{"title":"CD Preorders Releasing June 5, 2026","description":"\u003cp\u003eSome things to know:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"color: rgb(0, 152, 47);\"\u003e\u003cstrong\u003e80-90% of preorders arrive by Friday afternoon of the release day\u003c\/strong\u003e,\u003c\/span\u003e but we can't control that. \u003cstrong\u003eWe will ship as soon as your entire order arrives.\u003c\/strong\u003e Usually that will be by Friday afternoon or Saturday morning. But if there are delays, it could be the following Monday, Tuesday, etc. (Ditto for local pickups.)\n\u003cul\u003e\n\u003cli\u003eNOTE: The most common issue is shifting release dates, which we can't control. But as noted below, we will give you options!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eIf an album you ordered is cancelled, indefinitely delayed, or won't ship to us for whatever reason for more than one week after release day, we will offer a refund for that title.\u003c\/li\u003e\n\u003cli\u003eIf an album is more than 1 week late (usually due to a modified release date) but is coming eventually, we will give you the option to refund or wait for that album.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e Thanks!\u003c\/p\u003e","products":[{"product_id":"pre-order-ensemble-correspondance-sebastien-dauce-cavalli-la-calisto-cd","title":"[PRE-ORDER] Ensemble Correspondance \/ Sebastien Dauce - Cavalli: La Calisto [CD]","description":"\u003cp\u003eSébastien Daucé has totally rethought the score of La Calisto, with thirty-five instrumentalists instead of the original six who played at the opera's premiere in Venice in 1651. Under his lively and flexible musical direction, alert to the tiniest nuances, the Ensemble Correspondances performs absolute wonders. 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Across nine tracks consisting of a mix of, the trio delivers a masterclass in trust, shared pulse and fearless improvisation. Into the Storm will be released on Storyville Records on March 6, 2026.The concert was part of a series of one-off encounters pairing leading American jazz musicians with Danish artists, an approach rooted in Copenhagen's unique jazz history. From 1959 onward, the legendary Jazzhus Montmartre became a second home to figures such as Dexter Gordon, Kenny Drew, Ben Webster, Stan Getz, Oscar Pettiford, and Johnny Griffin. Their presence helped shape generations of Danish jazz musicians and forged a lasting bond between American jazz and Copenhagen.Carsten Dahl stands as one of the most significant figures of the post-Montmartre generation. A central voice in Danish and European jazz, Dahl combines profound respect for the tradition with a restless, exploratory spirit. His playing is marked by a highly dynamic touch, sudden shifts in density, and a willingness to let form emerge in the moment. Dahl's musical upbringing under drummer Ed Thigpen, who settled in Copenhagen in 1972 and mentored many young Danish musicians, gave him deep roots in swing, form, and interaction.Jazz history is defined by great rhythm teams, Ray Brown \u0026amp; Ed Thigpen, Ron Carter \u0026amp; Tony Williams, NHOP \u0026amp; Alex Riel among them. In our time, Reuben Rogers and Gregory Hutchinson stand firmly in that lineage. Rogers' sound draws deeply from the Oscar Pettiford school: grounded, resonant and melodically rich. Hutchinson's musical DNA was shaped through his work with Betty Carter and in Ray Brown's trio. Together, they share a rare, almost telepathic connection and an elastic sense of time that lifts everything around them. On Into the Storm, their interplay doesn't simply support the piano, it actively shapes the music's direction.Dahl moves constantly between control and abandon, shaping the music in real time with hard swing giving way to lyrical ballads, spontaneous structures and daring transitions. Throughout, his close musical dialogue with Rogers and Hutchinson reinforces the sense of discovery. The rhythm section's deep groove and unshakeable internal time keep the music grounded, even at it's most adventurous.Captured in a single winter night in Copenhagen, Into the Storm displays Carsten Dahl's unpredictable swing meeting the drive and authority of Rogers and Hutchinson. 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Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall - along with bandmates Tim Thornton and Guy Whittaker - as he began jig sawing together The City Is Coming to Erase it All, the follow-up to 2024's Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album's opener. 'Wishing For Blue Sky' circles a universal teenage ache: waiting for life to start. \"No point dying of patience\" goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist\/drummer busked across Europe. This is nowstalgia more than nostalgia, though; there's a parallel between these 18-year-olds and Fink's autumn-aged family men. \"You're expected to be boring and settling down at this age,\" Thornton says. \"But we've still got this tremendous wanderlust. We want to go and discover and also achieve things. It's a nice life - home and family - but fuck, I can't wait to get back out there.