The three works on this CD evoke the worlds of commedia dell’arte (Pulcinella), Don Quixote (El retablo de maese Pedro) and picaresque Spain (the Harpsichord Concerto).

Shirley Valerie Horn (May 1, 1934 – October 20, 2005) was an American jazz singer and pianist. She collaborated with many jazz musicians including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Carter, Carmen McRae, Wynton Marsalis and others.

A quick side-note from Gotta Groove: We recognize the pricing of this album is a bit outside of the "normal" pricing seen on most releases. The reason for this is, we are paying the musicians who made this historic album with a licensing fee that is far higher than the typical fee paid for a reissue. We hope that you will help us to compensate these talented artists and their families for helping us make this music available to another generation of listeners. Thank you.

Kondrashin was born in Moscow to a family of orchestral musicians. Having spent many hours at rehearsals, he made a firm decision at the age of 14 to become a conductor.

J. J. Barnes recorded several singles, starting in 1960. His early releases including “Just One More Time” and “Please Let Me In”, on the record labels Mickay and Ric-Tic, had relatively little success, but were subsequently picked up as Northern soul favorites in the UK.

I happily announce ‘Piano’, my most personal album to date: a 15-track self-composed piano album. Each song was recorded in one-take in Dolby Atmos. The album releases October 31 exclusively on Apple Music. This project is something I’m sure many of you didn’t see coming, and to be honest, I wasn’t sure if I wanted to share it at first. It wasn’t dance music. No beats, no drops, only raw emotion. So I kept these songs for myself. But after recording the album with the strings section at ConcertLab in Utrecht, I knew this was something special to release. It’s not a step away from dance music, but it’s a different side of me. ‘Piano’ is the most honest music I have ever made, stripping away all the beats and focusing on the strength of each note. Together with my piano teacher, Geronimo Snijtsheuvel, we shaped my vision into 14 original compositions and 1 interpolation. You can pre-add now and get early access to “Sonic Samba”. From heart, to keys, to ears, Armin

Symphony No. 11 in D major, K. 84/73q, was at one time considered unquestionably to be the work of Wolfgang Amadeus Mozart. Its status has, however, been challenged, and remains uncertain. It is believed to date from 1770, and may have been written in Milan or Bologna, if it is a genuine Mozart work. An early manuscript from Vienna attributes the work to Wolfgang, but nineteenth-century copies of the score attribute it respectively to Leopold Mozart and to Carl Dittersdorf. Neal Zaslaw writes: "A comparison of the results of two stylistic analyses of the work's first movement with analyses of unquestionably genuine first movements of the period by the three composers suggests that Wolfgang is the most likely of the three to have been the composer of K73q."

om Wachunas – Spare Changes is by far one of the best (and unknown/underappreciated) singer-songwriter records ever made. Classifying the album within a specific genre is a terribly difficult feat – acid folk? folk rock? psychedelic? A true cornucopia of instrumentation – sax, vibes, kalimba, tabla, guitars, accordion(!) and introspective lyrics. Imagine being on a Caribbean cruise ship in 1975, and Neil Young happens to be croonin’ with a 12 piece band on some new material that never saw the light of day.

Periscopi Invertit fuses traditional Catalan folk melodies with Mediterranean rhythms, sounds and jazz elements, creating a vibrant sound that marries old folk traditions with contemporary funk, Latin, and jazz arrangements.

A beloved Vanoni classic returns in a celebratory edition: a 30th-anniversary reissue remastered from the original tapes. First released in 1995, Sheherazade captures the peak of her partnership with producer Mario Lavezzi, blending elegant ballads with refined Italian pop. The Music & Media magazine's columnist noted that the versatile singer Ornella Vanoni "with her velvet voice has produced an album full of eclectic ballads, which all have their own character".

Joseph Swensen offers an intimate and cosmic symphonic fresco in the form of the Saga Trilogy, captured on this b•records disc. Composed in the wake of the pandemic, this trilogy explores the composer's inner world like an ancestral legend waiting to be discovered. Performed by the Orchestre National Bordeaux Aquitaine, the music draws on reminiscences of Messiaen and the poetic spirit of Hafiz. From the cosmic pulsation of Primordial Cosmos to the mythological clamour of the SAGA concerto and the spiritual light of Song of Infinity, allow yourself to be swept away by this vibrant and deeply rooted work, which exists on the border between the visible and the invisible.

The dark spell of Ritual Howls’ sixth album, 'Ruin', is cast in the first moments of lead single, “Follow the Sun”, as the clarion call of Paul Bancell’s reverberating guitar is anchored by the pulsing kick and flitter of Chris Samuels’ drum programming and the snarl of Ben Saginaw’s taut, fuzzed-out bass groove. More than a decade into their career, the trio continues to refine its nuanced alloy of industrial, goth, and post-punk to a new level of all-consuming fullness, and more than ever, the results embody the contrasts they have become known for, at once hauntingly bleak but kinetically catchy, intimately raw but tantalizingly mysterious.

Toronto, You've Changed is the latest studio album by Canadian musician Spookey Ruben, released on October 31, 2025. It is available on digital platforms, CD, and vinyl. The album is described as a tribute to the city of Toronto and features a "sunny collection [of] daydream pop". It includes 13 songs, with singles such as "Say!" and "Sorry, I'm Stoned" preceding the album's release.

Two years after he first appeared on Balmat with 1977, Mike Paradinas returns with 1979. The sense of continuity between the two records is clear, and not just from their titles. Both capture the Planet Mu head venturing into the wilderness, seeking something—half-formed memories, thoughts caught in midair—in some of the most abstract, searching music he has released.

Premiered at the Opéra-Comique in Paris on 26 January 1857, Ambroise Thomas’s Psyché tells the story of the ill-starred love between Eros and Psyche, who are manipulated by the cynical Mercury and envied by Daphne and Berenice, the heroine’s own sisters. The style of the work represents the nec plus ultra of mid-nineteenth-century French opéra-comique, notably in the Italianate influence of Rossini, which gives the singers of the two leading roles – one of which, Eros, is a breeches part for mezzo-soprano – a chance to glitter amid torrents of coloratura poured forth in impressive, passionate love duets.