On February 6th, 2024, Katy was announced as one of the headliners of Rock in Rio's 40th anniversary festival. In the picture used for the announcement, Perry is standing in front of a green background, wearing yellow gloves, with exactly six butterflies resting on her arms. This announcement is believed to mark the exact starting point of the 143 era.

Analogue Productions, the world leader in high quality vinyl production, is thrilled to announce the December 13, 2024 release of Birth of the Blue, a collection documenting the transformative first session in 1958 by the same ensemble that would go on to record Kind of Blue — one of the greatest and greatest-selling jazz albums of all time — the following year. Featuring Davis’ legendary sextet - John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb — who had first come together less than two weeks prior, this historic set was recorded at Columbia’s 30th Street Studio, and captures the origins of a momentous shift in modern jazz.

After George Gulyás recent records, including the critically acclaimed "Complete Lute Works for guitar" on Proprius/Naxos is now a new release entirely dedicated to music by Benjamin Britten. All the works in which the guitar is included with and performed together with the mezzo-soprano Ivonne Fuchs. On the album presents a solo piece Nocturnal op 70, one of the guitar literature's most important works. The piece reflects the various stages of insomnia, where the ambiguous theme of John Dowland, Come heavy sleep, hint at how sleep, or death, finally enters as a liberator.

Throughout the 70s and 80s Rick Derringer appeared on numerous albums by artists including Alice Cooper, Todd Rundgren, Steely Dan, Cyndi Lauper, Barbara Streisand and Kiss. This SACD compiling his debut and sophomore solo albums - "All American Boy" and "Spring Fever".

Cellist Anner Bylsma is joined by organist Bob van Asperen for this recording of compositional works by Johann Sebastian Bach alongside a piece by Johann Christoph Friedrich Bach from "Musikalisches Vielerley". Originally this recording has been processed using 20-bit technology to maximize sound quality.

"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.