Membra Jesu Nostri (The Limbs of our Lord Jesus) is the single largest and most compelling of the 110 or so sacred vocal works left us by Dutch-German master Dietrich Buxtehude. Buxtehude is better known for his organ music and is rightfully acknowledged as a formative influence on Johann Sebastian Bach. However, Buxtehude's vocal output is slightly larger than that for organ, and he was a key player in the refinement of the German sacred concerto into what we now call the sacred cantata, which he and his wife inherited from its creator and his predecessor, Franz Tunder, in the town of Lübeck. In the years following Buxtehude's death in 1707, German composers of all kinds were gainfully employed writing cantatas in the thousands, Georg Philipp Telemann produced nearly 2,000 of them on his own.

Jazz accordion-master, Van Damme plays much more than cool/accordion mush. In fact, he was an innovator during 60s post-bop. He is an unsung hero.
The music is captivating, melodic and vibrant. The accordion meshes with the strings and vibes and swings when it has to. Van Damme's block chords are a key ingredient to creating his special sound (or "voice") which every musician strives for, and sustains the mood for every number. More than "Nice", (the title of this CD): beautiful.

The music of the Edinburgh composer William Beaton Moonie (1883–1961) is as good as unknown. This firstever album devoted to his piano music reveals a figure downstream from Schumann, Brahms and Grieg, writing in a conservative Romantic idiom coloured by echoes of the folk-music of his native Scotland. Many of these pieces, indeed, are concerned to evoke images of the Scottish countryside or suggest aspects of Scottish history.

Only 20 years old, Johan Dalene has already been hailed as ‘a musician of special sensibilities’ (Gramophone) in possession of ‘a rare fire’ (Diapason), and his début disc, with the concertos of Tchaikovsky and Barber, was described as ‘one of the finest violin débuts of the last decade’ in the BBC Music Magazine.

Ladies and gentlemen, the story you are about to hear is true… NRBQ’s first new album in eight years is about to unleashed. No names have been changed and no one is innocent.

Between Us is the first greatest hits album by British girl group Little Mix, released on 12 November 2021 through RCA. The announcement of the album was made on the ten-year anniversary of the group's formation on the eighth series of the British version of The X Factor. The album features five new tracks alongside all the group's previous singles.

One of most celebrated and respected bluesmen working today, Joe Louis Walker, returns with some of the most electrifying recordings he’s done in his over 4 decade long career! This extraordinarily diverse set includes both incredible new compositions including the blues stomping opener “Uptown Girl Blues” and horn-powered “Bad Betty” as well as killer cover versions of The Eagles’ “Hotel California” and Warren Zevon’s “Werewolves Of London!” Includes special guest performances by Waddy Wachtel, Doyle Bramhall II and the incomparable B.B. King Blues Band! Walker is a road dog like no other and he has a string of shows lined up to support this album and excite his enormously supportive fanbase!

On Imposter, Dave takes listeners on a personal journey of 12 meticulously chosen reimagined songs from across genres and time periods, including selections from Neil Young, Bob Dylan, PJ Harvey, Charlie Chaplin and Mark Lanegan, amongst others. One would be remiss to refer to Imposter as a cover album. Rather, Imposter is a story of songs, which Dave Gahan & Soulsavers listened to, studied, absorbed, and gave a new life. All of the songs have deep meaning to Dave, making Imposter a reflection of Dave’s life – a story told by others, but in his own distinct voice.

Bach's Sonatas for Violin and Harpsichord hardly lack for excellent recorded versions in the period instrument department, including these sensitive and musicianly collaborations between Giuliano Carmignola and Andrea Marcon. Tempos rarely move faster than the music can sing, and cultivated vocalism characterizes Carmignola's sweet, silvery timbre, which differs from Andrew Manze's grittier approach. Indeed, you hardly notice Carmignola's bow arm at all in the way his long, sustained notes seem to materialize from within the harpsichord. A genuine give and take prevails as the musicians effortlessly adjust to each other's foreground and background roles.

Imagine a completely instrumental Allman Brothers, or perhaps more accurately the fusion of the Allman spin-off band Sea Level, then lace it with strong Spanish folk tendencies and further adventures in multiple guitars, and one might start to understand the sound of this outstanding late 70s Spanish five-piece. If you're lookin' for keyboards, you've come to the wrong party - sure you'll find piano, Fender Rhodes, and maybe even a little synth here and there, but only in support roles. This is a guitar show. Most of the tracks are tight and focused, somewhere in the two-to-four minute range: typically they start on a dime, make their point, offer a few solos, and wrap things up neatly - and still give you change. Unlike the Allmans, there are no hyperextended solos or sidelong jams…