Max Tegmark L'universo Matematico

Max Kaminsky was a reliable Dixieland player who was featured on many sessions with Eddie Condon's gang in the 1940s and '50s. He played early on in Boston and was a veteran of 1920s Chicago, where he gigged with Bud Freeman, Frank Teschemacher, and Condon. Moving to New York in 1929, Kaminsky had a short stint with Red Nichols and then worked in commercial bands, although he did have opportunities to record with Condon, Benny Carter (1933), and Mezz Mezzrow (1933-1934). Kaminsky gained some fame for his work with Tommy Dorsey's Orchestra (1936), including broadcasts with an early version of the Clambake Seven…

Max Richter’s ninth solo album - the first to be written and recorded at his serene new studio in rural Oxfordshire - is a fleeting self-portrait of a musician in constant motion. In A Landscape is a record about “reconciling polarities”, as Richter puts it, bringing together the electronic and the acoustic, the human and the natural world, the big questions of life and the quiet pleasures of living.

Following years of buildup and a whopping eight singles, Ava Max finally delivered her first official studio full-length, Heaven & Hell. Well worth the extended promotion, the album is a masterful pop debut, one of those might-as-well-be-a greatest-hits collections like Lady Gaga's The Fame, Dua Lipa's self-titled LP, or Katy Perry's One of the Boys. Indeed, Max is a kindred spirit with those hitmakers, both in vocal delivery and her knack for picking out an effective earworm, of which there is an embarrassing abundance on Heaven & Hell. Thematically divided into those two titular sides, the album takes that well-worn dichotomy and splits the track list between energetic bops and moodier – but no less catchy – doses of dark pop, all bound together by primary producer Cirkut (Marina, Katy Perry, Kim Petras).

When Max Richter’s Recomposed first exploded into our collective ears almost a decade ago, a 59-minutes-28-seconds sonic starburst, the effect for so many people was total. We hadn’t heard anything like that, ever. Experiencing it felt as though we were being catapulted onto another plane, reverberated through the cosmos by this epiphanic soundworld. In this “alternative rendering”, Chineke!, the groundbreaking British ensemble consisting of majority Black, Asian and ethnically diverse musicians, and the brilliant soloist, Elena Urioste, are playing on gut strings and period instruments: the sort that Vivaldi would have heard, and played, in his own time.