Miles Dewey Davis III was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major stylistic developments in jazz.

The first disc contains material originally released by Decca Records; the second is taken from Verve releases. The 40 tracks were recorded between May 1938 and October 1964.

Girolamo Diruta, in his treatise Il Transilvano (1593), speaks of a “plaintive, sad and sorrowful harmony” capable of evoking the torments of the Passion, thus making manifest how the sound of the keyboard could move the affections no less than the human voice. A few years later Emilio de Cavalieri claims a music able to pass “from the sad to the cheerful, from the fierce to the gentle”, in accordance with the mutable states of the soul. Well before seventeenth-century theory codified the “doctrine of the affections”, the organ is therefore already perceived as a veritable laboratory of emotions, and it is precisely the Venetian repertory gravitating around San Marco that emerges as one of the privileged loci of this new sensibility.

William Winstead (1942-2020) - performer, educator, and composer - began his career at the Marlboro Music Festival at age twenty-two, serving then for seven years as principal bassoonist under Pablo Casals for numerous recordings with the Marlboro Festival Orchestra. Representing the festival, Winstead also toured the United States and Canada with Music from Marlboro, recording various chamber music compositions in addition. During that time, and for an additional fifteen years, Winstead built a career in academia - teaching at Oberlin Conservatory of Music, Florida State University, Indiana-Purdue University, and West Virginia University. In l986 he joined the Cincinnati Symphony Orchestra where he served as principal bassoonist for thirty- two years. Winstead returned in 1992 after twenty years absence to the Marlboro Music Festival as a senior participant.

Throughout the later half of the 20th century, Edwin Land's Polaroid film came to dominate photo albums - offering the chance to 'capture the moment' and relive it seconds later, Land's product revolutionised the way people documented the world around them. Yet Polaroid cameras did more than simply recount past moments - the medium itself inserted a soft-focus, dream-like quality that appeared to suggest vague recollection over exacting reality.

The Stadium Symphony Orchestra of New York was a pseudonym used by members of the New York Philharmonic when performing summer concerts at Lewisohn Stadium from 1918 to 1966.

Joanne Bird is a Dutch singer-songwriter. She creates indie and Americana folk music with a touch of jazz.

On his swirling, musical collage ‘Farewell Metro Boy’, multi-instrumentalist Jonathan Levy invited a cast of collaborators to build playful, poignant, groove-driven and jazz-tinged tracks, allowing each to evolve in unpredictable ways.

Currently celebrating an empowering decade as a multi-faceted, wildly creative force in contemporary instrumental music, multiple Global Music and Zone Music Reporter (ZMR) award winner Todd Mosby is a modern master of conceptual albums.

Gloom is the debut album of American extreme metal band Macabre, released in 1989.

Trey’s new album, Live and Acoustic, is a new collection of stripped-down performances captured last year on Trey’s sold-out 2025 Spring Acoustic Tour.

Vestards Šimkus (Vestard Shimkus, born 21 August 1984 in Jūrmala) is a Latvian pianist, composer and improviser.

Andreas Barth is a trained tenor, singer, and actor known for his performances in opera and chanson, often appearing at events such as those at Reichsburg Cochem.

Jim Jones is, of course, the scraggly British rock’n’roll Jesus who out-Stooged Iggy in the 80s with delirium rockers Thee Hypnotics, and has chased that fuzzy psych-punk high ever since under various names, line-ups and conjurations.

The incredible music on this album feeds into my lifelong fascination with musical connections, especially the complicated relationship between classical music and jazz.