Mercurial Son, Lurrie Bell's intense second album, is a searing, passionate collection of urban blues laced with the rhythmic fury of vintage '50s R&B and rock & roll. In particular, Bell works the classic Bo Diddley shuffle a number of times, tapping into the scary, menacing undertones of Diddley's primal beats. Not only is his guitar playing white hot, his vocals are gutsy and impassioned - he makes even the weaker numbers on the album sound convincing. And the songs on Mercurial Son are varied and intriguing, ranging from rollicking rockers and dense, funky boogie to heartfelt ballads and even an a cappella track. The variety is what makes the album stand out from the pack of contemporary blues releases - it's one of the more compelling recent blues records.

Rudy Adrian keeps on surprising the listener with his excellent blend of retro-electronic music and ambient soundscapes. In the USA, people now also had the opportunity of seeing this special musician live because he toured there in 2002. The result, "Concerts in the USA", contains perhaps the best music the New Zealander has produced until this moment.
The CD opens with "Japanese Garden" with beautiful atmospheres, which accompany Rudy’s dark voice and a big, Vangelis-like, solo. Then the sequences enter the music in "The Donner Pass Rail Corridor". They become heavier and heavier as the piece further progresses and Adrian gets the chance to put in even more solos…

Esoteric Recordings are pleased to announce the long overdue release of an expanded 2CD remastered edition of the classic 1978 live album Alive & Well Recorded In Paris by the celebrated Jazz and Rock group Soft Machine. The album was the band ‘s third for EMI's Harvest label and featured a line-up of KARL Jenkins (Piano, Electric Keyboards, Synthesiser), John Marshall (Drums), John Etheridge (Acoustic and Electric Guitars) and new members Steve Cook (Bass Guitar) and Ric Sanders (Violin). The final live recordings to be released by the band during their lifetime, Alive & Well was the product of several nights of excellent concerts at Le Palace Theatre in Monmartre, Paris in July 1978. The album was initially released as a single album, although the discovery of multi-track masters of a concert in the archives has resulted in this expanded edition with a CD of additional material recorded in July 1978…

Like its predecessor, Gentle Ballads, Gentle Ballads, Vol. 2 is another fairly low-key session led by Eric Alexander. Not only is the personnel identical (pianist Mike LeDonne, bassist John Webber, and drummer Joe Farnsworth), but the cover art once again features a nude photo by the late Jeanloup Sieff, quite possibly the same model from the same photo shoot. The tenor saxophonist mixes things up a bit more during this 2006 session, playing ballads that were hits for popular singers ("Mona Lisa" and "I'm a Fool to Want You"), 1960s Broadway ("Who Can I Turn To"), and 1960s pop ("The Look of Love"), in addition to the expected standards. Best are the deliberate take of Duke Ellington's timeless melancholy ballad "I Got It Bad (And That Ain't Good)" and a bluesy, loping treatment of Neal Hefti's "Li'l Darlin'," which became a signature piece for Count Basie…

Blonde on Blonde's second album, Rebirth, was a more focused body of music than their debut; it also constituted the recording debut of the group's second lineup: David Thomas (vocals, guitar, bass), Gareth Johnson (sitar, lead guitar, lute, electronic effects), Richard Hopkins (bass, keyboards), and Les Hicks (drums, percussion). Whether they're doing the spacy, airy, psychedelic pop of "Castles in the Sky" or the folky "Time Is Passing," the group attack their instruments as though they're performing live, and the effect is riveting throughout, even when the melodic content flags slightly. Thomas' voice is powerful if a little over-dramatic at times, but when the band keeps things moving, there's enough richness of content to carry the album and then some; the band was probably really interesting in concert, too, based on the evidence here…