By all means a phenomenal pop album that hit number nine on the black albums chart and crossed over to penetrate the pop charts at number 32, Nightclubbing saw Grace Jones working once again with Sly Dunbar, Robbie Shakespeare, and the remainder of the Compass Point team. Nightclubbing also continues Jones' tradition of picking excellent songs to reinterpret. This time out, the Police's "Demolition Man," Bill Withers' "Use Me," and Iggy Pop's "Nightclubbing" receive radical reinterpretations; "Nightclubbing" is glacial in both tempo and lack of warmth, while both "Use Me" and "Demolition Man" fit perfectly into Jones' lyrical scheme. Speaking of a lyrical scheme, "Pull Up to the Bumper" (number five black singles, number two club play) is so riddled with naughty double entendres - or is it just about parallel parking? - that it renders Musique's "In the Bush" as daring as Paul Anka's "Puppy Love"…

The critical reception of Schumann's violin sonatas?like that of much of the composer's late output?has vacillated over the course of the intervening centuries.Written for and first performed by some of the leading violinists of the day, all three are now recognized for the masterpieces they undoubtedly are, needing no apology: and we are fortunate indeed to be in a position to enjoy such dedicated performances as these.

Pierre Boulez‘ Vermächtnis als Dirigent umfasst eine Vielzahl außergewöhnlicher Aufnahmen, darunter sein Mahler Sinfonien Zyklus, Richard Wagners Ring der Nibelungen (in der Inszenierung Patrice Chéreaus als Jahrhundertring gefeiert) und seine Aufnahmen von Klassikern zeitgenössischer Komponisten des 20. Jahrhunderts von Bartók bis Stravinsky. Aufgrund seiner besonderen Persönlichkeit wurde Boulez lebenslang in Frankreich als „nationales Kulturorgan“ verehrt. Er feierte als Dirigent weltweite Erfolge durch seinen Fokus auf Transparenz und Klarheit des Klangs, analytisches Denken und durch absolute Präzision in der Umsetzung. Boulez gilt als zentrale musikalische Figur des 20. Jahrhunderts.

This album encompasses four piano concertos by four Italian composers, two of which are first recordings. The music, featured here in chronological order, spans an extended period of time, from 1900 to 2015. The intention of the project is clear: to propose a trajectory that through this repertoire, not so frequent among Italian composers, allows discoveries, re-discoveries and new reflections on historic works.

Combining classical discipline with the inventive spirit of electronic music, Max Richter speaks to – and frequently critiques – 21st century life with evocative elegance. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, the composer and producer united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners. 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Ad Astra (2019); television series like Invasion (2021); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings – which he revisited on 2024's In a Landscape – was as influential as it was innovative, paving the way for artists such as Nico Muhly and Jóhann Jóhannsson.

They directly influenced virtually all '70s rock acts south of the Mason-Dixon Line, including the Marshall Tucker Band and Lynyrd Skynyrd, and the jam band movement of the '90s. 1973's Brothers & Sisters showcased a different aspect of their character with accessible, radio-ready hit singles such as "Ramblin' Man" and "Jessica." Even in their final incarnation with guitarists Derek Trucks and Warren Haynes, ABB churned out charting live albums such as 2003's Hittin' the Note. The group was founded in March 1969 by Duane Allman on guitar; Gregg Allman on vocals and organ; Dickey Betts on guitar; Berry Oakley on bass; and Butch Trucks and Jaimoe (aka Jai Johanny Johanson) on drums. Duane and Gregg Allman loved soul and R&B, although they listened to their share of rock & roll, especially as it sounded coming out of England in the mid-'60s. Their first group was a local Daytona Beach garage band called the Escorts, who sounded a lot like the early Beatles and Rolling Stones.

Jean-Yves Thibaudet, Gustavo Dudamel and the Los Angeles Philharmonic comprise the dream team for a rarely recorded concerto, the Khachaturian: Piano Concerto.

Jazz is Dead accounces another offering top-shelf recordings taking listeners on a journey through the funky sounds of Ghana all the way down to the psychedelic soul and samba of Brazil. Produced by label founders Adrian Younge and Ali Saheed Muhammad, Jazz Is Dead Series 3 features new analog recordings from living legends Ebo Taylor, Hydon, DOm Salvador, Antonio Carlos e Jocafi, Carlos Date Joyce Tutty Moreno as well as an unreleased LP from The Midnight Hour: Lost Tapes.

