The gala evening at the Paris Opera on December 19, 1958 was announced in the press as "the greatest show in the world". Maria Callas, at the height of her glory, performed for the first time in front of a Parisian audience. The diva delivered all the facets of her art through the Italian classics that she loved, with the theatrical genius that is proper to her. Paris gave her a triumphant evening! The original recording of this evening, broadcast in Eurovision throughout Europe, has been newly restored with the greatest care. Presentation by Benoit Duteurtre, novelist, essayist and music critic. Excerpts from Norma by Bellini Excerpts from Il Trovatore by Verdi Excerpts from Il Barbiere di Seviglia by Rossini Complete second act of Tosca by Puccini

The internationally acclaimed 12 Ensemble return with their third studio album Metamorphosis, recorded at the iconic Abbey Rd studios. From the divine nature of transformation to alien visions of new worlds and rebirth, the conductor-less 12 Ensemble explore Renaissance hymn reborn as futuristic prayer, ancient Japanese ritual, otherworldly operatic arias and a monumental elegy that sees the ensemble harness it's biggest forces to date. This deluxe double-vinyl package has been created in collaboration with celebrated Art Director Ben Ditto, featuring photography by Greta Ilieva. Recorded in London's Abbey Road Studio 2, this high-quality edition is pressed in France from a bespoke lacquer cut by Cicely Balston. Presented in a double gatefold package with gold-foil embossing and UV gloss to the front cover, the record includes a foreword by author Charlie Fox and liner notes by Hugh Morris. The luxury 300g cover contains two slide-out double-sided record sleeves featuring further artwork from the series, and a double-sided foldout poster on 150g fine-art paper.

The music of the saga has featured the work of the most recognized film composers, including John Williams (who received two Oscar nominations for the series), Patrick Doyle, Nicholas Hooper and Alexandre Desplat. The Greatest Harry Potter Film Music Collection includes 11 tracks performed by the City of Prague Philharmonic Orchestra, which brings together for the very first time the most memorable music from the eight movies.

Did you know that Kurt Rosenwinkel's first instrument was the piano? The most emblematic jazz guitarist of his generation has finally decided to release his first solo piano album, a parisian recording session featuring three of his own compositions. The first, aptly named "Lost Song" is newly rediscovered from his archives; entitled"Mister Hope" references the bebop piano master Elmo Hope and "Sole", one of his most recent songs beautifully ends the album. Includes a download card. Recorded and mixed by Julien Basseres At Barloyd's on 03/07/2020. Mastered by Minerva Pappi Piano prepared by Bastien Herbin

My Funny Valentine was created for "Babes in Arms", a Broadway musical of the 1930s. This song by Richard Rodgers and Lorenz Hart is a classic, and Chet Baker's interpretations will forever be part of musical history. This album features two unique vocal and instrumental interpretations of the same song, magnified by Chet's fragile voice and gentle trumpet, as well as some great jazz standards.

If I had to do it all over again, I wouldn't listen to records. I very rarely listen to jazz records because they all do the same thing. I only listen to original musicians like Ahmad Jamal and Duke Ellington, musicians like Clark Terry, Dizzy Gillespie, Sonny Rollins and John Coltrane. " A true icon, Miles Davis left an indelible mark on the genre through his recordings. "The Miles Style" is a compilation of his masterpieces, the timeless quality of the album and Miles Davis' ability to reshape jazz make it a classic. Translated with DeepL. Com (free version)"

Recorded in London in September 1979 with Jean Paul Florens on guitar, Henri Florens on piano, Jim Richardson on bass and Tony Mann on drums, this album features the only studio version of Round' Midnight by Chet Baker. It also includes 2 alternative versions of My Funny Valentine, entirely instrumental and very intimate. The version of "All Blues" (Miles Davis) features Rachel Gould on vocals. Hardly available since 1979, this vinyl edition, mastered in Paris at MB Mastering for sumptuous listening, is limited to 500 copies. Limited Edition - Collectable Remastered Works

