This is an unusual set for Joe Pass, a pop-oriented Brazilian date. He is joined by rhythm guitarist John Pisano, keyboardist Don Grusin, either Abraham Laboriel or Nathan East on bass, drummer Harvey Mason and percussionist Paulinho Da Costa. The material is not as strong as Pass' earlier Brazilian set Tudo Bem, featuring originals by Andy Narell, Grusin, Pisano and Milton Nascimento, along with a few obscurities. Pass sounds fine, but the overall results are not too substantial or memorable.

Digitally remastered and expanded edition of the 1989 sophomore album from the British Pop duo including seven bonus tracks. Climie Fisher were formed in 1987 by vocalist/songwriter Simon Climie and former Naked Eyes keyboardist Rob Fisher. Simon Climie was already known as the writer of the Aretha Franklin and George Michael hit 'I Knew You Were Waiting (For Me)' and other late '80s hits before forming this successful recording project. Features the singles 'Facts Of Love', 'Fire On The Ocean' and 'It's Not Supposed To Be That Way'.

The concerto grosso form was popularized by Corelli, and Locatelli’s Op 1 is a marvellous example of the genre: its solid craftsmanship, imaginative textures and exciting virtuosity bringing it into the top rank. These works are ravishingly performed here by The Raglan Baroque Players, Nicholas Kraemer and soloist Elizabeth Wallfisch.

Sonny Landreth's screaming slide guitar plows right into you and carries you along on its feral journey. This CD opens going for your guts and never quits, though at times its touch is more caressing than careening, as in "Cajun Waltz." This CD got a lot of airplay yet never got tiresome, the true test of good music. A wide variety of slide guitar styles, backed by an extremely tight rhythm section and various other New Orleans musicians adds to the pleasure of the album. This music combines the best of zydeco, New Orleans R&B, Cajun, and rock & roll into one mood-elevating experience. Listen to "Mojo Boogie" next to "C'est Chaud," then go on to "Shootin' for the Moon"; there is no letdown, but there is great variety. A must-buy.

A few of the songs on this collection stand out. Billy Sherwood & Alan White & Chris Squire's rendition of Comfortably Numb, Tommy Shaw & Tony Levin & Edgar Winter's take on Money, and Us and Them as versioned by Out of Phase. Each artist sticks as close to Pink Floyds original intent, but adds some interesting tidbits that are nice to listen to.
The best of the best Pink Floyd cover songs culled from every major tribute album on the market today! Includes performances by a diverse gathering of unstoppable talents such as Tommy Shaw (Styx), Steve Lukather (Toto), Tony Levin (Peter Gabriel, King Crimson), Spahn Ranch, Psychic TV, Chrome and many others! All of the best Floyd tracks are covered including Comfortably Numb, Another Brick In The Wall Part 2, Money, Pigs On The Wing and more…

Humble Pie A showcase for former Small Faces' frontman Steve Marriott and one-time Herd guitar virtuoso Peter Frampton, the hard rock outfit Humble Pie formed in Essex, England in 1969. Also featuring ex-Spooky Tooth bassist Greg Ridley along with drummer Jerry Shirley, the fledgling group spent the first several months of its existence locked away in Marriott's Essex cottage, maintaining a relentless practice schedule. Signed to the Immediate label, Humble Pie soon issued their debut single "Natural Born Boogie," which hit the British Top Ten and paved the way for the group's premiere LP, As Safe as Yesterday Is. After touring the U.S. in support of 1969's Town and Country, Humble Pie returned home only to discover that Immediate had declared bankruptcy. The band recruited a new manager, Dee Anthony, who helped land them a new deal with A&M; behind closed doors, Anthony encouraged Marriott to direct the group towards a harder-edged, grittier sound far removed from the acoustic melodies favored by Frampton.

NYFOS Record’s latest release is Schubert / Beatles featuring baritone Theo Hoffman, pianists Steven Blier and Kunal Lahiry, and special guests soprano Julia Bullock and tenor Andrew Owens. First introduced to NYFOS audiences in NYC eight years ago as a thrilling live concert, this program pairs Schubert songs with Beatles songs on similar themes, and, in Blier’s words, “Lo and behold, the Holy of Holies sits comfortably next to the Oldie of Oldies.” Yesterday and Im Frühling are hymns to lost love, while Der Wanderer an den Mond and She’s Leaving Home tell contrasting stories of young people cast adrift into the world.

The genre of solo concertos has become increasingly important for Peter Ruzicka since the 1990s. In his oeuvre, it mediates between the dramatic forms of music theater and orchestral or ensemble works. The four compositions on this CD were created over a decade: AULODIE in 2011, STILL in 2016 (included as the final movement in the Chamber Symphony in 2021), the second concerto for viola or violin and large orchestra in 2020 and 2021 (expanded to include a chamber choir in the violin concerto). DEPART and EINGEDUNKELT were written when cultural life was at a standstill due to the COVID pandemic. For both, remembering acts as an elixir of life, and in both, Paul Celan once again takes center stage in Ruzicka's music. In DEPART, the title and form refer to the poet, "who knew how to name the wounds of the 20th century like no other" (P. Ruzicka), in EINGEDUNKELT his poetry forms the center.

