Gregory Hutchinson's "Kind of Now - The Pulse of Miles Davis" is a fascinating and highly rewarding album that breathes new life into some of the immortal classics from Miles Davis' repertoire, such as Charlie Parker's "Ah-Leu-Cha" or Miles' own "Seven Steps to Heaven", discounting the obvious while closing in on the deep cuts. The leader's excellent drum interludes tie this hour-long program tightly together, adding a futuristic newness that's all in Hutch's time. The overall quality and density of "Kind of Now" has everything to do with the musicians involved, a great group of young legends and lions carefully selected by the leader, just the way Miles used to do: Ambrose Akinmusire (trumpet), Ron Blake (tenor saxophone, bass clarinet), Jakob Bro (guitar), Emmanuel Michael (guitar), Gerald Clayton (piano) Joe Sanders (double bass).

Extra Stars is Gregory Uhlmann's solo debut on International Anthem. It's a deep and gorgeous expansion of the LA-based multi-instrumentalist producer / composer's rhythmic ambient side, as nascently explored in his much-lauded duo with Meg Duffy, his trio work with Josh Johnson and Sam Wilkes, and in the gentler moments of SML (the improvising trance-jazz unit of which he is a member). A radiant sidereal serenade, the album's fourteen miniature infinities swirl serendipitous synthesis and measured, melody-rich song into a panoramic menagerie of sound. For a record that seldom incorporates percussion instrumentals, the music is distinctly rhythm-forward, while Uhlmann also leans heavily into swaths of pastoral beauty. Extra care was clearly poured into the kind of harmonic depth that's often missing from vibe-only "ambient" music, making for a delightfully refreshing take on the electronic, processing-heavy quiet sound.

Extra Stars is Gregory Uhlmann's solo debut on International Anthem. It's a deep and gorgeous expansion of the LA-based multi-instrumentalist producer / composer's rhythmic ambient side, as nascently explored in his much-lauded duo with Meg Duffy, his trio work with Josh Johnson and Sam Wilkes, and in the gentler moments of SML (the improvising trance-jazz unit of which he is a member). A radiant sidereal serenade, the album's fourteen miniature infinities swirl serendipitous synthesis and measured, melody-rich song into a panoramic menagerie of sound. For a record that seldom incorporates percussion instrumentals, the music is distinctly rhythm-forward, while Uhlmann also leans heavily into swaths of pastoral beauty. Extra care was clearly poured into the kind of harmonic depth that's often missing from vibe-only "ambient" music, making for a delightfully refreshing take on the electronic, processing-heavy quiet sound.

The iconic music of Thelonious Monk has inspired generations of instrumentalists and vocalists. The composer's singular style offers challenges ideal for interpretation. Organist Gregory Lewis has long been a Monk acolyte and specialist who is always in search of a new way to frame Monk's work. On Organ Monk Sings, Lewis joins forces with vocalist, lyricist, producer, and artistic director Raina Welch (professionally known as Ms. Raina) for a dramatic and original program of Monk compositions. Gregory Lewis is recognized as a Monk scholar and is best known for presenting Monk's repertoire on the Hammond organ. Seeking new ways to highlight Monk's music, Lewis began exploring the integration of voice into his long-running Organ Monk project. A longtime fan of vocalists who had tackled Monk's music, including Carmen McRae and Abbey Lincoln, he sought a collaborator who could bring something distinctive and fresh to the tradition. Lewis and Welch connected through New York's vibrant music circuit, and their musical chemistry developed naturally through performance, conversation, and a shared commitment to the Black American musical lineage. A classically trained vocalist, Ms. Raina studied at Long Island University Brooklyn and Temple University, refining her technique under the mentorship of soprano Alba Quezada Bloomgarden and mezzo-soprano Dr. Lorie Gratis, with advanced mentorship from soprano Christine Moore Vassallo and Grammy-nominated vocalist Carla Cook. In her crossover journey, Cook's influence grounded Ms. Raina's phrasing, rhythmic placement, and storytelling in the lineage of vocal innovators such as Carmen McRae, Abbey Lincoln, Leon Thomas, and Eddie Jefferson, preparing her for the interpretive and technical demands of Monk's work. Over time, Ms. Raina's engagement with Monk's repertoire deepened through Lewis's perspective as an organist and her own study of the Monk vocal tradition shaped by McRae, Lincoln, Thomas, and Jon Hendricks. The two artists discovered a shared creative vision to reimagine Monk's body of work through the voice, not as novelty but as narrative. Ms. Raina led the project's artistic direction, curating repertoire, shaping the dramatic arc, and co-producing the sessions alongside Lewis. Drawing from her classical discipline, she conceived Organ Monk Sings as a sonic play, a narrative suite exploring love, loss, and revelation through Monk's compositions. Her original lyrics for "Let's Cool One" extend Monk's vocal lineage through a modern lens, merging his compositional wit with personal narrative and emotional depth. The project unfolds in four acts, mirroring the structure of a stage work with overture, scenes, interludes, and grand finale. The track sequence itself tells a story that moves from romantic infatuation to heartbreak, introspection, and renewal. A performance at Arthur's Tavern in New York's Greenwich Village at the end of 2024 proved pivotal, featuring saxophonist Jerry Weldon and drummer Nasheet Waits. Their sensitivity and attention to detail made for an ideal performance, making them the natural choice for the recording sessions held in June 2025 at Tedesco Studios in Paramus, New Jersey. Organ Monk Sings features Gregory Lewis on Hammond B2, Jerry Weldon on tenor saxophone, Nasheet Waits on drums, and Ms. Raina on vocals. The program spans eighteen Monk compositions and runs approximately sixty-two minutes, moving fluidly between solo organ, duos, trios, and full quartet settings. Ms. Raina selected the repertoire, including several pieces Lewis had never previously recorded. She crafted a cohesive dramatic sequence, incorporating instrumental tracks as overtures and interludes. Heard as a whole, the program unfolds like a tragic love story, beginning with infatuation, moving through turmoil, and ending in quiet reflection.

