Victor Feldman's one Riverside date as a leader (which has been reissued on CD) features him playing piano on five songs and vibes on four others (three of which add Hank Jones on piano). Joined by bassist Sam Jones and drummer Louis Hayes (both of whom were at the time, with Feldman, the rhythm section of the Cannonball Adderley Quintet), Feldman is in excellent form on a straight-ahead set. The trio/quartet performs five standards that for the most part are not overly familiar, plus four of the leader's originals. Tasteful and swinging music.

When Ballake Sissoko and Vincent Segal released their first collaborative album, Chamber Music, they caught the music world by surprise. Everything about this duo was unexpected: the Malian master of the traditional harp, or kora; the French cellist with the unlikely background in trip-hop; and the elegant, soulful music they made together. The album appeared on numerous best-of lists in both Europe (in 2009) and North America (in 2011). Now, these two sonic voyagers have returned with Musique de Nuit (“Night Music”) – an album which may not have the same element of surprise, but which may be even more spellbinding than its predecessor.

Womanchild is the 2013 release by award-winning jazz vocalist, Cecile McLorin Salvant. The recording finds Cecile interpreting songs spanning three centuries of American music. Joining Cecile are pianist Aaron Diehl, bassist Rodney Whitaker, guitarist James Chirillo and drummer Herlin Riley. The album gives music lovers the opportunity to hear her captivating vocals which earned her top honors at the Monk Competition.

És un projecte que neix de les ganes de Miguel Royo de trobar nous horitzons en el llenguatge saxofonístic. Així, el 2014 decideix endinsar-se de ple en el món del flamenc, convertint-se en el primer saxofonista del món en completar un màster com a intèrpret de flamenc prenent com a referències el cant i la guitarra, el saxo i la flauta ens porten per un repertori de jazz-flamenc on es podem escoltar influències de Paco de Lucia o Camarón, passant per Charlie Parker.

First release of the conceptual and performative pieces by Christina Kubisch, composed and realized between 1974 and 1984 during Christina Kubisch's years in Italy. Edition of 300.

The Chhau & Nagpuri Group performs mask dances depicting battles of famous heroes and scenes from Indian mythology as well as village ceremonies, dances and folk songs. The music, played on purely ethnic instruments, is energetic and exciting.

‘Fertile Paradoxes’ is the new studio album from two Tunisian brothers, Amine & Hamza M'raihi. Both are masters of the oud and kanun respectively, the two major instruments of Arabic classical music. ‘Fertile Paradoxes’ is steeped in global rhythms spanning from their homeland in Tunisia to Switzerland where Amine and Hamza currently reside, tour and record. ‘Fertile Paradoxes’ is a classy exploration into time-honoured traditions with new dimensions, across eight tracks of carefully selected dynamic collaborations. The album runs close to seventy minutes of airplay; the shortest track is ‘Letter to God’ at 7:31 and the longest being ‘Spleen’ at 10.49.

Reedición del álbum “Per sempre, Tete” grabado en la Jazz Cava de Terrassa el 6 de Marzo de 1997, durante el concierto celebrado dentro del XVI Festival internacional de Jazz de Terrassa con el genio barcelonés Tete Montoliu al piano, Horacio Fumero al contrabajo y Peer Wyboris a la batería. Interpretan dos suites, la primera en memoria de Thelonius Monk bautizada como ‘Monkiana’ y la segunda ‘Pensando en Coltrane’. Presentado en formato de digipack cuadrado desplegable, a modo de mini replica de vinilo, incluyendo un libreto de 12 páginas con textos en español e inglés.

A brilliantly realized follow-up to her Grammy-nominated 2013 effort, WomanChild, vocalist Cécile McLorin Salvant's third album, 2015's For One to Love, is at its core a small-group jazz album featuring a thoughtfully curated set of standards and originals. However, with Salvant at the mike, backed here with nuanced skill by pianist Aaron Diehl, bassist Paul Sikivie, and drummer Lawrence Leathers, it's also a series of virtuoso performances, each one seemingly more engaging and emotionally resonant than the last. Conceptually centered around notions of romantic love – from conflicted, melancholic expressions to more bawdy, sensual ones – the album finds Salvant further demonstrating the poetic compositional skills and feminist themes that helped make WomanChild so much more than just a solid album from an accomplished jazz vocalist.

The album, recorded by the Teatro Comunale of Gubbio, holds full faith to the header with a series of intense sound portraits deeply linked to mood and Mediterranean influences. Themes are poignant, touching and delicate atmosphere, to be approached with serenity, lulled and excite. The magical relationship that has existed between the Roman pianist Enrico Pieranunzi and the small label Perugia EGEA allowed the artist to add another valuable element to its already long list of merits. The relationship between Pieranunzi and EGEA not deny the matrix jazz pianist but strengthens it by adding to the foundation jazz popular mood, Mediterranean, simple but very deep Pieranunzi has evidently inherent in his own mind as a musician.

Continuing in his tradition of stellar Highnote label albums, pianist Cedar Walton's 2011 release, The Bouncer, features the journeyman hard bopper leading a fine quintet of like-minded individuals. Once again featuring the talents of saxophonist Vincent Herring, who appeared on Walton's 2009 effort, Voices Deep Within, The Bouncer also showcases trombonist Steve Turre, as well as longtime associate bassist David Williams, drummer Willie Jones III, and percussionist Ray Mantilla. This is urbane, no-nonsense, straight-ahead acoustic jazz, the kind that Walton has based his career on since the '60s.

The Historical Orchestra , a team directed by Martyna Pastusza specializing in historical performance, invites you to the world of French baroque music. In this era, political and artistic life on the Seine was focused on the stunningly lavish Versailles court of Louis XIV. The Sun King gathered around himself a great array of musicians who were extremely important to him- he danced in ballet shows himself- and the performances were not only a popular entertainment, but also a dramatized allegory of government. Of the composers presented on the album, only Michele Corrette was not associated with the royal court. Apart from him, the recording includes compositions of such celebrities as Jean Baptiste Lully, violin virtuoso and dancer, unparalleled gambist Marain Marais and famous organist François Couperin.

An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community’s musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki.

Novecento is an Italian music band founded by Pino Nicolosi, Lino Nicolosi, Rossana Nicolosi and Dora Carofiglio in 1984. Their music has gone through a variety of genres, such as Italo disco (early work), synthpop, soft rock, pop rock, jazz and funk. The band was mainly active in the 1980s and the 1990s, and became very popular with the song "Cry" in 2008.

French pianist Francois Couturier was inspired by Soviet film director Andrei Tarkovsky (1932-1986) in creating the music on this album, but it should be noted at the outset that the album does not contain any music actually used in Tarkovsky's films in general or his 1983 movie Nostalghia in particular. Rather, Couturier, who states his admiration for Tarkovsky in his brief liner notes, saying that has "seen all his films over and over again," tried to evoke the mood of those films in writing these pieces of music, several of which share titles with them.