Way back in 1991, Brazilian-born pianist Eliane Elias opened Illusions, her debut solo album, with a tune called "Choro." It offered a swinging distillation of the musical form that has been at the heart of her life-long study of samba. Since then, she's revisited her musical heritage over and over again, wedding modern jazz to post-1960 Brazilian jazz and MPB. In the process, she's developed an instantly identifiable sound as a pianist. Dance of Time follows 2015's fine Made in Brasil, a set that relied most heavily on bossa nova.

Jovin Webb dazzled millions of viewers on American Idol with his bayou mystique, his humility, and his distinctive gravelly vocals. Now, the Baton Rouge, Louisiana-based artist steps forward with his debut album, Drifter, produced by multi-Grammy winner Tom Hambridge (Buddy Guy, Susan Tedeschi, Kingfish). The 12-song collection is a vibrant mix of growling low-down blues, Jovin’s wailing harmonica, heartfelt soul ballads, and rowdy, Little Richards-style rock n’ roll.
After hearing Jovin for the first time, R&B superstar Lionel Richie gushed: “This is what barbecue sauce sounds like.” Best-selling country music star Luke Bryan added: “I could sit and drink a lot of bourbon listening to that voice”…

Magellan's Impending Ascension is a truly great progressive rock work. Following the same formula as the previous Hour of Restoration, Impending Ascension features better, more consistent songwriting and a harder-edged sound. "Estadium Nacional" and "Waterfront Weirdos," both 11-minutes long, get the album off to a great start. They both feature timing and melody changes that have to be heard to be appreciated. Combined with the new, harder-edged sound, it's clear that Magellan has found its niche with this album.

Vega were one of several Andalusian and Spanish bands who flourished in the mid- to late seventies by making music that blended flamenco, folk and jazz at times with English progressive tendencies, often resulting in a colorful and rich fusion sound. Acts like Triana, Cai, Mezquita and Azahar would establish themselves as the preeminent players on these scenes, along with the more contemporary counterparts like Los Canarios and Alameda. In this vein Vega combined Andalusian instrumentation (and sometimes traditional arrangements) with a less well-defined progressive bent, emphasizing instead a heavy flamenco influence and the showcased guitar work of band leader Tómas Vega. The group released three albums in three years, each accompanied by one single. The first two are heavily imbued with flamenco-driven fusion compositions.

During the mid-'50s, Sarah Vaughan spent most of her time recording songbook standards backed by a large orchestra in florid arrangements, with only the occasional breath of fresh air like her masterpiece, 1954's Sarah Vaughan with Clifford Brown. Four years after that milestone, another landed with the live album At Mister Kelly's. Recorded quite early in the days of the live LP, the album captured Vaughan at her best and most relaxed, stretching out on a set of late-night torch songs and ballads. With a trio including Jimmy Jones on piano, Roy Haynes on drums, and Richard Davis on bass, Vaughan is simply captivating, easily disproving the notion that, to be entertaining, singers needed inventive arrangements and multiple voices (instrumental or otherwise) behind them…

Five years after the disappointing The Magazine, Rickie Lee Jones returned to form with Flying Cowboys, which shared much of the playful, childlike charm of her debut, Rickie Lee Jones, and some of the musically diffuse, lyrically ambitious form of its follow-up, Pirates. From the opening track, "The Horses," which suggested a mother's delight with her child as much as a lover's devotion, Jones reintroduced the joyous tone of her early work as well as establishing the Western theme that would run through the album - cowboys, rodeos, horses, deserts - without adding up to an actual storyline. The easy rhythms and lazy, flexible singing on the first few songs were reminiscent of Laura Nyro's work with Labelle on their Gonna Take a Miracle album, after which Jones branched out into reggae and folk-blues, coming up with an affectionate bluesman voice on "Ghost Train"…

Les Chants Magnétiques (Magnetic Fields) was the third of Jean Michel Jarre's albums in a row to update Tangerine Dream's atmospheric sequencer trance for a synth pop and mainstream crossover audience. The side-long "Les Chants Magnetiques, Pt. 1" is the capstone of the album, while "Pt. 2" through "Pt. 5" move through driving electronic pop and several passages more indebted to Jarre's past in the musique concrète scene. It's often just as melodic and inventive as Oxygène, though not as consistently creative.

On Buddy Guy's second Silvertone release, he continues the practice of guest appearances begun on Damn Right, I've Got the Blues. In this case, the notables include Paul Rodgers, Travis Tritt, and John Mayall. The finest combination comes when Bonnie Raitt joins Guy on John Hiatt's "Feels Like Rain." Raitt's gritty vocals and sweet slide guitar add a pleasing nuance to the bittersweet track, and it is ultimately the high point of the record. Certain critics and blues purists have derided Guy's search for mainstream success as evidenced by his penchant for guest appearances and non-traditional blues forms, but Guy sounds fantastic in these unconventional situations (witness his burning version of the Moody Blues' "I Go Crazy").

Stay on These Roads is the third studio album by Norwegian band A-ha. It was released on 3 May 1988 by Warner Bros. Records. Six singles were released from the album. A Synclavier, Sequential Circuits Prophet 5, Yamaha DX-7, Roland D-50, and Roland Juno-60 or Roland Juno-106 synthesizers were used in the recording of this album, as was a Yamaha RX-5 drum machine. Stay on These Roads was the band's third studio album. The album's peak on the Billboard 200 was 148. The album was another big hit by A-ha internationally, selling over 4 million copies worldwide. Stay on These Roads achieved Platinum status in Brazil and Gold in the UK, Switzerland, the Netherlands and Germany and Double Platinum status in France.The album reached #2 in the European top-100 albums sales chart.

A record that virtually defies categorization, Pearls Before Swine's 1968 epic Balaklava is the near-brilliant follow-up to One Nation Underground. Intended as a defiant condemnation of the Vietnam War, it doesn't offer anthemic, fist-pounding protest songs. Instead, Rapp vented his anger through surrealist poetry, irony, and historical reference: Balaklava was the 1854 Crimean War battle that inspired Alfred, Lord Tennyson to write his epic The Charge of the Light Brigade; in reality, the "Charge" was a senseless military action that killed scores of British soldiers. Balaklava begins with "Trumpeter Landfrey," an 1880's recording of the actual voice and bugle charge of the man who sounded the charge at Balaklava.