\" City is a product of this hunger for discovery, and idolatry of the album as a form - like we had in 1974. City's cover mirrors it's interior, the first song is the greeting, the instrumental closer the conclusion. It's a story. It's a record for people who, like it's creators, are curious. 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Formed in Torrance, CA in 2009, the band built a dedicated following with releases like Winter Forever, blending emotional songwriting with expansive alternative and indie-leaning rock. 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Since forming in 2024, the band have built a reputation for explosive live shows and earned a 2026 Manifest Award nomination for Best Rock. 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The ensemble comments: 'Although from time to time we encounter music that we have never heard before, rarely is that music something we would listen to or play again. In our times, with our technology of information, it is rather difficult to discover something meaningful and valuable that had been overlooked in the past, but when it does happen it is a really special moment. For us it happened when we first encountered the string quartets of Mieczyslaw Weinberg. We felt instantly captivated by the wonderful music, the deeply inspired melodies, and perfectly shaped structures. The joy of playing his music has only proved equalled by the enthusiastic response of the public every time we present these quartets in concert, so the obvious question arises: \"How can it be that we never heard about Weinberg earlier?\" His music is like a glow of light surrounded by the darkness of the unknown, and it quickly became a goal of ours to attempt to dilute these shadows. 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It's expansive first movement, expressive slow movement, and vigorous finale demonstrate Respighi's early confidence in handling large forms and dense textures, while hints of his later harmonic individuality already emerge.The Double Quartet (1904), scored for two string quartets, reflects Respighi's interest in contrapuntal clarity and ensemble dialogue. Rather than treating the eight instruments as a single mass, he often sets the two quartets in conversation or opposition, creating spatial and textural contrasts. This work illustrates his growing fascination with polyphony and balance, qualities that would later underpin his neoclassical tendencies. The Doric Quartet (1924) represents Respighi's mature style and his engagement with ancient musical modes. Inspired by the Doric mode, the work aligns with his broader interest in early music, evident also in pieces like Ancient Airs and Dances. Here, Respighi adopts a restrained, almost austere language, favoring modal harmony, transparent textures, and rhythmic clarity. 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Born in Budapest in 1979 to a violinist mother and cellist father, he spent much of his childhood in Venezuela, where by the age of eight he was already appearing as a soloist with major orchestras. His formative studies took him back to Hungary at the Franz Liszt Academy of Music and later to Paris, where he studied with Eduard Wulfson-a pupil of legends such as Yehudi Menuhin, Nathan Milstein and Henryk Szeryng. Barati's artistry is defined by a compelling blend of technical precision and poetic expressivity. Critics have praised his \"vast expressive range and impeccable technique,\" as well as his ability to let the music shine above all. He performs on the exquisite 1703 \"Lady Harmsworth\" Stradivarius, a tool of rare power and beauty, loaned to him by the Stradivari Society of Chicago. In recognition of his contributions, he was awarded Hungary's highest cultural honour, the Kossuth Prize, in 2014. While Barati's discography is impressively broad (encompassing Bach, Ysaÿe, Paganini, Mozart, Korngold and more), his relationship with Beethoven is especially noteworthy. Although his recorded output emphasizes the violin-and-piano sonatas (with Klara Wurtz) rather than only the concerto, his mastery of Beethoven's voice carries over beautifully into his concerto performances. His interpretation of Beethoven's concerto is marked by clarity of line, purity of tone, and a sense of respectful freedom. In the Allegro ma non troppo he finds an elegant balance between classical poise and Romantic impetus; in the Larghetto he offers a deeply lyrical calm; and in the Rondo he embraces spirited vitality without ever sacrificing musical integrity. 