Matthew I Bonhomme

Limited box containing four CDs in card wallets housed inside a clamshell box. Susanna Hoffs, a founding member of The Bangles and co-conspirator Matthew Sweet released three full volumes of their Under The Covers series between 2006 and 2013, on which the two teamed up to pay homage to many of the singles (and album deep cuts) from the '60s, '70s, and '80s which informed and shaped their own musical destinies. The Beatles, Dylan, Fairport Convention, Neil Young, The Beach Boys, The Who, Grateful Dead, Fleetwood Mac, Carly Simon, The Ramones, The Clash, The Pretenders, The Smiths and Prince are amongst the 57 acts covered. With guest appearances from Lindsey Buckingham, Steve Howe, Van Dyke Parks and Dhani Harrison, this 60 song package contains all three albums and fifteen previously-hard-to-get bonus tracks plus a 48 page booklet with annotation by Sweet and Hoffs, all gathered together for the first time.

For his debut recording with Ad Fontes, Matthew Martin has brought together a recital showcasing two of the greatest organist-composers of twentieth century France. Durufle, a notorious perfectionist, looked to his profound faith and the great lineage of French composers - Debussy, Dukas, Faure and Ravel - for inspiration. Alain, an ardent voice in the avant-garde, developed his own distinctive language before his tragic death in 1940, aged just 29.

This second volume of Trombone Travels (Volume 1 is on 8574093) continues with Matthew Gee’s exploration of three great cycles of early 20th-century British song.

Conspirare performs a passion by Craig Hella Johnson, a musical response to the tragic death of a young man who has become an American icon and a symbol for hope and empowerment. Johnson has set a rich variety of texts by Lesléa Newman, Hafiz, Hildegard von Bingen, Michael Dennis Browne, and others. Many Conspirare singers are featured as soloists, and the vocal group is joined by a small ensemble of strings, piano (Craig Hella Johnson), guitar, clarinet, and percussion.

John Matthew Myers is rapidly in the ascendent. His debut album, "Desiderium", coincides with his Metropolitan Opera debut in Brett Dean’s Hamlet.

A close contemporary of Buxtehude, Johann Pachelbel was, by all accounts, an outstanding keyboard player himself, and his compositions provide a fascinating stylistic bridge between early-Baroque composers such as Frescobaldi and Froberger (both of whom influenced him) and the later music of J.S. Bach and his contemporaries.

Für seine Debütaufnahme mit Ad Fontes hat Matthew Martin ein Konzert zusammengestellt, das zwei der größten Organisten und Komponisten des Frankreichs des 20.

John Matthew Myers is rapidly in the ascendent. His debut album, "Desiderium", coincides with his Metropolitan Opera debut in Brett Dean’s Hamlet. "Desiderium" – "an ardent desire or longing, a feeling of loss or grief for something lost" – beautifully showcases Myers’ mellifluous voice. His thoughtful program of works by American and American émigré composers opens with Samuel Barber’s yearning Knoxville: Summer of 1915 – rarely heard sung by a tenor – and transitions to Charles Tomlinson Griffes’ similarly searching settings of 3 Poems of Fiona Macleod, and Andre Previn’s 4 Songs for Tenor and Piano.What follows is A Letter from Sullivan Ballou, set to the words of a poignant letter by an American Civil War officer, by John Kander (of Kander and Ebb musical theatre fame). Rounding out the recital are 4 Walt Whitman Songs by German-born composer Kurt Weill, including the classic O Captain! My Captain!John Matthew Myers says “Call me a big-hearted Romantic. Each song on this album conveys yearning, separation, loneliness or distance but also a sense of intimacy and longing for connection". It certainly does. "Desiderium" is an auspicious album.

Cat Stevens' Matthew & Son was among the handful of releases that introduced Decca Records' "offbeat"-oriented (but ultimately largely psychedelic/progressive) Deram label in England. Actually, Stevens' "I Love My Dog" launched the label in fine style by climbing to number 27 on the U.K. charts, and its follow-up, "Matthew & Son," hit number two, resulting in the release of the original album of the same name. The latter was not only a fine account of Stevens' early folk-influenced pop/rock sound, but was also a beautiful, candid audio "snapshot" of one side of Swinging London's musical ambience in late 1966 and early 1967.