Charles McPherson delves into a number of standards in this collection of timeless ballads, well accompanied by pianist Steve Kuhn, bassist David Williams, and drummer Leroy Williams. The alto saxophonist's tone has a bit of a bluesy edge throughout the sessions, as if he is reminiscing about a past love. His heartfelt rendition of "My Ideal" stands out, as do his two interpretations of songs by Nicholas Brodszky, "Be My Love" and "Love Letters." McPherson picks up the tempo with "I Didn't Know What Time It Was," though his tone doesn't shift to a lighter mood. The relaxed mood makes this release perfect for late-night listening. The only drawback with this CD is the ugly cover photo, which McPherson denounced as very tasteless during a 2007 interview.

2006 seems to be a significant year for jazz's elder states persons. Pianist Andrew Hill has seen a year full of recordings: new music, reissues and previously unreleased material, as well as an outstanding tribute by guitarist Nels Cline. Chick Corea, who's a few years younger than Hill, has released a new record and toured with trios focusing on his back catalog. Super Trio (Stretch, 2006) documented a tour where the pianist was clearly in control of the arrangements; however, Live in Molde is an entirely different affair.

Although Bebel Gilberto has been writing, performing, and recording since her childhood, this is only her second full-length solo album. The child of Brazilian legend João Gilberto and the celebrated singer Miucha, she comes by her musical talent honestly, but has honed and developed it carefully over the years, being careful not to overexpose herself or peak too early; as a result, she now emerges as a mature and fully developed singer despite her relative youth. Her eponymous sophomore effort is a delightfully warm and unaffected program of Brazilian pop, much (but not all) of it in a fairly traditional bossa nova style. There are electronic elements in the mix, but they are mostly kept in the background; instead of aggressive electronica or superimposed breakbeats, the instrumental accompaniment is mostly woven from organic percussion, acoustic guitars, bass, and piano.

While Eugene Ormandy's fame derived largely from his recordings of short, popular pieces, I feel that his strengths lay somewhere else. Case in point: this recording of Ives' Second Symphony, which Ormandy recorded in 1973, strikes me as the work's finest hour on disc, even better than either of the much acclaimed Bernstein versions. Ormandy is totally self-effacing in this score, unlike Bernstein who never lets you forget his (admittedly significant) showmanship.

These works demonstrate Quantz’s highly individual style. He left detailed performance instructions and technical indications. Frank Theuns and Les Buffardins bring their expertise to these authentic performances.

From Charlie Parker to Piazzolla: the recorder as you've never heard it before! Lucie Horsch's new album 'Origins' is a collection of music rooted in folk cultures from all around the world, personally sourced and curated by Lucie, presented here in newly commissioned arrangements and transcriptions for the recorder. The tracks feature a variety of supporting musicians, including the trailblazing genre-bending collective Fuse Ensemble, a quintet from the GRAMMY Award-winning Dutch orchestra LUDWIG; acclaimed Scottish guitarist Sean Shibe; bandoneonist Carel Kraayenhof and Kora player Bao Sissoko.

It's often been said that if an R&B act didn't have a lot of dancefloor appeal in the late '70s, it could forget about being commercially successful. That isn't necessarily true; Frankie Beverly's Maze, just to give one example, was never a dancefloor favorite – and yet, all of its late-'70s albums went gold. Nonetheless, having disco appeal certainly didn't hurt. When Brainstorm's second album, Journey to the Light, failed to sell, some people reasoned that it was due to a shortage of up-tempo material. So with its third and final album, Funky Entertainment, the Detroit band decided to go for maximum disco appeal and make up-tempo songs a top priority.

It's hard to imagine that a group as bottom-heavy as percussionist Pierre Favre's new ensemble could actually sound light and ethereal. But Fleuve does just that. With a septet featuring two basses, tuba/serpent, percussion and, at times, bass clarinet, there's no shortage of warmth and depth. But with guitar, harp and soprano saxophone fleshing out the middle and top end, Fleuve manages to have both weight and an airy ambience that works, in no small part, due to Favre's carefully crafted compositions and the kind of sonic transparency that's long been a defining aspect of the ECM aesthetic.

Three of Szymanowski’s most important works show Rattle’s ability to energise music in which he believes. Sensuality and cogency blend in refined sound.

Cantando continues Stenson's twenty-year relationship with Anders Jormin. A virtuosic player with remarkable extended techniques, his relationship with Stenson has always been that of an equal—his singing double-bass as much a factor in defining the trio's unique complexion as Stenson's own ability to bring unerring lyricism to even the most open-ended context. Jormin has also been responsible for introducing compelling material, including that of Cuban singer/composer Silvio Rodriguez, whose "Olivia" opens Cantando with the perfect combination of melodic resonance and liberal interpretation.