Bruce Springsteen Among rock music's most iconic figures, Bruce Springsteen often feels like the one who loves and believes in rock & roll the most, eager to re-create the breathless emotions it brings out in him. Embracing the pleasures of the sounds of AM radio in the 1950s and '60s (garage rock, British Invasion, R&B, blue-eyed soul, emotional teen pop) with the literacy of the singer/songwriter movement and a fierce desire to document the lives of the blue-collar world in which he grew up, Springsteen's music was always a grand, ambitious amalgam. (He once said he dreamed of making an album with words like Bob Dylan, sounding like Phil Spector, and with vocals like Roy Orbison.)

Bob Dylan & Mark Knopfler / The Jokermen / 3CD Foldup Papercase / Scorpio Slow Train Coming sessions, Muscle Shoals, AL April 30 – May 11, 1979 This is a totally unique collection of a lot of songs performed by Bob Dylan and Mark Knopfler together. This collection is spanning from the early sessions for Slow train coming, the Infidels sessions, the concert in 1986 when Dylan joined Dire Straits to perform four of his own songs and also the concert a couple of days before that when Mark Knopfler joined Bob Dylan at a concert, backed by Tom Petty and The Heartbreakers. Two B-sides from vinyl singles and some songs which are not too much different than the album versions but different mixes or some instrument fewer or something like that. The sound quality has been improved a lot because all songs have been remastered. If you are looking for a complete collection of all songs with Dylan and Knopfler, please check this recording: The complete Infidels sessions. This is not 100% of all Dylan & Knopfler sessions though. You need to get the official releases of Infidels and Slow train coming aswell! Nothing from these two records is to be found in this collection. This is the material that didn't find it's way to these two records. Taken from the silver pressed bootleg "The Jokermen".

All of Sviatoslav Richter’s concert appearances in Prague, from his 1950 Prague Spring performance of Mozart’s Piano Concerto No. 20 in D Minor, to his 1993 performance of the Grieg concerto, were highlights of Prague’s musical life. Richter, however, enjoyed traveling to small cities, often playing on instruments whose quality would be simply unacceptable for many of today’s musical stars. His concerts were generally completely sold out and offered his listeners an extraordinary musical experience regardless of the venue or quality of the instrument. The ability to surpise his audiences again and again was an inborn part of his personality.

Singer Barbara Lea's second album is pretty definitive of her early years. Lea is joined by the great (but ill fated and largely forgotten) trumpeter Johnny Windhurst, Dick Cary on either piano or alto horn, sometimes pianist Richard Lowman, guitarist Al Casamenti, bassist Al Hall, and drummer Osie Johnson. Originally a dozen selections, the CD reissue adds an alternate take and an additional title. Lea remains true to the lyrics yet uplifts the material, while the rhythm section swings lightly. Among the many highlights are "Nobody Else but You," "I'm Comin' Virginia," "My Honey's Lovin' Arms," and "Baltimore Oriole." Delightful music by a singer who deserves to be celebrated.

Henry Cow's third album, originally released in 1975, found them expanded to an eight-piece ensemble after a guest session on another group's record. Henry Cow absorbed Slapp Happy into their lineup after appearing on Slapp Happy's Desperate Straights album. It was a tenuous relationship (lasting only long enough for this release, and with Slapp Happy crumbling after Dagmar Krause decided to stay on with Henry Cow), but one that produced some stunning results. Anthony Moore and Peter Blegvad's "War" has enormous proportion and power that would have been beyond the scope of a relatively quiet trio. The sheer ambition of this work is bracing. Intricately composed and arranged pieces, rife with lyrics that meld poetry with politics, give way to extended improvisations. While that had always been the Henry Cow recipe, it was never given such dramatic sweep. No one has ever, before or since, sounded like this incarnation of Henry Cow.

Woody Guthrie's raw and intimate home recordings will be released for the very first time ever in a two-volume collection, Woody At Home – Volumes 1 & 2. This collection contains 22 unreleased recordings, including 13 previously never-before-heard Woody Guthrie songs. These rare recordings include This Land is Your Land, featuring new verses, and the only known Guthrie recording of Deportee in existence.

