The artists in Chimera - violinist Iva Bittov�, bassist-composer Michael Bisio, flutist Steve Gorn, and singer-guitarist-composer Timothy Hill are all master musicians, innovators, and improvisors. They have deeply immersed themselves in multiple traditions and genres: streams of avant-garde jazz, Indian raga, Moravian folk music, overtone singing, as well as early and modern European classical and American folk music. Individually they have performed with a stunning array of influential creative artists, such as Fred Frith, Bang-on-a-Can All-Stars, ETHEL, Paul Winter, Jack DeJohnette, Paul Simon, David Hykes, Pauline Oliveros, Bill Frisell, Matthew Shipp, Tani Tabbal and Joe McPhee, to name a few. All this they leave at the door as they enter the shared space to meet in the moment, sharing a deep respect of each other's experience and perspective, anticipating fresh expressions of deep feeling, awestruck beauty and sheer delight. Together they explore new territory to create music that defies description.

DANCE SKIP HOP

Howlin' Wolf, a towering presence in Mississippi Delta music and a trailblazer of Electric Chicago Blues, is a name that carries immense weight in music history. This remarkable live recording from Bremen, Germany, in 1964, offers an essential snapshot of his raw power. Captured during the groundbreaking American Folk-Blues Tour, this concert played a pivotal role in sparking the British Blues movement and remains a treasure for any devoted fan. Recorded In Bremen, Germany, November 6, 1964

Raw and unpolished in the DIY spirit of it's time, Norm Norman channels new wave swagger and catchy hooks into this compact, restless document of a lone creative voice cutting through the noise of his time.

Channelling the restless energy and angular hooks of early '80s post-punk and indie rock, Great Tradition is Din's singular full-length snapshot - a sharp, urgent statement, brimming with the restless creative spark that became their calling card.

Sonny Stitt's 1974 Cadet burner finds the bebop veteran tearing through a heavy electric rhythm section, locking his trademark bite into a deep soul-jazz groove. With Roland Hanna, Ron Carter, and a killer New York lineup behind him, 'Satan' stands as one of Stitt's fiercest and funkiest studio snapshots of the 1970s.

Cruise line magnate T.F. Bellows (W.C. Fields) is certain his new ship will win a transatlantic race with his rival... but to be sure, he arranges for his ne'er-do-well jinx brother S.B. (Fields, again) to board the rival boat! Of course, S.B. gets on the wrong vessel, making for a comically bumpy voyage! Variety extravaganza co-stars Bob Hope (singing "Thanks for the Memories" in his feature debut), Martha Raye, Dorothy Lamour, Ben Blue. 91 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH).

TEXAS-SIZED BAND

Critically acclaimed American producer Tomu DJ (Pitchfork, Dazed, NPR++) debuts on sound as language with her fourth album, 'antagonist.' Recorded in the artist's Oakland, California home throughout 2025 using only a digital piano, her intention for the album was to "free myself from conventional notions of electronic music". This is perhaps seen clearly on standout tracks "loose interpretation" and "careful deliberation", which in their cinematic splendor evoke the beauty and thoughtfulness of classical music. Even so, 'antagonist' is "not intended to be like classical music, rather a stream of consciousness akin to spoken word poetry". It is easy to see what she means on tracks like "antagonist" and "dance" which weave familiar elements into personal narratives of loneliness, perseverance and redemption. Despite it's specific sonic palette, 'antagonist' fits right in with Tomu DJ's discography, continuing to build on the musical ecosystem she has thoughtfully tended to over the course of the last decade.

REEL

Son House proves his towering influence on the blues, pouring his raw voice, slide guitar, and candid storytelling into this visceral document of a legend still commanding the crowd and reaffirming the power of the Delta tradition. Recorded live at the Oberlin College, Ohio, 1965.

STANDARD QUESTIONS

CHRISTMAS WITH

Founded in 2006 by broadcaster, DJ, and cultural tastemaker Gilles Peterson, Brownswood has spent the last 20 years championing forward-thinking artists who sit just left of centre: rooted in Afro-diasporic music but never confined by genre. Twenty Years Deep is a snapshot of that journey: a carefully curated collection spanning the label's early breakthroughs, cult classics, and defining moments. Twenty Years Deep brings together tracks that reflect Brownswood's long-standing commitment to artistic freedom, musical lineage, and future-facing sounds. From deep jazz explorations and dancefloor mutations to global collaborations and genre-defying hybrids, the compilation captures the connective thread that has defined the label since day one: trust in artists and belief in music that lasts. Rather than a greatest-hits exercise, Twenty Years Deep functions as an archive and a statement documenting how Brownswood has maintained it's own point of view. By following a highly instinctive approach to A&R the label has shaped music culture, introduced new voices, and built a catalogue that continues to resonate well beyond release cycles.

HOPE

Electric is the seventh studio album from 2025 Billboard Artist of the Year and 19-time Billboard #1 guitarist / producer Adam Hawley-a forward-thinking collection that pushes contemporary jazz deeper into the streaming era while staying rooted in melody, groove, and emotional connection.

Jess Sah Bi is well- known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country- Americana to the West African masses with their smash debut Our Garden Needs It's Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi-or Jesse, as he known to friends- became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped until he became a born-again Christian. He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. That album, Jesus-Christ Ne De�oit Pas [Jesus Christ Does Not Let Us Down], came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, and he enlisted some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. Jesus-Christ Ne De�oit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message.

Happy Today, the third album from guitarist/bandleader Jeff Parker's long-running ETA IVtet, was recorded live at Lodge Room in Los Angeles on August 20, 2025. This fresh entry into the IVtet's catalog captures Parker and the band - including drummer Jay Bellerose, bassist Anna Butterss, and saxophonist Josh Johnson - on record outside of the now-shuttered Highland Park micro-club ETA for the first time.

Following the international success of PLANET, LETTER, and NOCHE, Sofiane Pamart returns with MOVIE, his most ambitious and deeply personal solo album to date, conceived as the first "film" he has ever scored himself. Spanning 20 tracks, the album marks a major artistic turning point, blending intimate piano compositions with cinematic scale and featuring the Prague Philharmonic Orchestra alongside 14 international collaborators including Wyclef Jean, Celeste, SIA, J Balvin, Nelly Furtado, FKJ, and others. MOVIE reflects Pamart's evolution into a defining figure in contemporary piano music, underscored by over one billion global streams, mastering by Grammy winner Matt Colton, landmark performances such as the Paris 2024 Olympics Opening Ceremony, and historic achievements including selling out Accor Arena, an upcoming Stade de France performance, and high-profile collaborations ranging from Formula 1's Charles LeClerc to global pop and hip-hop icons.

Jess Sah Bi is well- known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country- Americana to the West African masses with their smash debut Our Garden Needs It's Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi-or Jesse, as he known to friends- became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped until he became a born-again Christian. He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. That album, Jesus-Christ Ne De�oit Pas [Jesus Christ Does Not Let Us Down], came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, and he enlisted some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. Jesus-Christ Ne De�oit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message.