1989 is the record on which the onetime country star fully embraced electro-pop—vocal reverb, ice-cold drums and all. Excitable opener "Welcome to New York" is as big and shiny as the city's skyscrapers on a summer morning. It has zero chill, but Taylor Swift insists she's in on the joke with the haters-be-damned "Shake It Off," a spinning cartwheel of horn skronk, drum splashes and Motown backing vocals.

If there is one place where Kaz Hawkins' talent is perfectly expressed, it is the stage. This album recorded at the Summer Camp Festival in Brezoi, Romania is irrefutable proof. Having become one of the most important blues festivals in Europe, Brezoi has long crowned Kaz Hawkins as one of its queens, with the Northern Irishwoman being one of the headliners of the event each year. This public recording of 12 tracks is a new stone in Kaz Hawkins' musical edifice which is growing day by day to now approach the summits of the genre. A pure treat.

Harpist Constance Luzzati’s new album Jupiter offers a fresh perspective on favourite pieces of the 18th century originally composed for the harpsichord and viola da gamba.

Distilled sparingly over the course of Franz Schubert’s all too brief life, the few works that make up his output for violin and piano fascinate and intrigue, writing the episodes of a story that is undoubtedly fragmentary, yet in reality deeply unified in a mysterious yearning for elsewhere. Situated somewhere between the miniature of the lied and the large symphonic forms, these pieces open countless windows onto Schubert’s contrasted and tormented universe. Nathalia and Maria Milstein’s choice of a splendid Blüthner piano of 1857 plays a crucial role in the quest for unheard-of sound worlds on which this disc invites us.

Welcome to Palette. Each work on this album invites you to a unique sonic universe. Together, the pieces represent a new era in my repertoire and practice. In several of these works, I have actively participated in the compositional process as a co composer, contributing with my creativity and knowledge. The pieces are constructed in partnership with a number of open and creative composers, and in several cases, years of collaborative work prepared the ground for their blooming colors. They result from intertwined contributions, generating works that none of us could have imagined alone.

Bringing together Brahms's three Sonatas for violin and piano is both an obvious choice and a challenge. Obvious because, as all three come from the composer's mature works, they share a similarity of inspiration – nature, the voice – and aesthetics; a challenge because each, however, has its own character and expression, the first melancholy, the last dramatic and the second lyrical and exalted. By placing them side by side, Sergey Ostrovsky and Natalia Morozova dive into Brahmsian interiority, all the facets of which the musicians capture with infinite delicacy.

The extensive body of work by Anton Bruckner (1824-1896), which is often limited to his monumental nine symphonies (eleven if the two scores prior to the First are included), is characterised by the expression of his deep Catholic faith. Bruckner received his training as a young singer at the age of thirteen at the Abbey of Saint Florian, located a few kilometres from Linz in Austria. His faith is exalted in both his religious and orchestral works, as evidenced by his dedication of his Ninth Symphony to 'Ad Majorem Dei Gloriam'. It is not surprising that almost half of Anton Bruckner's catalogue, which consists of around 150 opuses in the Werke Anton Bruckner (WAB), are choral scores.

During the années folles, Paris was both a temporary home base for many artists and a formidable creative laboratory, mixing jazz, Latin music and neo-classicism. The guitar benefited from this effervescence, expanding its repertoire and winning its place in the concert hall.

Complete Piano Works offer listeners more clarity and detail than ever before. The expert engineers at Abbey Road Studios who remastered the original EMI recordings on Hybrid Super Audio CDs have breathed new life into these iconic catalog recordings. Each title in the Signature Collection is beautifully presented in a full-color illustrated hardback book. The liner notes explore mot only the rich music but also the story behind original LP covers. Also included are never before seen photographs of the original master tapes.

This 1999 session finds Honeyboy working his acoustic magic in the company of Madison Slim on harmonica and Jimmy D. Lane, son of the late Jimmy Rogers, on second guitar. Recorded at the Blue Heaven Studios (a converted church) in Salina, Kansas, this is a pretty inspired session with Edwards running through old classics like Charlie Patton's "High Water Everywhere" and "Pony Blues", "Drop Down Mama", "Shake 'Em on Down", "Anna Lee", "Bullfrog Blues", and "Monkey Face Woman". As an added bonus, there's also an interview with this fascinating bluesman, making this session a real keeper. One of his best.

Cinema Serenade came to be as a result of the 1992 collaboration of the world's premier film composer, John Williams, with one of the world's finest violinists, Itzhak Perlman, on the score for Steven Spielberg's Holocaust epic Schindler's List. The duo reunited to create a collection of excerpts from a variety of different film scores presented in new arrangements that are centered around Perlman's violin. Williams arranged most of the numbers and conducted the Pittsburgh Symphony Orchestra. The selections are a strange hodgepodge culled haphazardly from some 50 years of film history.

South African Bassist and Composer, Benjamin Jephta releases new music that reflects on his experience as a so-called ‘Coloured’ in post-Apartheid, democratic South Africa. He dissected his experience and created music centred around important themes.

Pianist Emmi Karoliina Uimonen's Emmi U. Trio plays the first gig of The Album Release Tour in tenho of their new album on the train.

The twelfth of her studio albums, Lemons, Limes, and Orchids is a crowning showcase of Joan's voice in all its metamorphic splendour. “I was ready to make an album that truly featured my voice. The basics were recorded like they used to be- with me singing live along with the band. My good friend said told me this is the sexiest album I’ve ever made. Honestly, I think she’s right. The record is a nocturne about love and loss — what else is there? — and a reckoning with our collective disorientation, part hymn to holding on and part benediction of letting go.

After the immense success of her Bach-Abel album (ALPHA783), Lucile Boulanger celebrates the French viol through the centuries: 'This transchronological dialogue traces the history of a dynasty of composers in a subjective, even emotional way', from the seventeenth century (Marin Marais, Sainte-Colombe, Nicolas Hotman) to the twenty-first, with contemporary works by Philippe Hersant, Claire-Melanie Sinnhuber and Gerard Pesson, some of which were specifically written for Lucile Boulanger: 'There is no longer any need to prove that my instrument is an integral part of our musical landscape. The viol is alive and well. For several decades now, it has inspired new compositions; its vocabulary is constantly expanding', concludes the violist.