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BMG RIGHTS MANAGEMEN

BITTER-SWEET

CD · 1 disc

$15.01

Artist: FERRY, BRYAN
Released: Apr 10, 2026

The Bryan Ferry Orchestra - "Bitter-Sweet" Drawing inspiration from the shadowy cabarets and smoky jazz halls of late-1920s Weimar Berlin, Bitter-Sweet sees Bryan Ferry and His Orchestra reimagining his solo and Roxy Music catalogue with a sophisticated jazz sensibility. The album features elegant horn and woodwind arrangements, muted trumpet, clarinet flourishes, and a mood of urbane melancholy, transforming classics like "Alphaville," "Reason or Rhyme," and "While My Heart Is Still Beating." Ferry himself provides select vocals on eight tracks, while the remaining songs unfold as instrumental reinterpretations, arranged with the expertise of Colin Good and performed by a full ensemble of seasoned jazz musicians. The album's concept grew from Ferry's work as music consultant on the acclaimed German TV series Babylon Berlin, where several tracks were originally featured, blending cinematic drama with jazz authenticity. Available on CD packaged in Japanese-style oversized sleeve.

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BITTER-SWEET
BMG RIGHTS MANAGEMEN Apr 2026

1 disc

CD
$15.01

Mix & Match

SHANACHIE

SIMPATICO

CD · 1 disc

$17.49

Artist: JAZZ FUNK SOUL
Released: Jul 11, 2025

Grammy Winner Jeff Lorber is famous for launching the career of Kenny G, and his productions and collaborations with such greats as Dave Koz, Janet Jackson, Lalah Hathaway and Miles Davis! Grammy Nominated Paul Jackson, Jr. Is one of the world's most sought after guitarists, having been featured Michael Jackson's Thriller, many Whitney Houston hits, and much more. Grammy Nominated Everette Harp has recorded and shared the stage with such musical giants as Aretha Franklin, Luther Vandross, Billy Joel, and Patti LaBelle. Jazziz magazine hails his "amazing virtuosity" and Jazz Time calls him "a rare talent." Simpatico is overflowing with soaring saxophone solos, brilliant guitar riffs, super funky piano solos and incredibly compelling melodies. Highlights include the uber-funky "Get Up With JFS," the romantic, heartfelt "Janyce," the spirited, joyful "Dreaming My Life Away," and much more !

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SIMPATICO
SHANACHIE Jul 2025

1 disc

CD
$17.49

Sale

American Choral Premieres / William Ferris Chorale
Cedille May 2009

1 disc

CD
~~$19.99~~ $9.99Save 50%

Gloriae Dei Cantores

American Psalmody, Vol. 2: By the Rivers of Babylon

CD · 1 disc

$18.99

Composer: LOEFFLER THOMSON SCHOENBERG
Artist: Gloriae Dei Cantores, Patterson, Jordan
Released: May 31, 1999

By the Rivers of Babylon - Following on the success of Make His Praise Glorious, Gloriae Dei Cantores continued a distinguished series of recordings dedicated to psalm settings by American composers. By the Rivers of Babylon shows a wide range of style and includes several works recorded for the first time. From the lush romanticism of the setting of Psalm 137 by Charles Loeffler (composed in 1901) to the adventurous setting of de Profundis by Arnold Schoenberg (composed in 1950), Gloriae Dei Cantores explores the great variety of psalm settings by American composers.

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American Psalmody, Vol. 2: By the Rivers of Babylon
Gloriae Dei Cantores May 1999

1 disc

CD
$18.99

Sony Masterworks

70, Girls, 70

CD · 1 disc

$11.98

Composer: KANDER EBB
Artist: 1971 Broadway Cast
Released: May 19, 1992

Principal cast: Mildred Natwick (Ida); Hans Conried (Harry); Lillian Roth (Gert); Gil Lamb (Walter); Lillian Hayman (Melba); Lucie Lancaster (Eunice); Goldye Shaw (Fritzi); Dorthea Freitag (Lorraine); Joey Faye (Detective Callahan); Henrietta Jacobson (Grandmother); Coley Worth (Officer Kowalski); Tommy Breslin (Eddie).

