YouremindmeofmyselfyoumakemeSICK! Dan Del Santo's legendary 1981 reggae-bayou-funk-swing-afro-calypso-mariachi-jazz private press classic, remastered and reissued for the first time ever since it's release. Dan Del Santo may very well be the greatest musician you've never heard of. He was a true staple of the Austin local music scene in his time, but without proper distribution to take his music further, and a career brought to a screeching halt from having to flee the country during the war on drugs in 1990, he faded into relative obscurity. Utopia Unearthed is working with Dan's family and friends to resurrect his music, as well as document his life and career.

James Brandon Lewis is at the top of the international jazz world. He stands in the tradition of saxophonists such as Sonny Rollins, Albert Ayler and John Coltrane.

ENDE VOM LIED is a genre-spanning collection of punk, post-punk and avant-garde bands from the former East Germany, chronicling the work of free spirits pitted against government restraints and implied genre limitations. The underground scene in the GDR was a hydra, a noisy mix of musicians, poets, pain¬ters, photographers, filmmakers, punks and freaks. In the immediate aftermath of the primal scream that was punk, music often bred with poetry or painting in short-lived liaisons or enduring collaborations to produce a new generation of genre bastards. With the lines blurring between forms, a search for new shapes began. In the German Democratic Republic, this search constituted a tightrope walk, a dance for expression between subculture and a dictatorship.

Manuel Rosenthal's life overlapped pretty near perfectly with the arrival and passing of the twentieth century. He was born in 1904, the illegitimate son of a Russian immigrant woman and a wealthy Frenchman whose name he never knew, and grew up in dire poverty in Paris. He loved music sufficiently to teach himself the violin, and when his stepfather passed away in 1918, the 14 year old proved good enough on the instrument to support his mother and sister, playing in cafés and accompanying silent films. He enrolled in the Paris Conservatory at 16 to formalize his musical knowledge, but he was so far along that he was already manifesting talent as a composer. A sonatina that he submitted in 1921 not only passed muster with a committee that included Stravinsky, Bartók, Ravel, and Prokofiev, but received a public performance two months later. In addition to the violin, he also took up the sursoprano, a stringed instrument 1/4 higher than the violin, for which he wrote music.

Gregory Alan Jones is the singer guitarist for the bands known as Tinkers Mash and Happy Minute. He began playing violin at age five and comes from a musical family.

Joseph Brotherton is a staple of the DC jazz community, known for his exceptional musicianship and signature style of trumpet-playing.

A Rock and Roll Drive with The Who riding shotgun, Counting Crows, REM, Grand Funk, and Zeppelin in the back of a car once owned by Tom Petty…

Emilie Schiøtt is a danish singer and songwriter, soon releasing her second album " Like A Sunday".

KILLJOY represents the culmination of four years of constant graft including three EPs (2020’s Party Food, 2021’s After Party and last year’s Nothing Is Real) and a subsequent slew of tours supporting Wet Leg, The Amazons, We Are Scientists, and more. In 2022 alone, the band played 120 live shows including a mind-boggling night at the 97,000-capacity Stade de France supporting Indochine.

John Coltrane with the Red Garland Trio is the third studio album by jazz musician John Coltrane, issued in 1958 on Prestige Records, catalogue 7123. It was recorded at the studio of Rudy Van Gelder in Hackensack, New Jersey. In 1961 it was reissued as Traneing In, Prestige catalogue 7651, and given a different cover photo, as pictured. Analogue Productions' reissue mastered by Kevin Gray.

My Favorite Things is the seventh studio album by jazz musician John Coltrane, released in 1961 on Atlantic Records. It was the first album to feature Coltrane playing soprano saxophone. An edited version of the title track became a hit single that gained popularity in 1961 on radio. The record became a major commercial success.

Jackie's Bag is an album by American saxophonist Jackie McLean recorded in 1959 and 1960 and released in June 1961 by Blue Note. The Allmusic review by Steve Huey awarded the album 4½ stars and stated "the music on Jackie's Bag finds McLean in a staunchly hard bop mode, with occasional hints of adventurousness".

Projekt celebrates the 40th anniversary of this ambient classic with a beautiful remastered limited edition LP, 1CD, & 3CD. Structures from Silence‘s breathing, suspended embrace of atmospheres and serene melodies instantly struck a chord with listeners in 1984; the album continues to reiterate its timeless resonations with new listeners today. On this landmark recording of gentle proportions, the three long-form tracks were the birth of something new: an original and pure statement striking a balance between diaphanous and understated, deep and reflective. The listening experience evokes a sense of silence within the music as well as the space between the chords. It expresses the breath of life and offers a meditation on delicate strands of subtle awareness.

Wayne Marshall was eight years old when, at home in England, he heard a Gershwin concert broadcast on the radio – a pivotal listening experience, as he recalled fifty years later in a WDR video clip. It may have set his life in a new direction, eventually leading to Cologne as Chief Conductor of the Funkhausorchester. It comes as no surprise that outstanding recordings from those six years at WDR include productions of great Gershwin works. And Marshall has already released a complete recording of Gershwin’s output for piano and orchestra with the Aalborg Symphony – assuming the double role of conductor and pianist like André Previn in the Concerto in F with the London Symphony Orchestra, a disc that made a lasting impression upon him.

The former’s turbulent emotional climate foreshadows some of the darker symphonies to come (such as the Third) and contrasts superbly with Kabelac’s rarely heard work. This piece is quite a discovery, a tightly structured and melodically appealing effort from a very fine composer known almost exclusively for the two orchestral works (Mystery of Time and Hamlet Improvisation) recorded by Ancerl and the Czech Philharmonic. Like the Mystery of Time, the sonata includes a passacaglia, which Kabelac executes with impressive gravity and not a shred of formal stiffness.