When this album came out in 1995, it was an incredible breath of oxygen that penetrated the lungs of jazz, until then asphyxiated by young wolves, or let's say young clones, who were competing to see who could best imitate McCoy Tyner, Bill Evans or Herbie Hancock... This album by Ahmad Jamal, a legendary pianist if ever there was one, is perhaps his greatest album of the decade... After two disappointing albums released by Telarc in the early '90s (here and here...), here he is with a project that's downright exciting and worthy of his talent. Jamal has a new lease on life. Surrounded by a rhythm section he knows very well (his friends James Cammack, Jamil Nasser and Idris Muhammad are all part of the project), and with the exception of Israel Crosby and Vernell Fournier, Jamal has never felt more at ease than with these three. He also reunites with Manolo Badrena on percussion and George Coleman, an unfortunately little-known tenor saxophonist with an impressive track record (from Max Roach to Chet Baker and Miles Davis). Jamal's style is percussive piano, incredible finesse and suppleness of play, and an unheard-of sense of revival and dynamics. In short, if this pianist is unavoidable, it's also because he's a sacred monster with his own identifiable "sound", right from the very first bars. You won't soon forget him... Personnel : Ahmad Jamal - piano James Cammack - basse (pistes 1, 2, 4, 5, 7 et 8) Jamil Nasser - basse (pistes 3 et 6) Idris Muhammad - batterie Manolo Badrena - percussions George Coleman - saxophone tenor (pistes 3 et 6)

When this album came out in 1995, it was an incredible breath of oxygen that penetrated the lungs of jazz, until then asphyxiated by young wolves, or let's say young clones, who were competing to see who could best imitate McCoy Tyner, Bill Evans or Herbie Hancock... This album by Ahmad Jamal, a legendary pianist if ever there was one, is perhaps his greatest album of the decade... After two disappointing albums released by Telarc in the early '90s (here and here...), here he is with a project that's downright exciting and worthy of his talent. Jamal has a new lease on life. Surrounded by a rhythm section he knows very well (his friends James Cammack, Jamil Nasser and Idris Muhammad are all part of the project), and with the exception of Israel Crosby and Vernell Fournier, Jamal has never felt more at ease than with these three. He also reunites with Manolo Badrena on percussion and George Coleman, an unfortunately little-known tenor saxophonist with an impressive track record (from Max Roach to Chet Baker and Miles Davis). Jamal's style is percussive piano, incredible finesse and suppleness of play, and an unheard-of sense of revival and dynamics. In short, if this pianist is unavoidable, it's also because he's a sacred monster with his own identifiable "sound", right from the very first bars. You won't soon forget him... Personnel : Ahmad Jamal - piano James Cammack - basse (pistes 1, 2, 4, 5, 7 et 8) Jamil Nasser - basse (pistes 3 et 6) Idris Muhammad - batterie Manolo Badrena - percussions George Coleman - saxophone tenor (pistes 3 et 6)

Two years before the legendary trumpeter mysteriously fell from the window of a Dutch hotel, he delivered this high-level live performance on a stage in Bologna, Italy, in 1985. Accompanied by Philippe Catherine on guitar and Jean-Louis Rassinfosse on double bass, Baker drew on his natural charm, that utterly disarming magnetism which made him deeply moving, even when decline was looming. Baker carried within him that inner fracture, that haunting depth that rendered every note fragile. Released for the first time as a 2 × 180 g vinyl LP with HD vinyl mastering and a new mastering for the CD version.

From collab project of Scary Pockets & their hero Larry Goldings' new album, featuring Kaveh Rastegar (Bruno Mars, de la Soul) & Kane Ritchotte (sombr, Portugal The Man). It was written/recorded on the spot & features artwork via The New Yorker's Barry Blitt; while previous records feat. John Scofield & Louis Cole. Scary Pockets is Pomplamoose's Jack Conte & writer/producer Ryan Lerman (Vulfpeck, Lizzy McAlpine); Grammy-nom Larry Goldings worked with John Mayer, James Taylor, Melody Gardot etc.

