Manuel Barrueco, Sharon Isbin, Thibaut García, Eliot Fisk etc.

Hummel’s elegant, easy-going melodic style seems custom-made for the flute, and his three lightweight sonatas are lacking in neither diversity nor charm. The Grand rondeau brillant is entertainingly like a Weber display piece.

Der Barbier von Bagdad (The Barber of Baghdad) is a comic opera in two acts by Peter Cornelius to a German libretto by the composer, based on The Tale of the Tailor and The Barber’s Stories of his Six Brothers in One Thousand and One Nights. The first of three operas by Cornelius, the piece was first performed at the Hoftheater in Weimar on 15 December 1858.

Japanese harpsichordist Mayako Soné attended the Toho Gakuen School of Music, where she studied piano with Akiko Teranishi and harpsichord with Motoko Nabeshima. After she won a prize at the 1986 Musica Antiqua International Harpsichord Competition in Bruges, she studied harpsichord with Kenneth Gilbert and Scott Ross, and made her first recording in 1991 on the Erato label, Scarlatti: Unpublished Sonatas, as a supplement to Ross' recordings. She became the harpsichordist of the Israel Chamber Orchestra in 1992, and has toured with the group, appearing at music festivals in Europe. She has also performed chamber music in Japan, played recitals on radio and television, and taught at Ueno Gakuen University, where she became a professor in 2009. In 2010, she started a project to record the complete keyboard works of Rameau and Couperin. She has specialized in the keyboard works of Bach, giving a series of recitals and recording Toccatas for Warner Classics.

A new “Songs Under Cover” playlist he just released as part of his Live Series collects 15 soundboard covers spanning several decades and genres of music.

Recorded in the same year as the Brothers and Sisters album, this solo debut release is a beautiful amalgam of R&B, folk, and gospel sounds, with the best singing on any of Gregg Allman's solo releases. He covers his own "Midnight Rider" in a more mournful, dirge-like manner, and Jackson Browne's "These Days" gets its most touching and tragic-sounding rendition as well. Although Chuck Leavell and Jaimoe are here, there's very little that sounds like the Allman Brothers Band - prominent guitars, apart from a few licks by Tommy Talton (Cowboy, ex-We the People), are overlooked in favor of gospel-tinged organ and choruses behind Allman's soulful singing.

"Never, Neverland" continues to not only mark Unto Others as the successors to Type O Negative or the Sisters of Mercy, but as a band on the verge of something unholy and massive.
Unto Other's third LP, following underground classics, Mana and Strength, it's the sound of harsh light breaking through the Portland quartet's darkened gothic and classic metal motifs. The band has teamed up with producer Tom Dalgety (Ghost, The Cult), taking the next step from dark sunglasses and chugging metallic riffs to the more melodious gloom of lead track, "Butterfly", the crunching, punkish abandon of "Suicide Today" or the grandiosity of "Angel of the Night".

Jazz -funk fans must have been taken aback when multi-instrumentalist and composer Bennie Maupin's Jewel in the Lotus was released by Manfred Eicher's ECM imprint in 1974. For starters, it sounded nothing like Herbie Hancock's Head Hunters recording, which had been released the year before to massive sales and of which Maupin had been such an integral part. Head Hunters has remained one of the most reliable sales entries in Columbia's jazz catalog into the 21st century. By contrast, Jewel in the Lotus sounded like an avant-garde jazz record, but it stood outside that hard-line camp, too, because of its open and purposeful melodies that favored composition and structured improvising over free blowing. Jazz after 1970 began to move in so many directions simultaneously it must have felt like it was tearing itself apart rather than giving birth to so many new and exciting musics…

In the decade that The Dear Hunter has existed, Casey Crescenzo, the mastermind behind the concept, has been nothing short of both prolific and creative. Now past the halfway point in this 6 part series, The Dear Hunter sounds more cinematic and opera-esque than ever, while still being very much a prog-rock listen at its core. At over 70 minutes and songs as long as 9 minutes, there’s a wealth of sounds here, including jazz, orchestral, dance and rock, and it isn’t uncommon for guitars to take a backseat to keys, flutes, trumpets, etc. If you’re a fan of Crescenzo’s harder moments, there’s enough here to keep you satisfied, but the classical and softer moments dominate and illuminate the album.