Madame Robert Toutarien

Robert Glasper is a man of many talents. Certainly, he's both an inarguably accomplished jazz pianist and a first-rate composer. But what Glasper does best is pick drummers. With 2007's In My Element, he provided Damion Reid with a platform to record nothing less than the drum performance of the year. For this album, Glasper teams up with Chris Dave, and the results are astonishing. It's a concept album, sort of. The first half features the Trio (Glasper, Dave, and bassist Vicente Archer) on a handful of originals and a take on Thelonius Monk's "Think of One." Throughout, the piano and drums intertwine with a complex integrity that sounds deceptively effortless. Then comes the Experiment: Derrick Hodge replaces Archer with an electric bass; Casey Benjamin adds saxes and vocoder; Bilal and Mos Def drop in for vocal cameos. The Experiment's five tracks differ in texture and depth from the Trio's set, but the adventurousness of the performances and the gorgeous lyricism of Dave's drumming fuse the album's halves into a single musical statement that makes for the year's best jazz album so far.

Robert Cray has been bridging the lines between blues, soul and R&B for the past four decades, with five Grammy wins and over 20 acclaimed albums. His latest album, That's What I Heard, was recorded at the iconic Capitol Records studios and produced by Steve Jordan (Sheryl Crow, Josh Groban, Keith Richards, Boz Scaggs). The music is a varied sonic blend of blues, soul, boogaloo and gospel. Guest artists include Ray Parker Jr and Steve Perry.

The new solo album from Rob Reed (Magenta/Cyan/Sanctuary), the follow-up to the successful Sanctuary series. Again, Rob has collaborated with Tubular Bells producer Tom Newman and multi-instrumentalist Les Penning on the album, along with drummer Simon Phillips and multi-instrumentalist Troy Donockley. The Ringmaster albums will be released in two parts, with the second instalment coming in early 2022.

‘The Ringmaster - Part 2’ continues and now completes the ‘Ringmaster’ story that Rob Reed started with the release of ‘Part 1’ in October 2021!

The contemporary blues bannerman's recording debut (originally released as Who's Been Talkin' in 1980), while naturally not as strong as his later work (especially Bad Influence, released five years later), is the work of an extremely promising artist. The album is an appealing mix of standards (Willie Dixon's "Too Many Cooks," Howlin' Wolf's "Who's Been Talkin'," O.V. Wright's "I'm Gonna Forget About You," among others) and originals. Among the strongest of the latter are the slow blues "I'd Rather Be a Wino" and the closing number, "If You're Thinkin' What I'm Thinkin'," which contains the flavorful mix of tight rhythms, excellent guitar work, strong vocals, and bittersweet mood that would become Cray's hallmark.

Claudio Arrau recorded these concertos twice for Philips, the present performances in 1963, and then again in 1980 with Colin Davis and the Boston Symphony. There's very little to choose between them. Tempos are almost identical, and contrary to what one might expect, the slow movement of the Schumann concerto is actually a bit faster in the later version. Arrau's way with the music is wholly characteristic of the man: serious, even reverential (at the beginning of the Schumann), and played with drop-dead gorgeous tone. The result enhances the stature of both works, but the Grieg in particular. The climax of the finale has an epic grandeur without a hint of bombast that you simply won't find in any other performance. Dohnányi's accompaniments are also distinguished: he lets Arrau lead but isn't afraid to permit the orchestra to assert itself where necessary; and of course the playing of the Concertgebouw is top-notch. If you haven't heard Arrau in this music, it really doesn't matter which of his recordings you wind up with, but do try to get at least one of them.

Rock Bottom, recorded with a star-studded cast of Canterbury musicians, has been deservedly acclaimed as one of the finest art rock albums. Several forces surrounding Wyatt's life helped shape its outcome. First, it was recorded after the former Soft Machine drummer and singer fell out of a five-story window and broke his spine. Legend had it that the album was a chronicle of his stay in the hospital…