Re-Bop: The Savoy Originals collects 13 tracks recorded between 1945 and 1959 for the influential West Coast jazz label. Boasting a wide range of performers, this compilation gathers classic cuts by the Modern Jazz Quartet, Charlie Parker, Miles Davis, Red Norvo, Duke Jordan, Cal Tjader, Curtis Fuller, Cannonball Adderley, Herbie Mann, and Dizzy Gillespie. The "Originals" portion of the title refers to the companion set, Re-Bop: The Savoy Remixes, in which turntablists like DJ Logic, Basement Boys, and DJ Jazzy Jeff take liberties with these tracks by rearranging them for the digital age. No matter what your feelings concerning remixing experimentation, Re-Bop: The Savoy Originals is a well-chosen primer collection for the jazz novice and a great-sounding disc for the completest.

“My fifth record is in many ways inspired by the hugely ambitious progressive pop records that I loved in my youth (think Peter Gabriel’s So, Kate Bush’s Hounds of Love, Talk Talk’s Colour of Spring and Tears for Fears’ Seeds of Love). Lyrically, the album’s eleven tracks veer from the paranoid chaos of the current era in which truth can apparently be a flexible notion, observations of the everyday lives of refugees, terrorists and religious fundamentalists, and a welcome shot of some of the most joyous wide-eyed escapism I’ve created in my career so far. Something for all the family!”– Steven Wilson

All We Know of Heaven, All We Need of Hell is the upcoming second album by American rock band PVRIS. It is set to be released August 25, 2017. The first single "Heaven" was released April 30, 2017. Before release, Alternative Press included the album on their list of the most anticipated albums of the year. George Garner of Q said the album "marks an intensification of that latent darkness and musical expansiveness" as heard on White Noise.

The Trio is a 1973 live album by Oscar Peterson, Joe Pass and Niels-Henning Ørsted Pedersen. At the Grammy Awards of 1975, The Trio won the Grammy Award for Best Jazz Performance by a Group. In his Allmusic review, critic Scott Yanow complimented the playing of Pass and Pedersen, but wrote "the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles… Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period."

In this production from Teatro alla Scala the ballet Don Quixote is shown in the legendary choreography of Rudolf Nureyev. Nureyev´s intention by fusing together the worlds of Commedia dell´Arte and classical ballet to create a visual feast for its audience, has made Don Quixote one of the most loved ballets world-wide. With its sparkling energy and the bright colours of the staging by Raffaele Del Savio and Anna Anni, Rudolf Nureyev’s Don Quixote, transports audiences with freshness, joy and choreographic splendour to an enchanting Spain, with gypsy dances, fandangos, matadors, windmills and the airy candour of the Garden of the Dryads. The ballet of Teatro alla Scala and the classical ballet stars Natalia Osipova (principal dancer of the Royal Ballet in London and the Mikhaylovsky Theatre Ballet in St Petersburg) and Leonid Sarafanov (principal dancer of the Mikhaylovsky Theatre Ballet in St Petersburg) make this a breathtaking, and distinctive performance.

Another of John Barry's smouldering, moody thriller scores (Body Heat etc.), the kind of thing he does with a good deal of charm and edgy romanticism. Naturally for his legion of admirers this will be a most welcome treat, although to be entirely frank it is not one of his most distinctive soundtracks. While it hits all of the expected marks with the required poise and professionalism it also lacks freshness and at times sounds a little too much like recycled material (which with this composer admittedly always remains polished and likeable). Given these general musings and vague criticisms we are still left with a valuable addition to the wealth of John Barry work now available, something that is to be appreciated and I am certainly not complaining. (MWI)

Maya With Love reunites the powerful trio that Harold Mabern assembled in 1997 to record his Mabern's Grooveyard album. Like that recording, this current offering makes the most of the talents of all three players to produce music that is a whirling stream of power. The percussive nature of Mabern's playing is highlighted on the boogie-woogie style of "Boogie for Al McShawn," while the young lion Christian McBride steps out from the background with some impressive bowing on "Lament." Tony Reedus provides a rhythmic framework to hang the whole work on with his impressive and intricate percussion work…