While he's widely considered one of the best rappers of all time, this distinction often overshadows André 3000's tendencies for the absurd. In OutKast, his partner Big Boi's strong and steady presence often grounded the group when André's wordplay veered toward the psychedelic or his musical ideas wandered. When they ventured down individual paths on 2003's groundbreaking Speakerboxxx/The Love Below, Big Boi stuck mostly to party funk and rap bangers, while André went off the rails completely, bending pop, swing, jazz, electro, and anything else that suited him around songs whose flagrant ridiculousness was an integral part of what made them so incredible. New Blue Sun is André 3000's first official solo album, and though it's made by one of the world's most gifted rappers, it contains no rapping, no singing, no beats (though some percussion happens), not even the genre-hopping he's previously indulged in. Instead of the rap masterpiece he's no doubt capable of, 3000 instead turns in an entirely instrumental album of meditative soundscapes centered around woodwinds. When you take into account his proclivity for the surreal and the ridiculous, releasing a nearly 90-minute-long collection of ambient flute jams is one of the most André 3000 things André 3000 could do.If you can get past the premise (and overlook the goofy song titles, most of which are too long and silly to dignify here) and tune in to New Blue Sun as an album of contemplative healing sounds, it's pleasant and sometimes even sublime. Carlos Niño co-produces, bringing the same soft warmth he's cultivated on his own transcendental pop albums for the International Anthem label. The songs wash by in waves of airy synth pads, gentle wind chimes, electric piano, or absent-minded guitar lines. 3000 is joined by a host of players including Nate Mercereau, Diego Gaeta, Surya Botofasina, Mia Doi Todd, and others, all of whom fold new textures effortlessly into the stream of sounds. Opening track "I Swear, I Really Wanted to Make a 'Rap' Album But This Is Literally the Way the Wind Blew Me This Time" is among the most structured pieces, moving in patient ripples similar to Pharoah Sanders and Floating Points' majestic Promises. Most of the eight tracks meander past ten-minute run times, wobbling in and out of focus as André burbles along on various woodwinds. "Dreams Once Buried Beneath the Dungeon Floor Slowly Sprout into Undying Gardens" is one of the album's blurriest excursions, but also one of its best. Niño's metered gong swells and swishes of arrhythmic percussion dance with synths, flutes, and other opaque ambiance for just over 17 minutes. It's hovering and aimless like Emerald Web's or Alice Coltrane's most new age material, vibrating constantly but never bubbling over. New Blue Sun is probably not the André 3000 solo debut most OutKast fans had expected or hoped for, but it does continue the integrity and spirit of his creative journey, in a way that's fittingly bizarre and beautiful.© Fred Thomas /TiVo

The virtuoso Marc-André Hamelin isn't the first pianist one would think of when it comes to Fauré's music, but he has recorded all kinds of things, even ragtime, and as it happens, he does quite well with the dense miniatures heard on this album. Fauré's Nocturnes are at some level connected to Chopin's but are quite different, with murky chromaticism, especially in the later ones, setting the night atmosphere. Fauré is thought of as a musical conservative, but one would hardly know it from the pieces here that stubbornly refuse to settle on a tonal center. The counterpoint is complex, and a successful performance is one that untangles it. There isn't big, pianistic virtuosity here, but Hamelin's ability to balance Fauré's registers is virtuosic in its own way. The Barcarolles, a genre not much pursued by other composers but for Fauré seeming to allow rays of Venetian sunshine into his rather closed-in French world, are lighter but basically cut from the same cloth. Things lighten up with the final Dolly Suite, Op. 56, where Hamelin performs with his wife, Cathy Fuller. (For those wondering, neither Mi-a-ou nor the Kitty-valse has anything to do with cats.) Although Hyperion's church sound is not idiomatic, it does not damage the remarkable clarity in what is a significant entry in the Fauré discography, one that landed on classical best-seller lists in the late summer of 2023.© James Manheim /TiVo

Marc-André Hamelin, by general acclaim, one of the great virtuosos of the day, here attempts to recapture the compositional as well as technical spirit of the pianistic giants of the past. Liszt, of course, was a pianist-composer, but he was not the only one. Hamelin issued an album of his own etudes in 2010, but in these "New Piano Works," mostly composed during the 2010s, he is even more adventurous. Many of these works are variations of one kind or another, and Hamelin starts off with his own Variations on a Theme of Paganini, previously essayed by Liszt, Rachmaninov, and several others. These variations introduce not only the usual high level of virtuosity but also the eclectic range of references in most of these works; he quotes Rachmaninov's set and also alludes to Alkan, Chopin, Brahms, and others. The variation form is ideal for Hamelin's project, for he can drop in quotations and allusions the same as a 19th century virtuoso would. His Variations diabellique sur des thèmes de Beethoven is a wickedly humorous exegesis on Beethoven's Variations on a Waltz by Diabelli, Op. 120. There are hints of jazz in some of Hamelin's variations, and these flower fully in the Suite à l'ancienne, which annotator Francis Pott proposes as a tribute to the jazz-classical fusionist Nikolai Kapustin; he composed a similar Suite in the Old Style. Hamelin concludes with an explosive Toccata on l'Homme Armé, the medieval tune that served as the basis for numerous Renaissance masses. So Hamelin's range of references is wide, but it is never random, and the listener who missed the subtler allusions will still enjoy the music. This is a bold, highly entertaining re-creation of the role of the classic virtuoso, idiomatically and clearly recorded at London's Henry Wood Hall. This release made classical best-seller lists in early 2024.© James Manheim /TiVo

