"After Hours" is the new concept album by the Faure Quartett. The world famous piano quartet consists of the same for members since íts founding in 1995. They present an album full of encores from composers such as Debussy, Strauss and Dvorak. These pieces are lined by original compositions dedicated to the ensemble by composer friends such as Jarkko Riihimaki. Two other friends, clarinettist Matthias Schorn and soprano Annette Dasch, make appearences as soloists. Encores defy the convention and have the potential to be surprising and engage the listeners in a special way and exactly that is what this album does.

Recorded in live settings by Jerry Newman, these 1940-41 tracks contain the very earliest recordings by Thelonius Monk; it is reissued from the Onyx LP

After It'S Gone

In his program notes to his second Criss Cross album, After Life, master tenor saxophonist Noah Preminger writes that, as per the title, the seven original songs on the date 'pertain to a world that we may inhabit when we leave Earth. ' Returning from it's Criss Cross predecessor, Genuinity, are the brilliant trumpeter Jason Palmer and bass virtuoso Kim Cass; modern drum giant Rudy Royston propels the flow, while guitarist Max Light, on his Criss Cross debut, contributes beautifully textured comping and inspired, thematic solos. The album booklet includes a suite of poems by Ruth Lepson, each one inspired by the music.

AFTER MIDNIGHT

After Midnight

Classical Music

Jeanne Cotter steps into her own with this stunning solo piano recording. Jeanne mingles new original works with beautiful renditions of the best of Taize, Marty Haugen, Michael Joncas, and David Haas, as well as traditional favorites.

After The Rain

This full length standard CD includes a bonus Blu-ray disc with multi channel surround mixes. Emin won the annual Eurovision Song Contest in 2011. Users can select from 3 different audio mixes: 5.1 "Stage" 5.1 "Audience" & 2.0 Channel Stereo.

Peter Garland is a composer, world traveler, musicologist, writer whose music is always informed by his well-traveled ear and strong sense of personal vision. (His music has appeared on five previous Cold Blue CDs.) After the Wars, a resonant, sometimes clangorous four-movement piano solo performed by new-music champion Sarah Cahill, displays a unique sense of grace and a sincerity of expression. Garland writes about the piece: “Each of the transparent and self-contained movements takes as inspiration a Chinese poem or Japanese haiku.... I explore the quality of resonance in the piano: not just the notes played on the keyboard, but the sense of echo and fade produced by a very deliberate use of pedaling, and the sustaining and release of piano keys after notes and chords are sounded. It creates a sense of timbral color and acoustic perspective (proximity and distance).... Each movement is like a single image, simply stated with relatively little temporal or thematic development—very much like the poems they are based on.” After the Wars is a 20-minute CD EP/single. MusicWeb Int’l wrote of it, “There is an interesting use of space and time in this work. On the surface, it’s quite simple, but the sounds develop over the span of the four movements as you slowly grow accustomed to the underlying structure…and after listening to this disc several times, I wanted to hear more.” Julien Cowley wrote in The Wire, “Pianistic shell bursts interspersed with wounded reflection …. Garland’s After The Wars… alternates ruggedness and delicacy, oppressive weight fringed with luminosity in a powerful evocation of desolation and scarred hope.” And Gapplegate Classical-Modern Review wrote, “Garland weaves a web of expressive, muted magic and we readily fall under its spell. Very recommended.”

28 track collection of the legendary guitarist recorded with his trio of rhythm guitarist - Cal Goodin, bassist Clinton Nordquist, and pianist Milt Raskin or Buddy Cole. Tracks include: Feed Back, All of Me, Song of the Islands, Viper's Dream, Dark Eyes, at Sundown, Good for Nothing, Undecided, It Had to Be You, It Must Be True, Left And Right, By the Light of the Silvery Moon, Dream Dust.

