Brad Mehldau's 10 Years Solo Live, released to critical acclaim earlier this fall, continues to earn praise from around the world, including Chicago Reader ("rhapsodic"), Buffalo News ("stupendous"), Mojo ("some of the most beautiful piano playing you’ll ever hear"), Scotsman ("revelatory"), Financial Times ("rich and rewarding"), Paris Match ("stunning grace"), Jazz News ("essential"), L’Humanité ("magic"), Tastenwelt ("candidate for CD of the year"), Jazzthethik ("a tremendous showcase"), Generel Anzeiger ("a phenomenon"), NRC (five stars), De Standard ("virtuosity with lyrical inspiration"), Dag Og Tid ("monumental ... a masterpiece"), and more.

The Bad Plus Joshua Redman kicked off the final leg of its 2015 tour in Boulder last night, with stops in Arizona, New Mexico, and California in the coming week, culminating with a four-night residency at the SFJAZZ Center. The quartet's eponymous debut album has been named the No. 1 Best Jazz Album of 2015 by PopMatters. "Together," says the site, "the band is particularly wonderful."

Rolling Stone has published its list of the 50 Best Albums of 2015, and among them are two Nonesuch Records releases: The Arcs' debut album, Yours, Dreamily, which the magazine calls "a riveting extension of the Black Keys' progressive-blues aesthetic," and Tomorrow Is My Turn, the solo debut album from Rhiannon Giddens, whom Rolling Stone calls "a rare voice bound for glory."

Stereogum has published its list of the 50 Best Albums of 2015, and among them is The Staves' new album, If I Was. "There is so much tender beauty in this album," says Stereogum's Chris DeVille. "It’s one of the greatest albums of its kind ... this music just about made my year by virtue of its exquisite beauty."

There's more than a month to go before 2015 comes to a close, and already the UK music magazines have begun to weigh in on the year's best music. Uncut and Mojo have published their lists of the Best Albums of the Year, and included among them are a number of Nonesuch releases, all firsts of a sort: Olivia Chaney's debut album, Rhiannon Giddens's first solo record, and the debut from the newly minted quartet of The Bad Plus Joshua Redman.

Brad Mehldau's new box set, 10 Years Solo Live, was featured on NPR's All Things Considered. The show takes "a peek into the creative process of one of modern music’s most innovative thinkers," says host Ari Shapiro. "The set includes Mehldau's vivid reimaginings of works by the Beatles, Radiohead, Brahms, and Thelonius Monk," says reviewer Tom Moon. "That's a wide range of music, yet he never sounds out of his element ... [S]ome things come through right away: his fluid technique, his instinct for reframing melodies, his gift for spinning epic narratives out of shards and fragments. Here's what's most mind-blowing: he's doing this live, in the moment, unscripted, in front of an audience." Listen to the review here.

Junun, the new album from composer/musician Shye Ben Tzur, guitarist Jonny Greenwood, and a group of Indian musicians known as the Rajasthan Express, due next Friday, November 20, is streaming in full till then as an NPR First Listen at npr.org/music. The album's "real magic comes when the brass section is unleashed," says NPR's Tom Pryor; some tracks "practically jump out of the speakers and command listeners to dance."

Brad Mehldau's new 8-LP box set 10 Years Solo Live "contains some of the most impressive pianism Mr. Mehldau has captured on record," exclaims the New York Times' Nate Chinen. It "also confirms that his pristine technique and prismatic elaboration are distinctive traits unto themselves," closing with a performance that is "an astonishment even by his lofty standards." Jazzwise, in a five-star review, calls it "a monumental achievement, and one of the most rewarding solo piano collections of the 21st century so far." The BBC Music Magazine five-star review says it's "a powerful picture of a renaissance artist at the height of his powers."

Laurie Anderson's new film, Heart of a Dog—which has been shown at numerous film festivals to critical praise—begins its theatrical run at the Film Forum in NYC tonight and continues there through November 3. Anderson attends screenings tonight and each day this weekend. Following the Film Forum run, Heart of a Dog will be shown in theaters across the US. It also will air on HBO in early 2016. The New York Times calls it a "dreamy, drifty and altogether lovely movie." New York calls it "one of the most moving and provocative films you'll see this year." Nonesuch Records releases the Heart of a Dog soundtrack this Friday, October 23.

Today marks the release of Brad Mehldau's 10 Years Solo Live eight-LP vinyl box set, culled from 19 live recordings made over a decade of the pianist's European solo concerts. Mehldau has "emerged as a player with a stunning virtuosity and daring ability to mine far reaches of improvisation," raves All About Jazz. This is "a beautiful release/box from a unique pianist who continually shows what the piano can do." The Guardian gives the set four stars, noting Mehldau's "virtuosity and lyrical ingenuity ... There are plenty of gems here." "Let's make no bones about it: Brad Mehldau is a magician," exclaims Record Collector in a five-star review. "Hearing the pianist in full flow during a live performance is ... nothing less than an awe-inspiring experience."

Laurie Anderson is featured in the New York Times and the New Yorker, which both look at her new film and album, Heart of a Dog, and her piece Habeas Corpus, which recently premiered at the Park Avenue Armory. "They’re both about how you tell stories, and what they mean," she tells the Times, "and how you create a world with them." In London for the BFI London Film Festival debut of Heart of a Dog, Anderson was the guest on BBC Radio 4's Woman's Hour and BBC Radio 3's In Tune. She will be the guest on BBC Radio 6 Music's Stuart Maconie's Freak Zone this Sunday and can be heard on this week's Dinner Party Download.

St Germain's new, self-titled album was featured on today's episode of NPR's All Things Considered. "This isn't your typical globe-trotting cut-and-paste," says reviewer Tom Moon. "Where most DJs organize their work around static loops, St Germain seeks a less scripted, more improvisational atmosphere." He later concludes: "There's a lot of musical conversation going on here. St Germain went deep into West African music and discovered that to capture its nuances, he had to ditch some of his DJ tricks and open things way up. The result: a timeless African sound reconfigured ever so slightly for the electronic age."