Collecting up the seven albums recorded for the Atlantic label between October 1973 and December 1978 by the double bassist and composer Charles Mingus, as well as an entire album of previously unreleased alternative pieces, this magnificent box set captures the legendary jazz musician’s last major creative period before Charcot's disease would take his life prematurely in January 1979, at the age of just 56. While some of the records in this set have been enshrined in Mingus' discography’s pantheon since their release, others, for years, have been the victims of ignorance and carried less favourable reputations. Everyone respects the twin albums Changes One and Changes Two, recorded by the double bassist in 1974 at the head of a brand new quintet, during the same exact session. Propelled by the drums of the faithful Dannie Richmond, and featuring two newcomers to his galaxy, saxophonist George Coleman and pianist Don Pullen, these are traditionally recognised as his ultimate masterpieces. One of the great virtues of this compilation is that it allows us to appreciate the entire period with the benefit of hindsight, and appreciate the rest of his oeuvre. A few tracks deserve to be singled out: the freshness and bluesy charisma of Three or Four Shades of Blues, recorded by Mingus in 1977 at the head of an expanded band, features the talents of three young guitarists destined for greatness: Larry Coryell, Philip Catherine and John Scofield. The baroque luxuriance of the two long orchestral suites on the album Cumbia & Jazz Fusion, conveys subliminal dialogue between Duke Ellington and Nino Rota in a dreamy Latin context. The musician's last recording, the very moving Me Myself An Eye written and whilst confined to a wheelchair and obliged to accept the dual role of composer and supervisor of the session which, despite the conditions, vibrates throughout with an inextinguishable power of life. © Stéphane Ollivier/Qobuz

Love it or hate it, Over-Nite Sensation was a watershed album for Frank Zappa, the point where his post-'60s aesthetic was truly established; it became his second gold album, and most of these songs became staples of his live shows for years to come. Whereas the Flo and Eddie years were dominated by rambling, off-color comedy routines, Over-Nite Sensation tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa's growling new post-accident voice takes over the storytelling. While the music is some of Zappa's most accessible, the apparent callousness and/or stunning sexual explicitness of "Camarillo Brillo," "Dirty Love," and especially "Dinah-Moe Humm" leave him on shaky aesthetic ground. Zappa often protested that the charges of misogyny leveled at such material missed out on the implicit satire of male stupidity, and also confirmed intellectuals' self-conscious reticence about indulging in dumb fun; however, the glee in his voice as he spins his adolescent fantasies can undermine his point. Indeed, that enjoyment, also evident in the silly wordplay, suggests that Zappa is throwing his juvenile crassness in the face of critical expectation, asserting his right to follow his muse even if it leads him into blatant stupidity (ironic or otherwise). One can read this motif into the absurd shaggy-dog story of a dental floss rancher in "Montana," the album's indisputable highlight, which features amazing, uncredited vocal backing from Tina Turner and the Ikettes. As with much of Zappa's best '70s and '80s material, Over-Nite Sensation could be perceived as ideologically problematic (if you haven't got the constitution for FZ's humor), but musically, it's terrific.© Steve Huey /TiVo

Often cited as one of the best hip-hop albums of the '90s, Illmatic is the undisputed classic upon which Nas' reputation rests. It helped spearhead the artistic renaissance of New York hip-hop in the post-Chronic era, leading a return to street aesthetics. Yet even if Illmatic marks the beginning of a shift away from Native Tongues-inspired alternative rap, it's strongly rooted in that sensibility. For one, Nas employs some of the most sophisticated jazz-rap producers around: Q-Tip, Pete Rock, DJ Premier, and Large Professor, who underpin their intricate loops with appropriately tough beats. But more importantly, Nas takes his place as one of hip-hop's greatest street poets -- his rhymes are highly literate, his raps superbly fluid regardless of the size of his vocabulary. He's able to evoke the bleak reality of ghetto life without losing hope or forgetting the good times, which become all the more precious when any day could be your last. As a narrator, he doesn't get too caught up in the darker side of life -- he's simply describing what he sees in the world around him, and trying to live it up while he can. He's thoughtful but ambitious, announcing on "N.Y. State of Mind" that "I never sleep, 'cause sleep is the cousin of death," and that he's "out for dead presidents to represent me" on "The World Is Yours." Elsewhere, he flexes his storytelling muscles on the classic cuts "Life's a Bitch" and "One Love," the latter a detailed report to a close friend in prison about how allegiances within their group have shifted. Hip-hop fans accustomed to 73-minute opuses sometimes complain about Illmatic's brevity, but even if it leaves you wanting more, it's also one of the few '90s rap albums with absolutely no wasted space. Illmatic reveals a great lyricist in top form meeting great production, and it remains a perennial favorite among serious hip-hop fans.© Steve Huey /TiVo

