After two stylistically diverse anthologies - In Motion and Renewal - the United Strings of Europe and their director Julian Azkoul have chosen to devote their latest project to a single composer: Pyotr Ilyich Tchaikovsky. They open with the composer's Serenade, a tribute to Mozart's divertimentos, but infused with Tchaikovsky's characteristic pathos and melancholy. It is one of his most popular works, with the especially beloved Waltz as it's second movement, and a finale featuring Russian folk songs. The other works included on this recording are arrangements tailor-made for the ensemble by Julian Azkoul.

This is the second installment in the Pacifica Quartet’s highly anticipated, four–volume CD survey of the complete Shostakovich string quartets: The Soviet Experience: String Quartets by Dmitri Shostakovich and his Contemporaries. The Soviet Experience is the first Shostakovich quartet cycle to include works by other important composers of the Soviet era, adding variety and perspective to the listening experience.

Though the origin of Bach’s sonatas for flute and harpsichord is uncertain there has also been considerable debate about their genre. The first three are often called ‘Sonaten auf Concertenart’—sonatas in concerto style—a hybrid genre that became popular between around 1720 and 1740, so Bach may have been deliberately experimenting with form in these works. All offer a fascinating insight into Bach’s use of the sonata genre and a wealth of inventive music.

There are almost more Petula Clark collections than there were actual songs (that's saying something), and Sanctuary's three-disc Songs of My Life: The Essential Petula Clark is one of the better ones. Split into three themes, "Swinging Times," "Mellow Moods," and "Beautiful Sounds," Songs of My Life relies heavily on the English pop sensation's peak '60s and '70s output. All of the key radio hits are here ("Downtown," "I Know a Place," "My Love," "This Is My Song"), as well as countless ballads, uptempo pop gems, and choice covers. Fans looking for a decent career overview (sadly, none of Clark's vast arsenal of French hits are here) may find the 78 tracks that populate Songs of My Life a bit overwhelming, but they're well worth spending some quality time alone with.

Robert Cray adds a bit more soul to the mix on this album, which features the Memphis Horns most prominently. Most of the songs are Cray doing what Cray does best–slow, soulful, done-me-wrong (or, alternatively, I-done-wrong) songs chock full of great guitar. No complaints there, and when he adds a bit of vocal growl here and there, as on the album opener "The Forecast (Calls for Pain)" (also featuring some excellent bass from Richard Cousins), and the slow shuffle "Holdin' Court," it keeps things interesting. This album indicates a slight shift in Cray's direction; although he's always included a touch of soul in his blues, here it's more pronounced than before, a tendency he continued in subsequent recordings.

Big Sleep were a Welsh band whose influence was far beyond their sole album offering released in 1971. The band members (formerly with Eyes Of Blue) would all soon head for greater things in bands such as Gentle Giant, Man and Wild Turkey (formed by ex-Jethro Tull bassist Glenn Cornick). An album that features many fine songs and styles, "Bluebell Wood", (originally released on the highly collectable Pagusus label), has been sought after by collectors for many years thanks to its influence and place in the history of British progressive rock and in the annals of Welsh rock. Remastered from the original master tapes, “Bluebell Wood” has never sounded so good. This release is sure to appeal to followers of Man and Gentle Giant in particular. The First ever- official CD release for this classic album.

While the comparisons to Charlie Parker were inevitable throughout a good part of his career, Sonny Stitt was very much his own man. He is in top form throughout this 1957 session made for Verve, featuring a very young Bobby Timmons on piano, bassist Edgar Willis, and drummer Kenny Dennis. Alternating between alto and tenor saxophone in a program consisting mostly of standards, Stitt is equally at home on each horn. His soulful tenor shines in "Easy Living," while the loping "Autumn in New York" showcases his exuberant alto. Timmons, who had just made his recording debut as a sideman with Kenny Burrell the previous year, hints at his potential with a blues-drenched solo in "You'd Be So Nice to Come Home To." One of Stitt's best recordings at this point in his career.