The last of a series of showtune albums recorded by the trio of pianist Andre Previn, bassist Red Mitchell and drummer Shelly Manne finds the all-star group focusing on the music of West Side Story (Previn and Manne alternated leadership, and it was the drummer's good fortune to have the famous My Fair Lady album under his own name). This CD reissue has eight of the main themes from the famous musical, including "I Feel Pretty," "Maria" and "America." As usual, the melodies are treated respectfully yet swingingly, and Andre Previn in particular excels in this setting. Recommended.© Scott Yanow /TiVo

To call OutKast's follow-up to their 2000 masterpiece Stankonia the most eagerly awaited hip-hop album of the new millennium may be hyperbole, but not by much. In its kaleidoscopic, deep-fried amalgam of Dirty South, dirty funk, techno, and psychedelia, Stankonia was fearlessly exploratory and giddy with possibilities. It was hard to imagine where the duo was going to go next, but one possibility that few entertained was that Big Boi and Andre 3000 would split apart, each recording an album on his own and then releasing the pair as the fifth OutKast album, Speakerboxxx/The Love Below, in the fall of 2003. Although both albums have their own distinct character, the effect is kind of like if the Beatles issued The White Album as one LP of Lennon tunes, the other of McCartney songs -- the individual records may be more coherent, but the illusion that the group can do anything is tarnished. By isolating themselves from each other, Big Boi and Andre 3000 diminish the idea of OutKast slightly, since the focus is on the individuals, not the group. Which, of course, is part of the point of releasing solo albums under the group name -- it's to prove that the two can exist under the umbrella of the OutKast aesthetic while standing as individuals. Thing is, while it would have been a wild, bracing listen to hear these 39 songs mixed up, alternating between Boi and Dre cuts, the two albums do prove that the music can be solo in execution but remain OutKast records through and through. Both records are visionary, imaginative listens, providing some of the best music of 2003, regardless of genre. If conventional wisdom, based on their public personas and previous music, held that Big Boi's record, Speakerboxxx, would be the more conventional of the two and Andre 3000's The Love Below the more experimental, that doesn't turn out to be quite true. From the moment Speakerboxxx kicks into gear with "GhettoMusick" and its relentless blend of old-school 808s and breakneck breakbeats, it's clear that Boi is ignoring boundaries, and the rest of his album follows suit. It's grounded firmly within hip-hop, but the beats bend against the grain and the arrangements are overflowing with ideas and thrilling, unpredictable juxtapositions, such as how "Bowtie" swings like big-band jazz filtered through George Clinton, how "The Way You Move" offsets its hard-driving verses with seductive choruses, or how "The Rooster" cheerfully rides a threatening minor-key mariachi groove, salted by slippery horns and loose-limbed wah-wah guitars. It's a hell of a ride, reclaiming the adventurous spirit of the golden age and pushing it into a new era. By contrast, The Love Below isn't so much visionary as it is unapologetically eccentric. And as the cocktail jazz pianos that sparkle through the first few songs indicate, it's not much of a hip-hop album. Instead, Andre 3000 has created the great lost Prince album -- the platter that the Purple One recorded somewhere between Around the World in a Day and Sign 'o' the Times. It's not just that the music and song titles cheekily recall Prince -- "She Lives in My Lap" is a close relation of the B-side "She's Always in My Hair" -- it's that Dre disregards any rules on a quest to create his own interior world, right down to a dialogue with God. The difference between Andre 3000 and Prince is in that dialogue, too: Prince was tortured; Andre is trying to get laid. That cheerfully randy spirit surges through The Love Below, even on the spooky-serious closer, "A Life in the Day of Benjamin Andre," and it gives Andre the freedom to try a little of everything, from mock crooning on "Love Haters" to a breakbeat jazz interpretation of "My Favorite Things" to the strange one-man funk of "Roses" and the incandescent "Hey Ya!," where classic soul and electro-funk coexist happily. So, both records are very different, but the remarkable thing is, they both feel thoroughly like OutKast music. Big Boi and Andre 3000 took off in different directions from the same starting point, yet they wind up sounding unified because they share the same freewheeling aesthetic, where everything is alive and everything is possible within their music. That spirit fuels not just the best hip-hop, but the best pop music, and both Speakerboxxx and The Love Below are among the best hip-hop and best pop music released this decade. Each is a knockout individually, and paired together, their force is undeniable.© Stephen Thomas Erlewine /TiVo

