For anyone who loves Camel, Genesis and early Marillion, this is a must. Pendragon were one of a clutch of bands including IQ, Pallas, Solstice and the aforementioned Marillion, who made up a new wave of British Progressive Rock in the 1980s. By 1985, Pendragon had released an EP, played the Reading Festival and toured with Marillion as well as doing a session for Tommy Vance's legendary Friday Rock Show. Despite that, they were still largely ignored by the mainstream. 'The Jewel', the band's debut album shows a band that has clearly spent a lot of time playing live, as they are extremely proficient and tight musically throughout the record.

Vocalist Cassandra Wilson has used her 15 years at Blue Note to explore the interpretive range of her voice, whether singing tunes by Van Morrison, Robert Johnson, Lewis Allan, Miles Davis, or Hoagy Carmichael. In many ways, Wilson has offered a new view of the standard by using classic rock and Delta blues tunes in her live and recorded repertoires. That said, Loverly is her first offering comprised almost completely of American songbook standards since Blue Skies 20 years ago. Wilson produced the recording in Jackson, MS, and surrounded herself with old friends: guitarist Marvin Sewell, bassists Reggie Veal and Lonnie Plaxico, drummer Herlin Riley, and labelmate and pianist Jason Moran.

Branford Marsalis (on tenor and soprano) performs four of his originals, Bob Hurst's "The Dark Knight," Keith Jarrett's obscure "Rose Petals" and "The Ballad of Chet Kincaid" (co-written by Bill Cosby and Quincy Jones) on this outing with his 1990 quartet. It's an impressive group that also includes pianist Kenny Kirkland, bassist Hurst and drummer Jeff "Tain" Watts. "Ballad" would catch on to a general audience, but on the others Marsalis is heard throughout in prime form, sounding more original and pushing himself.

The teenage Korngold possessed a compositional fluency and maturity which belied his youth; in contrast, Tchaikovsky feared—wholly unjustifiably—his own creative powers to be on the wane when writing Souvenir de Florence. The Nash Ensemble brings passion and conviction to both.

Simon Gaudenz conducts the Jenaer Philharmonie in the third of a series of recordings of the complete Mahler Symphonies, interspersed with world-premiere recordings of pieces by Andrea Lorenzo Scartazzini that reflect each symphony and pay homage to Mahler's soundworld. This third volume features Mahler's Sixth and Seventh Symphonies, the Sixth preceded by Scartazzini'sOmen (2023), and the Seventh byOrkus, both composed in 2023.

Previously unreleased and captured in 1973, "New Dawn" by the Pat Smythe Quartet offers a rare glimpse into a pivotal moment in jazz fusion history, particularly for fans of guitarist Allan Holdsworth. Recorded across two dates in France, the eight-track album showcases the virtuosic quartet at the intersection of jazz fusion, jazz rock, and Latin American influences, featuring an early and electrifying performance by Holdsworth, a pioneer of the genre.

ATMA Classique proudly presents Jean Sibelius’ Symphonies Nos. 2 & 5 with Yannick Nézet-Séguin conducting the Orchestre Métropolitain de Montréal. Recorded at Maison symphonique de Montréal, this new release is part of our complete cycle of Sibelius symphonies launched in 2019 with Symphony No. 1.

Brahms' piano quartets are the undisputed highlights of the composer's oeuvre. Hungaroton has recorded this album with some of the most prominent current classical artists, which allows the pieces to reveal their distinctive characteristics in a unique and unified atmosphere.

The debut solo album by Mexican ambient pioneer Jorge Reyes, Ek-Tunkul is a powerful statement of purpose from an artist whose sound was wholly his own. After leaving Mexican prog-rock band Chac Mool, Reyes became increasingly fascinated with native Mexican instruments and pre-Colombian music traditions, ultimately combining these sounds with modern instruments (guitar, synthesizer) and flute, mandolin, kalimba, and voice to pay homage to his ancestry and heritage. His first album is a sort of quiet “deep listening” prog-rock that hints at the later tribal, folk, ambient zones Reyes would explore with fellow experimentalists Antonio Zepeda and Suso Sáiz.