After all is said and done, after 30 years, after a pandemic which shattered the world, after thousands of kilometers travelled and many more thousands of notes played and sung, what remains ? A deep love and respect for great music and the greatness in music, a deep love for the humanity that is brought to life by it, a deep appreciation for the gift of friendship and for the power and resonance that brought and kept us together all these years, and for that curiosity and passion, that meticulous quest to unveil the deepest mysteries of music, that drives us always onwards. Finally, we’ve given it a name: Afterallogy

After all is said and done, after 30 years, after a pandemic which shattered the world, after thousands of kilometers travelled and many more thousands of notes played and sung, what remains ? A deep love and respect for great music and the greatness in music, a deep love for the humanity that is brought to life by it, a deep appreciation for the gift of friendship and for the power and resonance that brought and kept us together all these years, and for that curiosity and passion, that meticulous quest to unveil the deepest mysteries of music, that drives us always onwards. Finally, we’ve given it a name: Afterallogy

"Every time I listen to the very first tones of Afterglow, I get struck immediately, as if by a force of nature. Suddenly, I am part of a natural phenomenon, that manifests right in front of me. At that very moment, everything else in the world doesn't seem to matter that much. There's only you and the musical synergy of two masterminds, who put their hearts and souls in every detail of their private conversation. Exactly the same feeling hit me over and over, when audio engineer Floren Van Stichel and I were part of the creation of Afterglow, in September2018. The sheer beauty of the music by Enrico Pieranunzi and Bert Joris was present at every single moment. The only thing Floren and I had to do was listen. We simply guarded the entire process. While performing together, Enrico once said: "Sometimes, the moment you don't play adds more significance to the things you do play". The same thing applies to being a producer. Being present was just enough. Nature took it's course and Afterglow saw the light of day." (Jasper Somsen)

The String Orchestra of Brooklyn releases "Afterimage," an album featuring two works written for the ensemble by Christopher Cerrone and Jacob Cooper that respond to older works by Paganini and Pergolesi respectively. Featuring the Argus Quartet and vocal soloists Mellissa Hughes and Kate Maroney, "Afterimage" refracts older repertoire through a modern lens using a familiar and time-honored format, the string orchestra. The String Orchestra of Brooklyn (SOB) is a unique community of musicians who come together in a supportive environment to enrich the life of our communities through music. Embracing an inclusive approach to music-making, the SOB seeks to democratize both the production and reception of concert music. Founded in 2007 by artistic director Eli Spindel, the String Orchestra of Brooklyn is “quickly solidifying its role as a major orchestral figure in the borough” (I Care if You Listen), providing an enriching creative outlet to hundreds of musicians, and accessible, adventurous programming to thousands of concertgoers and community members.

Post-classical composer, sound artist, and curator Matthew Patton returns with his second album as Those Who Walk Away. Afterlife Requiem is an elegy to friend and collaborator J�hann J�hannsson. Drone, electroacoustics, and near-silences extracted from unfinished recordings on J�hannsson hard drives, underpin two string quintets-Ghost Orchestra (Reykjav�k) and Possible Orchestra (Winnipeg)-processed and erased in a doleful durational work. Patton also works again with Andy Rudolph (Guy Maddin) and Paul Corley (Sigur R�s, Ben Frost) on co-production and sound design, to forge a simmering physicality that juxtaposes roiling low-end with haunting movements of ghostly strings. Everything I have ever written is a Requiem. Everything an ending. Death is smeared all over this music. My work is about disappearance-of the present, the past, of everything. Afterlife Requiem gets slower and slower over it's duration, it is one huge ritardando, time is not just slowing down-it is disappearing. Without even thinking, two related tragedies occurred and came to the surface organically while I was writing, recording, and working: the death of my mother and the death of composer and friend J�hann J�hannsson. When I start writing, I am not thinking of anything in particular, I am just writing, composing, recording, and listening... but something always makes itself apparent or pushes itself through in an unforeseen way. After my mother's medically-assisted death, in clearing out her apartment, I realized that I was also erasing the physical manifestation of her world-and that I was doing the exact same thing with the music I was writing and recording. During this time, J�hann's death also kept making itself apparent. For Afterlife Requiem I have taken short abandoned fragments from J�hann J�hannsson's hard drives and placed these disembodied audio ghosts in alternating sections within my own music, leaving them impure-and in the process blurring the distinction between making and un-making. After his death, I had been given these hard drives from J�hannsson's Berlin studio to listen to. This music was abandoned, in various states of formation and dissolution: an index of decayed and dead memories, forgotten and now existing only within a series of interlocking mechanical parts which in time will themselves fail and disappear, like everything else. For months, I listened to these remains of J�hann's music obsessively, trying to discover clues about J�hann before he died. Many times I would find that he had left the recording device going long after the recorded music was over. He seemed to be unaware that the music had ceased or didn't register this was the end of the music or maybe he was distracted by something else. But I found these long silences profoundly emotional and touching.

