The First Symphony was largely inspired by the composer's tempestuous love affair with the widowed Baroness Imma von Doernberg, whom Walton met in 1929 and with whom he was living on the Continent in the early 1930s. Although the work was long in gestation, with a particular delay in the composition of the finale, the result was universally acclaimed as an outstanding success, with John Ireland commenting "unlike any other English symphony, this is in the real line of symphonic tradition. It is simply colossal, grand, original, and moving to the emotions to the most extreme degree…

Scriabin’s fiery fifth sonata showcases Orion’s dynamism and delicacy as well as his ability to produce a breathtakingly broad range of warm, mid-keyboard colors contained within this impressionistic piece that ends as furiously (and explosively) as it begins.

Marcy Rosen and Diane Walsh present fresh readings of three masterpieces from the cello repertoire. Ms. Rosen studied Barber's cello sonata with Orlando Cole, who worked closely with Barber on the editing of the composition, later premiering the work with Barber at the piano at New York City's Town Hall in 1933.

Official Live Performance is a series of exclusive performances by American music video network Vevo, that aligns with artists "providing fans with unique takes of original songs."

Making her producing debut alongside Doug Schadt (Maggie Rogers), Lindsay Ell has evolved her sound and crafted a collection of songs that showcase her outstanding talent as a songwriter and guitarist for her new project love myself, which combines two previously released EPs. Channeling pain into power, Ell has undergone a musical metamorphosis that has transformed her into an unbound, fearless, and unapologetic artist.

Elixir was the third album from the Grammy-nominated smooth jazz supergroup comprised of pianist Bob James guitarist Lee Ritenour, bassist Nathan East, and drummer Harvey Mason. The follow-up to the band's gold-certified first two albums - 1991's Fourplay and 1993's Between The Sheets - 1995's star-studded Elixir featured vocal cameos from Phil Collins ('Why Can't It Wait Till Morning') together with Patti Austin and Peabo Bryson, who duetted on a fabulous remake of Roberta Flack and Donny Hathaway's classic soul hit, 'The Closer I Get To You.' Other highlights include the instrumentals 'Play Lady Play,' 'Magic Carpet Ride', and the simmering title track, which all highlight the band's tasteful alchemy. Elixir has sold over 500,000 copies in the United States and was certified gold by the RIAA. The 30th anniversary edition of Elixir is newly remastered from the original tapes.

On "TRACES" Michael Patrick Kelly deals with the topic of humanity and how different experiences in life shape people and leave their mark. For the album, the artist, who also produces his albums himself, worked together with Grammy Award producer Michael Ilbert, among others. The recordings took place at the legendary Air Studio in London and at Hansa Studios Berlin.

This Friday we deliver you a transmission straight from the Cryptic Corporation: "'Doctor Dark's Demos' is out today across all streaming platforms! (Almost) the entire album as you've never heard it before, including The Singing Resident's take on songs performed by guests on the record. Submit and accept The Gift…"

Friendships and musical ties that are born unpredictably and are woven through distance, allowed the fortuitous encounter of Tarabita Espiral. A trio made up of Colombian saxophonist and clarinetist Maria Valencia, Puerto Rican NY- based double bassist Brandon López and NY-based vibraphonist Matt Moran. These three vibrant artists eschew traditional roles to sculpt a musical landscape of restless motion and textural dissonance.

"So proud of this record, dedicated to the great artist Helen Merrill who has been a huge inspiration in my life. Helen’s repertoire is vast and diverse, and we give tribute to that with selections like “ You’d Be So Nice To Come Home To” from “Helen Merrill with Clifford Brown and Gil Evans”, to “ Wild Is The Wind” from her 2003 album “ Lilac Wine”. Thankful for an amazing group of musicians that made this album my best yet. “Lilac Wine- Tribute to Helen Merrill” featuring Eric Alexander (Venus Records Japan) is out now on all platforms for your listening pleasure."

Fish & Chips present some of the highest-selling tracks of their time in this stunning remaster, courtesy of Countdown Media's restoration of the master tapes from renowned legacy label, Ashire.

While maintaining her status as a television star, Dinah Shore made a series of classy albums for Capitol Records between 1959 and 1962. On this, the fourth of her five LPs for the label, she again teamed with André Previn, who had arranged and conducted her earlier album, Somebody Loves Me. This time, Previn took to the piano, joined only by an occasional rhythm section for another set of ballads (or, as the sleeve note put it, "songs in a mid-night mood").

Sebastian Rochford is a singular force in British music, an extraordinary drummer, composer, and producer. His work with the iconic group Polar Bear helped redefine the boundaries of jazz and earned multiple Mercury Prize nominations. With a career spanning collaborations with Patti Smith, Damon Albarn, Brian Eno, Adele and Grace Jones, and his 2023 ECM duo album A Short Diary with Kit Downes, an album written for his father described as a “ quiet masterpiece”, Rochford has carved out a unique space in contemporary music.

The third installment of Rendez-vous with Martha Argerich brings together captivating recordings from the international Festival Martha Argerich in Hamburg, showcasing an extraordinary lineup of soloists.

‘Ghost City’ was written over the course of two years, between the bands tours in Europe, Japan and Mexico, before heading to Northern Italy to record it. “We figured it was the same price to record in Italy, so we brought our friend and producer Mark Roberts along for the ride,” says Devin Yuceil (vocals/guitar), “we booked a bunch of shows on the way down which pretty much covered our recording costs, which also meant that we had around a week of playing the new material everyday leading to the studio, a luxury we don’t often have.”