This is a fairly typical date from the Oscar Peterson Trio (which features the pianist-leader, bassist Ray Brown and drummer Ed Thigpen). Many of the songs on this LP are associated with other musicians (such as "Waltz for Debbie," "This Could Be the Start of Something Big" and "Six and Four") but Peterson has little difficulty swinging them in his usual fashion; a highlight is the original version of Ray Brown's "Gravy Waltz."

Although still a regular Blue Note artist (he would make four more albums for the company within the next year), Bashin' was organist Jimmy Smith's debut for Verve, a label that he would record extensively for during 1963-1972. On the first half of the program (reissued in full on this CD), Smith was for the first time joined by a big band. Oliver Nelson provided the arrangements, trumpeter Joe Newman and altoist Phil Woods have a solo apiece, and "Walk on the Wild Side" became Smith's biggest hit up to that point. The final three numbers feature Smith's regular trio with guitarist Quentin Warren and drummer Donald Bailey swinging with soul as usual. The historical set was a turning point for Jimmy Smith's career.

The ongoing Schubert + series produced by pianist Can Çakmur has revealed an exceptional Schubertian. Now in its sixth instalment, the series juxtaposes Schubert’s works with those of composers he inspired. This latest program shines a spotlight on Robert Schumann. Schumann held Schubert in the highest esteem and was one of the first to recognise him as one of the most visionary composers to have ever lived and this alone would have justified this coupling. However, Çakmur delves deeper, using the program as a springboard for a philosophical discussion about naturalism within German Romanticism.

Lonely’s What I Do, the fifth installment of the year-long EP series 50 Years From Home from music icon Vince Gill, will be released this Friday, March 13 via MCA.

Don Ellis is often associated with Ornette Coleman, John Coltrane, and Cecil Taylor as a proponent of the avant-garde jazz of the late 1950s and early 1960s, However, he generally avoided a radical free-form style, seeking instead to infuse traditional big-band styles with novel or exotic influences, particularly in his use from 1964 of Indian and Near Eastern rhythms. Because he sometimes employed serial and aleatory procedures in his earlier style he has also been identified with the third stream movement; later he renounced these approaches.

Music is an inevitable part of our lives. It is woven into nearly every aspect of human experience, from celebrations and entertainment to work and relaxation. Whether we are watching a film, attending a concert, or simply walking through a shopping mall, music shapes our moods, enhances experiences, and connects us to deeper emotions.

Magma’s mythic 1975 live set, captured in full fire at Paris’ Taverne de l’Olympia, returns to mark its 50th anniversary with a stunning new edition. Presented as an exclusive 2LP pressing on translucent blue vinyl and housed in a deluxe gatefold sleeve, this release honors one of the most powerful live documents in progressive music history. Widely hailed as one of the greatest live albums ever recorded, Live captures the band at their most transcendent, delivering a performance that shattered genre boundaries and redefined the possibilities of rock. The recording radiates raw intensity, precision, and an otherworldly vision that remains unmatched decades later.

The two works presented here, composed two years apart in 1690 and 1692, respectively, share many similarities despite the one being a totally secular piece celebrating Christmas Eve and the other being a vigil of arms in the Te Deum!

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process. Other highlights include the rarely covered ballad "Jim" and the even more obscure "Brotherhood of Man" from the Broadway musical How to Succeed in Business Without Really Trying. A very engaging and enjoyable disc.

Most of organist Jimmy Smith's recordings for Verve during the mid- to late '60s were with big bands, making this trio outing with guitarist Kenny Burrell and drummer Grady Tate a special treat. This outing is a throwback to Smith's Blue Note sets (which had concluded two years earlier) and gives the organist the opportunity to stretch out on three blues and three standards. This release shows that, even with all of his commercial success during the period, Smith was always a masterful jazz player.

Paquito DRivera's - NEA Jazz Master, multiple Gramm winner, Downbeat Hall of Fame Inductee - gained worldwide attention as a member of the Grammy Award winning Cuban group Irakere, a revolutionary ensemble co-founded with Chucho Valds in the early 1970s. Blending Afro-Cuban rhythms and jazz, the band was a seminal force and marked a new era in Cuban music. His defection to the United States in 1980 was a turning point, as he became an ambassador of Latin jazz around the world, fusing cultures and genres effortlessly.

Anjimile (ann-JIM-uh-lee) Chithambo has forged a distinctive musical path characterised by unflinching introspection and deep honesty. Emerging from Boston’s vibrant indie scene while studying at Northeastern University, Anjimile captivated audiences with earnest songwriting, delicate sonic textures, and performances that felt like prayer and celebration.

The keyboard wizard and his trio present their new European project.

Born in Winnipeg, Manitoba on New Year’s Eve in 1944, Bernie Senensky has stood as a central figure in Canadian jazz for more than half a century. His musical journey began with classical piano studies at a young age, grounding him in a discipline and technique that would later underpin his jazz mastery. As a teenager, Bernie’s curiosity and passion for jazz began to take hold, initially nurtured by local teacher Bob Erlendson. From there, he largely taught himself the intricate language of jazz, developing a deeply personal approach that balanced sophistication, swing, and emotional clarity.

Celtic Voices highlights captivating melodies from Scotland, Ireland, Wales, Cornwall, and Cape Breton, performed by some of our favorite artists in the Celtic music scene today.