Mojo's bespoke Man Machine collection underlines Ralf's points perfectly, spanning three decades and showcasing the genre's evolution.
The pioneering sounds of Kraftwerk, Tangerine Dream and Jean Michel Jarre sit alongside the second-gen electronic adventurers Ultravox, Orchestral Manoeuvres In The Dark and The Orb, while the likes of LCD Soundsystem, Fujiya & Miyagi, Four Tet, Audion and M83 are among those who continue to push the genre forward.
Welcome, then, to a revolution in sound, and a compilation that proves just how far things have progressed since Autobahn's release was met with the critical, quizzical side-swipe of "It's good, but is it rock?"

Concerti for two violins, strings and basso continuo TWV 52:D3 (first recording), A2, C2 & g1 (first complete recording)

Award-winning jazz singer Michelle Nicolle and acclaimed composer and pianist Paul Grabowsky unveil the hidden poetry within beloved ballads by artists such as Frank Sinatra and Cole Porter, transforming familiar melodies into haunting explorations of longing, heartbreak, and the bittersweet beauty of unrequited love. From jazz standards to unexpected gems, each song is stripped back to its emotional core, revealing those ephemeral moments of yearning often disguised beneath popular songs.

On his seventh release for Posi-Tone, trumpeter Josh Lawrence delivers a thrilling, heartfelt exploration of works by Thelonious Monk and Frédéric Chopin. Still We Dream combines fiery post-bop drive with classical elegance, resulting in a suite of reimagined pieces that move seamlessly between jazz tradition and forward-thinking improvisation. With an all-star ensemble including Diego Rivera (tenor sax), Art Hirahara (piano), Boris Kozlov (bass), and Rudy Royston (drums), Lawrence strikes a compelling balance between intellectual depth and emotional resonance. A standout release that bridges eras and genres with imagination and soul.

With It’s All About Love, seasoned jazz vocalist Donna Byrne makes a radiant return to Challenge Records, delivering her ninth studio album and reaffirming her place among the great interpreters of song. Spanning a rich career of nearly four decades, Byrne remains true to her roots, offering a heartfelt collection that honors the traditions of jazz while showcasing her timeless artistry.

Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector where he sang like Roy Orbison, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s, Springsteen never hid how he was raised on '60s AM radio.

For her second recital with piano, mezzo-soprano Adele Charvet reunites with Florian Caroubi, who has been her regular duo partner since 2015. Together they celebrate the belle epoque of the great French melodists (Massenet, Debussy, Faure) and their proteges, including Chausson, Hahn, Koechlin, Aubert, Caplet, Messager, Enesco, Albeniz, Madeleine Dubois and Nadia Boulanger, as well as the much less known Xavier Leroux and Ernest Moret. This is a programme about lines of descent and musical transmission, energised by the texts of great poets such as Verlaine, Mallarme, Maeterlinck, Banville, Leconte de Lisle, Louÿs and Toussaint.

Whether melting away like a singing gondolier on the Grand Canal or tumbling around like Eulenspiegel, whether chuckling melancholically in the depths like a brooding hen or springing acrobatically across the high wire: once the clarinet had outgrown its infancy, its rapidly expanding possibilities soon made it “the talk of the town” – praised by enthusiastic advocates such as Wolfgang Amadeus Mozart, technically advanced by new virtuosos, and given a wide variety of tasks by composers eager to experiment. At the forefront of these pioneers was Carl Stamitz, one of the first Mannheimers of the second generation, who wrote almost a dozen concert works for the slender instrument, leaving the guild of clarinet players with a precious little catechism, which can now be heard in its entirety on record for the first time.

Three years after their album of works by J.S. Bach (FUG 792), flautist Toshiyuki Shibata and keyboard player Anthony Romaniuk now record works not only by Bach but also by his sons Carl Philipp Emanuel and Wilhelm Friedemann, "the most original and innovative" of the lineage, according to Shibata. Both musicians were trained in historically informed interpretation in Belgium and admit their fascination for Art Nouveau, stating that it harmoniously combines tradition and innovation; they have also been influenced by other musical traditions, including jazz and contemporary music: "Preludes and improvisation were essential elements of music-making in the 18th century — for us it’s natural to add preludes and postludes to our performances," says Shibata, who plays three traversos, copies of instruments by after Buffardin, Eigentopf and Quantz; Romaniuk plays a Flemish harpsichord and a Silbermann fortepiano. Their programme includes improvised preludes, a bold ending to BWV 1032/I and an original extra movement — a Gigue from BWV 997 with influences from several genres woven into its bass line, honouring both tradition and invention.