"The Austin Session" is an album by saxophonist and composer Andrew Gould, recorded in Austin, Texas, and capturing the vibrant and eclectic musical culture of the city. For the recording, Gould collaborated with a group of prominent local musicians, including guitarist Carter Arrington, bassist Pat Harris, and drummer Damian Garcia. The album conveys the energy of a live performance and the spontaneous interaction between the musicians. The music blends elements of contemporary jazz with influences from other genres, creating a dynamic and fresh sound.

Rosey Chan recently presented “Music as Medicine” at the WellFounded Conference, a leading event exploring the cutting edge of science, medicine, and technology. Co-hosted by HAVAS, a multi award-winning healthcare and consumer health agency, and Dr. Jack Kreindler, a physician and health-tech innovator, the conference brought together pioneering thinkers shaping the future of healthcare.

Originally released in 1979 on Capitol Records, this recording continued her chart success from the previous year's Let's Keep It That Way. The album spawned two major hits: "Shadows in the Moonlight" and "I Just Fall in Love Again," which topped the Country and Adult Contemporary charts and were also big Pop hits. The album hit

These special ANNEversary editions celebrate Anne Murray's remarkable legacy, offering fans a new vinyl experience. Their release on June 20, 2025 holds extra significance, as it also marks Murrays' 80th birthday - making it a truly special milestone in her illustrious career for fans worldwide.

Greer Grimsley, Emily D’Angelo, and Ben Bliss, as the Commander, Jess, and Eric, sing an excerpt from Act I in Jeanine Tesori’s new opera.

The final installment of the Anthology series has two discs of previously unreleased material from the White Album era through the group's demise in early 1970. In terms of sheer listenability, this may be the strongest volume of the three, if only because it focuses almost solely upon studio recordings rather than mixing live concerts/broadcasts and outtakes. Also, by this time the Beatles had perfected their approach to recording, meaning that even the early/alternate versions of many of their cuts were often of outstanding quality.

The first in a series of three double-CD sets of previously unreleased and rare Beatles material, released in conjunction with the mammoth Anthology video documentary. This covers the late '50s to the end of 1964, mixing studio outtakes, live performances, primitive recordings from the Quarrymen/Silver Beatles days, excerpts from the famous 1962 Decca audition, the most notable 1961 Tony Sheridan-era recordings, and brief spoken bits from interviews.

Shimmering timbres, vibrant rhythms and colourful harmonies complement ragas from the Indian subcontinent. Walter Kaufmann fled Nazi Germany in 1934 to research Indian classical music and combined these influences with Western traditions in his compositions. The Regensburg Philharmonic Orchestra under the baton of Stefan Veselka present four works from Kaufmann's most productive creative phase during his time in exile, taking the listener on a voyage through the region's fascinating musical landscape.

The World Is a Beautiful Place & I Am No Longer Afraid to Die return with Dreams of Being Dust, an album that finds the Connecticut-formed collective plumbing the depths of emotional ruin and emerging with their most scorched, unrelenting work yet.

KAMAND is an exploration of acculturation, the delicate and often dissonant process of merging into a host culture while honouring ancestral roots.

The R&B star and multi-hyphenate Teyana Taylor returns with her first album in five years, Escape Room.

I probably could have had a much more successful solo career if I had been more predictable. In general, I stayed away from being pigeonholed or categorized. My last few releases have come down on the classical side with string quartets (ACME) and orchestras (Czech National Symphony Orchestra, Budapest Symphony Orchestra) playing mostly written music while I jam along with them on violin or piano. I have done a couple of string trio recordings with Caleb Burhans and Clarice Jensen where all three of us improvised freely together.

On Live at Smalls, the 52-year-old Ries leads an acoustic quintet and splits time between tenor and soprano saxophones. He’s put himself in closer contact with the jazz tradition, but still treats the genre as a tool rather than a domain. The first three tracks are Ries originals, ranging from swinging postbop (“A Summer to Remember”) to straight-eighths progressivism (“The Last Kabbalist of Lisbon”) to Metheny-esque folk resplendency (“New View”). The remaining two tracks are rooted in Western classical: a Ries arrangement of Franz Schubert’s lieder masterwork, “Death and the Maiden,” and a fleeting solo piano finale by Kalman Olah, “Prelude to Bach Cello Suite.”

Renowned songwriter, musician, artist and best-selling author Josh Ritter releases his new album “I Believe In You, My Honeydew”. The new record features ten new tracks produced by Sam Kassirer and features Ritter alongside his Royal City Band: Kassirer (piano, organ, synthesizer, accordion), Zachariah Hickman (acoustic and electric bass, thumb piano, mandolin), Rich Hinman (guitars, pedal steel, mandolin) and Ray Rizzo (drums, percussion).

On their debut release, Foster shifts fluidly between tongue slaps, overblown tones, and powerful tenor saxophone screams, while Crawford alternates between non-idiomatic splatter, frenzied banjo maneuvers, and dense, elusive bursts of tangled noise. Meanwhile, Sullivan crafts a metallic clatter that establishes its own expansive sonic territory.