Like many of the performances in previous installments, these–three bassoon concertos, two for oboe, and one double concerto for oboe and bassoon–also are characterized by widely contrasting tempos, sharply delineated dynamics, and especially here, a stylish in-your-face approach. From bassoonist Sergio Azzolini’s quite audible intake of breath before beginning the Concerto in D minor and continuing throughout this captivating program, rarely have Vivaldi’s wind concertos been rendered with such a consistent sense of urgency, vitality, and well, attitude.

The album that was Manfred Mann's commercial breakthrough was a departure from the previous albums made with the Earth Band. Though the personnel are the same and the musicianship is as mind-blowing as ever, the songs are shorter and punchier, in some cases more poppy. This is not to say that the band had sacrificed a bit of ingenuity or complexity, but the long jams are gone in favor of briefer sound portraits. Nightingales and Bombers included Manfred Mann's first cover of a Bruce Springsteen song, the album-opening "Spirits in the Night," a single that charted, and became one of the only pieces written in 10/4 time ever to do so.

Camel At The Royal Albert Hall celebrates Camel's superb Moonmadness 2018 tour. Universally acclaimed by everyone that saw it, the RAH concert was the pinnacle of the tour. With the line-up of Andrew Latimer (guitar/flute/vocals), Colin Bass (bass/vocals), Denis Clement (drums) and Pete Jones (keyboards/vocals), this is Camel at their best.

Beck, Bogert & Appice is the eponymous debut album by the 1970s band Beck, Bogert & Appice. They were a supergroup and power trio, with the line up of guitarist Jeff Beck (who had already been a member of The Yardbirds and The Jeff Beck Group), bassist Tim Bogert, and drummer Carmine Appice (both formerly members of Vanilla Fudge and Cactus). The album had solid sales in 1973. One of the most notable tracks is Beck's version of the famous song of Stevie Wonder's and his creation: "Superstition". This was the band's only studio album, as Beck left the band without warning during the recording of their second album, forcing a sudden dissolution in 1974.

Following 2004's Rancho Texicano: The Very Best of ZZ Top by a decade, The Very Baddest of ZZ Top comes in two different styles: a single-disc compilation with 20 tracks and a set that doubles it. The single disc is good, racking up most of the MTV-era hits – "Gimme All Your Lovin," "Sharp Dressed Man," "Legs," "Got Me Under Pressure," "Rough Boy," "Velcro Fly" – while doubling back for "La Grange, "Tush," "I Thank You," "Waitin' for the Bus," "Jesus Just Left Chicago," "I'm Bad, I'm Nationwide," and "Cheap Sunglasses."

Her musical talent was recognized early on by world-renowned Russian violinist and pedagogue Zakhar Bron. He accepted her into his class at the Lübeck Academy of Music. Then she was invited by the famous Russian violin virtuoso Igor Oistrakh to his newly founded master class at the Royal Conservatory in Brussels, where she completed her concert exam with great distinction.

Arising from a passion shared with his father, Luis Fernando Pérez is inviting you to explore his ‘encores’, the little pearls he only reveals to the audience at his concerts. This album, recorded in a single session, combines masterpieces with rare items, paying tribute to those like his father who supported and inspired him from the very start.

Sources inconnues was born from these (non-exhaustive) questions. A piece from Jean-Yves Labat de Rossi’s album En Voyage —musician known as Mr. Frog and cofounder of the Ad Vitam records label— lent its name to this musical recollection. Is this yet another concept album gathering random pieces that have nothing to do with each other merely adorned with a clever, enigmatic title and a misleading premise, all in an attempt to dress itself up in pseudo-intellectualism and wrap the whole thing in a trendy, marketable theme? Reader, listener, trust me.