The 400th anniversary year of William Byrd's death gets off to a roaring start with this collection of mostly Catholic choral music from the small (mixed-gender, adult) choir Stile Antico. This justly celebrated group works without a conductor and is recognized for its flexible and sensitive treatment of texts, even in one as well-worn as that of the Catholic mass. Here, sample the "Qui propter nos homines" section from Credo of the Mass for Four Voices, which runs all the way through Christ's crucifixion and resurrection. There are many performances of this Byrd masterpiece, but few that convey so much of the sense of awe and reverence with which Byrd infused these words. The Mass is broken up, as would have occurred in Byrd's time, with motets appropriate to the various parts of the mass. None of these is particularly rare, but the clarity and warmth of Stile Antico's music-making here is consistently remarkable. There are a few Anglican English pieces, and for listeners who do not speak Latin, these will confirm the group's gifts in clear text articulation. A superb job all around on a release that could serve any listener well as an introduction to Byrd's sacred music and made classical best-seller charts in early 2023.© James Manheim /TiVo

Many film composers wrote classical works in an idiom sharply different from that of their film scores, but with Bernard Herrmann, the difference is much smaller. Then again, his film music itself was more "classical" to begin with. His scores are largely devoid of the big themes and jazz and popular influences that marked the work of many of his contemporaries, especially later in his career. Instead, he built his scores out of obsessive gestures that were a perfect match for the films of Alfred Hitchcock, his most frequent collaborator. He wrote one opera, Wuthering Heights, that was completed in 1951 and, indeed, quoted some of his earlier scores and spawned passages in later ones. It is a gigantic work, filling four LPs when Herrmann recorded it in 1965, and this condensation and arrangement by Hans Sørensen is welcome. He strips the cast down to just Cathy and Heathcliff, with newcomer Keri Fuge and veteran Roderick Williams holding up well through overheated music that evokes Emily Brontë's novel nicely. There is also an orchestral version, again arranged by Sørensen, of Herrmann's 1965 string quartet Echoes; the arrangement works fine inasmuch as his writing was quite orchestral-sounding in the original quartet. The Singapore Symphony, under conductor Mario Venzago in Wuthering Heights and Joshua Tan in Echoes, sounds fabulous, and Venzago was an inspired choice here, with a sure touch for dramatic music. Herrmann fans will be delighted with this, and listeners looking for a chance to sample his opera will find the album ideal. It landed on classical best-seller lists in the summer of 2023, testifying to growing interest in Herrmann's music. © James Manheim /TiVo

The cover shot of a Fat Albert-ized Pharcyde roller coastering their way into a funhouse makes perfect sense, as the L.A.-based quartet introduced listeners to an uproarious vision of earthy hip-hop informed by P-Funk silliness and an everybody-on-the-mike street-corner atmosphere that highlights the incredible rapping skills of each member. With multiple voices freestyling over hilarious story-songs like "Oh Shit!," "Soul Flower," the dozens contest "Ya Mama," and even a half-serious driving-while-black critique named "Officer," Bizarre Ride II the Pharcyde proved Daisy Age philosophy akin to De La Soul and A Tribe Called Quest wasn't purely an East Coast phenomenon. Skits and interludes with live backing (usually just drums and piano) only enhance the freeform nature of the proceedings, and the group even succeeds when not reliant on humor, as proved by the excellent heartbreak tale "Passin' Me By." The production, by J-Sw!ft and the group, is easily some of the tightest and most inventive of any hip-hop record of the era. Though Bizarre Ride II the Pharcyde could have used a few more musical hooks to draw in listeners before they begin to appreciate the amazing rapping and gifted productions, the lack of compromise reveals far greater rewards down the line.© John Bush /TiVo