Music composed by John Kander, lyrics by Fred Ebb.

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70, Girls, 70
Sony Masterworks May 1992

1 disc

CD
$11.98

Chandos

Britten: Beggar's Opera / Curnyn, Bickley, White, Jones, Randle

CD · 2 discs

$43.99

Composer: BRITTEN, BENJAMIN
Artist: Curnyn, City Of London Sinfonia, Bickley, White, Jones, Randle, Gardiner, Maxwell, Fox, Mccafferty
Released: Oct 27, 2009

This Chandos production must now be first choice for this work.

Welcome to John Gay’s and Benjamin Britten’s romp through some seamy but also colourful and vibrant elements of 18 ^th century London. This work established the ballad opera in which spoken dialogue alternated with musical items. Gay’s satirical words were set to well-known traditional and popular tunes. Two hundred and twenty years later Britten added 20 ^th century accompaniments.

What’s entirely Britten here is the fresh caterwauling Overture (tr. 2) in which the various characters are given brief sound-portraits. There’s an oboe of sinuous sweetness for Polly (0:40), a cavorting clarinet for Macheath (1:29), suave strings and a jocular bassoon for the highwaymen (2:35) and a bantering circus-like master of ceremonies style for Mr Peachum (3:25). It’s all terrifically realized by the City of London Sinfonia who play marvellously throughout.

But what of the songs? Filch’s ‘’Tis woman that seduces all Mankind’ (tr. 5) is a good example of Britten allowing an original tune free rein while giving it modern dress with balmy woodwind and harp. The heroine Polly comes in (tr.12) to strains of her first song over which there are snatches of dialogue. This, like the melodrama which shortly follows (tr. 20), is Britten’s neat way of subverting the claim in the opening dialogue that this opera will have no “unnatural” recitative. Polly’s first song, ‘Virgins are like the fair flower in its lustre’ has as its tune Purcell’s ‘What shall I do to show how much I love him?’ from Dioclesian. Like its original, it is shown by Leah-Marian Jones to be at once wistful and coy. Her duet with Susan Bickley’s Mrs Peachum, ’O Polly, you might have toyed and kissed’ (tr. 15) catches well a cosy lullaby make-believe, aided by the gently rocking strings’ accompaniment. It’s lovely but only fleeting. Another notable accompaniment is the flutter-tonguing flute illustrating Polly’s ‘The Turtle thus with plaintive crying’ (tr. 19).

The highwayman hero Macheath enters and Tom Randle proves courteous enough to Jones’ simpering. The duet between Macheath and Polly, ’Were I laid on Greenland’s coast’ (tr. 22) is sweetly done but I felt the singers were over-conscious of the need to match the flowing orchestration and then the addition of chorus and drum. Some of the natural freshness is lost that’s present in the 1963 Aldeburgh Festival staging on DVD (Decca 074 3329). In this Chandos CD ‘The Miser thus a shilling sees’ (tr. 24) responds better to the typical careful attention of conductor Christian Curnyn’s approach. The disciplined emphasis of rhythm in its thorny progression matches the text’s poetic expression of loss. A pity, however, the second appearance of “Till home and friends are lost at last” (1:54) isn’t, as marked in the score ‘(in the distance)’ as the lovers go their separate ways. It’s an effect achieved in the BBC broadcast recording of the original 1948 production conducted by Britten (Pearl GEM 0225).

The highwaymen’s ’Fill ev’ry glass’ (tr. 26) is a drinking song of the sturdy, resolute variety in 2009 where a lustier abandon was shown in 1948. ‘Let us take the road’ (tr. 28) is infused with eagerness because of the excitement Britten and Curnyn convey in sketching the approach of the coach. Tom Randle’s Macheath has a too cultivated spoken voice but his singing is virile enough. You can hear this in ‘If the heart of a man is depressed with cares’ (tr. 29), marked as a caressing Andante backed by sweetly musing violin solo and rocking clarinet. Again I felt the line was held back a little in deference to the detail of the accompaniment. At this point Macheath is visited by a parade of prostitutes and what’s entertaining in the Decca DVD is rather curious here. With no sounds incorporated of women moving around, squealing and the like , you might think Macheath is imagining it all. I guess this is so as not to detract from Britten’s own variety parade of instruments, a kind of ‘Young Person’s Guide to Women’. There’s a superb tambourine to enliven the headiness of ‘Youth’s the season made for joys’. Randle sings with sunny freedom the ad libitum ‘Ah’s above the chorus repeat, though the top C final phrase is left to a soprano. Now betrayed by the women, his ‘At the Tree I shall suffer with pleasure’ has a disciplined testiness but less venom than Decca’s Kenneth McKellar.

