We begin our survey with three discs of keyboard music by Jean-Philippe Rameau (1683–1764) and those musicians he influenced. Two recordings showcase the magnificent Donzelague harpsichord at the Château d’Assas, which was rediscovered by Scott Ross in 1967. In the first recording, La famille Rameau (Alpha 721, issued 2021), Justin Taylor provides a fine selection of musical portraits. Not surprisingly, as the most prominent member of the Rameau family, Jean-Philippe contributes the majority (eleven) of the pieces, spread out in five groups. The remaining works are mainly dances and character pieces from the post-Rameau era, including a short pastoral menuet by Claude Rameau (Jean-Philippe’s younger brother) and the delightful ‘La Forcray’, referring to the Forquerays (Antoine and his son Jean-Baptiste, both virtuoso viol players), by Claude-François Rameau (Jean-Philippe’s eldest son). Despite the disc’s title, two of the composers represented here—Jean-François Tapray (1738–1819) and Claude Debussy (1862–1918)—fall outside Rameau’s lineage. Their inclusion testifies to the composer’s influence on both his contemporaries and later generations. Overall, the ordering of the disc’s 18 pieces seems arbitrary, such that listening to them evokes the feeling of wandering through different rooms of a museum. The pieces are drawn from different sources. For example, ‘Allemande’ and ‘Courante’ from Rameau’s Premier livre (1706) are coupled with ‘Sarabande’ and ‘Gavotte & Doubles’ from his Nouvelles suites (c.1729–30) to form a set in A minor (tracks 14–17). Clearly, Taylor’s aim here is not purely to restore the musical legacy of the Rameau family. Rather, the pieces are judiciously chosen to explore the expressive potential of the Donzelague harpsichord on the one hand and to show off Taylor’s creative skills on the other. The opening two tracks demonstrate the Donzelague’s wide palette of sonorities, with a sharp contrast between the emotive ‘Les tendres plaintes’ and the dazzling ‘Les Cyclopes’. Taylor’s confident musicality emerges in his colourful transcription of ‘La Rameau’ (track 3) and flamboyant rendering of Tapray’s variations on Rameau’s ‘Les Sauvages’ (track 7). The tempo of the Sarabande and the Gavotte (tracks 16 and 17) is heavily stretched to allow for extensive embellishments, which are at times anachronistic. Surprisingly, the disc ends with Debussy’s ‘Hommage à Rameau’ from Images 1 (1905), sensitively played on an Érard piano (1891). In all, this disc is to be warmly commended for offering a new perspective on music both closely and more distantly related to Rameau, although Taylor clearly contributes a personal element to the interpretation.