Post-classical composer, sound artist, and curator Matthew Patton returns with his second album as Those Who Walk Away. Afterlife Requiem is an elegy to friend and collaborator J�hann J�hannsson. Drone, electroacoustics, and near-silences extracted from unfinished recordings on J�hannsson hard drives, underpin two string quintets-Ghost Orchestra (Reykjav�k) and Possible Orchestra (Winnipeg)-processed and erased in a doleful durational work. Patton also works again with Andy Rudolph (Guy Maddin) and Paul Corley (Sigur R�s, Ben Frost) on co-production and sound design, to forge a simmering physicality that juxtaposes roiling low-end with haunting movements of ghostly strings. Everything I have ever written is a Requiem. Everything an ending. Death is smeared all over this music. My work is about disappearance-of the present, the past, of everything. Afterlife Requiem gets slower and slower over it's duration, it is one huge ritardando, time is not just slowing down-it is disappearing. Without even thinking, two related tragedies occurred and came to the surface organically while I was writing, recording, and working: the death of my mother and the death of composer and friend J�hann J�hannsson. When I start writing, I am not thinking of anything in particular, I am just writing, composing, recording, and listening... but something always makes itself apparent or pushes itself through in an unforeseen way. After my mother's medically-assisted death, in clearing out her apartment, I realized that I was also erasing the physical manifestation of her world-and that I was doing the exact same thing with the music I was writing and recording. During this time, J�hann's death also kept making itself apparent. For Afterlife Requiem I have taken short abandoned fragments from J�hann J�hannsson's hard drives and placed these disembodied audio ghosts in alternating sections within my own music, leaving them impure-and in the process blurring the distinction between making and un-making. After his death, I had been given these hard drives from J�hannsson's Berlin studio to listen to. This music was abandoned, in various states of formation and dissolution: an index of decayed and dead memories, forgotten and now existing only within a series of interlocking mechanical parts which in time will themselves fail and disappear, like everything else. For months, I listened to these remains of J�hann's music obsessively, trying to discover clues about J�hann before he died. Many times I would find that he had left the recording device going long after the recorded music was over. He seemed to be unaware that the music had ceased or didn't register this was the end of the music or maybe he was distracted by something else. But I found these long silences profoundly emotional and touching.

Milégé is a group of young talented musicians who derive inspiration from the diverse cultural musical traditions of the different tribes of Uganda, which they fuse with contemporary elements. The group writes: “We derive our name Milégé from the ankle rattle, a bell worn round the ankle to create rhythmic sounds that compliment dance performances. The rattle exists across the entire continent of Africa in different forms and in other parts of the world. Milégé is a symbol of unity, celebration and heritage. This album is very special to us, this will be our first album after nine years of the band’s existence amidst countless hurdles. It is for this reason that we chose the album name Afwoyo which means thank you in Thuphadola, a luo dialect from the Japhadola tribe of Eastern Uganda.We are thankful for the love and support from all those who have believed in our sound and have waited patiently for this authentic piece of work. We hope that this music will bring healing, hope and inspiration to the world!”