For the last three years, Pomplamoose has shared the making of Photogenique, a lush and groovy French bossa-pop album produced by Jeremy Most (Emily King), Jack Conte, and Philip Etherington (Lizzy McAlpine). It's a romantic, playful, and deeply nostalgic coming-of-age story steeped in Dawn's childhood memories of France and Belgium. Collaborations include legendary jazz organist Larry Goldings and French singer-songwriter Laura Cahen. Photogenique debuts July 16. Following their L.A. release party at The El Rey July 18, Pomplamoose and Larry Goldings will tour key markets across the U.S. and Europe.

Experience the explosive energy and funky virtuosity of Cory Wong's debut performance at the legendary Montreux Jazz Festival, now captured on a limited edition double audiophile black vinyl presented in a deluxe gatefold. Backed by his world-class band and joined by a powerhouse horn section, Cory delivered a set packed with relentless rhythm, inventive solos and the infectious spirit that has made him a fixture in modern funk and jazz. From the adrenaline rush of "Assassin" to the delicate sway of "Meditation," relive an evening that seamlessly blends technical mastery with pure showmanship. This is a rare opportunity to own a piece of Montreux history - don't miss out!

Both worlds : two worlds... at the same time ! As in "the best of both worlds," where one undoubtedly wants to have everything but also offer the best of each universe. Both Worlds, a new step for Michel Petrucciani, or how to juxtapose distinct (id)entities and bring together the best of reciprocal elements, for the duration of a tour, a record, a wide-scale project. Dualism, then, but also balance. Geographical, from Paris to New York, and cultural, with three European musicians and three Americans. Both Worlds is clearly the testimony of the fruitful encounter between two worlds, between a composer and an arranger; the collaboration of two creative spaces that are dissimilar yet compatible. For the first time in his career, Michel Petrucciani entrusted his most accomplished compositions to another tailor of jazz and poet of made-to-measure, Bob Brookmeyer. The result is a magical undertaking, retaining that particularly distinctive "two worlds" character in the pianist's work: a writing imbued with classics and standards, over one of the most modern rhythm sections. Joy, melancholy, humor and moods, this recording displays a rich emotional palette and a few nods to Rodgers & Hart (Petite Louise), Return to Forever (35 Seconds of Music and More), Maurice Chevalier (On Top of the Roof) and Hollywood musicals (Chloe Meets Gershwin referring to A Foggy Day and Seven Brides for Seven Brothers by Johnny Mercer). Within an abundant discography, Both Worlds innovates and profiles the pianist's work in a new light. For the first time as well, Michel Petrucciani assembles a genuine group and builds a homogeneous formation where his presence and role are no longer perceived as dominant elements. While in many of his previous records the piano seemed to leap out of the rhythm section for an obvious highlighting, Both Worlds deliberately inserts Petrucciani within the group, and makes the pianist an integrated element of the whole, allowing him to be the leader without acting like one. Another novelty: Michel Petrucciani uses the horns here as never before; they no longer intervene only as soloists but in a new context, as accompaniment and counterpoint. If this record could only come to life thanks to an intense collaboration between composer and arranger, the unexpected production work of drummer Steve Gadd surely contributed to it's creation. Thanks to his experience in the most diverse contexts and to a solid friendship with Michel Petrucciani, he was able to provide knowledgeable suggestions and above all appropriate structural ideas. Both Worlds like the two flat faces of the same coin, the work of a Michel Petrucciani thus doubly generous and in a language that is as simply universal as possible. Thierry Peremarti, New York, September 1997

