As one of the great tenors to emerge from Los Angeles' Central Avenue scene of the 1940s, Dexter Gordon led a colorful and eventful, sometimes tragic life that included three triumphant comebacks in a four-plus-decade career. Gordon was the top tenor saxophonist during the bop era and possessed his own distinctive sound, he created a large body of superior work and could successfully battle nearly anyone at a jam session. His years as a leader and co-leader at Dial, Savoy, and especially Blue Note as with 1961's Doin' Alright, 1962's Go!, and 1963's Our Man in Paris, were enough to make him a legend. Living in Europe for more than a dozen years, he recorded equally fine albums for Prestige, Steeplechase, and other labels, and his return to the U.S. resulted in several classic later-career releases, including 1977's Homecoming: Live at the Village Vanguard and 1979's Sophisticated Giant.

Bassist Doug Watkins only led two recording sessions before his death in 1962, and this set has sometimes appeared under Yusef Lateef's name. Watkins doubles on cello (an instrument he had reportedly only begun playing three days earlier) during the set with Lateef (who triples on tenor, flute, and oboe), pianist Hugh Lawson, bassist Herman Wright, and drummer Lex Humphries. The quintet performs three standards, Watkins' "Andre's Bag," and a couple of Lateef tunes. The use of oboe and cello on some numbers makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this CD.

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.

As expected, the second installment of the Anthology series reflects the Beatles' increasing use of the studio-as-laboratory during their "middle years." Some live material from 1965 to 1966 appears on the first disc, and the second "reunion" single ("Real Love") leads off the set. But the emphasis is upon alternate takes from early 1965 to early 1968, during which time the group rapidly evolved from post-Merseybeat through folk-rock to psychedelia. As with the first volume, this is nearly always interesting but perhaps thinner on revelations than some might expect. The Help!-era outtakes "If You've Got Troubles" and "That Means a Lot" are on the light side but very fun, especially the latter, which Paul and the group perform much better than P.J. Proby (who covered the song shortly afterward).

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. Although this material is undeniably of vast historical importance, it can't be placed in the same company as the Beatles' proper albums, in either cohesion or quality. While the studio outtakes (many never even heard on bootleg) are the most enticing items, these are almost exclusively alternate versions of songs they placed on their official releases (the most notable exceptions being the 1964 R&B cover "Leave My Kitten Alone," the 1962 demo "How Do You Do It," and the unimpressive 1964 Harrison original "You Know What to Do").

Rushed out in 1970 as a way to bide time as the Who toiled away on their follow-up to Tommy, Live at Leeds wasn't intended to be the definitive Who live album, and many collectors maintain that the band had better shows available on bootlegs. But those shows weren't easily available whereas Live at Leeds was, and even if this show may not have been the absolute best, it's so damn close to it that it would be impossible for anybody but aficionados to argue. Here, the Who sound vicious - as heavy as Led Zeppelin but twice as volatile - as they careen through early classics with the confidence of a band that had finally achieved acclaim but had yet to become preoccupied with making art. In that regard, this recording - in its many different forms - may have been perfectly timed in terms of capturing the band at a pivotal moment in its history…

Cliff Martinez has been Steven Soderbergh's go-to composer ever since the director started out. When Soderbergh made his directorial debut with Sex, Lies & Videotape it was Martinez who did the score and what would end up being one of the most significant Director/Composer pairings in Hollywood. While Soderbergh does use David Holmes for certain projects he does rely on Martinez for the heavy stuff such as Traffic, Solaris and now Contagion.
The score for Contagion is a blending of tones and ambience that creates a world of suspense. The approach immediately gives the score a sound that evokes technology and science and considering the subject matter it's appropriate. It borders on being a science fiction score rather than a thriller score, but the emotions and beats all hit…

The Offspring, a Southern California-based punk rock band, has released 11 studio albums, three extended plays (EP), five compilation albums, five demos, three video albums, and over 30 singles.

This much lionized concert finds the band at the top of their game, performing for 10's of thousands of fans at the Milton Keynes Bowl in England. Aired on British television and MTV in conjunction with the original tour, it's never been commercially available in any format. Never previously released in any format, this is the first time this live album will be available for the public to buy.

