Ingredients In A Recipe For Soul proved that Ray Charles didn’t so much ignore genres, but, by the ’60s, had become a genre unto himself. An academic might want to separate this stack of songs into neat little buckets—country, jazz, standards, blues, pop—but those are just the ingredients. Ray Charles sings whatever he likes and whatever he sings comes out as a Ray Charles song, with a flavor all its own. Two hit singles, “Busted” and “That Lucky Old Sun,” made Ingredients In A Recipe For Soul an instant Top Ten when it was released in 1963.

Marius Müller-Westernhagen: Five legendary albums return in 2025 – as faithful, remastered 180g vinyl and CD reissues. Unavailable on vinyl for 20 years and eagerly awaited: One of Marius Müller-Westernhagen's most formative creative periods is finally receiving the recognition it deserves! Five of his iconic albums will be re-released in late summer 2025: "Die Sonne So Rot," "Halleluja," "Westernhagen," "Lausige Zeiten," and "Geiler Is' Schon."

Marius Müller-Westernhagen: Five legendary albums return in 2025 – as faithful, remastered 180g vinyl and CD reissues. Unavailable on vinyl for 20 years and eagerly awaited: One of Marius Müller-Westernhagen's most formative creative periods is finally receiving the recognition it deserves! Five of his iconic albums will be re-released in late summer 2025: "Die Sonne So Rot," "Halleluja," "Westernhagen," "Lausige Zeiten," and "Geiler Is' Schon."

Marius Müller-Westernhagen: Five legendary albums return in 2025 – as faithful, remastered 180g vinyl and CD reissues. Unavailable on vinyl for 20 years and eagerly awaited: One of Marius Müller-Westernhagen's most formative creative periods is finally receiving the recognition it deserves! Five of his iconic albums will be re-released in late summer 2025: "Die Sonne So Rot," "Halleluja," "Westernhagen," "Lausige Zeiten," and "Geiler Is' Schon."

Marius Müller-Westernhagen: Five legendary albums return in 2025 – as faithful, remastered 180g vinyl and CD reissues. Unavailable on vinyl for 20 years and eagerly awaited: One of Marius Müller-Westernhagen's most formative creative periods is finally receiving the recognition it deserves! Five of his iconic albums will be re-released in late summer 2025: "Die Sonne So Rot," "Halleluja," "Westernhagen," "Lausige Zeiten," and "Geiler Is' Schon."

Marius Müller-Westernhagen: Five legendary albums return in 2025 – as faithful, remastered 180g vinyl and CD reissues. Unavailable on vinyl for 20 years and eagerly awaited: One of Marius Müller-Westernhagen's most formative creative periods is finally receiving the recognition it deserves! Five of his iconic albums will be re-released in late summer 2025: "Die Sonne So Rot," "Halleluja," "Westernhagen," "Lausige Zeiten," and "Geiler Is' Schon."

Oscar-nominated composer Rafq Bhatia has only deepened his status as "one of the most intriguing figures in music today who refuses to be pinned to one genre, culture or instrument" (New York Times). On Environments, Bhatia makes sculptural, meticulously crafted music that finds common ground among ecstatic avant-garde jazz. New technological integrations have allowed Bhatia to merge his last decade of development as an electroacoustic composer back into his practice as an improvising guitarist, using real-time sam piling and manipulation to express and develop multiple worlds of sound at once. Rafq has previously co-scored Marvel's Thunderbolts and the Oscar- nominated soundtrack for Everything Everywhere All AT Once with his bandmates, Son Lux.

Recorded to mark the 90th birthday of Arvo Pärt, this album valuably anthologises the Estonian composer’s piano music. The Latvian pianist Georgijs Osokins is an infallibly empathetic guide to these often visionary pieces. In the opening work, Für Alina, Pärt’s trademark tintinnabuli (bell-like) effects are mesmerically registered, while tenderness suffuses Osokins’ solicitous account of Variations for the Healing of Arinushka. Passages of Lisztian brilliance and chant-like eloquence sit cheek by jowl in Osokins' arrangement of Fratres, one of Pärt’s best-known pieces.

Ghostly choirs, wild desires, unwavering loyalty, a gruesome act of murder and the eternal victory of love that overcomes death: These are the thoroughly familiar ingredients of the libretto that Ethel Smyth wrote (in German) for her one-act play "Der Wald". The music, however, is anything but gruesome. Echoes of Robert Schumann, some striking reminiscences of Richard Wagner and, especially in the prologue, an unmistakable touch of Art Nouveau flickering carry the drama, which premiered at the Berlin Court Opera on April 9, 1902, was subsequently staged at the Royal Opera House in London and presented with triumphant success at the New York Met in March 1903. There were ovations and a veritable sea of flowers for the then 44-year-old Englishwoman, who was the first of her sex to conquer the classical temple of the Muses on Broadway with her work. Talent can do anything.

Five years younger than Johann Sebastian Bach, who outlived him by a whole eight months, Gottfried Heinrich Stölzel also belonged to that circle of central German musicians who were able to make a melodious name for themselves beyond their regional sphere of influence. It is no coincidence that the sacred works of the long-time court conductor of Gotha have found a representative home in our catalog. The passions, oratorios and cantatas that have already been published are now joined by five pieces of Protestant service music in which the extensive Catholic liturgy is reduced to Kyrie and Gloria: the missae breves selected here confirm once again that their author was "one of those reasonable, learned and great composers" to whom Johann Mattheson gave a proper place in his "Ehrenpforte" in 1740 for good reason. Everyone was entitled to know that.

Anyone who calls an organ piece a "Grande Pièce Symphonique" should not be surprised if this very title one day serves as a yardstick to determine the legitimacy of the attribute. This is exactly what the organist, composer and pedagogue Zsigmond Szathmáry did at the instigation of his young colleague Christian Schmitt when he examined César Franck's "great symphonic piece" for its orchestral possibilities. The result of this examination brings us the world premiere of a concert piece in which the queen of instruments and her personified registers, i.e. the orchestra, form a captivating synthesis. Via Franck's well-known tone poem "Les Éolides" ("The Daughters of Aeolus"), the program finally leads to a discographic rarity by Charles-Marie Widor - a "Walpurgis Night" that easily rivals the most famous witches' dances in Romantic literature.

Marvin Earl Johnson (October 15, 1938 – May 16, 1993)[2] was an American R&B singer, songwriter and pianist.

Malcolm Earl "Mal" Waldron (August 16, 1925 – December 2, 2002) was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from college.

Maria Cole (née Hawkins; August 1, 1922 – July 10, 2012) was an American jazz singer and the wife of singer Nat King Cole; mother of the singer Natalie Cole.

There is something quite ephemeral and special about the prepared piano – it’s mostly to do with how every instrument responds differently to these treatments but also that it’s not very exact, even if, in the case of Cage, is quite precise. His instructions seem quite prescriptive: although, unless you know actually piano model he was using and the objects he was talking about, you’re always making adjustments.