Twilight's dancing glow Yearning for love: Where is my beloved? I have searched for him, both high and low. Bid him come to me, for without him I cannot live. Longing for an end to suffering: The soul glides across the shimmering waves, the glow of twilight dancing around the boat. Time flows on, until I too shall slip beyond it's reach. Burning desire: You were stolen from me, but in my heart, you linger still: I embrace you, I kiss you! Ensemble Rossignol owes it's name to the title of it's first concert series in 1998: The virtuoso song of the English Nightingale. Indeed, the virtuosity and refined, playful, inspiring, intimate and musical performance of the ensemble immediately call to mind the enchanting song of this remarkable bird. Ensemble Rossignol has since released four CDs: LocLoc Locke and Locatelli larded, London Love, Master composers in the shadow of Handel and Vrouw Women in Baroque and Early Romantic music, from in love to inconsolable.

She was Igor Stravinsky's piano teacher and studied herself with Anton Rubinstein. But to this day, her compositions have remained in the shadow of the great male masters-a fate that many women of this era share with her. Although her oeuvre is nowhere near as comprehensive as that of her composing colleagues, these few works still demonstrate incredible talent, mature skill, and a deeply romantic Russian sound language that is so typical of this time.

Astor Piazzolla (1921-1992) was an Argentine composer and bandoneon virtuoso who revolutionized the traditional tango by infusing it with elements of jazz, classical music, and modern harmonies. His work transformed tango from a dance genre rooted in Buenos Aires' popular culture into a sophisticated art form suitable for the concert hall. Central to this transformation were his bandoneon concertos, which showcased the expressive possibilities of the instrument and blurred the boundaries between popular and classical traditions. The bandoneon, a type of button accordion originally developed in Germany, became the soulful voice of Argentine tango. Piazzolla mastered it's complex mechanics and extended it's expressive range far beyond it's traditional role. Aconcagua: Concerto for Bandoneon and Orchestra (1980) represents the peak of Piazzolla's orchestral writing. Named after the highest mountain in the Andes, it symbolizes artistic ascent and ambition. This concerto highlights the instrument's dual nature-melancholic yet rhythmic, intimate yet dramatic. In this concerto, Piazzolla combines lush textures, driving rhythms, and virtuosic passages to create a dialogue between the bandoneon and orchestra that is both lyrical and dynamic. Also included on this disc are the Tres Tangos for orchestra and the immensely popular Oblivion, known from Marco Bellocchio's film Enrico IV. Played by Klaudiusz Baran, one of the leading bandoneon players of his country, and the Czestochowa Philharmonic Symphony Orchestra, conducted by Adam Klocek.

The dazzling and spectacular sonority of the "trumpet and organ" duo was etched into contemporary history by the splendid recordings made starting in the 1960s for the label "Erato" by Maurice André and Marie-Claire Alain. Since then, a plethora of performers on both instruments have explored - with varied outcomes - works composed for their ensemble, transcribed and adapted music written for other instruments, and encouraged composers to expand the repertoire. The duo Santi-Arlotti, already established by their concert fame, stands out for their meticulous research and the originality of their musical proposals, which have been appreciated since their first CD, released in 2017 for Tactus (TC850003). This album was entirely dedicated to variations on famous opera themes (Verdi, Rossini, Bellini, Donizetti, Dall'Argine) composed by Arban, Forestier, Zanichelli, Cacciamani, Rossari, and Spiga. Their repertoire is the fruit of passionate research, as evidenced by the beautiful Concerto by Bortolotti, drawn from a precious Bolognese manuscript and skillfully adapted for the organ by Marco Arlotti, presented in this recording.

Variation means change - a creative impulse that has driven composers for centuries. Among the great variation cycles in music history, one rises like an eight-thousander: Ludwig van Beethoven's 33 Variations on a Waltz by Anton Diabelli, op. 120. On her new recording, pianist Lei Meng places this monumental late work at the centre and invites listeners on an ascent into Beethoven's most imaginative terrain. Lei Meng pairs this towering cycle with a work from Beethoven's early years: the energetic, sharply profiled c-minor Bagatelle WoO 52 from 1795. Here we already encounter the composer who would make the key of C minor his signature - with scherzo-like wit, driving force and a softly glowing trio in C major.

