El Trio is a dream threesome of some of my favorite musicians, all whom have been in my various bands: Horacio ‘El Negro’ Hernández, one of the most versatile and in-demand drummers in the history of Cuban music and jazz; José Armando Gola, a great double bass player, composer, and an expert in every sense of the word who can adapt to any style; and John Beasley, a genius pianist, keyboardist, orchestrator, innovator, whose imagination takes me to another galaxy. El Trio’s sound is organic, contemporary, and supernova.- Chucho Valdés

Inspired by the practice of Nuove Musiche advocated by Caccini in 1602, this album takes us to the foundations of modern Italian vocal music: a journey to the heart of the musical innovation that led to opera, presented by the singer Marco Beasley, the organist and harpsichordist Guido Morini and the Ensemble Accordone. After the success of the Red, Yellow, Blue, Pink and White collections (a total of sixty reissues) which gave a new lease of life to the pearls of the Baroque catalogues from our house labels, here are fourteen new titles which offer a chance to discover other treasures, whether Baroque or dating from an earlier or later era. Like the most recent series, this sixth instalment opens out onto the Classical repertory (Mozart by Ensemble 415 and Chiara Banchini) and the Renaissance (Févin by Doulce Mémoire and Denis Raisin Dadre); recordings that are an integral part of Alpha’s identity and history. Fourteen reissues performed by the leading musicians in the field, most of which received one or more awards on their original release. Proper booklets accompany the discs, with notes in three languages (French, English, German). Photographers from all over the world have been selected to illustrate the covers, this time with the guiding thread of the color green, a symbol of nature, fertility... and hope!

“A perfect alchemical fusion of poetry and music.” (Guido Morini) Cypres has grouped within its collection Cypressentiel three indispensable albums of Italian vocal music from the Renaissance to the early eighteenth century, three compilations out of stock since their appearance in 2005, 2006, and 2007: Frottole, Recitar cantando, and Il settecento Napolitano. More than ten years later, far from having gained a single wrinkle, they are regularly in demand, iconic examples of the highly demanding work of Accordone, founded by Marco Beasley and Guido Morini in 1984, both fascinated by the musicological approach to performance at this period. This is a collection of musical miniatures that sing of human passion.

The feel and sound of MONK’estra captures the spirit of Thelonious Monk’s singular style with its off-beat melodies, humor, strange beauty and unbounded swing in fresh arrangements flavored with hints of New Orleans, hip-hop, Afro-Cuban, contemporary and atmospheric rhythms and colors. 

The first time I listened to this album in my car, I nearly missed my exit on the expressway. There is so much hep stuff happening in these new big band arrangements of tunes by Thelonious Monk that I was transported to another realm, one where the car seems capable of driving itself. Then it struck me: That’s precisely what’s happening with these charts and this ensemble of L.A.’s finest musicians and special guests, all under the direction of pianist/conductor/arranger John Beasley. Everything on Presents MONK’estra Vol. 1 feels so natural and inevitable, it’s almost as if the material plays itself. And if you enjoy Monk—whether for his undeniable logic, quirky song architecture or innate sense of swing—Beasley’s band will leave you rapt. Beasley has been writing big band charts since he was a teenager, and he has long been fascinated by Monk’s music (this debut recording by the MONK’estra is actually Beasley’s third album of material by the High Priest of Bebop). Beasley’s MONK’estra has performed live since 2013, and he has served as musical director for the Monk Institute’s Jazz Day gala concerts since 2011 and for International Jazz Day events since 2012. (He has done plenty of commercial work as well, most notably as the lead arranger for TV’s American Idol from 2005 to 2016.) Beasley knows his Monk inside and out, and he knows his way around a chart. But, most importantly, this onetime member of groups led by Freddie Hubbard and Miles Davis knows how to give his bandmembers—including guest stars Gary Burton on vibes (“Epistrophy”) and Grégoire Maret on harmonica (“Ask Me Now”)—sufficient freedom to stylize the written passages and improvise with abandon. In applying all of his acquired skills and personal passions to Presents MONK’estra Vol. 1, Beasley brings Monk to life once again for modern-minded listeners. - DownBeat Magazine Editors' Pick

This programme of Neapolitan music, covering a vast historical span (from the Renaissance to the 20th century) is a 'manifesto' of the musical influences that have nurtured Marco Beasley. Guido Morini's arrangements, written especially for him, make the programme particularly appealing. In addition, it offers an original coherence by setting up 'bridges' between genres that are sometimes opposed from a musicological point of view but which have continued to provide food each other. For the first time, the musician explores the paths of crossover in the broadest sense and without complex: here, Marco Beasley confirms his nickname of 'the Baroque crooner' con brio. He also opens up new ways, proposing original orchestrations and making his a part of the colossal heritage that has influenced the modern cultures of the western world.