Trumpeter Ingrid Jensen continues to pursue the edges of "in" on her second disc as leader. This time around, Jensen gets some assistance via the ever explosive drummer Bill Stewart as well as the equally searching reedman Gary Bartz. This is solid post-bop jazz that deserves a listen.

Silvestrov wrote the pieces recorded here, scored for piano solo, string orchestra, and piano and strings, between 1996 and 2005, and they are all representative of his late, meditative, song-like style. After an early career as an experimentalist, Silvestrov embraced the radical simplicity – a style of tonal, melodic, and rhythmic transparency – that has won him many admirers in the general public, but little recognition by the academic community. It would be easy to hear his music as derivative, given the limited tonal palette to which he restricts himself; his apparently naïve and artless approach, however, has an integrity and a genuinely lyrical impulse that make it hard to dismiss.

This is the Keith Jarrett Trio's – featuring bassist Gary Peacock and drummer Jack DeJohnette – elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with – and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums.

Usually regarded as the Belgian Zao, Cos develops an European type of chamber-rock, built on onomatopeic vocals or sung in French or German. The band displays beautiful themes interwined with complex orchestrated rhythms. Its music evokes the Canterbury School (Caravan, Hatfield And The North), the anguished and dark music of King Crimson or Quiet Sun and Terje Rypdal's atmospheric jazz-rock. Pascale Son uses her high-pitched voice, able to perform the most incredible modulations, and this allows her to become one of the best singers in that style. The leader Daniel Schell is a guitarist extraordinaire, and proves to develop ideas as original as Robert Fripp's. "Babel" has been initially published in the year 1978, and the seven tracks of the original album have been completed by a ballet music ("Pro Arte Gymnastica", directed by Jac Delsing in Anvers, March 3rd 1979.), as well as three tracks captured live two years later in Hannover (Germany)…

With Tangerine Dream's recorded output spread across close to 40 years of work, and a variety of record labels as well, a comprehensive overview of their output would be a behemoth of a box set. This two-disc collection of odds and rarities cannot even begin to approach those proportions, but still its journey hits many of the high points that one would hope to find, as it traces band mainstay Edgar Froese at least into the early 1990s. The set opens with a pair of cuts recorded by Froese's pre-Tangs band the Ones in 1967, a couple of darkly atmospheric psych rockers that are far removed from anything he would go on to create. These are followed by brutal live takes on the two-part "Ultima Thule" that marked the Tangs' debut single, but which highlight the new band's personal direction by borrowing much from period Pink Floyd…

Since Sedaka's Back was a hit, Neil Sedaka and co-producer Graham Gouldman saw no reason to mess with success on its follow-up, The Hungry Years. The record is essentially Sedaka's Still Back, complete with the same adult contemporary/MOR material and slick production that marked its predecessor. It also suffers from uneven material, but it's distinguished by a slow rearrangement of "Breaking Up Is Hard to Do" and "Bad Blood," a duet with Elton John. The remainder of the album is pleasant but undistinguished soft rock from the mid-'70s. (Varese Sarabande's 1998 reissue of The Hungry Years contained four bonus tracks.)

Joshua Gilmore (born July 6, 1944), better known as Joey Gilmore was born in Ocala, Florida Self-taught on the guitar at an early age, from watching a local minister-cum-barber playing his own flat-bodied guitar. Gilmore initially headed a band of youths who appeared in local clubs long before they were legally able to enter such establishments. In the 1960s, Gilmore relocated to South Florida, and he became a popular local attraction which led to him accompanying many touring blues, R&B and soul musicians. He recorded a number of tracks in the 1970s, including his debut single "Somebody Done Took My Baby And Gone"/"Do It To Me One More Time" (1971). He released several EPs at that time, as well as the "Joey Gilmore" album, released in 1977 on Henry Stone's Blue Candle label. His next album came twelve years later when "So Good to Ne Bad" dropped in 1989. The album reached #80 on the US Billboard R&B album chart…

28-song set. Tour premiere of “Sherry Darling”. Four songs from 2020’s Letter To You: “Ghosts,” “Letter to You,” “Last Man Standing” and “I’ll See You In My Dreams.” “Last Man Standing” features a new arrangement. “I’ll See You In My Dreams” is performed solo acoustic to end the show. One song from 2022’s Only the Strong Survive: “Nightshift” (written by Franne Golde, Dennis Lambert and Walter Orange, popularized by The Commodores). Concert stalwarts like “Because The Night,” “Dancing in the Dark,” and “Tenth Avenue Freeze-Out” are performed in tighter, shorter versions.

The debut Hubro album by the highly regarded Norwegian power-trio Bushman’s Revenge – cult stars of the Rune Grammofon label for a decade – operates on several levels simultaneously. It can even sound like the work of several different trios. After a hypnotic experimental prelude that creates a sort of audible weather system, with the delicate, bare-wire glissandos of Even Helte Hermansen’s soprano guitar heard against Gard Nilssen’s Pink Floyd-ish beaten drums and the unusually reticent, elegantly dancing measures of Rune Nergaard’s electric bass, ‘Et Hån Mot Overklassen’ (which Google Translate renders as “A Mockery of the Upper Class’) begins to settle into a form of strikingly virtuosic and proggy jazz-rock; the instruments sound pretty much like guitar, bass and drums are meant to do, and the opening numbers follow a recognisable jazz model of theme/improv/theme.

The Norwegian Jazz trio Bushman’s Revenge mixes the energy of Rock with the freedom of Jazz in an exciting and exhilarating way. Formed in 2003, the trio (consisting of Even Helte Hermansen on Guitar, Rune Nergaard on Bass and Gard Nilssen on Drums) has had two decades in which to explore different paths and sounds, and in doing so, succeeding in creating a genre all of their own.

Navona Records is proud to present MUSIC FOR STRING QUARTET, the world premiere recording of renowned composer Leonard Bernstein’s long-lost work. Composed by an 18-year-old Bernstein during his studies at Harvard, the piece has been steadfastly shepherded from its re-discovery to this historic release by former Boston Symphony Orchestra Librarian John Perkel, and is performed here by Lucia Lin, Natalie Rose Kress, Danny Kim, and Ronald Feldman. “Movement I” and the newly-discovered “Movement II,” which was found within the U.S Library of Congress, are accompanied here by the seldom-recorded duo piece Elegies for Violin and Viola by composer Aaron Copland, a musical mentor, collaborator, and dear friend of Bernstein’s.

Three years after the release of Sullivan Fortner’s charming Impulse! Records debut, Aria, the 31-year-old New Orleans-bred pianist and composer returns with his enchanting sophomore effort, Moments Preserved, which finds him leading a sterling trio with bassist Ameen Saleem and drummer Jeremy “Bean” Clemons. Produced by Grammy-winning Brian Bacchus, Moments Preserved arrived at the end of a productive recording period; Fortner participated on six recording sessions in less than two months. Nevertheless, he hails Moments Preserved as one of the “most honest and emotionally direct” albums he’s made yet. While gathering tunes for the album, he reflected on many key life moments that have occurred since winning the 2008 Leonore Annenberg Arts Fellowship and the 2015 Cole Porter Fellowship. Those moments include concluding his eight-year tenure in Roy Hargrove’s band then emerging as a bandleader.