Again more telling in this Chandos production is the more meditative material. The opening song of Act 2, ‘Man may escape from rope and gun’ (CD2, tr. 2), where Randle shows how transfixed Macheath is in his repetition of ‘woman’, savours past joys even while aware they’re the cause of present pain. Sarah Fox, as Lucy Lockit, is scarily efficient in her spite in ‘Thus when a good Housewife sees a rat’ (tr. 3). Polly’s response is the more sensitively elegiac ‘Thus when the Swallow seeking prey’ (tr. 10) and here Leah-Marian Jones is rich, smooth and eloquent. For me, however, Macheath’s ‘How happy could I be with either’ (tr. 11) is taken so fast it becomes too much a tongue-twister virtuoso piece losing some of its whimsy. In 1948 Peter Pears’ lighter touch was more effective. Polly has the easier task of rising above all this with ‘Cease your funning’ (tr.12), whose merging into the chorus and distancing of perspective are successfully achieved before we’re brought back to earth with a vengeance by Lucy’s crisp, snappy ‘Why how now, Madam Flirt!’ (tr. 13). The finale begins with Lucy and Polly showing great resolve. ‘No power on earth can e’er divide’ (tr. 14) is well progressed by Curnyn to an exciting ‘Horay’ trio response from Macheath, Lockit and Peachum. The there’s then increasing speed with a backing chorus in Sullivanesque abandon.

The opening song of Act 3, Lucy’s ‘When young at the bar’ (tr. 16) should be familiar as the tune is Purcell’s ‘If love’s a sweet passion’ from The Fairy Queen. Fox invests it with its original sad yearning while Curnyn points the claustrophobic cloying nature of Britten’s rich scoring of the wry accompaniment. Of a different order and part of the score’s kaleidoscopic variety is the relished archness of Frances McCafferty as Mrs Trapes delivering ‘In the days of my youth I could bill like a dove’ (tr. 21) with relished archness. To this is added the raucous carousing of Lockit and Peachum. Shortly there’s also the poignancy of Lucy and Polly’s ‘A curse attends a woman’s love’ (tr. 25). The paradox that these two candidates for Macheath’s affection can at one moment be united in their shared sense of rejection and understanding of the impossibility of their situation and at the next daggers drawn as rivals and eager still to court Macheath with warm affection at ‘Hither, dear husband, turn your eyes’ (tr. 28) is exploited dramatically. Fox’s pleading for Macheath’s life with ‘When he holds up his hand’ (tr. 31) ought to be the more persuasive, aided by Britten’s obbligato oboe accompaniment. ‘The Charge is prepared’ is a stock, formal chorus considerably pepped up by Mrs Peachum’s triumphant ‘Ah’s and glissando shrieks over its orchestral postlude.

Britten creates a closing scena (tr. 34) with Macheath in the condemned cell at first extolling the virtues of drink when about to die, then recalling pretty women. This gives way to the questioning protest ‘must I die?’. This is well sung by Randle but doesn’t quite have Pears’ grasp of the torment of ever-fluctuating contrasts of mood. Polly and Lucy offer a moving show of support, ‘Would I might be hanged’ to the heavily insistent backdrop of the funeral knell. In 1948 Britten’s knell is less weighty but more searing. Macheath realistically confesses ‘my courage is out’. The spoken dialogue wipes this all away. The highwaymen begin an address directly to the audience to demand the playwright provides a reprieve and all the players join in so the work can end with a dance. This bit of trickery and the rejection of the moral that vice must be punished works better in sound alone than the quicker and tamer removal of justice in the DVD. So you finish the Chandos sound recording remembering the company’s lusty tra-las and Fox’s top C.