West Coast rapper ScHoolboy Q's sixth album, Blue Lips, is unrelentingly daring, branching out in multiple stylistic directions but kept cohesive and strong throughout by Q's personality and artistic drive. He effortlessly moves through relaxed, loop-based hip-hop and nostalgic flows on "Cooties," directly into soul-jazz atmospherics on the Freddie Gibbs duet "oHio," and then unexpectedly brings in drum'n'bass breaks on the Ab-Soul-assisted "Foux." In addition to masterfully transitioning between production modes and genre experiments (the horror movie trap of "Back n Love," featuring Devin Malik, is born of an entirely different world than the golden-age funk strings and Jozzy-sung hook of "Lost Times," the song that comes immediately after it), Q tackles heavy lyrical content throughout the album, reflecting on the pitfalls of fame, the fallout of a childhood spent in a fractured family, and navigating depression and loss even while at the top of his game as a rap star. ScHoolboy Q flexes just how easy his craft is for him throughout Blue Lips, switching his styles without blinking while telling some of his most difficult truths.© TiVo Staff /TiVo

One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. "Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. "Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed.© Bruce Eder /TiVo

Since his appearance on the French jazz scene in the early 2000s, Baptiste Trotignon has imposed himself as one of the most brilliant pianists of his generation. He has multiplied the prestigious collaborations (Aldo Romano, Stefano Di Battista, Brad Mehldau…) and personal projects of various formats and registers, from pure solo work (Solo, Body And Soul) to quintets (Share). Alongside this, is the neo-classical piano concerto Different Spaces with Nicholas Angelich as a soloist, as well as an album of “songs” (Song, Song, Song). However, it is without a doubt in the intimate and egalitarian setting of a trio, which he revisits regularly as if to recharge his batteries, that he displays the most spontaneous part of his talent. His inaugural album Fluide, recorded in 2000 with Clovis Nicolas on bass and Tony Rabeson on drums, was followed by Hit in 2014 with Thomas Bramerie and Jeff Ballard. This time it’s accompanied by Matt Penman and Greg Hutchinson that he creates this particularly joyous new album, made up entirely of covers of great English pop classics. Merrily going from The Beatles to Radiohead, from Pink Floyd to The Rolling Stones, from The Police and Led Zeppelin to Elvis Costello and even Robert Wyatt, Baptiste Trotignon highlights his dazzling style that mixes velocity with rigour. He fully plays the lyricism and virtuosity card in intense, energetic sequences, full of fluttering arabesques, always articulated with great legibility and constant attention to the melody. Far from a slightly haughty exercise in style that would overcomplicate simplistic thematic material with clever reharmonizations, the trio pays complete homage to the melodic energy and sumptuousness of these songs that already belong to our collective imaginary, in doing so creating a record that is as lovingly audacious as it is perpetually inventive. © Stéphane Ollivier/Qobuz