Again? (Live)

This recording by Donna Peña became a hit within 24 hours of its release at the NPM convention in Long Beach, California. One listen to her vibrant, soul-searching music will win you over. Marty Haugen liked her music so much he recorded two songs from this album on Tales of Wonder. This is a bilingual recording with most songs in English and in Spanish.

You'll definitely want to consider this one-act theater piece from the creative hand of Marty Haugen for your next choir performance production. Based on the structure of the Roman Liturgy, Agape utilizes music from many cultures and the prophetic voices of our day, to bring alive a story of struggle, hope, and celebration with parts for adult and children's choirs, soloists, and instrumentalists, and audience participation as well. In addition to Marty's own music and texts, "Halle, Halle, Halle" from the Iona Community and "On Holy Ground" by Donna Peña are also included, plus "Sing Our God Together," co-authored by Marty and David Haas.

AGE OF BEL CANTO

AGE OF CARBON

This disc includes both ADD and DDD recordings.

Harvey Siders in his JazzTimes review (Dec. 2002) of the first release (“Match Point” SCCD 31517) of this group concluded his writing by remarking, “Here’s hoping this two-year-old combo stays together.” Ron McClure Quartet does stay together, performing in and around New York area and dedicates another superb album here “For those affected by the tragic events of the recent past, we dedicate our music and express our hopes for a long overdue Age of Peace on our Earth”.(Ron McClure)

AGE VEEROOS: OUTLINES OF THE NIGHT / VARIOUS

Renowned critic Richard Cook wrote in JazzReview about George’s previous release Twins (SCCD 31485) “… one listens through the record in a kind of wonderment at his imagination. He never seems to take an obvious route….” And here again with his regular trio, George Colligan recorded an album that is full of excitement and stimulation.

Maciej Sledziecki and Marion Worle show just how exciting the world of the pipe organ is today as the ensemble gamut inc. The retro-futuristic duo uses self-programmed software to dock onto the MIDI consoles of church organs, control their stops in a manually impossible way and perform sound synthesis with surprising results. Their annual AGGREGATE festival in Berlin is a meeting place for the international "New Organ Movement" scene: electronic musicians, composers and organists from different backgrounds present various positions on the so-called hyper organ. With "AGGREGATE - New Works for Automated Pipe Organs", WERGO presents a selection from the 2021 and 2022 festival editions. The new works, fragments, improvisations, adaptations of existing pieces (such as the adaptations of Conlon Nancarrow's "Studies for Player Piano" for organ), interactions between organ and electronics as well as algorithmic playing instructions for performers thus show an intermediate state and at the same time provide a breathtaking outlook on new possibilities for the organ. The leading roles are played by the organs of the Kaiser Wilhelm Memorial Church, the Auenkirche and the Chapel of Reconciliation.

2018 Gramophone Magazine Recital Album of the Year

Delphine Galou is renowned and admired for her musicality and her appealing timbre. She has taken part in many productions of Baroque music and recordings of operas (notably by Vivaldi), but this is her first recital. It is a programme of sacred music, motets, cantatas and excerpts from oratorios, which in the course of the seventeenth and eighteenth centuries were influenced by the increasingly fashionable genre of opera. From the famous ‘Agitata infido flatu’ from Vivaldi’s oratorio Juditha triumphans, here counterpointed by an aria from another setting of the story of Judith composed by Jommelli, to Stradella’s Lamentations and Porpora’s magnificent motet ‘In procella sine stella’, Delphine Galou covers a wide range of spiritual emotions. She is accompanied by the excellent Accademia Bizantina under its director and harpsichordist Ottavio Dantone. A concerto byGregori and a sinfonia by Caldara complete this release, which includes several world premiere recordings.

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REVIEW:

This is a treasure trove of rare music, and Galou is the perfect singer to introduce us to it, thanks to an agile and comfortable technique (hear the way she sails effortlessly through her full compass in a single phrase in the first aria of the Porpora). The orchestral playing is keen as mustard and filled with typically telling detail by director Ottavio Dantone. A lovely disc of discoveries.

– Gramophone