This Chandos is the fullest version of the three currently available in the UK, playing at 117:52 in comparison with Decca’s 93:50 and Pearl’s 79:03. The differences are largely down to the Chandos including more of Gay’s spoken dialogue with alterations and additions by Tyrone Guthrie though even here I’d guess about a quarter of the dialogue published in the full and vocal scores has been cut. I don’t think this is a disadvantage because there’s a good deal of repetition in the text anyway. However, some musical numbers are also cut in the other recordings: Mrs Peachum’s ‘If Love the Virgin’s Heart invade’ (CD1 tr. 9) can only be heard here. To see the piece staged is a benefit. On the DVD the dialogue generally has a touch more pace and life, being less self-conscious in delivery. In the same vein the switch from dialogue to music flows more seamlessly and the folksong origins of many of the tunes are delivered with a more disarmingly innocent directness. The feeling between the characters is clearer in the ensemble numbers. The 1948 recording is striking for the verve of Britten’s direction, the charm of Pears’ light heroic manner and the lovely unforced upper register of Nancy Evans as Polly. Listen to her in ‘The Miser thus a shilling sees’. On the other hand it also at times adopts an over-romantic style, as in ‘O Polly, you might have toyed and kissed’ or is too patrician as in ‘Virgins are like the fair flower’.

To conclude, then, although sometimes more studied and deliberate than it might be, including careful points of emphasis within the dialogue, this Chandos production must now be first choice for this work. It also offers you in most luxuriant detail the colour and density of Britten’s orchestration.

-- Michael Greenhalgh, MusicWeb International

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Britten: Beggar's Opera / Curnyn, Bickley, White, Jones, Randle
Chandos Oct 2009

2 discs

CD
$43.99

White Christmas - Seasonal Hits of the 1930S and 1940S
Gift of Music Aug 2006

1 disc

CD
$18.99

Centaur Records

Poet as Muse: Music for Flute, Clarinet & Voice

CD · 1 disc

$18.99

Composer: BATZNER COPLAND STRAVINSKY
Artist: J. White, K. White, Watson, Johnston, Cox, Abo, Bean, Blackhawk, Fanning
Released: Jan 05, 2018

This is an album of works of the 20th Century for Flute, Clarinet, and Voice, also featuring piano, harpsichord, and viola. All of the musical compositions are based upon first-rate works of poetry. The compositions by composers such as Aaron Copland, Marilyn Biery, Cornelius Boots, Jay Batzner, and David Biedenbender feature text by poems such as “As It Fell Upon a Day,” by Richard Barnefield, “Provincetown, August,” by Terry Blackhawk, and even classics in the literature canon such as Canterbury Tales and works by William Shakespeare. This programme was recorded in 2015 at the Staples Family Concert Hall at Central Michigan University, Mt. Pleasant, Michigan. The artists are Central Michigan University Music School faculty, and the project was funded by a Creative and Scholarly Support Grant from the university.

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Poet as Muse: Music for Flute, Clarinet & Voice
Centaur Records Jan 2018

