Recognized most for his keyboard work but also a composer, producer, arranger, and vocoder-armed vocalist, Brandon Coleman is among the flock of jazz-rooted musicians hatched out of Los Angeles during the early 2000s. The musician is connected with virtually all West Coast luminaries of his generation – Kamasi Washington, Ryan Porter, Miles Mosley, Thundercat, and so on – and has ventured stylistically afield with Babyface and Anthony Hamilton among those who have sought his talent. Moreover, Coleman is likely the lone link from smooth jazz stalwart Boney James to polyglot experimentalist Flying Lotus, the latter of whom featured him on Until the Quiet Comes and You're Dead!, and issued Resistance on his Brainfeeder label. This is actually Coleman's second album as a leader. His first, Self Taught, received a low-key release in 2011 and a few years later was reissued in Japan. Like it, Resistance enables Coleman to indulge in his affinity for late-'70s/early-'80s electronic funk from a jazz perspective. As a teenager, around the time he started learning to play, his head was spun by Herbie Hancock's vocoder-ized Sunlight, and that work, as well as other openhearted moments of the master's catalog from Man-Child through Lite Me Up, informs the material here. Considering Coleman's rare spotlight, truckload of stockpiled gear (20 instruments, just for himself), and accommodation of fellow instrumentalists and background singers numbering in the dozens (including many L.A. players), Resistance is extraordinarily condensed.

With the Missa cuiusvis toni, Ockeghem achieves a veritable tour de force: a work having the advantage of being able to be executed in all church modes. In an era when composers vied with each other in virtuosity, this mass 'in whatever tone' became an unsurpassable model. Musica Nova recreates the four versions here for the first time on disc.

We sometimes forget how closely the didactic aspect of The Well-Tempered Clavier is bound up with the various upheavals of the 1720s which refocused Johann Sebastian Bach on his roles as father and teacher. His ambitious scheme for associating a prelude and a fugue with each of the major and minor keys could easily have become something of a tedious chore. But, on the contrary, it reveals Bach’s highly personal genius for constant creative renewal within the framework of two fixed forms. Richard Egarr presents the complete First Book on a copy by Joel Katzman of a 1638 Ruckers, using the temperament which recent research suggests Bach himself advocated.

François Ier, prince mécène, avait compris combien la musique pouvait servir sa politique de prestige : - musique officielle pour les grands événements diplomatiques comme l'incroyable match musical entre la Chapelle du roi de France et celle d Henri VIII d'Angleterre, lors de la messe du Camp du Drap d'Or restituée dans cet enregistrement ; - mais aussi musique de l'intime avec le répertoire le plus subtil, raffiné et savant entendu dans les châteaux du souverain Chambord, Fontainebleau… interprété par les meilleurs chanteurs et instrumentistes du royaume réunis au sein de la Chambre du Roy. Un festin de musiques inédites pour un roi François Ier, symbole d une Renaissance heureuse.