"Christmas Songs", featuring the Clayton Hamilton Jazz Orchestra, is the first full-length holiday recording by this Grammy Award winning artist. It is an uplifting collection of seasonal favorites, with Krall sounding better than ever on both piano and vocals. Features swinging big band arrangements by John Clayton and several tracks for quartet,including string arrangements by Johnny Mandel.

Toronto's Emilie-Claire Barlow is a Juno Award-winning singer with a warm, lithe vocal style and a knack for tackling urbane jazz standards. Her 12th album ("Winter Lights") continues Emilie-Claire's musical evolution with her first foray into song writing. Lumières d’hiver showcases three new original compositions – Le Dernier Noël, Janvier and title track Lumières d’hiver. Always pushing her boundaries, her original compositions honour Emilie-Claire's love of sophisticated pop music.

As a drummer, Ari Hoenig's success has been unprecedented. A native of Philadelphia, he began playing drums at age twelve and by age fourteen, he was honing his skills at Philly clubs such as Ortlieb's Jazz Haus. Ari is also a composer, arranger and pianist/keyboardist and In 2005, in affiliation with the National Endowment for the Arts, he was awarded a Meet the Composer grant to perform his compositions with his own group. Currently Ari leads the group Punk Bop, featuring Will Vinson on alto, Jonathan Kreisberg on guitar, Tigran Hamasyan on piano and Danton Boller on bass. His regular Monday night gig at Smalls is a generally sold out affair of young, enthusiastic fans.

Dean Martin, the King of Cool, shines on this collection of seasonal classics. A slightly different repackaging of a Christmas album Sinatra recorded and released in 1959 entitled A Winter Romance, this version includes one bonus track recorded in 1953 (The Christmas Blues). Martin's effortless cool and smouldering charm pair perfectly with these familiar favourites and romantic ballads; not all strictly Christmas songs but songs about romance in the winter.

Relapse Records proudly announces the 25th anniversary reissue of CAVE IN’s monumental Jupiter. Named one of the best metal albums of the decade by Decibel Magazine, Jupiter marks a significant shift in CAVE IN’s musical direction that sees the band embark on a post-hardcore space odyssey. Perhaps the finest record of CAVE IN’s storied career, Jupiter sounds as fresh and as vital as ever. Jupiter is available as a standalone LP, as well as a deluxe 2xCD and 3xLP box set, all remastered by James Plotkin. The 2xCD includes the full album alongside a special live set recorded for broadcast on Boston’s legendary rock radio station WBCN in October of 2000.

In popular mythology Haydn’s name is far less closely associated with the piano sonata than with the string quartet or symphony. Though a more than competent pianist (one writer in London described his playing of the brilliant fortepiano solo in the Symphony No 98 as ‘neat and distinct’), he was by his own admission no ‘wizard’ on the keyboard, and unlike Mozart and Beethoven never wrote sonatas for his own performance. Yet the keyboard remained central to Haydn’s creative process. His morning routine would invariably begin with him trying out ideas, for whatever medium, on the clavichord, the harpsichord or, from the 1780s, the fortepiano; and he composed prolifically for keyboard through most of his adult life, beginning with the harpsichord works he produced for aristocratic pupils during his ‘galley years’ in Vienna and culminating in the three great sonatas (Nos 50–52 in Hoboken’s catalogue) inspired by the sonorous Broadwood instruments he encountered on his London visits.

In popular mythology Haydn’s name is far less closely associated with the piano sonata than with the string quartet or symphony. Though a more than competent pianist (one writer in London described his playing of the brilliant fortepiano solo in the Symphony No 98 as ‘neat and distinct’), he was by his own admission no ‘wizard’ on the keyboard, and unlike Mozart and Beethoven never wrote sonatas for his own performance. Yet the keyboard remained central to Haydn’s creative process. His morning routine would invariably begin with him trying out ideas, for whatever medium, on the clavichord, the harpsichord or, from the 1780s, the fortepiano; and he composed prolifically for keyboard through most of his adult life, beginning with the harpsichord works he produced for aristocratic pupils during his ‘galley years’ in Vienna and culminating in the three great sonatas (Nos 50–52 in Hoboken’s catalogue) inspired by the sonorous Broadwood instruments he encountered on his London visits.