During the era in which even grocery stores had large, well-stocked LP sections, it was a not-uncommon occurrence for Déjà Vu to be mistaken for a greatest hits collection. From the "family photo album" vibe of the cover (nobody at the grocery store knew who Dallas Taylor or Greg Reeves were) and the title itself, to the ridiculously front-loaded song sequence and the fact that it was often one of the only (if not the only) albums in the "CSN(&Y)" section, Déjà Vu gave the impression that it was designed to be representative of the very best that this group had to offer. Maybe in some weird, "underground" record store, a bunch more albums credited to the group could be found, but for regular folks, Déjà Vu was a sufficiently high-quality distillation of their creative output. Of course, Déjà Vu is not a greatest hits album, but one could be forgiven for making the mistake: three of the record’s 10 tracks were generation-defining top 10 hits ("Woodstock," "Teach Your Children," "Our House"), a fourth ("Carry On") was a radio staple, and four others (Crosby's "Almost Cut My Hair" and "Déjà Vu," Young's "Helpless" and "Country Girl") were iconic additions to their authors' oeuvres. Still, it was only the second album recorded by Crosby, Stills, and Nash, and the first to which Neil Young was invited to participate, so the lines were blurred between "follow-up," "debut," and "supergroup outing." And considering that each member of the ad hoc quartet brought their A-game to the sessions, it's none too surprising that the album made the impact that it did. © Jason Ferguson/Qobuz

While the recordings of highlights and hits from Rodgers & Hammerstein's still-popular Oklahoma! have been issued over the years, the complete, as originally orchestrated score (by Richard Rodney Bennett) had yet to be recorded. However, following a live-staged performance at the 2017 BBC Proms, conductor John Wilson took it upon himself to deliver this premiere. He sticks with the original orchestra dimensions as well, which is a good thing since the handpicked members of his Sinfonia of London are powerful enough in this smaller group. Wilson also took advantage of the quality theaters around London, bringing in soloists and a cast ensemble of veterans from stages across England. He does well in selecting a cast here; while all are more than capable singers, they are also able to deliver the vocal acting that is necessary to pull this off. Leading the cast are Nathaniel Hackmann, reprising his role as Curly from the Proms performance, and Sierra Boggess as Laurey. The vocalists and orchestra take full advantage of the space and recording setup, which allows the orchestra to play full out while not overstraining the singers. The beauty of Rodgers' music paired with Hammerstein's book is evident, even if you are unfamiliar with anything but the titular state (if even that!); the imagery of ranches and open cattle land easily comes to mind. This recording should be welcomed with open arms by those who are familiar with the musical, be it either from a stage (generally edited and with cuts) or in its film version with its edits. Oh, what a beautiful mornin', indeed.© Keith Finke /TiVo

Though it's one of the best Four Tops records of the '60s, Reach Out still feels weighted down by a few vain attempts at adult pop crossover. It certainly starts out right, with the glorious "Reach out, I'll Be There," the group's second pop/R&B chart-topper. After a faithful cover of the Left Banke's "Walk Away Renee," though, listeners are forced to sit through trite versions of "If I Were a Carpenter," "Last Train to Clarksville," and "I'm a Believer" to get to real highlights like the dramatic, impassioned "Standing in the Shadows of Love" and "Bernadette." There is room for a great lesser single ("I'll Turn to Stone"), but the flip side finds the Four Tops taking on "Cherish," which could've worked well but didn't. Reach Out still did better than any other original LP by the group, almost breaking the Top Ten.© John Bush /TiVo

It is indeed satisfying to see the music of Eric Coates on classical best-seller charts, where this one landed in the late spring of 2023. For so many decades, Coates was neglected, but championing by the conductor John Wilson, here with the BBC Philharmonic in fine form, has begun to change the situation. One thing that distinguishes Coates from most of his fellow composers of light music is that he undertook compositions in larger forms, and this album includes several splendid examples. Much of it is given over to Cinderella in 11 concise but hugely evocative sections illustrating episodes in the famous tale. Consider "The Clock Strikes Twelve," with not bells but timpani strokes. Coates' abilities as a musical portraitist are in evidence not once but twice, with the broad types of The Three Men ("The Man from the Country," "The Man About Town," and "The Man from the Sea," a riot of chantey-like music), and then at the end with The Three Elizabeths ("Queen Elizabeth I," "Elizabeth of Glamis," and, in 1944, "Princess Elizabeth"). There are also short pieces including, to raise the curtain, The Television March. There is not a dull moment on the album, and the next step for this delightful music would be its inclusion in a broad range of symphonic programs. © James Manheim /TiVo

