If you could have only have one Art Blakey & the Jazz Messengers disc, it absolutely must be Moanin'. This 1958 Blue Note date is the cream of the early Messengers' studio sessions. The group of this period featured the wailing Lee Morgan (trumpet), the swinging Benny Golson (sax), and the soulful Bobby Timmons (piano), with longtime bassist Jymie Merritt by Blakey's side. All of the pieces fell into place here to create one of the most hard-swinging, blues-inflected records in jazz history. Timmons' classic title cut sets the pace as its laid-back call-and-response chorus and swinging bridge will get into your soul and start your head bobbing. Golson's bouncing "Are You Real" and the subtle "Along Came Betty" feature that golden Messengers ensemble sound that can't be matched as Blakey drives his men mercilessly. The most dynamic tracks, of course, are the drum feature "The Drum Thunder Suite," a Blakey tour de force, and the powerful "Blues March" featuring Blakey's signature shuffle groove. A delightful reading of the standard "Come Rain or Come Shine" caps it all off. This is arguably the quintessential Blakey disc.© TiVo

With Paranoïa, Angels, True Love, Christine And The Queens embarks on a long spiritual journey, with Madonna as their guiding high priestess. The two artists met in 2015 during a concert by the American, when Madonna had invited him to go on stage to choreograph a few dance steps. For this album, Christine And the Queens called on her to speak instead of sing. Seduced by the sheer madness of the project, Madonna agreed to take part in three songs (Angels Crying in My Bed, I Met an Angel and Lick the Light Out). Christine And The Queens wanted to salute this iconic voice "which speaks with all the facets inscribed in our consciousness, taking on multiple forms and roles, from the maternal figure to the dominatrix". As for the second feature of the album, the American singer and rapper 070 Shake, who can be heard on True Love and Let Me Touch You Once, makes an appearance. The spiritual form of Paranoïa, Angels, True Love owes a lot to the music produced by Mike Dean (who works with Jay-Z and Beyoncé). Often coated with a trip hop colour that reflects the multiple influences of Christine And The Queens, the tracks cede the place of honour to spectrally high strings and ecstatic electric guitar solos. We also hear a mystical cover of Canon de Pachelbel (Full of Life). Finally, this album is a way for Christine and the Queens to showcase the full range of their voice, which has never been so mixed and reverberated, for it to have maximum effect (A Day in the Water). Paranoia, Angels, True Love can be perceived as the singer's tribute to a highly determined English-speaking pop, but the air of strange musical comedy shows that this resolutely atypical object belongs only to them. © Nicolas Magenham/Qobuz

If you care about Joni Mitchell at all, this record is such a big deal. Recorded at the Newport Folk Festival in 2022, it captures the surprise performance—and first full set in 20 years—by the towering singer-songwriter. It's a study in humanity, love, fandom and the passage of time. Ringmaster Brandi Carlile opens the concert by describing what a real Joni Jam is like—the storied hootenannies at Mitchell's Laurel Canyon home, where musicians sing to honor, entertain and impress her. (Those onstage include Dawes' Taylor Goldsmith, Marcus Mumford, Shooter Jennings, Allison Russell, Wynonna Judd and more.) "Grab any old Martin guitar and tune it up ... the pets are here ... watch out for the orchids, they're everywhere," Carlile paints the scene.  "How are we going to have a Joni Jam without our queen? We're not!" And the crowd roars as Mitchell returns to the Newport stage for the first time since 1969. Then the iconic jangle of "Big Yellow Taxi" kicks in, performed as a group singalong with Mitchell's late-life velvet voice standing out here and there. The harmonies melt, with Lucius's Jess Wolfe and Holly Laessig steering the ship, but it's Mitchell who gets the last word in, growling "put up a parking lot" and gleefully laughing as the song fades. It's a bit of a shock, even after she switched to a contralto in the mid-'70s, to not hear the mezzo-soprano that made the song famous, but incredibly moving, too. Mitchell suffered an aneurysm in 2015 that meant she had to learn to walk and sing and play guitar again. Which makes her spry, cool guitar on an instrumental version of "Just Like This Train'' all the more remarkable. And Mitchell's voice only gets stronger as the set goes on. Carlile and her wild-honey croon take the lead on "A Case of You," but Mitchell picks it up at the chorus to chill-inducing effect and keeps going, with Carlile and Mumford twisting around her like gentle but supportive vines. Carlile sounds fabulous taking the high notes on a groovy "Carey," and Mitchell is like silver when she hollers: "Oh, you're a mean old daddy, but you're out of sight!" She tells a fun story about driving a Mercedes across the country and how Hejira was written on the way. "I didn't have a driver's license so I had to tailgate on truckers, you know, they always signal when there's cops ahead," Mitchell cackles. Goldsmith then takes the lead on "Amelia," with Mitchell slightly behind him like an austere shadow; the same happens as he leads the gang through "Come in from the Cold"—and when Mitchell implores the title, she sounds more heartfelt than ever. "Both Sides Now" is so mortal and beautiful; when, at 79, Mitchell sings that final chorus—written when she was 23—it's almost unbearable: "I've looked at life from both sides now/ From win and lose and still somehow/ It's life's illusions I recall/ I really don't know life at all." But closer "The Circle Game" (written for Neil Young after he lamented leaving his teens and turning 20) is joyous. "We're captive on the carousel of time," Mitchell sings, so happy to be here. It ends with her laughing heartily. © Shelly Ridenour/Qobuz