Lovabye follows Groover's formidable first full-length album, Negro Spiritual Songbook, Vol. 2 (The Message), performed by his excellent Boston band in quartet or quintet configurations, contains Groover's arrangements of, as he then wrote, "Black America's praise music through jazz's evolving language to produce a radical theology that connects you to a higher power, ". Recorded in August 2019, it was released two years later, as society unwound from the Covid-19 pandemic. During the lockdown, Groover had generated a group of "love songs and songs of people I love." In spring 2023, he brought this music to Walter Smith III, who Groover had idolized as a teenager, and is now his friend and colleague at Berklee School of Music, their mutual alma mater, where Groover serves as Assistant Chair of the Ensemble Department. "I told Walter I'd like to play with some of my other heroes and peers, " Groover recalls. "He said, 'What's stopping you? The music is there.' Luckily for me, everyone who I wanted to record with was available and happy to do it." The Album was recorded August 16, 2023 at the GSI Studios, NYC. Producer Walter Smith III. Recording engineer Chris Allen. Sound engineer Mike Marciano did the mixing and mastering at Systems Two in NYC. Photography by Saito Ogata.

After two solid albums for Motema Music (which both earned Grammy nominations), Gregory Porter made his Blue Note debut with Liquid Spirit in 2013. The strength of Liquid Spirit lies in Porter's songs, based upon personal experiences with a relatable and emotional immediacy. Even more, his hooky melodies penetrate instantly.?10th Anniversary Edition 3 LP set includes the original album on 2 LPs, and a bonus LP of extra tracks and remixes, with 5 tracks on vinyl for the first time.

Everybody has literal and figurative homes. There are the physical places where heads are laid at night and then there are the feelings, people, activities, or spaces that provide a feeling of the comfort of home. Gregory Lewis has found a musical home delving into the Hammond organ and the music of the great composer/pianist Thelonious Monk, a practice that has allowed him opportunities to play with extraordinary musicians and visit amazing places, and his new recording Organ Monk Going Home brings all of these aspects to bear. // As Gregory Lewis did find out, it is possible to go home again. The organist took the inspiration gained from a trip to Africa, his ancestral home, to revisit relationships with longtime friends and collaborators, Kevin McNeal and Nasheet Waits, and to further his explorations of the music of Thelonious Monk on Organ Monk Going Home.

GREGORY PORTER / WATER - Gregory Porter's debut studio album, Water - originally released in 2010 under the Motema Music label - is now reissued on Blue Note Records. The tracks include love stories such as "Illusion and Pretty," and protests for African-American civil rights like "1960 What?" which recounts the 1967 Detroit riots. Water was hailed by fans and critics alike, elevating Porter to the status of the next great jazz star and marking the beginning of his successful career. 2 LP set pressed on clear vinyl.

Gregory Porter's debut studio album, Water - originally released in 2010 under the Motema Music label - is now reissued on Blue Note Records. The tracks include love stories such as "Illusion and Pretty," and protests for African-American civil rights like "1960 What?" which recounts the 1967 Detroit riots. Water was hailed by fans and critics alike, elevating Porter to the status of the next great jazz star and marking the beginning of his successful career.

Opera Rara presents a new Opera Rara Classics boxset with a limited edition of three sought-after opere serie by Gioachino Rossini, performed by international bel canto champions, including Gregory Kunde, Jennifer Larmore, Carmen Giannattasio and Ildebrando D'Arcangelo. Premiered only ten months apart in 1819, these three operas fell out of the repertoire soon after Rossini's death but have, over the last few decades, been rehabilitated in the operatic canon for the joy of Rossini lovers. Remastered to the best audio quality and featuring a specially commissioned essay by Rossini specialist Eleonora Di Cintio, these recordings, unavailable for many years, will delight opera collectors and Rossini fans.

