Pianist Brad Mehldau blew up in the mid-’90s playing intense renditions of Cole Porter, Rodgers & Hammerstein, and the like, but he’s also famously covered rock and pop fare including Radiohead, Alice in Chains, Neil Young, Rush, and indeed The Beatles. But here is Mehldau going all in, at peak expressive form and technical command, alone with a phenomenal instrument in a superb-sounding hall (Philharmonie de Paris), offering an emotionally invested all-Beatles programme (save for one David Bowie anthem at the end). The song order flows beautifully. Mehldau opens up the forms, cannily orchestrates the melodies, departs in fascinating ways from the harmonies, in the end keeping it all about the song. The emphasis is generally later Beatles (“I Am the Walrus,” “She Said, She Said,” and “Golden Slumbers” are inspired picks), but Mehldau’s boogie-woogie treatment of “I Saw Her Standing There” takes it back—it’s him convincingly flexing pre-bebop stylistic muscles while finding openings for his own creative language to come through.

John W. Duarte (1919-2004) was educated at the Manchester University Faculty of Technology. He worked as a professional chemist until 1969, then abandoned chemistry in favor of full-time dedication to music, after having been persuaded by Len Williams, father of John Williams. His only formal musical education consisted in jazz guitar lessons with Terence Terry Usher, the rest he learned by self-instruction. He also worked professionally as a player of the trumpet and double bass, and regularly worked as a jazz musician, among others with Coleman Hawkins and Django Reinhardt.

The release of the debut album “Mas um Melodia” by Cláudia Sofia from Mindelo fits seamlessly into a whole series of amazing new musical discoveries from the Cape Verde Islands, which have been enriching the world music genre with interesting grooves and sounds for many years. The 10 original compositions by the singer and guitarist from the island of Sao Vicente, home of the icon of Cape Verdean music, Cesária Évora, who died in 2011, clearly show the cultural connection between the island of Sao Vicente and Brazilian music, in line with the Évora classic “Sao Vicente é um Brasilin”. (Sao Vicente is a little Brazil).

María de Buenos Aires is a tango operita (little opera) composed by Astor Piazzolla (1921-1992) with a libretto by poet Horacio Ferrer. Premiering in 1968, the piece is one of Piazzolla’s most ambitious and innovative works, blending tango, classical music, and surrealist poetry. It represents a major departure from traditional tango, showcasing Piazzolla’s distinctive nuevo tango style—complex, dramatic, and infused with elements of jazz and avant-garde music.

A key early album by Albert Ayler - a mindblowing record even all these many years later, and a key introduction of Ayler's music to the rest of the world! The set begins with a compelling spoken introduction from Albert - really taking the time to introduce himself and his new approach to jazz - then rolls into searing sounds on tenor and soprano sax, played with accompaniment from a European trio that has Niels-Henning Orsted Pedersen on bass, Niels Bronsted on piano, and Ronnie Gardier on drums. A number of the tunes are standards - used by Ayler here in ways that are similar to some of Cecil Taylor's initial recordings - as a way of marking his own different in jazz, before setting out on his own compositions in years to come. Given the quartet setting, there's less of the locked horns and rhythms of some of Ayler's ESP recordings to come - but the difference in format also makes the album a real standout in his catalog, too.

The ConstruKction of Light is an album by King Crimson, released in 2000. It has the distinction of being the first studio album to be released by King Crimson without Bill Bruford on drums since prior to the release of Lark's Tongues in Aspic (1973). It also in notable for the absence of Tony Levin on bass and Chapman Stick who had joined the band back in 1981. The concept of the double trio that marked the 1990s releases had reduced down to a quartet: Robert Fripp, Adrian Belew, Trey Gunn and Pat Mastelotto.

After Blank & Jones produced last years comback album for 80s icon Sandra, curated a so8os artist edition for Falco and received a Gold Award for over 100.000 sold units of their so8os series in germany they are finally back with the eighth volume of their worldwide critically acclaimed so8os compilation series. Blank & Jones collected 34 classics from George Michael, Bananarama, Tears for Fears, The Cure, Steve Winwood, Ultravox, and more 80s icons, all in Master Tape Quality, guaranteed no Vinyl Rips! Many of the legendary 12 inch versions on CD for the very first time. Check out the amazing tracklisting which will bring every 80s and 12 inch lover the tears of joy in their eyes.

The critically-acclaimed ensemble Mala Punica came into the limelight by the mid-Nineties with three illustrious, multi-award winning discs on Arcana, which revolutionized the world of medieval music: Ars subtilis Ytaliaca, D’Amor ragionando and En attendant. As implied by the title of the album, D’Amor ragionando (Discoursing on Love) is a collection of songs about love from fourteenth- and fifteenth-century Italy and is centered around Francesco Landini, one of the foremost figures in medieval music. Members include Jill Feldman, Kees Boeke and Giuseppe Maletto, some of the most respected names in the early music repertoire.

In this new concerto album one of the greatest violinists of our time, Christian Tetzlaff, performs two standard violin concertos in fresh new interpretations together with the Deutsches Symphonie-Orchester Berlin directed by the orchestra’s exciting new music director, Robin Ticciati. Both Ludwig van Beethoven and Jean Sibelius made outstanding contributions to the history of music as great symphonists. Both composers also wrote a violin concerto – Beethoven wrote his D major concerto in 1806, Sibelius his D minor concerto a century later.

Voici la bande originale du film de Gérard Corbiau, réalisateur notamment du film Farinelli. On ne peut qu'admirer le soin avec lequel le cinéaste a mis en lumière les conflits et l'admiration réciproque entre les deux astres de Versailles : Louis XIV et Jean-Baptiste Lully. La musique est pétillante d'intelligence, de couleurs, de rebondissements, comme les intrigues de la première cour du monde. Sous la baguette explosive de Reinhard Göbel, le Musica Antiqua Köln révèle les contrastes les plus violents. C'est un bain de jouvence qui nous fait entrer dans un univers de théâtre aussi fascinant… Que dangereux !