Both worlds : two worlds... at the same time ! As in "the best of both worlds," where one undoubtedly wants to have everything but also offer the best of each universe. Both Worlds, a new step for Michel Petrucciani, or how to juxtapose distinct (id)entities and bring together the best of reciprocal elements, for the duration of a tour, a record, a wide-scale project. Dualism, then, but also balance. Geographical, from Paris to New York, and cultural, with three European musicians and three Americans. Both Worlds is clearly the testimony of the fruitful encounter between two worlds, between a composer and an arranger; the collaboration of two creative spaces that are dissimilar yet compatible. For the first time in his career, Michel Petrucciani entrusted his most accomplished compositions to another tailor of jazz and poet of made-to-measure, Bob Brookmeyer. The result is a magical undertaking, retaining that particularly distinctive "two worlds" character in the pianist's work: a writing imbued with classics and standards, over one of the most modern rhythm sections. Joy, melancholy, humor and moods, this recording displays a rich emotional palette and a few nods to Rodgers & Hart (Petite Louise), Return to Forever (35 Seconds of Music and More), Maurice Chevalier (On Top of the Roof) and Hollywood musicals (Chloe Meets Gershwin referring to A Foggy Day and Seven Brides for Seven Brothers by Johnny Mercer). Within an abundant discography, Both Worlds innovates and profiles the pianist's work in a new light. For the first time as well, Michel Petrucciani assembles a genuine group and builds a homogeneous formation where his presence and role are no longer perceived as dominant elements. While in many of his previous records the piano seemed to leap out of the rhythm section for an obvious highlighting, Both Worlds deliberately inserts Petrucciani within the group, and makes the pianist an integrated element of the whole, allowing him to be the leader without acting like one. Another novelty: Michel Petrucciani uses the horns here as never before; they no longer intervene only as soloists but in a new context, as accompaniment and counterpoint. If this record could only come to life thanks to an intense collaboration between composer and arranger, the unexpected production work of drummer Steve Gadd surely contributed to it's creation. Thanks to his experience in the most diverse contexts and to a solid friendship with Michel Petrucciani, he was able to provide knowledgeable suggestions and above all appropriate structural ideas. Both Worlds like the two flat faces of the same coin, the work of a Michel Petrucciani thus doubly generous and in a language that is as simply universal as possible. Thierry Peremarti, New York, September 1997

Tongue Tied marks the first single from Wong's eagerly awaited new studio album, Lost In The Wonder, arriving everywhere on Tuesday, February 3, 2026. The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

Tongue Tied marks the first single from Wong's eagerly awaited new studio album, Lost In The Wonder, arriving everywhere on Tuesday, February 3, 2026. The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

Chet Baker - Two a Day Recorded on December 29, 1978 at the Chateau d'Herouville with Jean-Louis Rassinfosse on bass, Jeff Brillinger on drums and Phil Markowitz on piano, then mixed at Studios Davout on December 8, 1979, Two A Day has not been reissued on vinyl since 1980. This little-known but remarkable album from Chet Baker brings together instrumental and vocal tracks, all infused with the swing and emotional depth that define his finest recordings. To fully highlight the qualities of this masterful session, a high-quality remastering has been carried out, restoring the warmth and intimacy of the legendary Chateau d'Herouville studios, which also hosted artists such as David Bowie and Pink Floyd.

Cory Wong and The Green Screen Band" gets a long-awaited CD reissue in April 2026 A vibrant showcase of Cory Wong's boundless creativity, this exclusive release brings the project's explosive funk, razor-tight grooves, and playful energy into a high-fidelity format designed for collectors and fans who want the music in their hands-not just on their screens. Originally crafted as a digital-first project, The Green Screen Band quickly became a cult favorite thanks to it's brilliant arrangements and it's joyful, technicolor spirit. Now, for 2026, the album finally receives the premium physical treatment it deserves. This limited edition CD features expanded artwork, a premium booklet, and mastering optimized for the format-delivering crisp, punchy sound that highlights every detail of Cory's signature production and musicianship. A celebration for fans. A must-have addition to any Cory Wong collection.

