Longevity among jazz groups is a surprisingly rare commodity. With relatively few exceptions, a run of a few years, at most, is standard; for a collective of jazz musicians to stick together for a decade or more is almost unheard of. That puts Fourplay, who celebrates their 25th anniversary this year, in a league of their own. Since 1990, bassist Nathan East, keyboardist Bob James, guitarist Chuck Loeb (who joined five years ago) and drummer Harvey Mason have continued to explore together, their efforts resulting in what All Music Guide called one of “the most intuitive, forward-thinking and focused groups in modern jazz.

Distant Satellites (stylised as distant satellites) is the tenth studio album by the British rock band Anathema. It was released in June 2014 via Kscope and reached #33 in the UK album charts.
The album was recorded at Cederberg Studios in Oslo, with producer Christer-André Cederberg, with some songs also mixed by Steven Wilson due to an operation on Cederberg's back.

This is the sixth CD in the first complete recording of the 72 cantatas in Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to appear in print. The cantatas are designated for voice, an obbligato instrument (recorder, violin, transverse flute or oboe) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. George Adams and Don Pullen knock it out of the park on this one – finding great company in each other's presence, and really moving things forward in the process! The set begins with a long track titled "Mingus Metamorphosis", and that really sums up the spirit of the record – an 80s reworking of all the ideas that the players had learned from Mingus, but with an individual, personal sense that's all their own – and very different than some of the more standard modes of the Mingus Dynasty group that continued the legacy in a more direct manner. Adams is bold one minute, lyrical the next – and plays both tenor and flute – alongside Pullen on piano, Cameron Brown on bass, and Dannie Richmond on drums.

This is Philip Higham's second recording, following his debut of Benjamin Britten's three solo suites. | Bach's cello suites, Britten's inspiration, are a pinnacle of the repertoire for any cellist. The suites were written between 1717–1723, when Bach served as a Kapellmeister in Köthen. | Higham's thoughtful yet daring approach also leads him to combine elements of period and modern style both in his playing and in his choice of instruments – a 1697 cello for the first five suites and a 2013 five-string instrument to bring out the extraordinary range of colours with which Bach invested the crowning Sixth. | On this recording, Higham uses tAnna Magdalena Bach's manuscript copy of the works. | In recent months Higham has appeared as soloist with the Philharmonia Orchestra, the Hallé Orchestra at Bridgewater Hall, the Royal Northern Sinfonia and Bournemouth Symphony Orchestra.

Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A firey session from the quartet of George Adams and Don Pullen – a set that has the group stretching out in some of their most spiritual modes, yet still finding plenty of time to swing as well! Adams is tremendous on tenor – a very fresh voice in the post-Coltrane world, with phrasing that is all his own – even more amplified when he switches to flute – and Pullen's got this ability to go outside, and show his knowledge of the darker corners of the keyboard – yet never let that side of his playing overwhelm things, possibly because the rhythmic accompaniment from Cameron Brown on bass and Dannie Richmond on drums is so strong. Tracks are all long, and very individual – with the group in high spirits on the titles "Earth Beams", "Magnetic Love Field", "Saturday Nite In The Cosmos", "More Flowers", and "Dionysus".

Double Days I is a 2015 compact disc by duo Big Blood. This was released by Don't Trust The Ruin.

Colin Linden is a genuine renaissance man of roots music. He’s a singer and songwriter of great skill; an in-demand and prolific record producer (Bruce Cockburn, Tom Wilson, Colin James); a side-man to the stars as guitarist for the likes of Bob Dylan, Greg Allman, Bruce Cockburn, Emmylou Harris, and Robert Plant and Alison Krauss; a member of Blackie and the Rodeo Kings; plus there's his on and off-screen musical work on the TV series "Nashville." Linden’s songs have been covered by The Band, The Blind Boys of Alabama, Keb’ Mo’, and Colin James. His new release includes guests Charlie Musselwhite, Reese Wyman and Amy Helm.