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A beacon of hope, light and acceptance in a world that can often feel overwhelming, the album title is both an acknowledgement that some things can't be changed.If This Is It arrives nearly five years to the day after DJ Seinfeld's Ninja Tune debut, Mirrors, but he's been nothing but busy during that time, touring the globe and taking his acclaimed live show to massive crowds at The Warehouse Project and Printworks, playing regular DJ residencies at DC10 and Chicago's beloved Smart Bar, iconic Boiler Room sets in New York, plus slots at Primavera, AVA, Lost Village, Coachella, EDC, Glastonbury and many more. One of Seinfeld's biggest commercial successes arrived in 2024 with 'Now U Do', his infectious Confidence Man collaboration that became a huge crossover hit and is now certified Silver in the UK. If This Is It sees Seinfeld and Confidence Man reunite and recreate the magic on stand out single 'The Right'. 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Accompanied by Danish musicians Thomas Clausen, Mads Vinding, and Svend-Erik NorregÃ¥rd, Griffin delivered a joyful night of jazz as only he could do it. This previously unreleased 6-track live recording will be released on Storyville Records on June 5, 2026, as Johnny Griffin \u0026amp; Thomas Clausen's Trio - Live in Helsingborg 1990.Griffin, who rose to prominence in the 1950s through his work with Art Blakey, Thelonious Monk, and his own explosive small groups, was widely regarded as one of the fastest and most inventive tenor saxophonists in jazz. Playing a lot at Jazzhus Montmartre in the 60's, he settled in France but continued to be in high demand in Scandinavia and all over Europe. This release continues Storyville Records' longstanding tradition of documenting major American jazz artists during their European years.Bassist Mads Vinding, a longtime collaborator, recalls the experience: \"Johnny Griffin - no one sounded like him. 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Timchenko restores a living connection to her teacher's artistic vision. Having inherited Leman's final piano, the very instrument on which these works were composed, she creates a rare continuity of sound and spirit, bridging past and present in a performance that is at once intimate, poetic, and architecturally luminous. Inspired by the symbolist poetry of emile Verhaeren, the Verhaeren Suite transforms atmosphere into music of striking psychological depth, while Schallwellen explores resonance and vibration with a contemplative modernity grounded in expressive sincerity.The album is completed by Sofia Gubaidulina's powerful Chaconne, written during her studies with Leman, forming a symbolic arc from teacher to student, from legacy to continuation. In this carefully curated program, Timchenko does more than interpret: she listens, remembers, and reawakens. The result is not merely a recording, but an act of artistic restoration, a testament to resilience, mentorship, and the enduring force of sound itself. 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Written in the final years of his life, these late quartets unfold as deeply expressive explorations of form, counterpoint and human emotion. From the solemn majesty of Op.127 to the transcendent variations of Op.132 and the taut and spirited finale of Op.135, Beethoven's vision is at once intimate and vast, weaving intricate textures and soaring lyricism into a continuous, compelling musical narrative. Quatuor Diotima's interpretations illuminate every nuance, revealing the inventive brilliance and emotional depth that make these works enduring masterpieces.One of the most in-demand chamber ensembles in the world today, Quatuor Diotima has worked in close collaboration with several of the greatest composers of the late twentieth century, projecting fresh light onto the masterpieces of the nineteenth and twentieth centuries. Reflected in the mirror of today's music, the quartet brings new insight and energy to Beethoven's late voice. 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His spirit of experimentation anticipatedsome of the phenomena of 20th-century music (minimalism, microintervalsetc.). It is only now, in the 21st century, that his name is becoming morewidely known, without constantly having to bring up his inspirationalfriendship with Beethoven or make reference to his more famous Parisianpupils like Berlioz, Gounod, or Franck. Following the premiere recording of hiscomplete Piano Concerto (Bartos, Prague Radio Symphony Orchestra, Popelka2025), Reicha's Six Piano Trios, Op. 101, finally make their debut in a referencerecording. It took all of 202 years since the first printed edition (1824)for one of his last opuses to find it's way onto a recording of the interpretiveand technical quality that the music deserves. Here, the composer's constantsurprises keep his listeners alert, and the technical demands on the musiciansclearly show that the trios were written for elite performers. In this music,the composer's visionary imagination anticipates the full-bloodedRomanticism of Robert Schumann and his contemporaries. The marvellousTrio Bohemo has received deserved acclaim for it's Supraphon debut(Smetana, Schubert, 2024). For this recording in Vienna, they invitedthe proven recording team of producer Andrew Keener and soundengineer Oscar Torres. 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