Although Wes Montgomery found the most commercial success with his Creed Taylor-produced albums for Verve and A&M Records, the nine-albums-in-four-years run that he had on Riverside from 1959 to 1963 was where he established himself as one of the preeminent jazz guitarists of the hard bop and soul-jazz era. The clarity and energy of those Riverside albums, along with his unique picking style, helped Montgomery carve out a new lane for funky improvisation that was accessible but also technically satisfying. Montgomery's music during this period—sprightly, melodic, and built upon the interplay of the musicians in his group—seems tailor-made for a concert environment, so it's surprising that only one live album was released during his Riverside era. But oh, what a live album it is. First released in November 1962 (his fifth album as a leader on Riverside), Full House was recorded just a few months earlier at the Tsubo Coffee House in Berkeley, California, and captures Montgomery leading a talent-packed quintet featuring Johnny Griffin, Wynton Kelly, Paul Chambers, and Jimmy Cobb. In the intimate environment of a club gig, this group is positively electric, and, given that Riverside boss Orrin Keepnews encouraged the band to perform multiple takes to construct a live album, the documentation here is exceptional. Although Full House was delivered as a concise, all-killer, no-filler, six-track album, over the years it has been expanded to include many of those alternate takes. A 2007 reissue doubled the initial length and seemed to be comprehensive, but this 2023 Complete Full House edition tacks on a previously unreleased and unedited version of the title cut that restores Montgomery's original solo. Wisely, the original album—in beautifully remastered form—is the foundation of this edition, and presented with its running order intact. Highlights abound throughout the remainder of the set, however, whether it's Paul Chambers' stunning bass solo on an alternate take of Dizzy Gillespie's "Blue 'n' Boogie" or that previously unreleased master take of "Full House." Although a few tracks are here in two or three different versions, the pacing and sequencing of the record never feels weedy or redundant, even when these alternate takes are presented back to back, making a strong testament to the versatility and vitality of Montgomery and his band. © Jason Ferguson/Qobuz

Dark and glistening. Like a cave on the French Riviera. That’s where Jagger and Richards' band – living as tax exiles - recorded the immense Exile on Main Street, a musical feast with dishes served as country (Sweet Black Angel, Sweet Virginia), gospel (Shine a Light), blues (Shake Your Hips) and visceral rock'n'roll (the opening of Rocks Off and the cult track Happy with Keith Richards on vocals). The Rolling Stones may have been at the height of fame, but this masterpiece came from the heart and soul, with a dark and dirty sound and a sincere and raw style. American roots music (country, blues, folk) had rarely sounded so original. Jagger sings like an inspired old sage. Richards unleashes sharp, sublime guitar riffs. After all these years, we still can’t find the slightest flaw in this double album which many consider to be The Rolling Stones’ best... © Marc Zisman/Qobuz

In 2015, David Gilmour decided to undertake a series of concerts in the world’s oldest venues. A year later, the guitarist from Pink Floyd becomes the first artist since the gladiators in 79 AD to give a concert before an audience in Pompeii’s amphitheater! It was a trip back to the Italian city for him, as he had already performed there in 1971 during the shooting of Adrian Maben’s movie Pink Floyd: Live At Pompeii… In the shadow of the Vesuvius, David Gilmour plays in the more than legendary venue on July 7th and 8th, 2016 and revisits songs that have always been there his whole life, in solo as well as with Floyd. And let’s not forget the new interpretations of The Great Gig In The Sky from the album Dark Side Of The Moon, rarely performed in solo by Gilmour. © CM/Qobuz

