove-heavy soundscape for the listener.

Interior Live Oak draws from everything Cass has created over two decades of experimentation to cut through with a direct and clarifying light. Throughout, his attitude is hopeful, which may sound odd for someone who often sings about the more extreme aspects of modern life. Interior Live Oak, however, is the resolve of someone who has lived those extremes.

David Wilcox has always been the kind of songwriter who quietly devastates you—never flashy, never loud, just one cleanly delivered line that lands exactly where you live. Now, with The Way I Tell the Story (out August 15), the veteran folk artist leans into warmth and wisdom that has been won hard, pulling emotional threads in new and surprisingly luminous ways.

For over two decades, the Gabriel Alegría Afro-Peruvian Sextet has forged a distinctive path through the world of jazz—fusing the deep-rooted traditions of Afro-Peruvian music with the improvisational language of modern jazz. Now, the Lima/New York based ensemble returns with a landmark album that not only celebrates the group’s 20th anniversary but reaffirms their role as musical storytellers, culture bearers, and fearless innovators.

It’s already been twenty years since the art rock formation RPWL from Freising in Bavaria set out to release their most successful and - in the opinion of many critics - their best album to date: World Through My Eyes from 2005. Not a concept album in the true sense of the word, but full of philosophical questions and wonderful approaches to life and various worldviews. Many songs on this album have become classics of the band, especially ‘Roses’, which performed terrific in the studio version by Ray Wilson as a guest singer.

Nicola Vicentino was renowned in his day as a music theorist and inventor of the microtonal archicembalo keyboard instrument, but it is the striking harmonic sophistication of the madrigals that keep his name alive today. These world premiere recordings of madrigals from the Fifth Book of 1572 are interspersed with instrumental pieces that explore comparable chromatic universes, including Giovanni Maria Trabaci’s remarkable Toccata e recercar cromatico, and the first instrumental canzona ever published: Canzon la Bella.

At the risk of repeating myself, if you’re going to cover someone else’s song, then you need to bring something new to the table. Those who opt for faithful renditions of beloved songs are either deluded into thinking that they can improve on something already iconic, or they are merely riding the original artist’s coattails. Neither is a good look!