The original Gabin - a French actor known for his portrayals of jaded, faded anti-heroes in 1930s and '40s-era films - might have chuckled ironically if he had been told that, a half-century after his heyday, two Italian musicians would name a fledgling lounge music project after him. But if he had listened to the music, he would have understood. It's full of languid grace and melancholy and is undeniably stylish - exactly what you'd expect to hear in a Parisian café or supper club. Just to add to the effect, many of the song titles and lyrics are in French.
Gabin (2002). Milky, silken rhythms lace through this collaboration between Roman DJ Filippo Clary and jazz bassist Max Battini. Their perspectives find accord in the realm of what martini-addled old-timers might label "acid jazz." Electronic timbres are tactile and smooth, guest vocals by Ana Carril Obiols of Mano Negra…

This is yet another good compilation. This particular series is exceptionally good and this cd is the best so far. Anyone who likes the "Real Rock `n` Roll", ie late 50`s early 60`s, would love this compilation. So it is for all ages. Try it for yourself, the music is really good and of course, the quality is first class.

While their records were entertaining and full of skillful pop, it wasn't until At Budokan that Cheap Trick's vision truly gelled. Many of these songs, like "I Want You to Want Me" and "Big Eyes," were pleasant in their original form, but seemed more like sketches compared to the roaring versions on this album. With their ear-shatteringly loud guitars and sweet melodies, Cheap Trick unwittingly paved the way for much of the hard rock of the next decade, as well as a surprising amount of alternative rock of the 1990s, and it was At Budokan that captured the band in all of its power.

This is not your father's Asia. In its beginnings Asia was a band frequently called the first progressive rock supergroup, although that title really belonged to Emerson, Lake & Palmer. The Asia of old actually had an arena rock sort of sound that, while espousing prog elements and textures, was pretty much straightforward rock. At times the band was definitely a bit formulaic. As Asia has continued on, with members coming and going, the tone of the group has changed. The bandmembers seem to struggle a bit with direction, not going completely prog, but certainly not eschewing that direction altogether. This disc reveals one element that could definitely be seen as an improvement over the old days, though: the music has lost much of its slick and almost contrived texture.

On May 28, 2023, composer György Ligeti would have turned 100 years old. French saxophonist Emile Parisien and Italian pianist Roberto Negro approach Ligeti's String Quartet No. 1 "Métamorphoses nocturnes" - with the means of improvisation and at the same time great respect for the original.

This was pianist Bill Evans' final studio session, a rare outing with a quintet (starring trumpeter Tom Harrell and Larry Schneider on tenor and soprano) and his first recording with the members of his final regular trio (bassist Marc Johnson and drummer Joe LaBarbera). The playing time is over 61 minutes. The group interprets "For All We Know" and seven Evans originals, including "Peri's Scope" and "Five." The thoughtful session is full of lyrical melodies and strong solos; even Evans' electric keyboard work on a few tunes is distinctive.

One of the most influential artists in the history of jazz, Bill Evans (1929–1980) was known for his conversational interplay within his trios, his lyrical compositions and his matchless approach to the piano. In 1959, after a year with Miles Davis’ sextet, Evans embarked on a new chapter with bassist Scott LaFaro and drummer Paul Motian—a unit that would redefine the notion of the piano trio.

Formed in 1973, the British hard rock outfit Bad Company was a supergroup comprising ex-King Crimson bassist Boz Burrell, former Mott the Hoople guitarist Mick Ralphs, and singer Paul Rodgers and drummer Simon Kirke, both previous members of Free. Powered by Rodgers' muscular vocals and Ralphs' blues-based guitar work, Bad Company was the first group signed to Led Zeppelin's Swan Song vanity label. Their eponymous 1974 debut was an international hit, topping the U.S. album charts and scoring with the number one single "Can't Get Enough of Your Love." Straight Shooter, issued the following year, was another major success, notching the hit "Feel Like Makin' Love," while 1976's Run with the Pack was Bad Company's third consecutive million-selling record. After 1977's Burnin' Sky, Bad Company recorded 1979's Desolation Angels, which embellished the group's sound with synthesizers and strings; a three-year hiatus followed before the release of Rough Diamonds, the group's final LP in its original incarnation. In 1986, Ralphs and Kirke resurrected the Bad Company name, enlisting former Ted Nugent vocalist Brian Howe to replace Rodgers.

