Lala Lala‘s Lillie West has come a long way from the DIY grunge-inflected debut Sleepyhead to her absolutely standout fourth offering, Heaven 2. Its club-ready, saxophone-led opener ‘Car Anymore’ evokes Destroyer alongside ‘Trans-Europe Express’, as if it’s carrying her away from the past on a high-speed train.
This metamorphosis began right at the end of her breakthrough sophomore album The Lamb back in 2018, on the closing track ‘See You at Home’, which sealed West’s personal shift. “So we’re working with water / I promise I’ll drink it ’cause it’s all I’m allowed to”, she sang under Sen Morimoto‘s tender saxophone, making one of many promises to stay sober after giving up drinking. As we can see now, it worked, and…
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…includes a bonus disc of demos and 
“I don’t remember yesterday, but I remember when I was eight years old.”
There’s an undertone of disappointment in 
In one of his most enduring songs, Johnny Cash likened love to a burning ring of fire. Originally penned by his soon-to-be-second wife, June Carter, “Ring of Fire” gave romance a tangible feeling, a concreteness that could easily be pointed to, a sensory depth and explicative character. Combined with Cash’s signature baritone, that ineffable feeling is rendered even more tactile. There’s a reason it has become routinely recognized among the greatest love songs and as a classic in the country canon.
Known for their revolving door policy, this time around 
At the opening of Beautiful Dreamer, Bill Frisell’s biographer, Philip Watson, recounts a formative dream Bill Frisell once had—an experience the guitarist has said permanently altered the way he thinks about sound, color, and the nature of “real music.” In the dream, Frisell enters a dark building, climbs into a vast library, and encounters hooded, monklike figures gathered around a table. “We want to show you what things really are,” they tell him. First, they reveal “what colors really look like,” and then they offer to let him hear “what real music sounds like.” Frisell has often said that this dream reshaped his musical imagination, and he still carries it with him.
His first major studio album in six years, Pat Metheny’s Side-Eye III+, is the latest evolution of a concept he first introduced in 2021. The ongoing project is designed to focus on collaborations with younger musicians the contemporary jazz icon admires, allowing him to reimagine his past work and devote the collective talents to new original music as well.
5CD set featuring two solo albums from The Byrds/Flying Burrito Brothers member, plus solo live recordings spanning his career and a live album from the Gene Parsons Band, along with unreleased studio demos.
This Philadelphia band’s quickened in the pores & bones with jangly guitars, narrative lyrics, & juiced by some psychedelic spice. Nice contrasts. The new album was produced by Brian McTear (electric guitar/bgv) & Amy Morrissey (bgv) at Minor Street Recordings in Philly. Ten songs hang beside the 
New 2026 Edition of 
Ceremony returns with their thrilling new live album, 
By 1961, pianist Bill Evans had been rolling with his classic trio for a couple of years; this short-lived group, featuring drummer Paul Motian and bassist Scott LaFaro, was the same trio that recorded his much-celebrated Sunday at the Village Vanguard set, which continues to be cited as a highlight of Evans’ career and live jazz records as a whole. This trio would be cut short, however, with the death of LaFaro just ten days after the Village Vanguard set was recorded, subsequently causing Evans to cease performing for several months in mourning. Persuaded to return to music by Riverside record producer Orrin Keepnews, Evans appeared on vocalist Mark Murphy’s 1961 album Rah, as well as a short solo piano session, and Evans’ work in music continued long after that.
…Sourced from the original master tapes, Mobile Fidelity’s numbered-edition hybrid SACD presents the 1978 effort on what is the definitive-sounding digital version of the Rock & Roll Hall of Famers’ biggest-selling record.
Drueling is a first for each of its participants, and quite possibly the world. It is a sequence of improvised duets between two shahi baaja players, 
1905 gave the world the concert premiere of Claude Debussy’s La Mer. 1905 was also the date of an Austrian ethnographic expedition to Papua New Guinea that brought back sound recordings from the island.
The long-awaited return of Norwegian saxophonist and composer Marius Neset arrives in an expansive big band setting, a format that underscores both his ambition and his growing confidence as a large-scale orchestrator. Known for music of formidable complexity, Neset here introduces a more openly festive dimension, without sacrificing the structural rigor that has long defined his work.