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Ola Onabule - Nicolas Meier:

'Rio deJaneiro' from 'Proof of Life'

British-Nigerian singer-songwriter Ola Onabulé, in collaboration with Swiss guitarist Nicolas Meier, is set to release a new album titled Proof of Life on June 30, 2025.

Proof of Life produced and recorded at Onabulé’s Casa Del Funk Studios, showcases the synergy between the two artists as they explore culturally diverse concepts and themes. Their partnership, which began through a series of livestream performances during the pandemic, has evolved into a collection of ten original songs.

Proof of Life features a blend of Onabulé’s signature songwriting style of polyrhythms and melodies drawn from his African roots with Meier’s love of eastern, world and Jazz themes as well as his expertise with a wide range of stringed instruments. This has resulted in the creation of a work with a rich tapestry of sound that resonates with themes of love, life and philosophies of survival in tumultuous times. The songwriting process was marked by a process of organic collaboration, where both artists contributed ideas and melodies, resulting in a cohesive body of work that captures their individual strengths while exploring creative boundaries were new to both artists.

First single - Rio deJaneiro
On the face of it, ‘Rio de Janeiro’ is a simple song about young love. A sincere declaration of the truest and most abiding affection by a suitor of modest means in the humblest of surroundings! The setting might not be exotic and exciting like, Rio de Janeiro but the declared feelings are real and forev

Brandee Younger:

Gadabout Season

It all started with a word-of-the-day email. Harpist Brandee Younger, bassist-producer Rashaan Carter and drummer Allan Mednard were on the road when they learned about the gadabout — a carefree pleasure-seeker who is always in motion, seeking out fun no matter the circumstances. The word of the day turned into the word of the tour, and seemed to describe their mission. These three simpatico travelers, whose shared history as trusted collaborators reaches back two decades, were always chasing and finding joy both onstage and off — through music, art, food and new experiences.

For Younger especially that joy was a healing force. Over the past year she’s faced personal challenges, so the gadabout concept acted as a helpful reminder that life happens to everyone — and that pursuing radiance in the midst of struggle is essential. “When it came time to write a piece to represent happiness, ‘Gadabout Season’ felt like the perfect title,” says the harpist, a Grammy nominee and NAACP Image Award winner who has garnered widespread acclaim for her soulful, spiritual meld of jazz, R&B and hip-hop’s essence.

Gadabout Season, Younger’s third for the legendary Impulse! label, releasing June 13, 2025, is her most personal and exploratory album to date – a reflective, imaginative body of work on which she has written or co-written nearly every composition. “The album reflects the journey — the search for meaning and beauty amid life’s most complex moments, ultimately emerging with a deeper sense of self,” says Younger. “Musically Gadabout Season is more creative and slightly more cerebral than my other works.” Listen to the title track, “Gadabout Season”, out now.

Known for her revelatory interpretations of harp legends Alice Coltrane and Dorothy Ashby, Younger now steps boldly into her own compositional voice, crafting music that carries her forebears’ language forward without paying direct tribute. “This writing process forced me to be completely honest,” she says. “I’m not hiding behind someone else’s work.” Self-taught as a composer, Younger draws instinctively from a hybrid of influences — jazz, classical, old-school R&B, and hip-hop.

Leif Ove Andsnes:

Franz Liszt - Via Crucis & Solo Piano Works w/TNSC

On his latest album “Liszt: Via Crucis & Solo Piano Works” for Sony Classical, Norwegian pianist Leif Ove Andsnes unveils the often forgotten side of the famed virtuoso Franz Liszt - the sacred music that offers a more intimate picture of the man and his deeply held faith.

With acclaimed vocal ensemble the Norwegian Soloists’ Choir, Andsnes has recorded Liszt’s remarkable late work Via Crucis (The Way of the Cross’) for choir and piano. The pianist completes his all-Liszt album with the solo piano work Consolations and two movements from the composer’s Harmonies poétiques et religieuses.

Franz Liszt is often described as the ‘first virtuoso’ - a superstar pianist and composer who invented the piano recital and whose fame and following in the nineteenth century were unprecedented. Much of Liszt’s reputation hangs on sweeping virtuosic showpieces so technically challenging that only Liszt could play them.