1 disc

CD
$18.99

CONSTELLATION

COIN COIN CHAPTER FOUR: MEMPHIS

CD · 1 disc

$14.49

Artist: ROBERTS, MATANA
Released: Oct 18, 2019

Matana Roberts returns with the fourth chapter of her extraordinary Coin Coin series - a project that has deservedly garnered the highest praise and widespread critical acclaim for it's fierce aesthetic originality and unflinching narrative power. The first three Coin Coin albums, issued from 2011-2015, charted diverse pathways of modern/avant composition - Roberts calls it "panoramic sound quilting" - and ranged sequentially from large band to sextet to solo, unified by Roberts' archival and often deeply personal research into legacies of the American slave trade and ancestries of American identity/experience. Roberts also emphasizes non-male subjects and thematises these other-gendered stories with a range of vocal and verbal techniques: singspeak, submerged glossolalic recitation, guttural cathartic howl, operatic voice, gentle lullaby, group chant, and the recuperation of various American folk traditionals and spirituals, whether surfacing in fragmentary fashion or as unabridged set-pieces. The root of this vocality comes from her dedication to the legacy of her main chosen instrument, the alto saxophone. On Coin Coin Chapter Four: Memphis, Roberts convened a new band, with New Yorkers Hannah Marcus (guitars, fiddle, accordion) and percussionist Ryan Sawyer (Thurston Moore, Nate Wooley, Cass McCombs) joined by Montreal bassist Nicolas Caloia (Ratchet Orchestra) and Montreal-Cairo composer/improviser Sam Shalabi (Land Of Kush, Dwarfs Of East Agouza) on guitar and oud, along with prolific trombonist Steve Swell and vibraphonist Ryan White as special guests. Memphis unspools as a continuous work of 21st century liberation music, oscillating between meditative incantatory explorations, raucous melodic themes, and unbridled free-improv suites, quoting archly and ecstatically from various folk traditions along the way. Led by Roberts' conduction and unique graphic score practice, her consummate saxophone and clarinet playing, and punctuated by her singing and speaking various texts generated from her own historical research and diaristic writings, Coin Coin Chapter Four is a glorious and spellbinding new installment in this projected twelve-part Gesamtkunstwerk. Says Roberts: "As an arts adventurer dealing w/ the medium of sound and it's many contradictions I am most interested in endurance, perseverance, migration, liberation, libation, improvisation and the many layers of cognitive dissonance therein as it relates to my birth country's history. I speak memory, I sing an American survival through horn, song, sadness, a sometimes gladness. I stand on the backs of many people, from so many different walks of life and difference, that never had a chance to express themselves as expressively as I have been given the privilege. In these sonic renderings, I celebrate the me, I celebrate the we, in all that it is now, and all that is yet to come or will be... Thanks for listening."

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COIN COIN CHAPTER FOUR: MEMPHIS
CONSTELLATION Oct 2019

1 disc

CD
$14.49

CONSTELLATION

COIN COIN CHAPTER FOUR: MEMPHIS

Vinyl · 1 disc

$25.49

Artist: ROBERTS, MATANA
Released: Oct 18, 2019

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COIN COIN CHAPTER FOUR: MEMPHIS
CONSTELLATION Oct 2019

1 disc

Vinyl
$25.49

Sale

Capricer Med Od, Vol. 5 (Recorded 1987-1990)
BIS Nov 2004

1 disc

CD
~~$21.99~~ $10.99Save 50%

Polytopia: Music for Violin & Electronics
Bridge Records Sep 2007

1 disc

CD
$18.99

Altissimo

This is … Navy Country! / Country Current

CD · 1 disc

$9.49 ~~$18.99~~ Save 50%

Composer: WHITE HORTON CARMICHAEL WUR
Artist: Us Navy Country Current
Released: Jan 31, 2012

Country Current is the premier country-bluegrass group of the US Navy Band that showcases traditional, contemporary, and original bluegrass compositions. This is … Navy Country features new arrangements of great country classics along with several original compositions from members of the ensemble. From Merle Haggard's "Mama Tried" to Josh Turner's "Long Black Train," this album will appeal to any country music fan.

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This is … Navy Country! / Country Current
Altissimo Jan 2012

1 disc

CD
~~$18.99~~ $9.49Save 50%

Tafelmusik

Gloria / Taurins, Tafelmusik Baroque Orchestra & Chamber Choir

CD · 1 disc

$18.99

Composer: BACH MONDONVILLE VIVALDI
Artist: Monoyios, White, Ainsworth, Taurins
Released: Oct 26, 2018

Tafelmusik Baroque Orchestra and Chamber Choir salutes its 40th anniversary season with the release of Gloria, a program originally recorded and released by CBC Records in 2008. Ivars Taurins directs the 25-voice choir and the orchestra under Music Director Emerita Jeanne Lamon in this program of sacred baroque works that distinguishes Tafelmusik as being “head and shoulders above most of its competitors. Tafelmusik’s performance breathes such fresh life into this ancient score that it catches one up in its rare enthusiasm.” (Fanfare) Soprano Ann Monoyios, countertenor Matthew White, and tenor Colin Ainsworth are the featured vocal soloists. The recording opens with Gloria in excelsis Deo by J.S. Bach, a festive if rarely performed work that the composer later adapted for the Mass in B Minor. Paired with Vivaldi’s exuberant and joyous Gloria, Tafelmusik “emphasizes the legato of the vocal line, allowing the clipped rhythms of the accompanying orchestra to buoy the music along naturally.” (Fanfare). With its gracious airs and its lively choruses, Mondonville’s Dominus regnavit is a splendid example of the 18th-century grand motet.

