Suuns' album "THE BREAKS" is a mesmerizing sonic journey that pushes the boundaries of experimental rock. Released by Joyful Noise / Cargo, this record showcases the band's unique blend of hypnotic rhythms, haunting vocals, and intricate instrumentation.

It all starts with the voice. At turns heavy and hulkingly powerful, yet agile and pointedly precise, Nusrat Fateh Ali Khan’s vocal not only embodies the tradition of the Sufi qawwali but it is the emotive essence of singing itself.

This is a fine collected edition of Azimuth's three ECM recordings from the 1970s; the trio of John Taylor - keyboards, Norma Winstone - voice and Kenny Wheeler - trumpet/flugelhorn, were quietly producing highly experimental and deeply rewarding music in these studio recordings that have since become classics of their kind and have influenced many of today's young musicians. Taylor contributed all the compositions across the three albums with Winstone providing lyrics on some tracks; guitarist Ralph Towner guested on the third album.
At this time many musicians were exploring the possibilities of synthesisers and sequencers, something Taylor took full advantage of, together with some overdubbing on some compositions. All four musicians were experienced in third stream music and free improvisation; elements of these forms are part of the soundscape…

If there's are country where ELP influenced greatly the development of Progressive Rock, it was Germany and Austria due to the proximity plus the obvious ethnic and cultural similarities followed them. Some of this bands encouraged by the success of outstanding albums as "Illusions on a Double Dimple" and "Spartacus" (Triumvirat) tried to repeat the formula but didn't had that luck so they only scratched the surface of success, one of this bands is Klockwerk Orange.
The natural leader of the band was the multi instrumentalist and composer Herman Delago, (Guitar, Trumpet and Organ) formed at the Music Academy of Innsbruck…

Indra’s second solo creation is re-edited, added and carefully prepared for all those who have or have not had a chance to listen to it so far. According to Indra, it seems that Kingdom of Light was the most sold album for many years after its first release and he explains this on the CD booklet, plus some other interesting details about the stages that he took on to record this album.
We are discovering a 2nd album to rhythms surrounded by very nice orchestral arrangements. Oniric rhythmic structures where tempos are mainly moved by an impetuous synth, exception made of "Rustic Pictures" and "Malini", a little as Schulze made it on albums such as Totem and Picture Music but with more musicality and suave orchestral arrangements.

A fine Danish chamber ensemble brings together a unique compilation of chamber pieces by an overshadowed contemporary of Messiaen.
The music of André Jolivet (1905-1974) is slowly being revived after decades of neglect, enabling us to discover a distinctive voice in the kaleidoscopic variety of 20th-century French music. Jolivet never followed some of his better-known contemporaries – Messiaen among them – down the path of serialism, yet his harmonic technique exercised a hidden influence on them (including the young Pierre Boulez). The Serenade (1945) for wind quintet, opening this collection of chamber music, casts a mystic air in its opening Cantilene before breaking off into wild peals of instrumental laughter in the Caprice. The world of Poulenc and Stravinsky is not so far away, but there is a grounded density to Jolivet’s writing which is entirely individual.

Coming into French and English from the Greek élegos (‘lament’), an elegy (élégie) is a poetic or musical composition expressing sorrow or lamentation, typically mourning the loss of a loved one or reflecting on themes of grief and melancholy.

Vlastimir Trajković (1947–2017) studied with Olivier Messiaen and was the first Serbian composer to – from the early 70s – structurally apply elements of minimalism to what was a primarily impressionistic harmonic idiom in his music. His 10 Preludes for guitar is a work of refined melodies and subtle harmonies containing the composer’s musical reminiscences of Serbian, Brazilian and Spanish traditional music, as well as jazz.

15 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

“Padre, fammi partire!”. Franco Battiato, orfano di padre, canta questo verso in “Da Oriente a Occidente”. Lo declama in modo solenne e deciso. Più che la richiesta di una benedizione è una dichiarazione d’intenti. La forza con cui viene recitata questa preghiera non ammette debolezze, compromessi o ostacoli. Partire è necessario. Il vulcano è lì, ad indicare la via. La potenza di questa frase rispecchia l’impazienza di un falco che, legato al braccio del proprio falconiere, attende di essere liberato dello chaperon, il cappuccio che lo rende cieco, per poter finalmente scattare e spiccare il volo. Il falconiere, per Battiato, è Federico II di Svevia, “Il Cavaliere dell’Intelletto”. Per noi, che tributiamo questo omaggio, il falconiere è Battiato stesso. “Padre, fammi partire!” è una piccola impronta che vuole testimoniare l’eredità musicale, intellettuale e spirituale che Battiato ci ha donato. Composizioni originali e rielaborazioni di repertorio attraversano tutto quello che Battiato è stato: fondamentalmente, un nucleo fermo e solido che ha mutato diverse forme, tutte assolutamente necessarie. Completiamo questo album nella primavera del 2021. Qualche settimana dopo Battiato muore, a Milo. E’ il 18 maggio 2021. Decidiamo di archiviare il progetto. A distanza di quasi sei anni, lasciamo che queste tracce risuonino, senza troppo clamore, sussurrate, così come deve essere una vera e sincera dichiarazione di amore.

Gulf Coast Records' Blues Music Award-Winners Mike Zito and Albert Castiglia bond as Blood Brothers on new CD coming early 2023. Blood Brothers was produced by Joe Bonamassa and Josh Smith and recorded at Dockside Studio in Maurice, Louisiana.

Così fan tutte, a comic opera by Wolfgang Amadeus Mozart with a libretto by Lorenzo Da Ponte, is noted for its sophisticated ensemble writing and Mozart’s nuanced portrayal of the characters’ emotional journeys. The opera’s overture, and arias such as “Come scoglio” and “Un’aura amorosa”, showcase the composer’s melodic genius and ability to convey complex psychological states through music, making it one of Mozart’s most performed and beloved operas, celebrated for its wit, intricate musical textures and insightful commentary on the human condition.

Digitally remastered edition of this 1975 album by the Jazz great. In what would turn out to be the final years of his short life, jazz great Julian "Cannonball" Adderley embarked on a number of ambitious, genre-stretching projects. The last of these was 1975's Big Man, the score for a musical play based on the John Henry ("the steel driving man") American folk legend. The album was released as a two-LP set with libretto, and featured music from Adderley and his then-current musical associates including brother Nat Adderley, George Duke (using the alias "Dawilli Gonga"), Roy McCurdy, Airto Moreira, Carol Kaye and others. The sessions also made full use of a large string section and chorus, while the primary vocalists in Big Man sang and read their lines in character; the vocal cast included lead vocalist Joe Williams, Randy Crawford, and Robert Guillaume. Long out of print and never before issued on CD, Real Gone Music's reissue of Big Man boasts liner notes by Bill Kopp with quotes from Robert Guillaume, and the full libretto, with remastering by Joe Tarantino. The final artistic statement from a jazz giant!

The Bach album comprises four preludes and one fugue from the Well-Tempered Clavier, as well as the Allemande from the fourth Partita, interspersed with seven compositions or improvisations by Mehldau inspired by the complementary works of Bach—including Mehldau’s Variations on Bach’s Goldberg Theme.

A remastered 2CD edition of the 1975 album ‘Bundles’ by the celebrated Jazz/Progressive group Soft Machine. The album was the band’s first for EMI’s Harvest and featured a line-up of Mike Ratledge (keyboards), Karl Jenkins (oboe, piano, soprano sax), John Marshall (drums), Roy Babbington (bass) and Allan Holdsworth (guitar).