This CD brings together five works by Eckart Beinke that open sonic spaces where intuition, fragility and heightened awareness intertwine. Rejecting any form of surface brilliance, Beinke turns toward the subtle and unresolved - those delicate resonances in which emotion, memory and thought merge. Each piece unfolds it's own sound-topography: at times an exploration of beginnings, at times a politically alert reflection, at times a sonic mapping of nature, chance or the subconscious. Boundaries blur between noise and pitch, structure and freedom, personal gesture and social vigilance. This CD invites the listener to experience sound as a realm of thinking - a space where perception expands and listening itself becomes a quiet act of intensity and presence.

The title stands for the idea of re-coloring - for consciously questioning listeners' expectations and musical attributions, between tradition and new beginnings. What happens when classical forms, harmonic contrasts, and contemporary musical languages collide? The rare combination of harp, clarinet, and cello in the Trianima ensemble creates a delicate, transparent soundscape that opens up space for nuances and subtleties.

With Missa Iste Confessor Domini, the Musurgia Ensemble presents a fascinating journey into the music of the 16th century, taken directly from the historical manuscripts of the Santa Cruz monastery in Coimbra, Portugal. The focus is on the mass of the same name, which comes from the choir book P-Cug MM 2 - one of Portugal's most important musical sources from this period. This manuscript, probably produced shortly after 1530 in 's-Hertogenbosch, contains eleven masses by renowned Franco-Flemish composers. The program is complemented by colorful instrumental works from other Coimbra manuscripts. João Francisco Tavora, renowned recorder player and artistic director of the Musurgia Ensemble, draws on his many years of experience with Portuguese Renaissance and Baroque music. After studying in Porto and Leipzig, he has toured international stages as a soloist and ensemble musician and has made numerous recordings.

Franz Schubert, who hardly ever owned a violin of his own, created music of wonderful inwardness for this instrument. Not a virtuoso in the conventional sense, he was a master of emotional sound speech. Like his piano works, his pieces for violin and piano also open up that sphere of the 'there' in which the earthly merges into transcendence. In their dialogue, the opposing worlds of the violin - the 'torn tone' - and the piano - the 'bound melody' - meet to form a lyrical unity that does not 'represent' anything, but simply 'is'. Ingolf Turban and Tomoko Sawallisch are the ideal performers for these works!

We do not know precisely the date of birth and death of Gaetano Sborgi, a composer who lived between the second half of the eighteenth century and the beginning of the nineteenth. We can say with reasonable certainty that Sborgi was born in Florence, as in the frontispiece of his sonatas he states that he is Florentine. Sborgi was chapel master and piano-forte teacher at the Imperial Academy of Fine Arts in Florence. He studied with his brother (or father according to Picchianti) Gasparo and then moved to Naples in the Conservatory of S. Onofrio, where he had Marco Santucci as a companion and where he stayed for seventeen years. Back in Florence "he made himself known... with several of his theatrical pieces of real good taste, and in others of different kinds. He had three works of piano sonatas printed, which show his genius and talent". Six harpsichord sonatas dedicated to Lorenzo Niccolini, ciamberlano of Peter Leopold I and Ferdinand III, can be included in the context of those compositions that show the gradual transition from the traditional harpsichord with plucked strings to the new conception, piano et forte, with struck strings. Jacopo Sibilia uses a copy of a 1783 Stein fortepiano, which can be played with two different types of action, in order to make the performance more expressive and harmonious.

Italia Mia by Ensemble Micrologus is not merely a collection of pieces but a musical journey that invites listeners to explore the vivid and diverse soundscape of Italy's past. Through their dedicated performance, Micrologus offers a window into the past, allowing modern audiences to experience the beauty and complexity of early Italian music. This live-recording stands as a testament to the enduring appeal of these works and the ensemble's commitment to preserving and celebrating the rich tapestry of Italy's musical heritage.

With Charlotte! Adieu!, guitarist Philipp Schmidt dedicates his album to the young musician Charlotte Beslay (nee Levavasseur), a student of Fernando Sor and a talented pianist whose playing is said to have impressed even Rossini. Her early death in 1835 - she died at the age of only about twenty while giving birth to her son - left a deep impression on Sor. In moving memory of her, he composed the Fantaisie elegiaque, Op. 59, whose conclusion bears the words 'Charlotte! Adieu!': a musical farewell full of sincerity and sorrow. In addition to this central work, the album presents selected etudes, lecons, and character pieces from Op. 6, Op. 29, Op. 31, and Op. 35, as well as the meditative miniature Le Calme, Op. 50, and the virtuoso Variations on a Theme by Mozart, Op. 9. On a historical Romantic guitar, Philipp Schmidt allows Sor's music to shine anew in it's original clarity, warmth, and poetic expressiveness.