-----

REVIEW (An excerpt of a review of a previously released edition of this album):

The program here is the most distinctive aspect of the performance: whereas most readings pair the Gloria with other Vivaldi choral works, this begins with Bach's Gloria in excelsis deo, BWV 191 -- a work in the same festive mood but packed with characteristic polyphony. In the middle comes a change of pace: de Mondonville's grand motet Dominus regnavit. It's as imposing as the Bach and Vivaldi pieces, but soberer, with dark outer choruses surrounding delicate movements for soloists and a representation of a flood that calls for virtuoso playing from both the choristers and the instrumentalists. All handle these difficulties confidently.

The program's tripartite structure casts a new light on Vivaldi's very familiar work, and this remains a strong choice for anyone getting to know Vivaldi's Gloria.

– All Music Guide (James Mannheim)

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Gloria / Taurins, Tafelmusik Baroque Orchestra & Chamber Choir
Tafelmusik Oct 2018

1 disc

CD
$18.99

Delos

Deep River

CD · 1 disc

$20.99

Composer: Amy Beach, Felix Borowski, Igor Frolov, Jascha Heifetz, Fritz Kreisler, Maurice Ravel, Robert Schuma
Artist: Miclen LaiPang, Nigel Yandell
Released: Jun 05, 2026

A force to be reckoned with (The New York Times), violinist Miclen Laipang makes his solo recording debut on Delos with a very personal recital. Featuring music that has accompanied him over time, "Deep River" traces a path through styles and places that have been meaningful throughout his life. Like a flowing river, this program moves from it's source through different landscapes, crosses borders, and opens onto new encounters as it continues forward. It mirrors a life shaped by movement between countries, cultures, and musical worlds. Works such as Deep River and Nobody knows de trouble I've seen bring echoes of home, representing Miclen's childhood and the United States, while Widmung, Liebesleid and Der Rosenkavalier Waltzes are associated with his time in Germany and Austria, and Ravel's Violin Sonata No. 2 with his current home in France. Partnered by pianist Nigel Yandell, Miclen performs on the Antonio Stradivari "Charles Castleman, ex-Marquis de Champeaux," generously loaned by the Queen Elisabeth Music Chapel.

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Deep River
Delos Jun 2026

1 disc

CD
$20.99

Mix & Match

Opus Arte

Wayne Mcgregor: Chroma, Infra, Limen / Royal Ballet

DVD · 1 disc

$34.99

Composer: MCGREGOR TALBOT WHITE III R
Artist: Rojo Tamara, Ga, Cervera Ricardo, Bonelli Federico
Released: Apr 26, 2011

Also available on Blu-ray

The diversity of Wayne McGregor’s astonishing talent is demonstrated through Chroma, Infra and Limen, each created for The Royal Ballet, for whom he is resident choreographer. Intimate yet universal, light yet dark, frenetic yet lyrical, McGregor pursues his passion for exploring the inner workings of the human body and mind, his many-layered and beautiful dances providing visual, sensual and kinaesthetic stimulus for the viewer.

"…Wayne McGregor's Infra: sumptuous beauty and shimmering possibility" The Telegraph

Chroma
Federico Bonelli, Ricardo Cervera, Tamara Rojo
Mara GaleazzI, Sarah Lamb, Steven Mcrae, Laura Morera
Ludovic Ondiviela, Eric Underwood, Jonathan Watkins
Edward Watson

Orchestra of the Royal Opera House
Conductor: Daniel Capps
Music: Joby Talbot , Jack White III

Infra
Leanne Benjamin, Ricardo Cervera, Yuhui Choe
Lauren Cuthbertson, Mara Galeazzi, Melissa Hamilton
Ryoichi Hirano, Paul Kay, Marianela Nuñez, Eric Underwood
Jonathan Watkins, Edward Watson
The Max Richter Quintet
Director: Jonathan Haswell
Music: Max Richter