He may be in his seventies now, but there’s still no stopping Bruce Springsteen. In 2019, without the E Street Band, the Boss released Western Stars, an astonishing album which would see him transformed into the Glen Campbell of the third millennium, detaching himself from the present day by choosing an attitude of innocence and nonchalance over resistance or defiance. Letter to You came along a year later, where he gathered his favorite band—or rather, what was left of it after the passing of Danny Federici (2008) and Clarence Clemons (2011)— in his home studio in New Jersey to record 12 songs live in just 5 days. It was a reunion among old friends, rooted firmly in the '70s.With Only the Strong Survive, released in autumn 2022, Bruce Springsteen goes 100% soul. There is no doubting the quality of the goods on this 21st studio album. Comprised exclusively of covers, the album seeks to "do justice" to the Great American Songbook of the sixties and seventies. It’s a tasty tracklist, taken from the five-star catalogs of Motown, Stax, Kenneth Gamble and Leon Huff’s Philadelphia International, alongside a few other soul and R&B labels. The Boss has always had good sense in this department, mixing such gold-plated legends as Jerry Butler, Arethra Franklin, the Temptations, Diana Ross with her Supremes, and forgotten geniuses like Tyrone Davis. Not everything is totally vintage, indeed, there’s the aptly named "Soul Days"—a nostalgic song by Jonnie Barnett recorded by Dobie Gray in 2000—and "When She Was My Girl," first recorded by the Four Tops in 1981. To strengthen his case, Springsteen even invited the great Sam Moore (of the legendary duo Sam & Dave). Overall, Only the Strong Survive radiates a sincere and infectious joy. This feeling dominates throughout, underpinned by a gang of powerful backing singers (Soozie Tyrell, Lisa Lowell, Michelle Moore, Curtis King Jr., Dennis Collins and Fonzi Thornton). It's definitely a celebration. Whenever the Boss does add a personal touch—putting the spotlight on his own voice, for example—he never tries to transform these gems of the past into Born to Run-style stadium anthems. His approach is perhaps even a little educational, given that many of his younger fans will be discovering some of these songs for the first time. After all, he was a young fan himself once upon a time: a teenager glued to his AM radio, sputtering out wondrous "made in Motown"singles all night long. © Marc Zisman/Qobuz

A leading figure of French touch with his group Air, JB Dunckel has also been working independently for about twenty years, from soundtracks (François Ozon’s Summer of 85 in 2020) to electronic collaborations (with Jonathan Fitoussi on Miracles in 2019). This time, however, he’s recorded the album entirely on his own, with a single instrument: the piano.Well, not really on his own, since he was communicating telepathically with his childhood piano teacher, who is no longer alive (hence the title Paranormal Musicality), and explains that the legacy of his teachers Ravel, Debussy, Chopin, and Glass can also be heard on the album. An exercise in style as much as an exercise in spiritual connection, the composition of the pieces was something between improvisation and meditation, “letting emotions, colours, and memories pass through my fingers.” The result is a pared-down record, with lovely moments like “Key Games”, which he describes as a pop song, the poignant “Spring Emotion”, and the funeral march “Melo Walk”. 18 tracks to listen to and connect with your feelings. © Smaël Bouaici/Qobuz

Dark and glistening. Like a cave on the French Riviera. That’s where Jagger and Richards' band – living as tax exiles - recorded the immense Exile on Main Street, a musical feast with dishes served as country (Sweet Black Angel, Sweet Virginia), gospel (Shine a Light), blues (Shake Your Hips) and visceral rock'n'roll (the opening of Rocks Off and the cult track Happy with Keith Richards on vocals). The Rolling Stones may have been at the height of fame, but this masterpiece came from the heart and soul, with a dark and dirty sound and a sincere and raw style. American roots music (country, blues, folk) had rarely sounded so original. Jagger sings like an inspired old sage. Richards unleashes sharp, sublime guitar riffs. After all these years, we still can’t find the slightest flaw in this double album which many consider to be The Rolling Stones’ best... © Marc Zisman/Qobuz