THE WORLD OF HANS ZIMMER – PART II: A NEW DIMENSION is the highly anticipated sequel to the acclaimed 2019 album The World of Hans Zimmer – A Symphonic Celebration. Melding the grandeur of symphonic music with the dynamic power of his cinematic compositions, Zimmer transforms 17 more of his most successful soundtracks into new epic orchestral suites on this double album. Highlights of the over 2 hours long record include a short, captivating “cello-concerto-like” version of Final Ascent from No Time to Die, a tranquil rendition of A Time of Quiet Between the Storms from Dune II, and a new romantic suite from The Prince of Egypt. Additionally, Zimmer revisits one of his classic 90s soundtracks with a newly crafted suite of The Rock.

Animation is the third solo album by Jon Anderson, and it shows both hearkenings to the other two and a new energy and direction. When he recorded the first album, Olias of Sunhillow, he was a member of Yes. That album has a strong progressive rock texture, being composed of longer pieces that all weave into one conceptual piece. It is also important to note that that release is a true "solo" work, Anderson performing virtually every sound on the record. By the time he released Song of Seven, both his professional status (he was no longer a member of Yes) and musical theory seemed to have changed. The album was for more pop-oriented, although a few points (the title track, most notably) still contained strong progressive rock tendencies…

Trevor Pinnock is one of the world's leading exponents of historical performance practice, and this collection of Baroque keyboard favorites is one of his most successful attempts to communicate his musical values to a broad audience. These popular works are often anthologized, but seldom have they sounded as fresh and exciting as they do here. Handel's Harmonious Blacksmith and Bach's Italian Concerto are the best known of these selections, though Pinnock's playing liberates them from their use as flashy encore pieces and instead treats them as more intimate entertainments. François Couperin's magical Les baricades mistérieuses and Rameau's Gavotte Variations are also well known, and their inclusion on any disc of the harpsichord's "greatest hits" is de rigueur. Domenico Scarlatti's two Sonatas in E major are still brilliant, even at the lower tuning (A=415). The remaining works of this collection are perhaps less-widely heard, but each offers insights into both Pinnock's interpretive skills and the instrument's wealth of possibilities.

Together with a stunning array of collaborators, violinist Renaud Capuçon presents a compendium of works by Richard Strauss, a composer who has been central to his artistic trajectory since long before adulthood. Beginning with rather-neglected, recently-recorded gems (the Violin Concerto, Violin Sonata, Piano Quartet, and Daphne-Etude) the release continues by showcasing superb concerts from Capuçon’s past. String ensemble arrangements of Metamorphosen and the introduction to Cappricco – performed alongside decorated colleagues – are followed by a climactic rendition of Ein Heldenleben by Seiji Ozawa and the Gustav Mahler Jugend Orchester.

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. During the early '70s, they were arguably the most influential rock group in America, thanks in no small part to At Fillmore East (a high-water mark for concert albums), that redefined the scope of rock's musical boundaries. Duane Allman and Dickey Betts pioneered the twin-lead guitar sound so prevalent during the decade that continued well into the 21st century. The group placed an emphasis on musicianship, seamlessly melding rock, blues, jazz, and R&B with extended improvisation.

Ludovico Einaudi returns with his stunning new album, The Summer Portraits. A journey through the warmth and wonder of childhood summers, this album captures the essence of carefree days, filled with freedom, discovery, and unforgettable moments. Each note is a reflection of nostalgia, painted with Einaudi's signature emotive piano.

Even early in the year, it's safe to say Will Oldham has made what will surely be one of the best country records of 2025. Recorded in Nashville, The Purple Bird was produced by David "Ferg" Ferguson (press materials note it's only the second time in his career that Oldham has officially worked with another producer), who engineered Johnny Cash's 2000 cover of Bonnie "Prince" Billy's "I See a Darkness"—and who told Oldham this time around, "I don't wanna do a country record, just do your shit, Will." As it turns out, Oldham's latest shit is country. Co-written with Tommy Prine, "Tonight With the Dogs I'm Sleeping" would've been a hit in another era. Loaded with jug-band mischief—including comedic horns and woozy fiddle—it's as laidback as can be and full of fun wordplay, so it feels almost like a tribute to Tommy's dad, the late Americana icon John Prine: "Sitting at the bar with a drink or two/ Telephone rings and it's you know who/ You know who is gonna get his ass chewed tonight.