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Alain Jean-Marie is a French jazz pianist. He made his first recordings in 1969 (released in 1997 as piano biguines). At the same time he played regularly with the trio of Winston Berkley and Jean Claude Montredon. In 1973, he moved to Paris, where he accompanied jazz musicians such as Chet Baker, Sonny Stitt, Art Farmer, Johnny Griffin, Lee Konitz, and Max Roach. In 1979, he debuted with his own trio (Al Levitt on percussion, Gus Nemeth and later Riccardo Del Fra on bass). Since the 1980s, he has regularly performed with Barney Wilen, including as a duo on albums such as La Notenbleue (1986) and Dreamtime (1992). In 1986, he regularly accompanied Dee Dee Bridgewater. In 1987 he recorded the album Latin Alley in a duo with Niels-Henning Ørsted Pedersen…

Recordings that include strings quartets by Schoenberg, Berg, and Webern are common, but an album that includes music for quartet and voice by each of them is a rarity. Schoenberg's Second String Quartet, with a part for soprano in its third and fourth movements, is standard repertoire, but the version of Berg's Lyric Suite with a vocal part in the final movement is highly unusual, and Webern's bagatelle with voice, an unpublished movement apparently once intended to be part of the Six Bagatelles, Op. 9, receives what is probably its first recording. Novelty aside, the high standards of these performances make this a formidable release. Founded just before the turn of the millennium, Quatuor Diotima plays with the assurance and mutual understanding of a seasoned ensemble. The quartet has a lean, clean sound and the ensemble is immaculate, playing with exquisite expressiveness, an ideal combination for this repertoire.

Homelands – A musical voyage into the heart of a rich polyphonic repertoire born out of the union between folklore and art music during the 19 th and 20 th centuries.

Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’.

Was the golden age of the piano that of a defeat for female composers? If they occupied an important place in ancient and baroque music, the bourgeois society which emerges from the Enlightenment limits their access to the conservatory and to the quarry. Marie-Catherine Girod explores this key moment and reveals to us the talent of the resistance fighters of the classical and romantic periods, and of the first modernism, those whose history has retained the name, such as Fanny Mendelssohn or Clara Schumann, or of whom she is rediscovering it today.