Vinyl LP pressing. A giant of the R&B and pop scenes in the 1950s and 60s, Roy Hamilton's nickname "The Golden Boy of Song" was richly deserved. A mentor to Elvis Presley, and the only act Jerry Lee Lewis never wanted to follow on stage, Hamilton's beautiful baritone voice was carefully honed and crafted. His versions of pop standards, like "You'll Never Walk Alone", and "Unchained Melody" have not only stood the test of time, they have become the benchmarks of how ballads should be sung. The fact that Hamilton's music is rarely heard today is a tragedy and underlines the need for a collection of this gifted performer's music. Beyonce clearly felt the same way, having sampled Hamilton's "Don't Let Go" on the prelude to "Texas Hold 'Em" on her "Cowboy Carter" album. For decades his family has lobbied to have Hamilton inducted into the Rock 'n' Roll Hall of Fame. Listen to this fabulous collection, and you will see why he deserves wider recognition as we take in "You'll Never Walk Alone", "Ebb Tide", "Unchained Melody", "Everybody's Got A home", "Pledging My Love" and "You Can Have Her" along with many more

Founded in 2006 by broadcaster, DJ, and cultural tastemaker Gilles Peterson, Brownswood has spent the last 20 years championing forward-thinking artists who sit just left of centre: rooted in Afro-diasporic music but never confined by genre. Twenty Years Deep is a snapshot of that journey: a carefully curated collection spanning the label's early breakthroughs, cult classics, and defining moments. Twenty Years Deep brings together tracks that reflect Brownswood's long-standing commitment to artistic freedom, musical lineage, and future-facing sounds. From deep jazz explorations and dancefloor mutations to global collaborations and genre-defying hybrids, the compilation captures the connective thread that has defined the label since day one: trust in artists and belief in music that lasts. Rather than a greatest-hits exercise, Twenty Years Deep functions as an archive and a statement documenting how Brownswood has maintained it's own point of view. By following a highly instinctive approach to A&R the label has shaped music culture, introduced new voices, and built a catalogue that continues to resonate well beyond release cycles.

Convergence: Live in China is the new album from William Hooker, featuring world-renowned musician and composer John King. It was captured from the duo's 2024 performance at the B10 Festival in Shenzhen. In tune with the open-hearted engagement and palpable respect of the audience, they deliver an exhilarating hour of improvisation. Hooker's thunderous drumming is blanketed by sheets of distorted guitar from King, both playing with formidable intensity. Recorded direct from the soundboard on 10/25/2024, the concert is available in vinyl, CD, and digital formats, with the latter two including three bonus pieces from the performance. Convergence: Live in China is the new album from William Hooker, featuring world-renowned musician and composer John King. It was captured from the duo's 2024 performance at the B10 Festival in Shenzhen. In tune with the open-hearted engagement and palpable respect of the audience, they deliver an exhilarating hour of improvisation. Hooker's thunderous drumming is blanketed by sheets of distorted guitar from King, both playing with formidable intensity. Recorded direct from the soundboard on 10/25/2024, the concert is available in vinyl, CD, and digital formats, with the latter two including three bonus pieces from the performance. Convergence: Live in China is the new album from William Hooker, featuring world-renowned musician and composer John King. It was captured from the duo's 2024 performance at the B10 Festival in Shenzhen. In tune with the open-hearted engagement and palpable respect of the audience, they deliver an exhilarating hour of improvisation. Hooker's thunderous drumming is blanketed by sheets of distorted guitar from King, both playing with formidable intensity. Recorded direct from the soundboard on 10/25/2024, the concert is available in vinyl, CD, and digital formats, with the latter two including three bonus pieces from the performance. Convergence: Live in China is the new album from William Hooker, featuring world-renowned musician and composer John King. It was captured from the duo's 2024 performance at the B10 Festival in Shenzhen. In tune with the open-hearted engagement and palpable respect of the audience, they deliver an exhilarating hour of improvisation. Hooker's thunderous drumming is blanketed by sheets of distorted guitar from King, both playing with formidable intensity. Recorded direct from the soundboard on 10/25/2024, the concert is available in vinyl, CD, and digital formats, with the latter two including three bonus pieces from the performance.