But that is only half the story. In 1847, at the age of just 35, Liszt retired from public performance to focus on writing and teaching. Thirteen years later he took another step back, taking Holy Orders and embarking upon a new life of religious devotion and creative introspection.

In this later period, a new aesthetic took root in Liszt, one characterized by austere, spare and sometimes inscrutable musical utterances that tended to question more than they assert. ‘I find Liszt’s religious music fascinating,’ says Andsnes, who has lived with Liszt’s music since childhood. ‘This is very different music, with so few notes but with a tension and beauty.’

One of the major statements of Liszt’s late period was Via Crucis, a journey
through the Roman Catholic tradition’s Stations of the Cross for choir and piano, written in Rome in 1866 but considered too unusual by Liszt’s publisher and never performed in the composer’s lifetime. It wasn’t until 1929 that the work was given its first airing, on Good Friday, in the capital of the composer’s native Hungary, Budapest.

Erkki Sven Tuur:

Aeris w/Estonian National Symphony Orchestra, Etts

Aeris is the ninth ECM New Series album to feature the vibrant and highly expressive music of Estonian composer Erkki-Sven Tüür. Olari Elts, a long-time champion of Tüür’s work, conducts the Estonian National Symphony Orchestra in compelling, intensely-focused performances of Phantasma, De Profundis and Tüür’s tenth symphony “ÆRIS”, which is scored for horn quartet and orchestra.

In Latin, Tüür notes, “æris” means brass while “aeris” means air, “and without this essential element, not a sound would come out of brass instruments. Thus, the title of my tenth symphony focuses mainly on the brass sound that carries the weight of this composition.” Written at the urging of the ensemble German Hornsound in 2022, the symphony is a vast drama of shifting energies and interactions, with the horns effectively “messengers from beyond the horizon, bringing prophecies of imminent irreversible changes.”

Erkki-Sven Tüür: “The increasingly dense layer formed mainly by the woodwinds presents a contrasting material to the slowly stretching sound axis of the horns. In turn, this contrasting material later forms the basis for the theme of the horn quartet. The symphony is divided into four movements that transition without clear separation. Every movement expresses a different development between the ensemble of soloists and the orchestra. Sometimes their motifs spread into the orchestra like memes that start changing and gradually take on lives of their own; sometimes they enter a debate without reaching common ground; sometimes there is a dialogue between the soloists and the ensembles within the orchestra, creating the impression of shared development principles…”

Phantasma (2008) is an indirect homage to Beethoven, with ghostly echoes from the Coriolan Overture, the otherworldly allure of Tüür’s piece also emphasized by microtonal glissandi. As it happens, the Coriolan Overture is also a piece of historical importance in Tüür’s family history: “Had my father, as a boy during World War II, not stumbled upon this overture by Beethoven on the radio, I probably would not have become a composer at all,” Tüür has written. “Apparently, the experience astonished him utterly and completely. From that moment he consciously started searching for information about who this Beethoven really was... The search led him to gradually discover the entire heritage of classical music; by the time I was born, he had a very impressive record collection. And this is how I grew up – in a world of sound created by the compositions my father constantly listened to.”

Keith Jarrett:

New Vienna - At the Musikverein, 2016

New Vienna is the fourth concert recording to be released from Keith Jarrett’s final European solo tour. It follows Munich 2016, Budapest Concert and Bordeaux Concert. Why New Vienna? As Jarrett aficionados will know, his discography already includes a legendary Vienna Concert (recorded at the Vienna State Opera) whose music, he once claimed, spoke “the language of the flame itself”, after long years of “courting the fire”. Keith Jarrett’s 2016 return to the Austrian capital brought the flames of inspiration to another historic location with lively acoustic properties, the Golden Hall of the Musikverein, where, at the start of the previous century, Schoenberg, Berg and Webern had premiered works that challenged and changed the course of modern music.

New Vienna, shaping its new music in the moment, is near-encyclopedic in scope. The long forms that typified Jarrett’s early solo concert journeys – from Bremen/Lausanne and Köln to the first Vienna Concert and beyond – had given way, in this concluding phase of his performing life, to shows comprised of shorter, self-contained and contrasting pieces which, in their totality, frequently attained an impromptu suite-like character. And so it was at the Musikverein on July 9, 2016. Part I – the first of nine parts – is a spontaneous whirlwind of sound, swirling, dense and complex – Impetuous as force of nature. Part II floats chords in silence, and slowly draws out a plangent melody. Rhythm is to the fore in Part III, an outstanding instance of Jarrett’s capacity to develop separate and interweaving patterns with each hand.

