The ultimate collection of jazz recordings perfectly suited for a relaxing evening at home. Whether you're entertaining company over a candlelit dinner or simply kicking off your shoes with a glass of wine after a long day, this compilation finds the perfect balance of intrigue, tranquility, and sonic brilliance. Sit back, relax, and let some of the greatest names in Jazz put you at ease

Born in Singapore in 1986, and currently based in Japan, Wong’s career has from the outset seen him darting back and forth between Asia and Europe. His connection with Germany goes especially deep, beginning in Bamberg at the Gustav Mahler Conducting Competition, where he won first prize in 2016. His first full-time conducting role was just 40 miles away, at the Nuremberg Symphony, serving as their Chief Conductor from 2018 to 2022. Back on his home continent, since 2021 Wong has been closely associated with the Japan Philharmonic, initially as Principal Guest Conductor, becoming their Chief Conductor this year. (Earlier this summer, Wong was also appointed Principal Conductor of The Hallé in Manchester, beginning in autumn 2024.)

All tracks were recorded during AC/DC's 1990-1991 world tour that covered twenty-one countries and one hundred and fifty-three shows

Emme Produzioni Musicali, in fact, is one of the very few European companies capable of providing all the production, recording and managerial services necessary to disseminate an artistic project in the best way.

Eschewing its usual heavy orchestral sound in favor of a more stripped-down instrumentation, Dutch violinist Janine Jansen's second album offers a fresh interpretation of one of the most performed classical works, Vivaldi's The Four Seasons. The 2005 follow-up to her Barry Wordsworth-conducted debut, the subtle but passionate renditions of the "La Primavera," "L'estate," "L'autunno," and "L'inverno" concertos are performed with a sparse, eight-piece ensemble including Lithuanian violinist Julian Rachlin, her cellist brother Maarten, and harpsichordist father Jan.

An exception. A rebel. In short, a jazz singer light years away from the clichés of the jazz world. Nina Simone's art was, above all, an outcry; a glimmer of hope in an America plagued by segregation.

Looking back, the 2000s should be viewed as the second golden age of sludge-metal—a period when a whole new crop of bands were wading through the same muck the Melvins, Eyehategod, and Acid Bath trudged through a decade earlier, and tilling that sticky, filthy terrain into fantastically ugly new formations. Since then, big-name sludge-slingers like Mastodon and Baroness have chosen to wander upon cleaner, classier soil, while others have either called it quits (Kylesa) or reduced their output to a slow drip (Weedeater). But not only are High on Fire still going, on Cometh the Storm, their ninth album overall and first in six years, Matt Pike and Co. sound as heavy, gnarly, and gloriously sludgy as they ever have.