The Knack attempted to update the Beatles sound for the new wave era on their debut - a good idea that was well executed, but critics cried "foul" when millions sold after Capitol's pre-release hype (it went gold in 13 days and eventually sold five million copies, making it one of the most successful debuts in history). Get the Knack is at once sleazy, sexist, hook-filled, and endlessly catchy - above all, it's a guilty pleasure and an exercise in simple fun. When is power pop legitimate anyway? Includes the unforgettable hits "My Sharona" and "Good Girls Don't."

Former Muddy Waters sideman and current Blues Revue magazine columnist Bob Margolin brings his encyclopedic knowledge of blues and chops galore with him on this, his third album for Alligator. Ten of the 14 selections are penned by Margolin, with selected covers of material from Bobby Charles, Grady Jackson, Snooky Pryor and Gladys Knight and the Pips rounding out the mix. This time around Margolin stretches his musical boundaries into new directions, adding to his already wide range of blues subgenres. The title track is a solid homage to Chuck Berry, while Grady Jackson's "Coffee Break" is the kind of atmospheric, sax-driven track that would have fit perfectly on any Aladdin blues-after-hours 10-inch album. "Imagination" gets a true soul workout, as does "The Window," with its funky lead fills. His guitar tone can sometimes get positively trashy and as distorted as any old blues 78 you've ever heard, as on "Alien's Blues"…

In the early 1960s Goffredo Petrassi’s idiom was almost indistinguishable from that of the Italian avant-garde. Completed in 1964, the Seventh Concerto evolves with mounting tension and a sense of underlying menace. The Eighth Concerto from 1972 was commissioned and premiered by the Chicago Symphony Orchestra. It is a substantial piece of outright virtuosity, with dissonance, trenchant dialogues and a fraught atmosphere. The much earlier Sonata da camera for harpsichord and ten instruments finds Petrassi poised between neo-Classicism and a more modernist direction.

KUNIKO's much-anticipated third studio recording features the works of Iannis Xenakis, whose work has had a huge impact within the world of music, and in particular on percussion repertoire.

3 X CD SET OF CLASSIC DOORS BROADCAST RECORDINGS Both unique and controversial, The Doors remain among the most influential rock acts of the 1960s, largely because of Jim Morrison's lyrics and charismatic but unpredictable stage persona. After Morrison's death in 1971, the remaining members continued as a trio until disbanding in 1973- it s no secret that bereft of their former front-man the group became somewhat pedestrian. This triple disc box set collects together live performances by The Doors from the period during which they were extraordinary in the extreme. Featuring two individual shows from 1970 recorded for live broadcast in Detroit and Seattle, plus a third disc containing performances recorded for television transmission between 1966 and 1968, this set is among the finest collection of live Doors recordings yet released.

Three live broadcasts of some of Talking Heads earliest and most captivating shows!

Beginning with a crack of thunder, like it was made to trail Gary Bartz's "Mother Nature" (actually recorded at a slightly later date), Stepping into Tomorrow contains almost all of the Mizell trademarks within its title track's first 30 seconds: a soft and easy (yet still funky) electric-bass-and-drums foundation, silken rhythm guitar, organ and piano gently bouncing off one another, light synthesizer shading, and coed group vocals to ensure true liftoff. It's only one in a line of many magnetic '70s sessions led by Fonce and Larry Mizell, and it differs from their two previous Donald Byrd dates - the polarizing and groundbreaking Black Byrd and the deceptively excellent Street Lady - by not featuring any of Roger Glenn's flute, and by focusing on heavily melodic and laid-back arrangements…