Part IV is hymnic, trailing clouds of glory, Part V pure balladry channelled from the ether. Part VI refracts the lyrical impulse, rendering it more abstract, and Part VII is a tender song one might imagine rescored for the Belonging quartet. Part VIII gets down to basics with the blues, and Part IX, with its hints of both gospel and country, reminds us of how all-embracing Jarrett’s musical visions could be. With “Somewhere Over The Rainbow”, a favourite encore choice, phrased a little differently from the splendid versions heard on La Scala, a Multitude of Angels and Munich 2016, Jarrrett concludes another exceptional performance.

New Vienna is issued as Keith Jarrett turns 80. Although he has not played live since 2017, public interest in his solo music remains high, with this year’s 50th anniversary of The Köln Concert also generating worldwide media attention.

Sven Helbig:

Requiem A w/Staatskapelle Dresden

The world premiere took place on 9th February 2025 at the Dresdner Kreuzkirche, featuring Sven Helbig’s live electronics, the Staatskapelle Dresden and the Dresdner Kreuzchor under the baton of Martin Lehmann. Renowned bass René Pape, celebrated for his performances with the Berlin State Opera and New York’s Metropolitan Opera, will appear as the soloist.

REQUIEM A is a deeply introspective work that blends traditional liturgical texts with new ones written by Sven Helbig. The title’s "A" symbolises "Beginning" (Anfang in German), highlighting themes of renewal and reconciliation. The composition weaves poetic imagery to explore the transition from mourning to life, with key motifs such as "setting off" (Aufbruch), "ashes" (Asche), and "breathing" (Atmen) guiding its narrative. Inspired by Helbig’s reflections on history, memory, and the contemporary relevance of conflict, REQUIEM A remains grounded in hope and the potential for new beginnings. A visit with his grandfather, who occasionally shared memories of World War II, sparked a contemplation of how the echoes of war continue to resonate in present-day discourse. This connection to history is especially poignant, as REQUIEM A debuts during the 80th anniversary of the destruction of Dresden and the end of World War II.

Sven Helbig’s work bridges the ordinary and the extraordinary, offering deeply personal yet universally accessible reflections on loss, renewal, and hope. With REQUIEM A, he creates a meditation on human resilience and the possibility of new beginnings - an idea inspired in part by conversations with his daughter, Ida, who encouraged the symbolism behind the title. The following conversation between Sven Helbig and his daughter offers deeper insight into the personal and artistic journey that shaped REQUIEM A.

Sheku Kanneh-Mason:

Shostakovich & Britten w/Sinfonia of London,Wilson

Decca Classics proudly presents Shostakovich & Britten, the new album from internationally acclaimed cellist Sheku Kanneh-Mason, out today. Featuring Shostakovich’s Cello Concerto No. 2, performed with John Wilson and the Sinfonia of London, alongside the cello sonatas of Shostakovich and Britten, this deeply personal recording pays tribute to cellist Mstislav Rostropovich, the towering figure who inspired both composers—and Kanneh-Mason himself.

Sheku Kanneh-Mason has a long-standing connection and affinity to Rostropovich and Shostakovich. His 2018 debut album, Inspiration, featured Shostakovich’s First Cello Concerto
—the piece that secured his victory at the 2016 BBC Young Musician competition and launched his international career. The album made chart history, making him the youngest cellist ever, at 18 years old, to break into the Top 20 of the UK Official Album Chart. Now, seven years later, he returns to the composer’s music with Cello Concerto No. 2, an introspective masterpiece composed for Rostropovich in 1966, and the Sonata in D minor, written in 1934 for Viktor Kubatsky.

“This concerto is a piece I’ve loved and studied for a long time,” Kanneh-Mason reflects. “It contains some of the most beautiful and sweetest moments in music, as well as some of the darkest and bleakest. To have all of that within one piece is very powerful.”