Dan and Pat have been writing the handbook for rock’n’roll for almost 20 years. A decade after leaving their hometown Akron in Ohio for Nashville, the Black Keys have produced Let’s Rock, a sort of return to the roots of original classic rock that pays homage to the electric guitar from the very first minute to the very last. In other words, the title of the album says it all. After both having worked with various other musicians, the pair have accepted one another’s infidelities and are back together. Dan Auerbach founded the Easy Eye Sound label named after his studio in Nashville, released his second solo album, Waiting on a Song, and produced a fine selection of albums for Yola, Shannon & The Clams, Dee White, Sonny Smith, Robert Finley and Gibson Brothers. Meanwhile, Pat Carney produced and recorded music with Calvin Johnson Michelle Branch, Tobias Jesso, Jr., Jessy Wilson, Tennis, Repeat Repeat, Wild Belle, Sad Planets Turbo Fruits and many more, and last but not least, he wrote the theme-song for BoJack Horseman on Netflix. After this success, Auerbach admits that it felt like the perfect time for their reunion, “That period really cleared my mind, and it made it so much more enjoyable when I got back together with Pat, because we’d had all that time off. I feel like the record is a testament to that feeling”.Let’s Rock revisits all the great big seventies guitar sounds that the duo admire. A vast array ranges from Glenn Schwartz and Joe Walsh from James Gang to Billy Gibbons from ZZ Top and Stealers Wheel (Sit Around and Miss You is very similar to Stuck in the Middle With You), T. Rex, Link Wray (Polydor period), Blue Öyster Cult and many more. “I didn’t want to overthink it” adds Auerbach. “I wanted it to feel spontaneous. I wanted to be able to record something not dissimilar to ‘Louie Louie’ and be perfectly happy with it. I was looking for the Troggs!”. “Funny, I was looking for the Stooges ‘Down on the Street’”, laughs Carney, who insists on his love for “big and dumb songs. They’re my favourite. I think on this record Dan and I came to a similar place in terms of what we wanted.  I was sitting in my studio for the last year just playing electric guitar, and for the first time in a while, Dan was playing a lot of electric guitar. The record is like a homage to electric guitar [..] We took a simple approach and trimmed all the fat like we used to”. All that now remains is the meat, the best bit! © Marc Zisman/Qobuz

African American composer Florence Price has found her champion in Philadelphia Orchestra conductor Yannick Nézet-Séguin, whose affinity for broad, melodic music fits her style well. In this live release, Nézet-Séguin's cycle of Price's four symphonies comes to a close, and like the others, it is a pleasing recording. This symphony contains the most effective of Price's "Juba" movements based on African American folk music, introducing cross rhythms that generate a good deal of tension with the basic dance, and here and elsewhere, Nézet-Séguin and his Philadelphians do the work justice. The orchestra is especially effective in the subtle colors of the slow movement. Perhaps the real news here is the inclusion of William Dawson's Negro Folk Symphony, which the Philadelphia Orchestra itself premiered in the 1930s under no less than Leopold Stokowski. The Dawson work is entirely worth rediscovery. Price often wrote her own African American folk material. Dawson, by contrast, quotes liberally from the spiritual tradition, yet his quotations are woven into the ongoing texture rather than standing by themselves. It is hard to think of a comparable piece in the classical tradition, constantly filtering the source material through new lenses. The two live performances on the album were not recorded together (the Price was from a 2021 concert, the Dawson from 2023), but in a way, that is a shame; the two works together would make a powerful concert indeed; audiences for this album are lucky. Both works draw from Dvořák's example, but they diverge in their treatment of his legacy. One of the stronger items in Nézet-Séguin's series, reasonably well recorded at Philadelphia's Verizon Hall, with no applause and seemingly no audience noise.© James Manheim /TiVo

It wouldn't be right to reduce Tamino-Amir Moharam Fouad simply to an heir of Jeff Buckley with hints of Radiohead from their earlier years. The Belgian songwriter, only 21 years old, offers much more than that on his first album, even if Colin Greenwood, the bassist from Radiohead, does feature on the album... Tamino, an Antwerp-native and John Lennon-admirer, has always kept his Egyptian origins preserved in a corner of his head, under his jet-black mane. The Arabic music that his mother played at home must have been all the more influential when it was the work of Muharram Fouad, his singer-actor grandfather, a star in Cairo in the sixties... This eclecticism is at the heart of Tamino's music, which owes as much to Buckley folk music as it does to Beatles pop and even to the nonchalant melancholy of Leonard Cohen, another one of his idols. To fuse these disparate influences, the mysterious young man possesses a deadly weapon: his voice. It’s an equally versatile organ, capable of stretching slowly and transforming itself into a stunning falsetto, an impressive technique that he never abuses. It is this voice that transforms Amir into a long and poignant novel. A coming-of-age story that alternates between the dreamer (the pure folk on Verses) and the lyrical poet as on So It Goes, Each Time and Intervals, conceived around a section of Arabic strings. A Qobuzissime album that’s oozing with original and touching poetry. © Marc Zisman/Qobuz