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Mixing old school blues and folk with new school hip-hop and funk, G. Love’s electrifying new album, Philadelphia Mississippi, brings together both sides of the genre-bending pioneer’s eclectic career in a wildly innovative and deeply reverent sonic pilgrimage to the heart of the South. Produced by North Mississippi All-Stars’ Luther Dickinson, the collection is loose and spontaneous, full of joyful, improvised performances and freewheeling collaborations with a slew of special guests including blues torchbearers like Alvin Youngblood Hart and Christone “Kingfish” Ingram and rap icons like Schoolly D and Speech. It would have been easy for G. Love to play it safe coming off his GRAMMY-nominated 2020 release, The Juice, but Philadelphia Mississippi is perhaps his most adventurous collection to date, ditching all the rules as it experiments with form and function in an ecstatic celebration of music’s power to connect across genres and generations. Born Garrett Dutton in Philadelphia, PA, G. Love first broke out in the early ’90s with his band, Special Sauce, on their strength of their Gold-selling self-titled debut. Over the next three decades, he would go on to release seven more critically acclaimed albums with Special Sauce (plus five on his own), become a fixture on festival lineups from Bonnaroo to Lollapalooza, and collaborate on the road and in the studio with artists as diverse as Lucinda Williams, Dave Matthews, The Avett Brothers, Jack Johnson, Keb’ Mo’, and DJ Logic.

Jerome Correas and Les Paladins invite you to listen to this new disc on b.records where you travel to the court of Mantua when Vivaldi was composing the Concerto da Camera. The works that make up the Tempesta di Mare are extremely virtuoso and expressive and were written at the time in the composers career when he explored timbres and rhythms resulting in an explosion of colour. To consumer without moderation!

On 1 May 1761, at the age of twenty-nine, Joseph Haydn officially became Vice-Capel-Meister to Prince Paul II Anton Esterházy, after having been Director of Music (Musikdirektor) to Count Karl Joseph von Morzin, who had squandered his fortune and had to disband his orchestra. Much has been made of the contract he signed that day. However, despite its demanding terms, it is not true that Haydn was reduced to the level of a servant, far from it, and his salary of 400 Gulden a year was double what he received from Count Morzin. But one of its restrictive clauses did forbid him to communicate to anyone new compositions requested by the prince, and to compose for anyone else without the monarch’s “gracious permission”.