Following a widely acclaimed tour showcasing the concerto, his October 2024 performances with Sinfonia of London marked a triumphant culmination, earning rapturous reviews. iNews hailed them as “bloody fantastic” (?????), while The Guardian praised his “thoughtful yet tense interpretation,” adding, “the cello’s voice glowed all the brighter for it” (?????). The tour concluded with these celebrated performances, which were followed very shortly by sessions at St Augustine’s, Kilburn.

Sheku Kanneh-Mason’s performance captures the raw vulnerability and unrelenting depth of Shostakovich’s writing. Reflecting on the recording process, he recalls: “It was very intense spending seven hours in a world of emotions that have a genuine effect on me. John is always searching for more, and the orchestra was invested in every note, which is really the dream for this piece.”

John Wilson adds, “It’s been a real joy to work with Sheku on this particular piece because we both seem to have the same idea of how we want to do it, which is what is on the page. And the fact that we had several opportunities to play is particularly rewarding and gratifying because you can get closer and closer to the truth as you go.”

Yunchan LIm:

Rachmaninoff Piano Concerto No. 3 - LIVE, Cliburn

Decca Classics now releases one of the most talked-about performances in recent classical music history: Lim’s electrifying interpretation of Rachmaninoff’s Piano Concerto No. 3, recorded live at the 2022 Van Cliburn International Piano Competition, when he was just 18 years old.

Dominic Fyfe, Label Director, Decca Classics, says: “The creation of a recorded legacy on Decca Classics was at the heart of our conversations with Yunchan from the very beginning. These two albums are already milestones in his career and each affords us the opportunity to own a piece of history. They document his artistry in both live and studio settings, capturing the hypnotic music-making which has become Yunchan's signature.”

Lim, now 21, first gained international recognition with this very performance, which conductor Marin Alsop described as showing “an old soul, rather than a young performer.” Since then, it has become the most-watched version of the concerto on YouTube, with over 17 million views.

The performance quickly went viral, trending worldwide and surpassing all other recordings of the piece online. It was broadcast on national television in South Korea and featured on global news outlets, making Lim a household name almost overnight. British pianist and jury member Sir Stephen Hough called him “a preposterously gifted pianist... he understood the rhetoric, the scope, the personality of Liszt. It isn’t speed but a kind of inner charisma.” Fellow juror Jean-Efflam Bavouzet said, “We didn’t talk, but our eyes said it all,” while Anne-Marie McDermott shared, “About halfway through the first movement… we just knew: we’re experiencing something magical here.”

Bomsori:

Bruch & Korngold w/Bamberger Sym. Jakub Hrusa

Bruch & Korngold is Bomsori's second release for Deutsche Grammophon, and the first to feature the warhorse concerto repertoire. The concept behind the album is to focus on the masterpieces of Max Bruch and Erich Korngold, two composers who specialized in writing some of the violin repertoire’s most recognized works. Bomsori has found a key partner in Jakub Hrusa and the Bamberger Symphoniker, over three days together, they developed an amazing chemistry.

Bomsori has been playing the works since childhood and revered the recordings of other DG legends since she first touched the violin.

She is heralded for her lush, singing tone, and propensity to carry long romantic phrases to soaring heights. These pieces are full of such melodies, and she eats them up.

John Eliot Gardiner:

Johannes Brahms Complete Symphonies w/RCO

In September 2021, conductor John Eliot Gardiner embarked on a two-season focus on the music of Brahms with the Royal Concertgebouw Orchestra. They gave a series of acclaimed concerts at the orchestra’s Amsterdam home, each featuring one of the symphonies juxtaposed either with one of the piano concertos or with a selection of choral works. In May 2023, they brought the project to a triumphant conclusion by performing the complete symphonies over two evenings in Amsterdam, Hamburg and Luxembourg.

Deutsche Grammophon is delighted to present an album featuring all four symphonies, captured live at the Concertgebouw between September 2021 and January 2023. Johannes Brahms – Complete Symphonies will be released digitally and as a 3-CD set on 2 May 2025. The second movement of Symphony No. 1 in C minor, Andante sostenuto, will be available to stream or download from 28 March, and the third movement of No. 2 in D major, Allegretto grazioso (quasi andantino), from 18 April.
Gardiner first recorded the Brahms symphonies with the period-instrument players of the Orchestre Révolutionnaire et Romantique almost two decades ago. Explaining his decision to re-record the cycle, he says, “I sensed a need and a personal challenge to build on that seminal earlier experience and to extend its findings and interpretations to/in working with a modern instrument orchestra – especially such a distinguished, flexible and immensely accomplished one as the Royal Concertgebouw Orchestra – in search of a fresh synthesis of styles and approaches.”

