After hearing I Musici perform, Arturo Toscanini remarked, "Twelve individual instrumental masters, and together the finest chamber orchestra in the world." This Italian ensemble has long attracted international attention for their emphasis on brilliance, strength of attack, and high level of discipline, beginning with their first performances of seventeenth and eighteenth century Italian music. The group was formed in March 1952 by 12 students at the Accademia di Santa Cecilia, Rome, who developed a common interest in pre-Classical music during conservatory meetings. Upon origination the ensemble was composed of six violins, two violas, two cellos, a double bass, and a harpsichord; there were three women and nine men.

Originaire d'une famille de musiciens lyonnais, Jean-Marie Leclair (1697-1764) fut, après avoir abandonné une carrière de danseur, un grand violoniste virtuose en même temps qu'un grand voyageur. De Versailles à Paris, de Londres à La Haye, il prodigua son art en jouant notamment ses Sonates pour violon seul ou ses Concertos. Sa fin fut tragique. Il mourut assassiné alors qu'il regagnait en pleine nuit son domicile."Parfaite synthèse des styles italien et français, son œuvre, précise Thomas Leconte, représente sans doute le véritable apogée des "goûts réunis" chers à François Couperin.

Collection The Heritage of Monteverdi Whether they played violin, cornet, harpsichord or theorbo, Italian musicians of great renown called Buonamente, Castello, Pesenti and Ferro crossed the Alps to take up much-coveted posts at the courts of Emperors Ferdinand I and II. Their splendid music surged forth, blending the blaze of the brass with the sweetness of the strings in an unceasing tourney of virtuosity and emotions depicted in sound. A major rediscovery of this music as an instrumental prelude to the first madrigal of Monteverdis 8th Book, which ends this new recording of La Fenice.

Despite the album’s playful title, Cale’s second album in just over a year still contains the same feelings of fierce and inquisitive rage that were present in 2023 album MERCY. He remains angry, still incensed by the willful destruction that unchecked capitalists and unrepentant conmen have hoisted upon the wonders of this world and the goodness of its people. But this is not at all MERCY II, or some collection of castoffs, as throughout his career of more than six decades, Cale has never been much for repetition. His vanguard-shaping enthusiasms have shifted among ecstatic classicism and unbound rock, classic songcraft and electronic reimagination with proud restlessness.

With its driving energy and spirited flair, the son has held the essence of mariachi music for more than 150 years. Even today, the modern mariachi dips into the son repertoire to punctuate its performances, evoking boisterous yells and percussive zapateados from its listeners. In 'Sones de Mariachi', multi-Grammy-winning Mariachi Los Camperos makes its mark on the son legacy, powered by the group's lauded signature sound and leader Jesus "Chuy" Guzman's uplifting arrangements. This meticulously curated mix of popular and lesser-known sones rooted in the western Mexican heartland of mariachi tradition is played with the typical virtuosity, superb vocals, and rhythmic precision of one of the world's greatest mariachis.

Vocalist Julia Danielle’s eponymous debut is a celebration of the great artists before her who inspired Danielle’s musical journey. The album is a collection of carefully selected standards from the Great American Songbook, arranged in Danielle’s vision to showcase her breadth of interpretation, style, and phrasing. Her sultry voice cultivates a contemporary yet timeless feeling, deftly complimented by a world-class band, resulting in a mesmerizing tribute to growth, becoming, and blossoming.

In Soft Winds and Roses, Singer Diana Panton reimagines modern classics from the 1960s onward, infusing each song with her unmistakable elegance and soul-stirring artistry. With an alchemist’s touch, she transforms every melody, making it undeniably her own. Winner of three Juno Awards and three Silver Disc Awards, Diana is a rare talent—an artist whose voice is pure magic.

Deep Purple have never quite been placed in the revered 1960s canon that includes the Who, Pink Floyd, Led Zeppelin, or any of the other British rock bands who continue to reunite in various configurations to tour and even periodically release new albums, but given that the group has always been a riveting and brilliant live act, part prog, part heavy metal, part funky R&B, and imminently theatrical, that second-tier designation seems like both an oversight and a shame. Returning with this set, the band's first since 2005's Rapture of the Deep, and featuring a near-classic lineup of vocalist Ian Gillan, guitarist Steve Morse, bassist Roger Glover, drummer Ian Paice, and keyboardist Don Airey (Jon Lord, whose distorted organ parts were so much a part of the classic Deep Purple sound, left the band in 2002 and died in 2012 of pancreatic cancer), one can only marvel at how timeless it sounds, as if it were actually recorded in the early '70s and not tracked a little more than a decade into the 21st century…

With little publicity, radio play, or MTV exposure, Korn took their eponymous 1994 debut to platinum status. Like all unexpected successes, it's easier to understand its popularity in retrospect. Although they disdain the "metal" label, there's no question that Korn are among the vanguard of post-grunge alt-metal outfits. Borrowing from Jane's Addiction, Rage Against the Machine, Pantera, Helmet, Faith No More, Anthrax, Public Enemy, and N.W.A, Korn developed a testosterone-fueled, ultra-aggressive metal-rap hybrid. They're relentless, both in their musical attack and in lead singer Jonathan Davis' bleak, violent lyrics. Tales of abuse and alienation run rampant throughout the record. It's often disturbing and, to some ears, even offensive, but their music can have a cathartic effect that makes up for their vulgarity and questionable lapses in taste…

Some Days Are Better: The Lost Scores is a spectacular celebration of Kenny Wheeler’s timeless big band writing, brought to life by the Royal Academy of Music Jazz Orchestra and the Frost Jazz Orchestra. These rediscovered scores—many written over 50 years ago—retain Wheeler’s distinctive lyricism, harmonic depth, and quiet power. The project brings together an astonishing roster of soloists, including Ingrid Jensen, Norma Winstone, Evan Parker, Chris Potter, Etienne Charles, Brian Lynch, and many others. From the stirring opener “Smatta” to the sweeping “Some Days Are Better Suite,” the album delivers eleven fresh interpretations that reaffirm Wheeler’s visionary status. Released with a 36-page deluxe booklet, this is both a historical discovery and a deeply moving musical experience.

The fertility of the Cuban music scene in the 1970s was rich and blooming. FA-5’s self-titled album from 1976 is a perfect example of the energy and vitality emanating from the country’s musicians and marks the next release in Mr Bongo’s Cuban Classics series. A unique musical fusion that encompasses Latin rock, funk, soul, disco and Afro-Cuban rhythms to form a diverse and alluring album.

This is Triple-A Ra: Audacious, Aggressive, Adventurous. These tracks capture Ra's electronic peregrinations during the 1970s and '80s. The Arkestra occasionally makes a cameo appearance but Ra commands the spotlight, not so much composing music as painting soundscapes with electronic keyboards.

9-piece powerhouse Nubiyan Twist embark on a fresh musical odyssey with their vibrant fourth album Find Your Flame. Over 12-track the band seamlessly weaves together global grooves, soul and jazz; expertly intertwined with electronic elements, horn-led melodies and spontaneous improvisation. The album marks a significant evolution for the group as they welcome Sheffield based vocalist Aziza Jaye to the forefront, adding a fresh dimension of Patois and RnB to their sound.