Scarabus is the third and the last studio album by British jazz rock band Ian Gillan Band, released in October 1977. The album was reissued in 1982 by Virgin Records in the height of popularity of Ian Gillan's group Gillan (a CD edition followed in 1989). The CD reissue included an extra track, "My Baby Loves Me". This track, recorded live at the Budokan Hall, Tokyo, Japan, on 22 September 1977, was originally part of the double LP set Live at the Budokan, and had been omitted from the UK release in error. Ian Gillan re-used the vocal melody of the title track "Scarabus" on the song "Disturbing the Priest" six years later, on the album Born Again (1983) during his short tenure with the British hard rock/heavy metal band Black Sabbath. The guitar riff on "Mercury High" is the same as the one played by guitarist Ray Fenwick on "Back USA" from his 1971 solo album Keep America Beautiful, Get a Haircut.

A 10 CD collection of the legendary conductor's recordings for Everest and Vanguard, made between 1958 to 1967, and with a bonus disc of recordings for other labels. Presented in a deluxe clamshell box, and totalling more than 12 hours of music.

In Hearing of is the third album by British rock band Atomic Rooster. Although not included on the album, "The Devil's Answer" single was released just prior to it, becoming the band's highest chart success at number 4 in the UK. This helped push the album to a number 18 UK chart placing, despite the fact that the four musicians pictured on the inside cover never played together. The backing tracks (and some vocals) were recorded by Vincent Crane, John Cann and Paul Hammond, but Cann and Hammond left the group soon after vocalist Pete French was drafted in. The finished album's sound was dominated by Crane and Hammond, with many of Cann's guitar parts either not used or placed lower in the mix. In addition, many of the songs were written by Crane, along with his first wife, Pat Darnell.

Following up the superb Elegant Gypsy was no mean feat, but Al di Meola gave it his best shot with the similarly styled Casino, released in 1978. Featuring a core band of Steve Gadd, Anthony Jackson, and Barry Miles (whom di Meola came up with before the guitarist was invited to join Return to Forever), the playing is sharp and fiery, matching the youthful intensity of the leader. Di Meola is a good composer in the fusion idiom, and the four original compositions on Casino, although clearly bearing the mark of Chick Corea's influence, are strong. His "Fantasia Suite for Two Guitars," featuring di Meola accompanying himself via multi-tracking, is beautiful and dramatic, and hints at the guitarist's later all-acoustic works such as Friday Night in San Francisco.

At last, the wait is over, we hear you cry! AVID have finally inducted Miss Peggy Lee into the 4 Classic Albums “hall of fame”! Ok so we have taken our time in paying tribute to the great lady, but we wanted to get it right, we wanted to select the best albums that truly captured Miss Lee’s huge vocal talents. Peggy Lee spent most of her recording career at Capitol Records which she joined in 1947. She had a short break between 1952-56 where she recorded for Decca, and ironically made one of her greatest albums “Black Coffee” (AVC876). We feature three albums for her Capitol years, a couple of classics arranged by the legendary Nelson Riddle, “Jump For Joy” and “The Man I Love” which also features conducting duties by that other rather famous Capitol Records artist, Mr Frank Sinatra! These two are joined by another classic “concept” album “Blues Cross Country” arranged and conducted by Quincy Jones. To round off our selections we feature the extraordinarily intimate “Dream Street” recorded by Peggy for Decca in 1956. And if you need any further proof of the regard Peggy Lee was held in by the jazz fraternity, take a look at some of the names that appear on our selections. Harry “Sweets” Edison, Pete Condoli, Mel Lewis, Shorty Rogers, Bud Shank, Bob Cooper, Bill Perkins, Lou Levy, Max Bennett, Benny Carter and Buddy Collette. Oh and did we mention Nelson Riddle, Frank Sinatra and Quincy Jones?!

Composed 25 years after the celebrated work of the same name by Pergolesi, and for the same forces, the Stabat Mater by Nicola Logroscino (pronounced “Logròscino”) belongs to the long list of compositions born of the Neapolitan school, beginning with the model by Alessandro Scarlatti (1723). Although inspired by its illustrious precedents, this work distinguishes itself in its strong theatrical character, derived from the author’s long experience in opera (especially comic opera), of which he was a leading figure until the mid-eighteenth century.

The music by Alessandro Stradella is gaining rapidly in recognition and popularity. The composer’s extremely adventurous life (he was a ladykiller, who himself was murdered in the end by a revengeful rival) and his equally adventurous music presents a forceful image of a fascinating and important figure of the Italian Baroque.