In 2005, Frederic Galliano, founder of the Frikyiwa label, decided to put it on hold for a few years. In his archives, many albums recorded during his years of travels in Africa remain unreleased. In the context of the reactivation of the Frikyiwa label, the album Lionel and Stephane Belmondo feat. Keba Kebe Diolas Orchestra: "Calypso Diola" is therefore being released today. It was in the heart of Casamance, in the village of Bignona, that this album was recorded, in a house typical of the region, built of earth, with thick walls producing a warm acoustic open to the outside world. The idea of Frederic Galliano was to bring together the Belmondo brothers with Diola culture, renowned for it's distinctive percussion combining wood and struck metal, as well as singular instruments such as the ekontine (a four-string guitar) or Diola flutes. The vocal melodies typical of Casamance are also strong markers of this album recorded over a few days, live and in an improvisation inherent to jazz. Often composed as duos, with the exception of "Osoforal," recalling a certain 1960s jazz, the tracks of the album are marked by an artistic direction that presents the Belmondo brothers in a more stripped-down light than usual. Composed of duos or slow tempos, these tracks and their particular recording approach give this album an original colour in which each part expresses it's specificity of improvised jazz and Diola culture. Sometimes tinged with humour (Bach to Casamance or Calypso Diola) or with greater softness (Casa Sport), what is delivered here is a truly original and creative recording. It is also important to place this album in it's context: recorded in 2002, it was at the time quite unprecedented to have this kind of in situ encounter between European and African musicians. It should therefore be listened to in this specific light. It nonetheless remains both contemporary and timeless.

In 2005, Frederic Galliano, founder of the Frikyiwa label, decided to put it on hold for a few years. In his archives, many albums recorded during his years of travels in Africa remain unreleased. In the context of the reactivation of the Frikyiwa label, the album Lionel and Stephane Belmondo feat. Keba Kebe Diolas Orchestra: "Calypso Diola" is therefore being released today. It was in the heart of Casamance, in the village of Bignona, that this album was recorded, in a house typical of the region, built of earth, with thick walls producing a warm acoustic open to the outside world. Frederic Galliano's idea was to bring together the Belmondo brothers with Diola culture, renowned for it's distinctive percussion combining wood and struck metal, as well as singular instruments such as the ekontine (a four-string guitar) or Diola flutes. The vocal melodies typical of Casamance are also strong markers of this album, recorded over a few days, live and in an improvisational approach inherent to jazz. Often composed as duos, with the exception of "Osoforal," recalling a certain 1960s jazz, the tracks of the album are marked by an artistic direction that presents the Belmondo brothers in a more stripped-down light than usual. Composed of duos or slow tempos, these tracks and their particular recording approach give this album an original colour in which each part expresses it's own specificity of improvised jazz and Diola culture. Sometimes tinged with humour (Bach to Casamance or Calypso Diola) or with greater softness (Casa Sport), what we are given here is a truly original and creative recording. It is also important to place this album in it's context: recorded in 2002, it was at the time quite unprecedented to have this kind of in situ encounter between European and African musicians. It should therefore be listened to in this specific light. It nonetheless remains both contemporary and timeless.

Released in 1982, the album "Waka Juju" marks a return to Afrosound. We hear titles like "Douala Serenade" or "Ma Marie", a tribute to his wife. "Waka juju" is an ode to juju, the traditional Yoruba music that has become Nigeria's most popular style. For the first time on a crystal clear record!

Chet Baker - Two a Day Recorded on December 29, 1978 at the Chateau d'Herouville with Jean-Louis Rassinfosse on bass, Jeff Brillinger on drums and Phil Markowitz on piano, then mixed at Studios Davout on December 8, 1979, Two A Day has not been reissued on vinyl since 1980. This little-known but remarkable album from Chet Baker brings together instrumental and vocal tracks, all infused with the swing and emotional depth that define his finest recordings. To fully highlight the qualities of this masterful session, a high-quality remastering has been carried out, restoring the warmth and intimacy of the legendary Chateau d'Herouville studios, which also hosted artists such as David Bowie and Pink Floyd. The LP edition features hot gold foil numbering.