Roma is the fifth and final improvised recording from Keith Jarrett‘s last solo European tour of 2016. In 2018 he suffered two strokes that left him unable to play. Roma follows ECM’s releases of the other shows in the tour: Munich 2016 in 2019, Budapest Concert in 2020, Bordeaux Concert in 2022, and New Vienna in 2025.
This album contains a ten-part improvised suite, and two standards in the encore. “Part I” opens in full pointillistic motion, as Jarrett rumbles across fragmented chord voicings and interwoven single lines. It’s easy to hear this nearly 11-minute journey as spontaneous composition. There are fugue-like moments à la Bach, but the piano’s movement and intricacy move afield to embrace color, varying dynamics, and canny…
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GarciaLive Volume 23: August 14th, 1993 presents the Jerry Garcia Band’s final performance at Shoreline Amphitheatre in Mountain View, CA. The two sets that the group performed that night were originally recorded to two-track digital audio tape straight from the soundboard by John Cutler. All told, Garcia played Shoreline 39 times with the Grateful Dead and on three occasions with the Jerry Garcia Band. This show took place seven years after the opening of the venue. The Grateful Dead were slated to perform the initial gig at the facility but it was cancelled due to Garcia’s health complications. Indeed, as the label notes, “Although JGB was conceived as a low-key respite — a chance for Garcia to relax and cut loose in small clubs away from the stadium circus…
Vocalist Samara Joy owns the spotlight with swinging charisma on 2026’s Live at the Blue Note L.A. Recorded at the West Coast club, the EP finds the Grammy-winning singer leading her small big band during her April 2026 run of shows. Here, she dives into a set of well-chosen standards that nicely showcase the golden, resonant warmth of her vocals and her lithe phrasing. It’s a vibe she captured on her studio albums, but which takes on a dynamic immediacy in these live performances. She opens in bold manner with Thelonious Monk’s “Round Midnight,” emerging with a moll’s swagger from her band’s screaming noir-ish fanfare. These are not easy songs, but sophisticated statements of artistic purpose. Her Latin-infused rendition of “Yesterdays” has a burnished…
One of rock’s most distinctive and magnetic frontmen, Weiland left an unmistakable mark on the genre through his work with Stone Temple Pilots, Velvet Revolver and his acclaimed solo career. From the alternative-rock explosion of the 1990s through the hard-rock resurgence of the 2000s, his singular voice, commanding stage presence and restless creative spirit made him one of the era’s most recognizable rock stars.
Ween is digging deep into its archives with Boognish Provides, a sprawling collection of seven previously unreleased concerts recorded during the band’s 
The word “dangerous” isn’t one most bands would embrace. That especially concerns any with a handful of popular radio singles. But The Doors not only fit, but celebrated that description.
“We’re recording this, so we need you as loud as fucking possible please”, says Nicky Wire before “feel-good singalong anthem of the winter” ‘Mausoleum’. “Take it a-fucking-way”. An audience of Manics devotees at London’s Roundhouse responds magnificently. The chorus to ‘Mausoleum’, after all, is a humdinger. “No Birds!” they scream as one. “No Birds!” It’s probably the biggest, most naggingly infectious, poppiest chorus on the entire album. A knock-em-dead singalong. A moment of pure release delivered over a swaggering Chuck Berry groove. “No Birds!” they yell, like an Oasis crowd doing the “sooooooo Sally can wait” bit in ‘Don’t Look Back In Anger’. It’s not that, though. “No Birds!” they sing, “No Birds! … Holy Mass … Of Dead Insects!”
His profile elevated for the world to see and hear as Brian Eno’s creative partner on 
25-year-old German saxophonist 
Tears may well up for those with endearing memories of organ master 
It’s hard to believe that, at this late stage, with dozens of Jimi Hendrix live discs available, there is anything decent left to discover. But 
Finnish guitarist/singer/songwriter 
A quiet celebration. A legendary return. Paul Simon brings his critically acclaimed and GRAMMY-nominated 
The 2020s have been a decade marked by loss. We’ve lost faith and trust in institutions that were already slowly collapsing. A whole generation lost out on formative experiences without the turbulent disruption of the pandemic. And in the music world, we’ve largely lost the kind of artists who could emerge organically without the noxious influence of algorithms or million-dollar spends. It’s a miracle, then, whenever a legitimate gain comes along, and for the music industry in particular, someone who could both draw from the traditions of American rock and bring them to newer, deeper, unexpected places. Although his success was partly engineered by a digital marketing agency, Cameron Winter has proven to be a vital addition to this increasingly endangered species of performers…
It might be a touch of hyperbole to say the world wasn’t ready for Swiss pianist 
It started with Jerry Garcia. More specifically, on a tribute show to the deceased Grateful Dead icon with a band playing his songs accompanied by a full orchestra.
Barcelona joins Helsinki 2003 as the second concert from the Rising tour released in the Live Archive series, though the two releases stand apart in meaningful ways. As outlined in the essay that accompanied its release, Helsinki was liberated from a proprietary DSD recording system used across the 2002-03 tour, though curiously (and fortunately) not Barcelona.