The Alan Broadbent Trio's previous Savant release, New York Notes (SCD 2166), received rave reviews in the international press. The Guardian (UK) wrote, "The bubbling stream of notes is both unpredictable and inevitable, and following it's twists and turns is a joy." Couleurs Jazz (France) proclaimed, "Behold! A precious gem of a jazz recording." "Trio in Motion" finds Broadbent, Billy Mintz and Harvie S reunited in the pianist's New York apartment-studio recording music that is spontaneous, surprising, possessing a sly humor and emotionally involving. Broadbent received two Grammy awards and has collaborated with Natalie Cole (Unforgettable), Herbie Hancock, Sonny Rollins, Diana Krall and Paul McCartney. Each tune on the setlist is imbued with a warm intimacy and the refreshing, slightly piquant glow of intensity which warms both the listener's heart and mind.

Symphony No.12 "Lodger" represents the conclusion of a thirty year artistic collaboration for Philip Glass using elements of music and texts by David Bowie and Brian Eno. It premiered in January 2019 with vocalist Angélique Kidjo, organist James McVinnie and John Adams conducting the Los Angeles Philharmonic. Philip Glass began his path as a composer of symphonies in 1992 at age of 55 with "Low Symphony" based on music by Bowie and Eno. It was followed in 1995 by Symphony No.4 "Heroes" also based solely on the music of Bowie and Eno. Over two decades later, after Bowie's death in 2016, Glass returned to the idea of concluding the trilogy by approaching the album Lodger as a symphonic subject. This world-premiere recording from Filharmonie Brno and conductor Dennis Russell Davies features Angélique Kidjo and organist Christian Schmitt.

Some of Flamenco's most beloved compositions, performed by the genre's undisputed King, Carlos Montoya. Flamenco Magic is a set of recordings from 1980 containing many of Montoya’s best and most beloved works. The tracks featured are all performed unaccompanied, casting a rare undiluted spotlight on his virtuosity.

The recently discovered works of Father Æmilian Rosengart (1757-1810) are real treasures. As a contemporary of Haydn and Mozart, Rosengart displayed great stylistic variety in his works. Several of the sacred arias recorded here were originally from operas and oratorios which have since been lost, to which Rosengart added new texts for liturgical use.

Anyone who thinks that period-instrument performance means austerity and coolness should listen to this disc. Here's playing full of expressive warmth and vigour. The opening of Op 77 No 1 is done duly gracefully, but with a sturdy underlying rhythm and the Scherzo is crisp and alive. Then the first movement of the F major work is beautifully done, with many sensitive details; and the lovely second movement is ideally leisurely, so that the players have ample room for manoeuvre and the leader makes much of his opportunities for delicate playing in the filigree-like high music. The players show a real grasp of structure and illuminate the key moments with a touch more deliberation or a little additional weight of tone. These performances, clearly recorded, are competitive not merely within the protected world of 'early music' but in the bigger, 'real' world too!

Two masterful Schubert interpreters, tenor Mark Padmore & pianist Mitsuko Uchida record Schubert’s Schwanengesang and Beethoven’s An Die Ferne Geliebte for the first time. On a new Decca Classics album, Uchida and Padmore appear on record for the first time in this live recording from London’s Wigmore Hall. They perform Schubert’s Schwanengesang (his “Swansong”, first published weeks after the composer’s premature death in 1828) and Beethoven’s only major song cycle An die ferne Geliebte. With a lifetime of experience with this music, Uchida and Padmore are the perfect duo to interpret this magnificent repertoire.

Ralph Alessi’s fourth appearance as a leader for the label follows a singular album run that’s been met with nothing but praise from The New York Times to The Guardian. The latter lauded Ralph’s previous recording Imaginary Friends (2019) for its “elegant balance of poignant, playful original compositions and gracefully probing improv” and declared it “his best album yet”. It’s Always Now however brims with arguments that there is a new contender for that title. On his new album, Alessi’s unique tone is as limber, piercing and present as ever, enveloped by a fresh quartet line-up – pianist Florian Weber, Bänz Oester on bass and drummer Gerry Hemingway – that navigates through the trumpeter’s idiosyncratically swinging compositions with a sixth sense.