Free is the eleventh studio album by American musician Kid Cudi. It was released on August 22, 2025, via Wicked Awesome and Republic Records. The album, a pop record, was preceded by three singles, "Neverland", "Grave" and "Mr. Miracle". "Neverland" was accompanied by a short film directed by Ti West, while the music video for "Grave" was directed by Samuel Bayer.

So far, the career of the Czech pianist Jan Schulmeister has been distinguished by victories at dozens of international competitions (including the 2019 Cesar Franck Piano Competition in Belgium, the 2021 North International Music Competition in Sweden, and the 2022 Manhattan International Competition in the USA), to which he added Third Prize at the prestigious Cliburn Junior Competition (Dallas, USA) in 2023 at 17 years of age. For his Supraphon debut, he has chosen works of the late 19th century by Russian composers, music that is firmly grounded in the national tradition but that often seeks out and remains open to stimuli from the surrounding world. The oldest of them, Mussorgsky, was a loner without any depth of academic training, but he greatly advanced the boundaries of musical expression. In Pictures at an Exhibition, he accompanies listeners at an imaginary exhibition of paintings by his late friend, the painter and architect Viktor Hartmann. Rachmaninoff wrote his lovely cycle of piano pieces Moments musicaux under time pressure while facing a profound existential and creative crisis. His classmate Scriabin, no less brilliant a pianist, chose the path of a visionary and an experimenter as a composer, as we can hear from an early opus he wrote for piano (at age 16), the Etude in C sharp minor, Op. 2, No. 1. His later Five Preludes, Op. 16 (1895) reflect the omnipresent Impressionism of Paris at the end of the century. In this repertoire, Jan Schulmeister can demonstrate all of his qualities - virtuosic technique and depth of musical feeling.

Duo Concertante bring a reputation for emotionally engaged, stylistically insightful playing to their compelling exploration of the Romantic violin sonata – a form uniquely suited to personal expression and intimate dialogue.Robert Schumann’s Sonata No. 1, written in just four days in 1851, pushes against Classical restraint with restless intensity and a raw vulnerability that would influence generations of Romantic composers. Amanda Maier’s Sonata in B minor, composed two decades later and awarded a prize by the Swedish Art Music Society, blends a Schumannesque inheritance with her own voice: equal parts lyrical poise and structural clarity. And in César Franck’s beloved A major sonata, formal ingenuity and sweeping expressivity combine in one of the great pinnacles of the violin-and-piano repertoire.

John Fogerty As the singer/songwriter and guitarist for Creedence Clearwater Revival, John Fogerty created a monumental and mythic American music. Drawing equally from rockabilly, country, and blues – all sounds associated with the South, a region far away from Fogerty's native Northern California – Fogerty developed a distinctive brand of rock & roll and a formidable songbook. After CCR suffered an acrimonious split in 1972, Fogerty didn't run away from that sound, but he did avoid the band's hits due to a lengthy legal dispute with his former record label in a fight so nasty that it culminated with Fantasy Records suing the rocker for plagiarizing himself on "The Old Man Down the Road," a fight he'd win.

Luminous, sublime, joyful. The soundscapes and emotions captured in the latest disc from Somerville College Choir abound with light. In this curated selection of music from the Indian subcontinent, you will find a vibrant expression of what might be called the living Indian Choral tradition. As plural and changing as light within a prism, the album moves from the fluid harmonies of a Konkani wedding song to deep somatic meditations inspired by the poetry of Rabindranath Tagore, from Hindi secular poetry associated with the changing seasons to a whole-choir explosion of joyful rhythmic syllables in Reena Esmail’s virtuosic raga exposition. In this humble tribute to the monumental tapestry of Indian classical music, the Somerville College Choir gives the boldest expression yet of its aspiration to embrace musical styles far beyond the liturgical canon.

Emily D'Angelo Canadian-Italian mezzo-soprano Emily D'angelo has an impressive list of awards and roles under her belt, having been trained globally in her art form.Born in 1995, D'angelo studied music at the University of Toronto. Along with vocal training in Italy, she joined the Canadian Opera Company's Ensemble Studio. In 2017 she became a member of the Metropolitan Opera Lindemann Young Artists Development Programme, where she made her first Met opera appearance the following year. Her debut album, Enargeia, arrived in 2021 on Deutsche Grammophon.