Carlos 1

Violinist Billy Bang uses the same instrumentation on this set as on his previous The Fire From Within, although his sextet had two new members: trumpeter Roy Campbell and drummer Zen Matsuura. A more rhythmic album, this melodic avant-garde set rewards repeated listenings and has an impressive amount of variety.

Import five CD release from the acclaimed Brazilian singer, songwriter and guitarist contains five of his classic albums housed in paper sleeves in one package. This set features the albums Wonderful World Of (1965); Love Strings & Jobim (1966); A Certain Mr Jobim (1967); Urubu (1976) and Terra Brasilis (1980).

In some ways, this is a strategic retreat for Antonio Carlos Jobim after the classical departures of the '70s – a retrospective of past triumphs, including some of the most trod-upon standards ("Ipanema," "Desafinado," "One-Note Samba," etc.), with Claus Ogerman again at hand. But these are thoughtful retoolings, some subtle, some radical, ranging in backing from a lonely piano to elaborate yet sensitive Ogerman orchestral flights that cram more complexity than ever into the spaces (listen to his beguilingly involved take on "Double Rainbow") with only a few overbearing faux pas. Jobim's own vocals sound increasingly casual in temperament as he serves them up in an unpredictable mixture of Portuguese, English and scat. And there is much unfamiliar material here, often dressed up in a brooding classical manner.

Carlos Kleiber's 1977 La Traviata is a rare gestalt among studio opera recordings, and it is one of the conductor's finer achievements. Kleiber knits the score together with unwavering rhythmic and dramatic intensity, never allowing any single moment to eclipse the larger scene or musical structure. The singers are kept on a tight leash – given enough room to shape phrases and cadences, but not to indulge in sheer vocal display. The orchestra is similarly focused on realizing every detail of rhythm, melody, and articulation with vivid intensity. As a result, favorite arias, duets, and ensembles melt into the surrounding scenes in a way that invites curiosity about the drama at large while propelling it relentlessly forward. The general pace may strike some as a bit fast, but it's never boring, and frequently brilliant.

South African pianist Thandi Ntuli traveled to Los Angeles in 2019, where she recorded this album of bare, explorative piano and voice pieces at a Venice Beach studio with International Anthem artist Carlos Niño in the producer chair. An absolutely stunning, intimate listen, with Ntuli’s prowess as a pianist and singularity as a vocalist on vivid display as much as her fearlessness, vulnerability and adventurousness during occasional experiments with synthesizers and percussion. Niño colors open minimalist soundscapes with overdubbed percussion, cymbals and plants.