Brahms famously took many years to complete his Symphony No. 1, so aware was he of the daunting example set by Beethoven. Having premiered the majestic First to huge success in 1876, he went on to write three further monuments of the genre – the Second was first heard just a year later, in 1877, the Third in 1883 and the Fourth in 1885.

Together, Gardiner and the RCO explored these four strikingly different works in enormous depth and detail, bringing out not only their variety but their close links with Brahms’s choral music (an area the conductor describes as his “pet hobby-horse”). Their readings were widely praised for their radiance and vigour – this last despite the fact that Gardiner marked his 80th birthday in April 2023.

Arve Henriksen:

Arcanum

The Scandinavian project Arcanum brings together four artists all well-known to followers of music at ECM: Arve Henriksen, Trygve Seim, Anders Jormin and Markku Ounaskari. They’ve played together in many permutations over the years, but this is their first album as a quartet. Already hailed as a “Nordic supergroup” in some quarters, the designation hardly conveys the thoughtful, reflective quality of the improvising and the sensitivity of the interaction here, whether playing music composed in real time or taking a written theme to new places.

Ounaskari, Jormin and Seim were all working with folksinger and kantele player Sinikka Langeland when the idea of a new band was first raised: “We’d often play as a trio during soundchecks, which was always very enjoyable, so I proposed booking a couple of concerts in Finland….”, Markku recalls. Trygve felt Arve Henriksen also had to be in the line-up, a suggestion easily agreed to. All four of the musicians had played together on Langeland’s Starflowers album in 2006 and on her later recordings including The Land That Is Not and The Magical Forest, and the Seim/Henriksen association stretched back still further, with Arve already a significant presence on Trygve’s ECM debut Different Rivers, recorded in 1998 and 1999. From the earliest days it was evident that there was something special in the way that Seim and Henriksen were able to bend and intertwine their sounds on saxophone and trumpet.

ALL PRESS SECURED BY DL MEDIA

Yuja Wang:

Shostakovich - The Piano Concertos | Solo Works

Deutsche Grammophon today releases Shostakovich: The Piano Concertos | Solo Works, featuring the electrifying artistry of Yuja Wang. The album marks the culmination of the Boston Symphony Orchestra’s decade-long, GRAMMY Award®-winning Shostakovich cycle and is released to coincide with the 50th anniversary of the composer’s death. It showcases the star pianist’s performances with the BSO under the baton of its Music Director Andris Nelsons of Shostakovich’s two contrasting piano concertos – No. 1 in C minor and No. 2 in F major (“Yuja Wang … navigated both works with conviction and fearless technique” – Boston Globe). Also included are six of Shostakovich’s Preludes and Fugues for solo piano, works which have been chosen by Yuja from the composer’s Opp. 34 & 87, and which offer a more intimate glimpse into his pianistic world.

Recorded at Boston’s Symphony Hall by a team headed by legendary Hollywood producer Shawn Murphy and BSO lead recording engineer Nick Squire, the album is now available onstandalone digital, CD and vinyl formats. Yuja’s concerto recordings will also form part of the BSO’s comprehensive Shostakovich anthology, which contains all 15 symphonies, key incidental works, new recordings of the complete piano, violin, and cello concertos – the latter with soloists Baiba Skride and Yo-Yo Ma respectively – and the first commercial audio release in over 20 years of the composer’s only full-length opera, Lady Macbeth of the Mtsensk District.

Shostakovich’s Piano Concerto No. 1 in C minor is a work brimming with youthful energy and sardonic wit. Composed in 1933, shortly after the completion of Lady Macbeth and during a period of relative personal tranquility, it represents a fascinating blend of styles and influences. Originally conceived as a trumpet concerto, it was eventually expanded by the composer into a double concerto for piano and trumpet, accompanied by a string orchestra. This unusual instrumentation, combined with Shostakovich’s characteristic humour and penchant for musical parody – here including sly references to Beethoven, Haydn, and even popular tunes – results in a work both virtuosic and playfully subversive.