In popular mythology Haydn’s name is far less closely associated with the piano sonata than with the string quartet or symphony. Though a more than competent pianist (one writer in London described his playing of the brilliant fortepiano solo in the Symphony No 98 as ‘neat and distinct’), he was by his own admission no ‘wizard’ on the keyboard, and unlike Mozart and Beethoven never wrote sonatas for his own performance. Yet the keyboard remained central to Haydn’s creative process. His morning routine would invariably begin with him trying out ideas, for whatever medium, on the clavichord, the harpsichord or, from the 1780s, the fortepiano; and he composed prolifically for keyboard through most of his adult life, beginning with the harpsichord works he produced for aristocratic pupils during his ‘galley years’ in Vienna and culminating in the three great sonatas (Nos 50–52 in Hoboken’s catalogue) inspired by the sonorous Broadwood instruments he encountered on his London visits.

In popular mythology Haydn’s name is far less closely associated with the piano sonata than with the string quartet or symphony. Though a more than competent pianist (one writer in London described his playing of the brilliant fortepiano solo in the Symphony No 98 as ‘neat and distinct’), he was by his own admission no ‘wizard’ on the keyboard, and unlike Mozart and Beethoven never wrote sonatas for his own performance. Yet the keyboard remained central to Haydn’s creative process. His morning routine would invariably begin with him trying out ideas, for whatever medium, on the clavichord, the harpsichord or, from the 1780s, the fortepiano; and he composed prolifically for keyboard through most of his adult life, beginning with the harpsichord works he produced for aristocratic pupils during his ‘galley years’ in Vienna and culminating in the three great sonatas (Nos 50–52 in Hoboken’s catalogue) inspired by the sonorous Broadwood instruments he encountered on his London visits.

In popular mythology Haydn’s name is far less closely associated with the piano sonata than with the string quartet or symphony. Though a more than competent pianist (one writer in London described his playing of the brilliant fortepiano solo in the Symphony No 98 as ‘neat and distinct’), he was by his own admission no ‘wizard’ on the keyboard, and unlike Mozart and Beethoven never wrote sonatas for his own performance. Yet the keyboard remained central to Haydn’s creative process. His morning routine would invariably begin with him trying out ideas, for whatever medium, on the clavichord, the harpsichord or, from the 1780s, the fortepiano; and he composed prolifically for keyboard through most of his adult life, beginning with the harpsichord works he produced for aristocratic pupils during his ‘galley years’ in Vienna and culminating in the three great sonatas (Nos 50–52 in Hoboken’s catalogue) inspired by the sonorous Broadwood instruments he encountered on his London visits.

L'enfance du Christ (The Childhood of Christ), Opus 25, is an oratorio by the French composer Hector Berlioz, based on the Holy Family's flight into Egypt (see Gospel of Matthew 2:13). Berlioz wrote his own words for the piece. Most of it was composed in 1853 and 1854, but it also incorporates an earlier work La fuite en Egypte (1850). It was first performed at the Salle Herz in Paris on 10 December 1854, with Berlioz conducting and soloists from the Opéra-Comique: Jourdan (Récitant), Depassio (Hérode), the couple Meillet (Marie and Joseph) and Bataille (Le père de famille).

Based out of Calgary Alberta, Fish in a Birdcage is modern Renaissance, Electronica to folk strings.

The Extensions are a New Jersey-based indie rock band with lyrics sharper than a box cutter and hooks as sweet as grape soda. Their new EP "Gravitas" will be available everywhere December 20.

The Bunkers found themselves with the possibility of realizing an idea they had been looking for for some years; recording their first MTV Unplugged session. A milestone in the history.

Within a mere few years, Petr Popelka has established himself as one of the world’s most exciting young conductors. Currently serving as principal conductor of the Prague Radio Symphony Orchestra and the Wiener Symphoniker, he has also appeared as a guest with prominent European and American orchestras, as well as at opera houses worldwide. Popelka and the Prague Radio Symphony Orchestra have made for Supraphon a triple album featuring the complete symphonic works of Bedřich Smetana.