Stand! is the pinnacle of Sly & the Family Stone's early work, a record that represents a culmination of the group's musical vision and accomplishment. Life hinted at this record's boundless enthusiasm and blurred stylistic boundaries, yet everything simply gels here, resulting in no separation between the astounding funk, effervescent irresistible melodies, psychedelicized guitars, and deep rhythms. Add to this a sharpened sense of pop songcraft, elastic band interplay, and a flowering of Sly's social consciousness, and the result is utterly stunning. Yes, the jams ("Don't Call Me Nigger, Whitey," "Sex Machine") wind up meandering ever so slightly, but they're surrounded by utter brilliance, from the rousing call to arms of "Stand!" to the unification anthem "Everyday People" to the unstoppable "I Want to Take You Higher." All of it sounds like the Family Stone, thanks not just to the communal lead vocals but to the brilliant interplay, but each track is distinct, emphasizing a different side of their musical personality. As a result, Stand! winds up infectious and informative, invigorating and thought-provoking -- stimulating in every sense of the word. Few records of its time touched it, and Sly topped it only by offering its opposite the next time out.© Stephen Thomas Erlewine /TiVo

When American urban-contemporary radio was bombarding its listeners with one Guy clone after another in the late '80s and early '90s, British neo-soulsters like Soul II Soul, Lisa Stansfield, and the Chimes offered highly creative and gutsy alternatives. With influences ranging from Chic to hip-hop to African music, Soul II Soul's debut album, Club Classics Vol. One (titled Keep On Movin' in the U.S.), was among the most rewarding R&B releases of 1989. Soul II Soul leader/producer/composer Jazzie B takes one risk after another -- all of which pay off. The group enjoyed major hits with the Chic-influenced gems "Keep On Movin'" and "Back to Life" (both of which feature the gifted Caron Wheeler), and equally superb are the African-influenced reflections of "Dance" and "Holdin' On," the soulful grit and intensity of "Feel Free," and the hypnotic house music of "Happiness." Though Wheeler was Soul II Soul's best-known singer and went on to enjoy a career as a solo artist, Rose Windross and Do'Reen (both expressive soul divas) also do their part to make Club Classics Vol. One the artistic triumph that it is.© Alex Henderson /TiVo

It was a combination of raw talent and willingness to take his artistry to personal places that brought Baltimore rapper Logic to the mainstream. Hyper-fast lyrical delivery, plush production, and vulnerable inspection of mental health issues and personal struggles were all key elements of his success. Shortly before the release of sixth studio album No Pressure, Logic announced the record would be his last and he'd be retiring from music afterward to focus on raising his family. There's no shortage of retirement announcements that don't stick, but No Pressure is definitely underscored by a sense of conclusion, Logic looking back on the last ten years with an awareness that he's moving closer toward the exit with every song. The album reunites the rapper with producer No I.D. for the first time since his 2014 studio debut, Under Pressure. The production plays as important a role as the rapping throughout, with Logic making blatant references to some of his most important influences by reworking their beats or borrowing their styles, paying tribute as he delivers the closing statements of his career. From the robotic voice that walks the listener through the various songs (borrowed directly from A Tribe Called Quest's Midnight Marauders) to the beat from OutKast's "Elevators (Me & You)" flipped on "GP4," the tips of the hat on No Pressure are overt. Kanye West's early catalog is a major reference point throughout the album as well, with songs like "Hit My Line," "Celebration," and "Heard Em Say" all recalling the chopped samples, cocky flows, and huge drums of the first few Kanye records. In addition to the detailed homages to his inspirations, Logic uses No Pressure to outline his departure from rap. "Soul Food II" addresses frustrations with a fickle music industry and "DadBod" pulls no punches expressing how much more he gets out of everyday family life than the grind of keeping a high-profile music career afloat. As Logic's fame grew, he made more songs about the criticism he got from detractors and former fans on social media. "Dark Place" is No Pressure's entry for this often-visited theme, with a heavenly ambient beat made in collaboration with Toro y Moi backdropping lyrics about insecurity and a lack of self-worth. No Pressure is one part celebration, one part victory lap, and one part bittersweet farewell, with Logic dismissing his haters, showing appreciation for his diehard supporters, and spilling every last personal detail of his story one more time before the curtain closes. The sense of finality removes some of the thin-skinned or overly self-aware lyricism that got in the way of earlier records. No Pressure finds Logic all grown up and ready to give himself over to a new chapter. It's one of his best and most enjoyable albums, wrapping up an electrified run with his most clearheaded and honest material yet.© Fred Thomas /TiVo