The interplay between Yuja’s piano and BSO principal Thomas Rolfs’ characterful trumpet, backed by the vibrant BSO strings, is pure delight. As the pianist herself observes, “Every time I take it up, it feels like there’s another layer of dark humor to come out … there’s so much making fun of Beethoven, of Bach, of almost everything we know.”

Lucas & Arthur Jussen:

Cantus

CANTUS is a carefully selected bundle of six tracks, each based on a choral or aria-melody.

Johannes Brahms, knowing he was going to die, wrote a series of choral preludes for organ, which his good friend Eusebius Mandyczewski arranged for piano four-hands.

On CANTUS Lucas and Arthur have recorded three of these.

Laurence Perkins:

Honey-coloured cow

Laurence Perkins is not only an extremely accomplished bassoonist; he also has the enviable talent of devising memorable and attractive programmes (and album titles) for his instrument. In his charming latest release, ‘Honey-coloured cow’, Perkins’s bassoon expressively sings throughout an album covering a century of music. If the occasional porcine grunt or plaintive moo intrudes—for example near the end of the Ruth Gipps piece which gives the album its title—humour is just one element in a programme exploring a wide range of moods, styles and accompanying forces. Contributions from harp, piano (John Flinders), string quartet, bassoon ensembles, and string orchestra (the City of Birmingham Symphony Orchestra conducted by William Goodchild) provide something to gladden the hearts of moosic-lovers everywhere.

From TV theme tunes to a folk-inspired ‘circle dance on seven notes’ by Villa-Lobos, Laurence Perkins—aided by a wide variety of accompanists—presents another pleasing miscellany of composers and works (no fewer than fourteen of each) demonstrating the many moo(d)s and expressive potential of the bassoon.

Of his previous album, The Times wrote: ‘The whole album represents the kind of triumph only possible from a small, imaginative, independent recording company.’

Gramophone also wrote: ‘Performer, teacher and promoter—Laurence Perkins was ideally placed to have created this anthology … His booklet notes, setting each work in the context of relevant world events, are a quirkily perceptive enhancement of this enterprising and wholly recommendable project.’

Gidon Kremer:

Kalabis w/Duettina Chamber Music & Diptych

Gidon Kremer’s commitment to the music of our own time and the exploration of some of the lesser-known byways of the past is justly famous. Here, alongside his Kremerata Baltica colleagues, he turns his attention to three substantial works for strings by the 20th-century Czech composer Viktor Kalabis: the Duettina, Chamber music and Diptych. The influence of figures such as Martinu, Bartók and Berg may be heard in the background, but that isn’t to deny the individuality of Kalabis’s own compositional voice—one which emerges as determinedly, defiantly tonal.

‘Chamber music for strings’ (1963) by Kalabis is a compositional meditation about death, following the loss of the composer’s father. This final movement of the work orbits an elegiac string sound. Committed to today’s most visionary composers across over 200 albums, GidonKremer founded the chamber orchestra Kremerata Baltica to foster outstanding young musicians from the Baltic States. The Kremerata tours globally and has recorded over 30 albums to date.

Jane Ira Bloom:

Songs in Space

Soprano saxophonist Jane Ira Bloom is back in zero Gs with her latest recording Songs in Space, a constellation of duets and trios conceived and performed especially for the experience of surround sound listening. The saxophonist who has an asteroid named after her (6083janeirabloom) and long known for her association with NASA pairs with longtime bandmates pianist Dominic Fallaco (from the Grammy nominated ballad project “Sixteen Sunsets”) and bassist Mark Helias and drummer Bobby Previte (from the Grammy award winning trio recording “Early Americans”). There are nine stellar originals including “Better Starlight” and “Riding My Planet” and two gravitationally re-arranged ballad classics “I Could Have Danced All Night” and “My Foolish Heart” that showcase Bloom’s extraordinary connect with Fallacaro and full-throated abandon with her rhythm section. The music is both lyric and motion-filled, played by seasoned performers who know how to just set the soundscape in space. The sound, silence, and acoustic interplay of these improvising musicians has been captured both in high-definition stereo and immersive audio. After years of remote recording during the pandemic Bloom returned to the studio to record live for three days in high-definition surround sound at the Clive Davis Institute in Brooklyn, NY with her Grammy award team of engineering legend Jim Anderson and tonmeister Ulrike Schwarz. Audio science and improvisational art collaborate to make this recording a one-of-a-kind musical experience. Songs in Space is available as a stereo (OTL146) and immersive (OTL146i) digital release on June 26.