Painting In Sound, Hayes Greenfield's third Sunnyside release, expands the perception of what jazz-and binaural, spatial, immersive music-can be. An acclaimed jazz musician, composer, and electroacoustic artist, Greenfield draws from decades of traditional and improvisational mastery and sonic exploration to create a recording that is resonant and substantial. Captured with Max/MSP and SPAT spatial and binaural software, the album positions the listener inside a fully three-dimensional sound field. Greenfield treats space as an equal voice, shaping air, distance, proximity, and motion with the same care he brings to melody, harmony, and rhythm. Using spatial placement and movement through the immersive field, lines arc and spiral, instruments and textures shimmer, orbit, recede, and tones approach, and dissolve. Rooted in jazz's spontaneity and reaching beyond traditional form, the record extends the line between performance and environment. It is an expansive statement from an artist pushing jazz into new perceptual dimensions.

It is often the case that the creation successful art comes down to basic factors. For jazz music, talent and creativity are obvious essentials. But what usually drives music further is trust between performers and a sense of spontaneity in performance. Keyboard master Gary Versace aimed to harness all these elements on his new recording, Three Track Mind, a vibrant collection of fresh arrangements of standards and favorites by a fledging trio, featuring bassist Francois Moutin and drummer Rudy Royston. Versace has long been admired for his incredible touch on piano, organ, and accordion, appearing alongside a tremendous and eclectic of collaborators. His playing has adorned the work of artists as diverse as John Scofield, Maria Schneider, John Hollenbeck, and Madeleine Peyroux. Versace is also an accomplished composer and educator. In his catholic approach to musical collaboration, Versace has been fortunate to perform with some incredible musicians, including Francois Moutin and Rudy Royston. Though, opportunities came often to appear on stage with both, the trio had never played all together. Versace first met Royston in performance with the dearly departed trumpeter Ron Miles in Colorado. Once Royston relocated to New York City, the two began performing more and more, including Versace as accordionist in Royston's Flatbed Buggy. Versace and Moutin regularly found themselves on the bandstand, especially behind vocalists. Versace knew that the two would be ideal in trio, as their musicality and energy were ideal for his style of playing. It was with this in mind that Versace invited Moutin and Royston to a two-day session at Chris Sulit's Trading 8s Studio in July of 2024. Versace wanted to create an environment that replicated the feeling of a live set, just interpreting standards and tunes in an open way to provide fresh takes and opportunity for improvisation, delivering a true sense of the music being able to go anywhere. The pieces the trio played were not planned. Versace would introduce the piece and Moutin and Royston would join in as they recognized it. As fantastic individual orchestrators, Moutin and Royston were able to help Versace make incredible, instantaneous arrangements. With all the takes being so different, Versace provided two takes of Joseph Kosma's standard, "Autumn Leaves," to show just how vastly different the trio could play them. Finding just the perfect balance of elements, Gary Versace brings to fore an openminded and expressive trio with Francois Moutin and Rudy Royston. Together they present, Three Track Mind, an intimate and explorative recording of a trio that should not be missed.

From award-winning pianist and educator Jeremy Siskind comes Seeking Balance, a deeply felt acoustic jazz album recorded with a stellar trio featuring bassist Darek Oles and drummer Joe LaBarbera, with special guest vocalist Claire Martin. The album moves fluidly between moody originals-including the title track, a modern meditation on contemporary anxiety, and the pointed "Greedy Capitalism"-and luminous interpretations of songs by Leonard Cohen, Paul Simon, Bud Powell, Stephen Sondheim/Leonard Bernstein, and Ezra Furman. Martin's rich, searching voice anchors four vocal tracks, including the deeply personal original "A Photograph" and a haunting take on Cohen's "Everybody Knows." Produced by Siskind and engineered by Talley Sherwood, with mixing and mastering by James McMillan and Michael Scherchen, Seeking Balance is both intimate and expansive-a record that finds beauty and resilience in the act of holding opposites together. Perfect for fans of Keith Jarrett, Brad Mehldau, and Diana Krall, this album blends lyrical depth, harmonic sophistication, and the warmth of acoustic trio jazz with a contemporary sensibility.