Limen
Leanne Benjamin, Yuhui Choe, Mara Galeazzi, Melissa Hamilton, Sarah Lamb, Marianela Nuñez Leticia Stock, Akane Takada, Tristan Dyer, Paul Kay Brian Maloney, Steven Mcrae, Ludovic Ondiviela, Eric Underwood, Edward Watson

Orchestra of the Royal Opera House
Director: Barry Wordsworth
Music: Kaija Saariaho

Recorded live from the Royal Opera House
Infra: 13th & 14th November 2008
Chroma: 10th & 11th June 2010
Limen: 13th & 17th November 2009

Duration: 01:38:00
Regions: All Regions
Picture Format: 16:9 Anamorphic
Sound Type: 2.0LPCM + 5.1(5.0) DTS
Subtitles: French/German/Spanish

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Wayne Mcgregor: Chroma, Infra, Limen / Royal Ballet
Opus Arte Apr 2011

1 disc

DVD
$34.99

Sale

Strauss: Salome [Opera] (Sung in English)
Chandos Nov 2008

2 discs

CD
~~$27.99~~ $13.99Save 50%

Bruckner: Symphony No. 9 / Honeck, Pittsburgh Symphony
Reference Recordings Aug 2019

1 disc

SACD
$21.99

LEO RECORDS UK

COMPOSITIONS 175 & 126

CD · 2 discs

$32.99

Artist: BRAXTON, ANTHONY
Released: May 16, 2006

(2-CD set) Recorded in 1994 by the 23-piece Creative Jazz Orchestra, Anthony Braxton considers these two compositions to be his most important works. They might be called Anthony Braxton's operas, and the 20-page booklet gives full librettos of both. Although the orchestra in question is called Creative Jazz Orchestra, the music is much closer to classical/academic avant-garde than to jazz. The scope of Braxton's vision is really amazing, and this double CD is a necessary addition to the collections of Braxton's devotees.

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COMPOSITIONS 175 & 126
LEO RECORDS UK May 2006

2 discs

CD
$32.99

IN & OUT RECORDS

LIGHTS ON A SATELLITE

Vinyl · 2 discs

$52.49

Artist: SUN RA ARKESTRA
Released: Nov 22, 2024

Limited double orange and magenta colored vinyl LP pressing. As if from the farthest reaches of space, a tremendous positive energy has come to us via Light on a Satellite: It is Sun Ra's music, played by his Arkestra, more than 30 years after the legendary band founder's earthly demise - or, in other words, after his reported ascent to Saturn. Under the direction of Marshall Allen, the NEA Jazz Master (2025) and multi-instrumentalist, who celebrated his 100th birthday on May 25, 2024, Sun Ra's big band has arrived safely in the 21st century, after traveling Sun Ra's space ways for almost 70 years. This album pays tribute to the lifetime achievement of Marshall Allen, who leads the Sun Ra Arkestra since 1993. Recorded in Studio A at New York's Power Station on June 16, 2024, the album celebrates the mastery of the exceptional musician Marshall Allen as a multi-instrumentalist, arranger, bandleader, teacher, and guardian of Sun Ra's unique legacy. Perhaps this day will one day become part of the collective jazz memory, for what we are experiencing here is a simultaneity of the non-simultaneous, projected into the future, a time machine traveling through 100 years of jazz, out of the free approach of the Sun Ra Arkestra and in it's signature groove right into the heart of swing - with a century-old jazz master as captain. That in itself is a superlative. We are even more inspired by the power with which the virtuoso Marshall Allen continues his life's vocation. As a tribute to the life's work of Marshall Allen, Frank Kleinschmidt of IN+OUT Records invited the Sun Ra Arkestra into the studio with 24 musicians in the largest possible line-up, with the goal of documenting the music in it's polyphony and expansion in space and time in the best possible way. It is not only the variety of instruments used, but also the fact that musicians from four generations come together with a repertoire that spans 100 years of jazz history.

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LIGHTS ON A SATELLITE
IN & OUT RECORDS Nov 2024

2 discs

Vinyl
$52.49