Live From The Swamp, Vol. 9 was selected for release by a listening committee after feedback from band members and crew. The download is produced from the original 64-track soundboard recording by Bobby Tis and Brian Speiser, and mixed and mastered for release by Jesse Lauter.

Tedeschi Trucks Band live at Beacon Theatre, New York, 2019-10-04.

Venice ca. 1700: having recently arrived from France, the instruments à la mode - the oboe, bassoon, baroque recorder, and flûte traversière - go on to conquer the musical centers of the Serenissima. The versatility of these new woodwinds inspires Vivaldi at the Ospedale della Pietà and his compatriots Caldara and Lotti at San Marco throughout their lives, whether in Venice, Rome, Vienna, or Dresden.

With his new album Rhapsodic, Nicolas Repac gives life to the archives of the hunter-gatherer of sounds: Charles Duvelle.

It is an imaginary concert program comprising an enormous emotional spectrum from the extremely intimate (Malinconia, Waldesruhe, Prayer, etc.) to the virtuoso and life-affirming (Rondino, L‘abeille, and Andaluza); it is also a journey through disparate musical regions from North to South, from Finland to Spain, that poses some of the great questions of human existence: questions of meaning and duration, of inner peace, memory, and salvation.

Recording Studios: Thora, and Blue Mountain Music (London). Re-Mastered by Gem Quinn at the Hive, Somerset, 2021

George Frederick Pinto (1785–1806) is one of the major ‘what-ifs’ of music history: a child prodigy both as performer (on violin and piano) and as composer, he was only twenty when he died, probably from tuberculosis or from what one writer called ‘dissipation’. But the music he composed in the little time he had reveals a composer as gifted as almost any of his contemporaries. These three quirky and inventive violin sonatas – receiving their first recordings here – sit on the cusp of Romanticism, their Classical elegance warmed by a graceful lyricism that looks forward to Schubert.

Emily A. Sprague’s Water Memory and Mount Vision are presented in new and vivid detail. Through sound and poetry, Emily’s craft focuses on fleeting moments of crystalline clarity and meditates on expanded lifetimes of intricate meaning-making. Memory and vision, ocean and mountains, question and answer, emotions and infinity. Sunshine, lizard, sea salt. Previously issued as small editions of self-released cassettes, Emily’s two albums have been resequenced and mastered by Taylor Deupree, each including previously unheard tracks.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, “There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate—more blood, more gore.

Coming from two cultures, French and Haitian, the pianist Célimène Daudet is a soloist whose acting and artistic commitment are recognized by audiences and the international press. She performs on different continents and has been invited to play at Carnegie Hall in New York, the Konzerthaus in Vienna and the Philharmonie de Paris.

‘The dreamer! That double of our existence, that chiaroscuro of the thinking being’, wrote Gaston Bachelard in 1961. ‘The old is dying, the new cannot be born, and in that chiaroscuro, monsters appear’, adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: ‘My family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between…’

From well-loved arias to new discoveries, this recording journeys through over a century of opera, with transcriptions for cello and orchestra stretching from Mozart to Puccini and including Verdi, Tchaikovsky and Offenbach. The curtain goes up on some of Ophélie Gaillard’s favourite pieces, which explore human passions through the voice of the cello, that most human of instruments.

Tucson, Arizona interdisciplinary artist Karima Walker walks a line between two worlds. Aside from her long resume of collaborative work with artists in the diverse fields of dance, sculpture, film, photography and creative non-fiction, Walker has long nurtured a duality within her work as a musician, developing her own sonic language as a sound designer in tandem with her craft as a singer/songwriter. The polarity within Walker’s music has never been so articulately explored, or graced with as much intention, as on her new album, Waking the Dreaming Body.

Akkapelimannit (Female Folk Musicians, akka meaning a mature, married woman) are musicians from Kaustinen, Finland: Minna Järvelä teaches violinists at the Lahti Conservatoire, Jaana Virkkala teaches music to teacher students at the University of Jyväskylä, Kaija Saarikettu is a professor of violin music at the Sibelius Academy, Maria Pulakka and Leenakaisa Sandberg are violinists of the Ostrobothnian Chamber Orchestra and Kreeta-Maria Kentala is a freelancer baroque violinist.

Works that pay homage to spring have been brought together by Malwina Sosnowski (violin) and Benyamin Nuss (piano) on their new GENUIN CD: departure, a new beginning, an exuberance of emotions. On it, the perspective shifts between Japan and Europe. Beethoven’s euphoric "Spring Sonata" is juxtaposed with rarely performed French repertoire by Germaine Tailleferre and Lili Boulanger, as well as a world premiere recording by Masashi Hamauzu and an elegy dedicated to the victims of Fukushima by Benyamin Nuss himself. The interpretative verve and freshness of the two internationally successful musicians match the richness of color and nuance found in the selected music.