Dave Anderson:

In Lieu of Flowers

In Lieu of Flowers, the new album by composer and saxophonist Dave Anderson’s New York-based quartet, pays tribute to inspirations here and gone, while reflecting on the ways people honor those who shape our lives. The new collection of songs pays homage to jazz luminaries Wayne Shorter and Maria Schneider, while also honoring the lasting influence of music educators and personal inspirations in Anderson’s life and family. In Lieu of Flowers will be released on May 20 by LABEL 1 Records.

Anderson, performing on both tenor and soprano saxophones, is joined on In Lieu of Flowers by Chamber Music America grant- winning pianist Grant Richards, versatile bassist Lorin Cohen on both acoustic and electric, and busy drummer-about-town Jimmy Macbride. Together, they create a cohesive modern quartet sound that propels music forward while understanding its deep roots.

“As a composer, I’ve tried to capture some essence of each inspiring subject, and write music that communicates something essential to listeners via the musicians in this quartet,” says Anderson, a veteran of Memo Acevedo’s Manhattan Bridges Orchestra and Pat Petrillo’s Big Rhythm Band. “People share their appreciation for others in profound ways – sometimes while they are still present – though loss can help crystallize how others were important to us.”

The new album’s ten originals, written by Anderson over a period of years but all first recorded for this project, cover a range of modern up-tempo swingers, ballads, contrafacts and complementary pieces.

Nicolas Snyder:

'Common Side Effects' from 'adult swim' OSS

From Joe Bennett (“Scavengers Reign”) and Steve Hely (“Veep”) and Executive Producers Mike Judge and Greg Daniels (“King of the Hill”), a new series that follows what happens after a mysterious healing mushroom is discovered, The half-hour series: “Common Side Effects,” which debuted on Sunday, February 2 at 11:30pm ET/PT via Adult Swim follows Marshall and Frances, two former high school lab partners who share a secret: Marshall has discovered the world’s greatest medicine, a mushroom that can heal almost anything. But getting it out into the world won’t be easy – the DEA, big pharma, and international businessmen are all on the chase to stop them.

“Joe and Steve have created something incredibly original with a series that is thrilling, beautiful and deeply funny,” said Adult Swim president Michael Ouweleen. “It’s top-level television that challenges expectations and raises profound questions. It’s a truly special series and unlike anything you’ve ever seen. I’m trying not to be hyperbolic, but it’s true.”

“Watch our show! A gripping comedic thriller with a unique original style and big themes? You decide!” said co-creators Joe Bennett and Steve Hely. “We hope ‘Common Side Effects’ will be enjoyed by anyone who’s ever taken a pill.”

Bonobo:

LAZARUS Soundtrack

Milan Records today debuts three soundtracks from the new anime series LAZARUS by artists KAMASI WASHINGTON, BONOBO and FLOATING POINTS. Each artist was tasked with contributing a full-length soundtrack to the series by director Shinichiro Watanabe, resulting in three distinct listening experiences that together provide a dynamic soundscape to the thrilling sci-fi narrative. In addition to contributing the series opening theme “Vortex,” multi-instrumentalist, composer and bandleader KAMASI WASHINGTON infuses the series with expansive ensemble jazz numbers punctuated by his virtuosic saxophone solos. Meanwhile, producer and DJ BONOBO delivers a dreamy and atmospheric collection of music that blends twinkling electronic synths and warm organic instrumentation. Finally, producer and composer FLOATING POINTS rounds out the soundscape with a genre-defying body of electronic-meets-jazz music that provides an otherworldly companion to the onscreen story.

Produced by Sola Entertainment and animated by Studio MAPPA, Lazarus airs Saturday at midnight on Adult Swim during the network’s Toonami action/anime block, next day on Max. The series is airing on Adult Swim in English with encore airings will debut every Thursday at midnight. Episodes in Japanese with English subtitles will debut in the U.S. on Adult Swim and Max 30 days after their English-language premiere.

Kamasi Washington:

LAZARUS Soundtrack

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