The Odes and Welcome Songs cover the major creative period of Henry Purcell, who composed them for festive occasions. However, in contrast to the musical pomp of Versailles that was commonplace during this time, the special events in which these songs were played were attended by very few. Damien Guillon and his ensemble, Le Banquet Céleste, have explored this chamber music’s intimate beginnings, conceiving this new programme comprising of thirty-seven richly expressive pages.Composed between 1680 and 1695, these pieces were intended to celebrate important occasions; for example, St Cecilia's Day or anniversaries such as that of King James II or Queen Mary. Others celebrate specific events, such as royal weddings, princely anniversaries or the centenary of Trinity College Dublin. Damien Guillon utilises his deep understanding of music to elevate his vocal and instrumental soloists to new artistic heights. "I like the idea of making music together in a group and uniting artists around a project," he says. Produced at the Poitiers Theatre, this new recording is full of life and joy, and is a true reflection of Guillon’s devotion to his craft. © François Hudry/Qobuz

These a cappella Psalms of Repentance, also known as Penitential Psalms, were composed in 1988 to mark the 1,000th anniversary of the conversion of the Kyivian Rus to Orthodox Christianity by Volodymyr the Great. They are about as spare and traditional as anything Alfred Schnittke ever wrote, yet they are still imbued with his entirely original musical personality. Access to the texts (in transliterated Russian and English) in the physical booklet is recommended here, for Schnittke's text-setting is quite sensitive, and his system for it is unique. The music is generally tonal, but it becomes harmonically denser at critical text junctures. The performances by the Cappella Amsterdam under director Daniel Reuss are ideal. The choir bulks up a bit to 33 members, and Reuss gets a thicker vocal tone from his group, a bit reminiscent of Russian choral singing. However, they do not sound like a Russian choir, just as Schnittke is as much Western as Russian, and his musical models in the Psalms of Repentance, such as they are, are more Viennese than Russian Orthodox. It is a virtuoso performance that captures the shades of meaning in the psalm texts, to which Schnittke seems to have responded in a personal way. These pieces have occasionally been recorded before, but this reading, with superb sound from the Pieterskerk in Utrecht, is ideal, and the music is recommended to all choral singers. © James Manheim /TiVo

Sergey Rachmaninov's All-Night Vigil, also known as the Vespers, is among his most admired works, and it was one of the composer's own favorites, along with The Bells. This 2015 Chandos release by Charles Bruffy and the combined voices of the Phoenix Chorale and the Kansas City Chorale presents the music in the super audio format, so the richness of the divisi choral parts and the depth of the basso profundo come across fully in the multichannel reproduction. Bruffy is the musical director of both groups, so his special rapport with them creates an even ensemble blend that balances the largely homophonic textures, and brings a consistency of approach to the three styles of chant Rachmaninov imitated, Kievan, Greek, and Znamenny. The beauty of the a cappella voices and the surprisingly lush harmonies make this setting immediately appealing and ultimately moving, and listeners who enjoy sacred choral music for inspiration or meditation will find the All-Night Vigil's smooth flow and expressive warmth well-suited to those purposes.© TiVo

The very democratic trio of bassist Charlie Haden, drummer Paul Motian and pianist Geri Allen perform sensitive yet often exploratory group improvisations on several originals, Ornette Coleman's "Lonely Woman," and Herbie Nichols' "Shuffle Montgomery." The communication between these three masterful players is quite impressive.© Scott Yanow /TiVo

In case anyone has forgotten how ingratiating and prolific Joe Sample the songwriter has been, the master of elegant funk re-records 14 songs here. And it is a cooler, more reflective light in which Sample and producer George Duke see his old tunes in the '90s: with relaxed, uncomplicated, to-the-point acoustic piano leads; a mildly percolating beat; and a veneer-thin garnish of electronics. It is both safe and risky to revisit the past -- safe because one is surrounded by comfortable material and risky because artists seldom recapture all of the old spark. Alas, more often than not, the latter applies to Sample's attempt to go home again, though the good tunes remain good tunes. Some of the songs go back to the Crusaders; "Free as the Wind" especially lacks the energy of the original, but "Put It Where You Want It," thanks in part to Sample's use of a funky old Wurlitzer electric piano, has a nice groove. Finally, just for fun, Sample slips in a jaunty solo benediction courtesy of Jelly Roll Morton, "Shreveport Stomp."© Richard S. Ginell /TiVo