The Kuss Quartet and violist Muriel Razavi embark on a three-volume traversal of the six Mozart String Quintets. The first of these works dates from 1777 and was closely modeled on the contemporaneous quintets by Michael Haydn. The G minor, the 4th of the quintets was composed in 1786. It is dark, turbulent and melancholy, typical of the composer's G minor works. It is composed on a large scale, especially the opening movement, something it shares with the Prague Symphony No. 38 and the 25th Piano Concerto in C composed at the same time. The Kuss Quartet include two short works for string quartet by contemporary composers to place in between the two quintets and to round the album off.

From the lyricism of Bloch's Schelomo to the modernity of Lutoslawski's Cello Concerto, Jean-Guihen Queyras and Gustavo Gimeno explore the cello's lyrical side, revealing itself as prayer, lament, or murmur. In contrast, the Polish composer's Concerto for Orchestra celebrates vitality and collective energy. This program is a journey from inner song to orchestral power.

Jess Sah Bi is well- known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country- Americana to the West African masses with their smash debut Our Garden Needs It's Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi-or Jesse, as he known to friends- became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped until he became a born-again Christian. He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. That album, Jesus-Christ Ne Decoit Pas [Jesus Christ Does Not Let Us Down], came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, and he enlisted some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. Jesus-Christ Ne Decoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message.

Jess Sah Bi is well- known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country- Americana to the West African masses with their smash debut Our Garden Needs It's Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi-or Jesse, as he known to friends- became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped until he became a born-again Christian. He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. That album, Jesus-Christ Ne Decoit Pas [Jesus Christ Does Not Let Us Down], came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, and he enlisted some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. Jesus-Christ Ne Decoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message.

In the rapidly shifting tectonic plates of the global Afrobeats scene, few arrivals have been as seismic as that of Ahmed Ololade-better known to the world as Asake. With his breakout project Mr. Money With The Vibe, the artist didn't merely debut; he effectively recalibrated the tempo of the Nigerian pop soundscape. The EP functions as a masterclass in synthesis, pulling from the ornate, percussive history of Fuji music and grafting it onto the driving, bass-heavy architectures of contemporary Amapiano. It is a calculated, deeply rhythmic hybridization that manages to feel both nostalgic and jarringly modern. From a critical vantage point, Mr. Money With The Vibe is defined by it's brevity and density. Asake treats each track as a focused vignette, utilizing a vocal delivery that oscillates between a melodic, almost liturgical chant and the staccato urgency of a Lagos street orator. The production-characterized by sharp, frenetic percussion and deceptively simple melodic loops-creates a high-intensity atmosphere that mirrors the relentless pace of urban life. He avoids the pitfall of bloated experimentation; instead, he doubles down on a "street-pop" ethos, prioritizing accessibility without sacrificing the complex rhythmic interplay that gives the genre it's distinctive texture. Ultimately, Mr. Money With The Vibe stands as a pivotal document of the current era, capturing the transition of Afrobeats from a regional powerhouse to a dominant global force. By blending the aspirational "hustle culture" narrative with an increasingly sophisticated sonic palette, Asake established a blueprint that has since influenced a new wave of artists. The project is a testament to the idea that authenticity, when paired with relentless precision, remains the most effective currency in contemporary music. Includes the singles, "Sungba (Remix)," "Peace Be Unto You (PBUY)," & "Terminator."

Vivaldi's famous Four Seasons are dedicated to Count Wenzel von Morzin from Prague. In 1718, he traveled to Venice with his 'virtuosissimo orchestra' and hired Vivaldi as 'maestro di musica italiano'. This marked the beginning of an era of close musical exchange between Venice and Prague. This relationship, which shaped an entire generation of Czech composers, is the focus of Vivaldi in Prague. The program includes concertos by Frantisek Jiranek, who was employed in Count Morzin's chapel and studied in Vivaldi's circle in Venice from 1724 to 1726, and by Antonin Reichenauer, whose musical thinking was strongly influenced by Vivaldi's school. The program is complemented by a bassoon concerto by Vivaldi dedicated to Count Morzin, an aria from a Vivaldi opera performed in Prague in 1730, and two arias from Vivaldi pasticcios reconstructed by Robert Rawson for this production. These pasticcios were compiled by the Venetian impresario Antonio Denzio from popular Vivaldi operas and presented to Prague audiences with new texts, including some in Czech.

Electric is the seventh studio album from 2025 Billboard Artist of the Year and 19-time Billboard #1 guitarist / producer Adam Hawley-a forward-thinking collection that pushes contemporary jazz deeper into the streaming era while staying rooted in melody, groove, and emotional connection.