It's increasingly common to hear the symphonies of Ludwig van Beethoven played on original instruments and according to authentic period practices, which have become de rigueur for many contemporary conductors and orchestras. But Martin Haselböck and the Vienna Academy Orchestra go one step further by playing them in their original Viennese venues, thus creating something close to the sound and impact of the first performances. For this first installment of the Re-Sound Beethoven series, the Symphony No. 1 in C major was recorded in the Imperial and Royal National Court Theatre, where it was premiered in 1800, while the Symphony No. 2 in D major was recorded in the Theater an der Wien, the site of its debut in 1803. Anyone sensitive to the nuances of different acoustics may form some idea of the sounds Beethoven's audiences experienced, and possibly feel a bit of the thrill of brushing up against history.

Anna Moffo, as the young and vulnerable heroine Lucia, produces a wonderfully sincere, yet highly romantic performance in this classic recording of Donizetti's Lucia Di Lammermoor. Featuring Georges Prêtre conducting the RCA Italian Opera Chorus and Orchestra, the recording features a stellar cast of singers, including the incomparable Carlo Bergonzi, Mario Sereni, and Ezio Flagello.

Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Solidly soaring work from tenorist George Adams – recording live here with pianist Don Pullen, one of his best musical partners during the 80s! The album's got a bit more of a bite than some of the pair's studio sessions – a bit straighter overall, but recorded with a nice degree of energy, and some long tracks that really let both players open up nicely – in a combo that also features John Scofield on guitar, Cameron Brown on bass, and Dannie Richmond on drums. The inclusion of Scofield's guitar changes up the group's sound in a nice way – adding in some more chromatic elements that really stand out – and titles include "IJ", "Flame Games", "Song Everlasting", and "Forever Lovers".

Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. One of the most beautiful albums ever cut by the team of reedman George Adams and pianist Don Pullen – a spare set of duets that really lets both players open up in their most soulful styles! The set begins with a pretty freewheeling vibe – one that might almost make you doubt the "melodic" in the title – but soon settles into that gently spiritual style that both players brought to their work at the time – almost lyrical at points, but always with deeper ideas at play – and perfectly balanced out between the solo passages of Adams and Pullen!

Sonar and their mesmerizing/infuriating (choose depending on your perspective) music exploded on a unsuspecting world with Cuneiform's release of their album, Static Motion, 2 years ago. An instrumental rock quartet consisting of 2 guitars, bass and drums, they are a progressive, post-minimal, instrumental band from Switzerland. Their name stands for SONic ARchitecture, alluding to their intention of creating polymetrical soundscapes and highly structured aural spaces. Sonar's music is played live without any sequencers, loops or computers using a minimum amount of equipment: 2 guitars, a bass guitar, 3 small amplifiers und a basic drum kit. No effects are used to keep the music as clear, direct and immediate as possible. The group is very concerned about timbres, tension and release, group dynamics and instrumental interplay.

Ellesmere is the brainchild of Roberto Vitelli, bass & guitar player from Italian prog band Taproban. As opposite to the bombastic sound of the band, with Ellesmere Vitelli focuses on an acoustic and yet symphonic approach, delivering a stunning 40 minutes suite much in the style of early Genesis and Anthony Phillips works (ref. The Geese and the Ghost). As the title suggests, every section of the suite is dedicated to one of the ancient French castles that reside along the Loire river. Several acoustic, classical and 12 strings arpeggiato guitar layers are topped with beautiful strings and flute melodies (John Hackett is guesting on most of the tracks) and an original vintage Mellotron provides further orchestration.

Nordic Sound - Tribute to Axel Borup-Jørgensen was conceived as a musical memorial to the late Danish modern master, Axel Borup-Jørgensen. Five leading Danish and Faroese composers, Bent Sørensen, Sunleif Rasmussen, Thomas Clausen, Mogens Christensen and Pelle Gudmundsen-Holmgreen, were commissioned by Edition Borup-Jørgensen and the composer’s daughter, Elisabet Selin to write a recorder concerto for Michala Petri and string orchestra. The choice of the recorder was both an outgrowth of Borup-Jørgensen’s decades long engagement with the instrument and as Petri’s personal tribute, who became a “second daughter” to the composer.