Hard charging, high octane stuff that never let's you down, or even comes up for air, this is a must for big band fans... Killer stuff. - Midwest Record. Saxophonist, composer, arranger Greg Yasinitsky created his YAZZ Band project as a laboratory for his contemporary, original big band compositions. Made up of mostly Pacific Northwest-based improvisors and ensemble veterans, "New Normal" reflects the times when gathering as a group is not an option. Recorded ensemble tracks from before COVID-19 emerged were combined with recordings done in isolation from faraway outposts including Los Angeles, Baton Rouge, and Italy, allowing for some dynamic new musical options to be explored. From the blazing "G.P." and "Diva," to the heartfelt "Song for Laura," or the funk of "Blues for Brecker," Yasinitsky's YAZZ Band offers a wide ranging set of hard-swinging and joyful original music.

Tchaikovsky's Violin Concerto is the quintessential national virtuoso showpiece, but other Russian composers have contributed strongly to the genre of works for solo violin and orchestra. Tchaikovsky's student Taneyev, who rose to eminence in Moscow, wrote a memorable Suite de Concert that followed the model of the Baroque suite while infiltrating it with warm lyricism and brilliant variations. Earlier, Rimsky-Korsakov had written a Fantasia on Two Russian Themes that explored virtuoso potential in a concerto form that is both seductive and vibrant.

Composer Michael William Balfe composed 29 operas, and around 250 other pieces. He is best known for his opera The Bohemian Girl. Balfe’s opera Satanella was his 23rd opera, and was premiered at Covent Garden in 1858. The work is a hybrid of classical opera tradition and stand-alone songs. This release is performed by the John Powell Singers and the Victorian Opera Orchestra under the direction of Richard Bonynge.

Review:

Bonynge is unsurpassed in this repertoire; he keeps it zipping buoyantly along, effortlessly supporting his singers and clearly relishing every baleful horn call, rippling harp and languishing cello solo. His cast, too, feels near-ideal. The young Chinese-born tenor Kang Wang is a Rupert of considerable dash, and Sally Silver sings the title-role…with sweetness and sparkle.

– Gramophone

A major achievement - John Elwes is a stylish and eloquent Zoroastre and Gregory Reinhart makes a formidable Abramane with a commanding vocal presence. Rameau's Zoroastre should afford enduring pleasure.

Here once more, but in a new CD format, is Zoroastre, Rameau's penultimate tragedie-lyrique. Readers who bought the earlier CD issue when Deutsche Harmonia Mundi were distributed by EMI (1/88) will not be amused to learn that a new booklet has been prepared for the BMG release; this contains the full text of the opera, legibly printed and now with an English translation. Thanks are due to BMG for repackaging an otherwise excellent product, thus making it accessible to a wider listenership.

Zoroastre was first performed in Paris in 1749 and was, by and large, well received. But the librettist, Cahusac was taken to task by some for relegating the love element in the opera to a secondary place. When it was revived in 1756 Cahusac made shifts of emphasis within the plot and it is this version as it first appeared, rather than that which involved yet further small changes later in the season, which is performed here. The libretto deals with the conflict between Good and Evil or Light and Darkness central to Zoroastrianism. Oromases, King of the Genies, represents the former and has Zoroastre as his high priest, while Abramane, high priest of the Temple of Darkness represents the latter. The chief protagonists in the drama are Zoroastre and Abramane who vie for power, glory and love; their characters are skilfully and often strikingly portrayed by Rameau, whose score is richly endowed with bold dashes of colour.

I very much liked this performance when it was first issued on LP in 1984 and feel much the same about it now. John Elwes is a stylish and eloquent Zoroastre and Gregory Reinhart makes a formidable Abramane with clear diction and a resonant, commanding vocal presence. His "Osons achever de grands crimes" (Act 3 scene 2) with its syncopated accompaniment and characteristically effective bassoon writing, is especially noteworthy. As I have remarked in previous reviews, the three principal female roles are sung well though I should have liked greater aural contrasts between them. Agnes Mellon as the innocent Cephie is a particularly happy piece of casting, though Mieke van der Sluis as the jealous Erinice is rather less so. Her voice is a warmly alluring one but seems ill-suited to the darker shades of this character. Greta de Reyghere brings warmth and clarity to the role of Amelite though she does not entirely succeed in conveying the danger and unpleasantness of her predicament.

La Petite Bande is on its liveliest form and Sigiswald Kuijken's direction reveals an insight into and affection for Rameau's music. In spite of some reservations, this is a major achievement and the work one that should not be omitted from any serious opera or baroque enthusiast's library. The recorded sound is excellent and as I have already indicated, the discs are now accompanied by an informative and helpful booklet. Rameau's Zoroastre should afford enduring pleasure.

-- Gramophone [6/1991]

Robert Muczynski, born in 1929, has been sparsely represented on recordings since the early days of the LP. The 35 movements of various works on the disc average under two minutes each; he is obviously terse-he tosses an attractive idea out and then goes on to the next thing. His mid-20th-century idiom is consistently engaging, and he writes very well for winds. The brief Movements for Wind Quintet is gorgeous. Hawley plays strongly in every work (joined briefly by her former teacher Rampal in a work for duets), and the composer is still a very adept pianist.