The late piano works of Ferruccio Busoni can be characterized as virtuoso music par excellence, and because of their contrapuntal complexity, harmonic density, and technical difficulty, these pieces can have no greater champion than Marc-André Hamelin, the virtuoso's virtuoso. This Hyperion set of three CDs presents music that is far from well-known, and its obscurity adds another layer of unnecessary mystery. However, Hamelin is just the artist to sweep that all aside and present these seldom played pieces with clarity, precision, and élan to make them truly impressive. Busoni's music transcends any fixed style and is more than pastiche, though much of his work shows the influence of J.S. Bach, whose music Busoni frequently adapted for the modern piano and found to be a constant source of inspiration. Additionally, Busoni was a leader in the development of pantonal music, which is often confused with atonality, and worked out various ideas he described in his book, The Sketch of a New Aesthetic of Music. Hamelin is perhaps the best guide to the complicated world of Busoni, and thanks to his astonishing playing, this music communicates more directly and powerfully than many other attempts by other pianists. Hyperion's recording is clear and reasonably close to the piano, so virtually every note can be heard.© TiVo

After receiving huge praise for his debut album on Deutsche Grammophon, baritone Andrè Schuen continues his Schubert journey. Schubert's enigmatic final collection of songs, Schwanengesang, is the subject of Andrè Schuen and his longstanding accompanist Daniel Heide's second release for Deutsche Grammophon. Schuen calls Schwanengesang "my greatest love among the Schubert lieder. Especially the Heine settings; they move me the most!". © Deutsche Grammophon

Christina Pluhar has the gift of conceiving rich, unique and enchanting programmes. Better still, she knows how to carefully choose the musicians best suited to undertake them. At the head of her incomparable ensemble L'Arpeggiata, since the early 2000s she has been unearthing numerous pearls of repertoire, which she threads into a necklace to create a masterpiece."Alla Napoletana" is no exception to the rule: Pluhar resurrects for the occasion numerous manuscripts collected over the last two decades, resulting in this programme dedicated to 17th century Naples. In the age when all was possible that was favourable to strange carnivalesque transformations, scholarly and popular music maintained a more than porous border, until they fused together for the listener's great pleasure. The marks of theatricality borrowed from the "commedia dell'arte" offer a striking relief to these pieces which are fascinating in their formal and textual originality and reveal to us great modernity as well as the freedom of the tone of their composers. The grand ancient and poetic theme of love—but especially of lovesickness—is portrayed in various ways: satire, parody, elegy...If the tremendous qualities of the combined talents of Pluhar and her ensemble no longer need proving, we are also delighted by the performance of the soloists, in particular countertenor Vincenzo Capezzuto, who is hilarious in the more farcical pieces. © Pierre Lamy/Qobuz

For his 1981 eponymous release Fabrizio De André picks off where his last album Rimini had left. Pursuing the fruitful collaboration with Massimo Bubola, with whom De André co-wrote the totality of the material, this album extends the country & western musical and thematic references introduced in Rimini into a full-blown analogy between two oppressed communities, the Native American Indians and the Sardinians. In fact, the record is usually referred to as "Indiano," since its cover features a Frederick Remington painting of a Sioux hunter on a horse. In addition, the key track " "Fiume Sand Creek" depicts the harrowing massacre of his tribe at the hands of the U.S. Cavalry through the eyes of an Indian child. Based on an actual historical event, this song became a De André concert staple. De André moved to Sardinia in the mid-'70s and was profoundly impressed by the history and landscape of the island. Appropriately, many of the songs in this album tell stories of people chased from their own lands and forced to seek shelter on the hills. Community disintegration left them with very few options: shepherding, banditism, a nomadic existence marked by deprivation and loneliness. However, De André often adds a noble, if not definitely romantic, quality to his characters in associating them with nature and independence. By virtue of being pretty much forgotten by country, society, and its institutions, left in the wilderness, these individuals are thus able to attain true freedom, albeit in isolation. A sort of pastoral-by-force album, Indiano contains a few of the most truly beautiful, delicate, and strangely uplifting songs in the De André canon, such as " "Canto del Servo Pastore" and "Se ti Tagliassero a Pezzetti." At any rate, its centerpiece is undoubtedly "Hotel Supramonte," inspired by the most traumatic event of De André's life. In 1979, De André and his companion, singer Dori Ghezzi, were kidnapped by Sardinian bandits and held captive for four months until a ransom was arranged. "Hotel Supramonte" is the euphemism used to refer to the hideouts in the mountains where victims of kidnapping (a sad and long-lasting business in Sardinia) are kept. Surprisingly, De André only gives away the subject matter of his song in its title. Indeed, rather than a chronicle, "Hotel Supramonte" reads as a love song to someone who is absent and whose return is uncertain. Set to the most sparse arrangement of the album, "Hotel Supramonte" refuses to cave in to the feelings of anger, bitterness, or fear that such a dramatic experience may evoke, and chooses instead understanding and compassion, a sense of desolate tenderness that becomes all the more touching with every listening. Another exceptional De André album, Indiano is also noteworthy for being the last "traditional"singer/songwriter album he would make. Starting with 1984's groundbreaking Creuza de Mä, De André would embark on an ethnic musicologist research voyage and record very sporadically for the remaining 15 years of his career .© Mariano Prunes /TiVo