Hard Road is Christone “Kingfish” Ingram’s most personal and powerful album yet. Blending blues with rock and R&B, it marks a bold shift in sound and storytelling. Produced by Tom Hambridge, Patrick “Guitarboy” Hayes, and Nick Goldston, the record explores love, loss, identity, and growth. Released on Kingfish’s own Red Zero Records, Hard Road reflects his mission to honor blues tradition while shaping its future.

Strut presents Mulatu Plays Mulatu, the first major studio album in over 10 years from the father of Ethio-jazz, Mulatu Astatke.

For the latests in the Smalls Live series, highly regarded NYC pianist David Kikoski reunites his stellar trio–featuring the legendary Billy Hart on drums and the great Joe Martin on bass–with longtime friend and collaborator Randy Brecker as special guest, for a raw, live-in-the-room session. This new album on Cellar Music captures an intimate conversation between four friends–drawing from shared history, mutual trust, and a commitment to the moment.

Though Little Freddie King may not be a household name quite yet, his self-styled "Gut Bucket Blues" approach is well worth a listen for any of those who like rough but precise vocals, warm blues harp, and fat, incisive guitar.
King's style is a rough fusion of T-Bone Walker's sharp attack and Albert King's laid-back, smoky stylings: economical, precise, and thick, tending to simmer but never boil. His rented-mule vocals, likewise, do capably in the pepper-and-vinegar of his mostly self-penned album. Bobby DiTullio adds reliable harmonica, while the backing band keep a likeably primitive rhythm on low heat…

Listen Ship is the latest masterpiece in the ever-expanding sound world of Pulitzer Prize-winning composer Henry Threadgill, whom The New York Review of Books recently described as “one of American music’s great Romantics and a lifelong seeker of the sublime.” The new work is a suite for six acoustic guitars – including individual stylists such as Bill Frisell, Miles Okazaki and Brandon Ross – and two pianos that utilize Threadgill’s unique intervallic syntax to illuminate his idiosyncratic vision. The eight string instruments revel in the music’s painstaking detail with intricate gestures that miraculously entwine to form a grand statement. The meticulous orchestration highlights all of the usual characteristics of Threadgill’s music: unusual forms, unexpected timbres, and slippery counterpoint and rhythms, all shaped by the composer’s conducting into a singular experience.

Pene Pati’s glowing tenor voice, described by Le Monde as ‘filled with sunshine’, makes him the ideal interpreter of such roles as Rodolfo in La bohème and the Duke of Mantua in Rigoletto. Now, with Serenata a Napoli, he brings his distinctive warmth to another quintessentially Italian art form, Neapolitan song. In addition to such ‘greatest hits’ as ‘O sole mio’ and ‘Funiculì funiculà’, the golden age of canzone napoletana (1880-1930) produced abundant lyrical expressions of passion, melancholy and joy.

On Renaissance, Shani Diluka invites us on a journey through the humanist movement of the Renaissance era with repertoire selected from Byrd to Frescobaldi, from Dowland to Monteverdi. Many of the pieces have never been played on the modern piano, yet Diluka's thoughtful playing is close to the intimate sounds of the harpsichord and clavichord. The album examines the effect of the Elizabethan and Italian rennaisance traditions on the development of classical music in Europe.

Sonny’s Dream (Birth of the New Cool) is a 1968 album by jazz sax player Sonny Criss, released on Prestige. Featuring cuts written and arranged by Horace Tapscott, Criss is joined by Conte Candoli, Teddy Edwards, Tommy Flanagan, and more. Identified by The Penguin Guide to Jazz as part of their “core collection”. This new edition is released as part of the OJC Series.

Kenny Drew Trio is the 1956 album by jazz pianist Kenny Drew, Paul Chambers (bass), and Philly Joe Jones (drums) - the trio who would go on the following year to be the rhythm section for the legendary John Coltrane album Blue Train. Originally released on the Riverside label this new edition is released as part of the OJC Series.

Angelo Badalamenti's score for The City of Lost Children (La Cité des Enfants Perdus) finds him utilising his orchestration skills to their full extent. His use of the string section in particular is extremely accomplished, with his lyrical writing helping to emphasise the often-melancholic tone of the film. Highlights of the soundtrack include the song "Who Will Take My Dreams Away?" (written with Marianne Faithful), and Badalamenti's sinister organ grinder music composed for the scenes featuring the trained fleas. Overall a very evocative and moving score, and a must for any serious fan of Badalamenti's film music.

In Genesis’ incredible body of work, ‘The Lamb Lies Down On Broadway’ is a landmark record, and one of the most influential progressive rock albums of all time. Originally released in November 1974, ‘The Lamb’ is celebrating its 50th Anniversary with a 4CD + Blu-ray Super Deluxe Edition. This definitive compendium was created with input from all band members involved in the record and follows the arc of the album's creation and tour, giving fans a deep dive into the music and visual elements.The 4CD + Blu-ray box includes the original album remastered by Miles Showell at Abbey Road from the 1974 analogue tapes; the complete ‘Live From The Shrine Auditorium, Los Angeles, CA’ show from January 1975, including two previously unreleased encore tracks; ‘The Lamb’ Dolby ATMOS mix overseen by Peter Gabriel and Tony Banks at Real World Studios; Download card featuring three never-before-released demos from the Headley Grange Sessions, plus 96kHz/24-bit high resolution audio of the new remasters. The set is complete with a 1975 tour programme reproduction, replica ticket, poster and a 60-page coffee table style book featuring rare images and new liner notes by Alexis Petridis.

There's no overestimating the importance of Screamadelica, the record that brought acid house, techno, and rave culture crashing into the British mainstream – an impact that rivaled that of Nirvana's Nevermind, the other 1991 release that changed rock. Prior to Screamadelica, Primal Scream were Stonesy classic rock revivalists with a penchant for Detroit rock. They retained those fascinations on Screamadelica – one listen to the Jimmy Miller-produced, Stephen Stills-rip "Movin' on Up" proves that – but they burst everything wide open here, turning rock inside out by marrying it to a gleeful rainbow of modern dance textures. This is such a brilliant, gutsy innovative record, so unlike anything the Scream did before, that it's little wonder that there's been much debate behind who is actually responsible for its grooves, especially since Andrew Weatherall is credited with production with eight of the tracks, and it's clearly in line with his work. Even if Primal Scream took credit for Weatherall's endeavors, that doesn't erase the fact that they shepherded this album, providing the ideas and impetus for this dubtastic, elastic, psychedelic exercise in deep house and neo-psychedelic. Like any dance music, this is tied to its era to a certain extent, but it transcends it due to its fierce imagination and how it doubles back on rock history, making the past present and vice versa.