When Wild Is The Wind was released in 1966, Nina Simone’s name was already closely associated with engagement and struggle. It is therefore only logical that this album, which regroups several sessions recorded for Philips in 1964 and 1965, is marked with dissent and revolt. In her own specific style. Because the 33-year-old singer knew how to do everything, she blended various styles, from bombastic to more intimate, from jazz ballads to more up-tempo titles. Moreover she always approached her art form with a true sense of dramaturgy, driving it through her singular voice or her streamlined piano. She reached a climax with her song Four Women that pieced together the portraits of four Afro-American women. Four stereotypes to expose endemic racism and injustice. Wild Is The Wind is also proof that Nina Simone was above all genres. Not fully jazz, not really blues, not entirely folk, or soul, she created her own language that many have copied but never equalled… © MZ/Qobuz

This draped in light rerelease of Purple Rain is an opportunity to take a beautiful trip back in time… For Prince, the 1999 advent coincides with several disputes with his entourage. The pinnacle is reached when the guitarist Dez Dickerson leaves, soon replaced by Wendy Melvoin. The star goes back to work and mulls over a project even crazier than a double album: a quasi-autobiographical movie! With their head on the chopping block, his managers are tasked with finding a film without delay. Warner’s movie division is rather lukewarm and wants warranties. Prince and his ever growing family (The Revolution, The Time, Vanity 6) perform regularly at the First Avenue club and spend the rest of their time locked away in a gigantic warehouse rehearsing and taking drama and dance classes to prepare for the movie. Prince even transferred his own studio in this warehouse to record the soundtrack of his crazy project. He also sets up a mobile studio in front of the First Avenue, where he makes live recordings of other songs. In the end, Warner Studios pay up for what will probably be one of the worst movies they’ve produced so far, a dud that will however give an exuberant and awesome soundtrack: Purple Rain reaches the top of the R&B and Pop charts. Let's Go Crazy, When Doves Cry, Take Me With U, Purple Rain and I Would Die 4 U are all Princely hits that will dominate the airwaves in 1984 and 1985. His decadent funk rock and his frilled-shirted pimp style seduce the entire planet. Once again, the musician manages to mix his different foibles like a new Sly Stone. Containing pop melodies reminding of the Beatles and Hendrixian guitars with a funk groove rhythm, Purple Rain offers above all a complete revamping of these fundamentals of music… This Purple Rain Deluxe – Expanded Edition includes the remastered original album (the remastering was made in Paisley Park in 2015 with the original master tapes, and Prince supervised the whole process a few months before his passing), as well as eleven new titles, but also all the edit versions of the singles and their B sides. Taken from Prince’s numerous unreleased archives, the new tracks are true gems, like the 1983 instrumental version of Father’s Song. Some of them, like the studio version of Electric Intercourse, never even got out of Paisley Park before! Those gems have been mastered by Bernie Grundman, who worked on the original album. © MD/Qobuz

4 wheel-drives may cause pollution, but they go fast! Nils Landgren was keenly aware of this power when he decided to name his album 4 Wheel Drive. Alongside him, the record’s three other wheels are Michael Wollny (piano), Lars Danielsson (bass) and Wolfgang Haffner (drums). These musicians, who are some of the driving forces of today’s European jazz, play with impressive unity under the leadership of a charismatic yet never despotic leader, Swedish Nils Landgren, who plays trombone (and sings). They revisit hits of 4 major pop artists, Paul McCartney, Billy Joel, Phil Collins and Sting, whose songs comprise eight out of the twelve tracks on the record, choosing a fan-friendly repertoire while always adding a distinctive twist. These songs’ melodic strength in today’s collective unconscious is never weakening the band’s inspired improvisations. Even Landgren’s intimate and delicate vocals bring an innovative light. © Clotilde Maréchal/Qobuz