Bach's first biographer, Forkel, noted that the violin writing of the Sonatas, BWV1014-19 required a master to play it. Bach, he said, knew all the possibilities of the instrument sparing it as little as he spared the harpsichord. Tie significant departure from baroque custom in these six sonatas is Bach's treatment of the harpsichord as an obbligato instrument, thereby making both players responsible for the thematic development. John Holloway and Davitt Moroney have set up a musically rewarding partnership in these brilliantly inventive works, furthermore adding to their programme the two lovely sonatas for violin and continuo long attributed to Bach, and justly so. In both of them they are joined by Susan Sheppard (continuo cello).

A pioneer of the electric violin in the 1970’s, and an inspired manipulator of sequencers and synthesisers in the 1980’s, Jean-Luc Ponty is the undisputed master of his instrument in this area. Experimenting with electronics and synthesis, he liberated the violin’s image and capabilities from classical or folk settings. After cutting several albums for the World Pacific label in the late 1960s and the early 1970s, In 1974, fresh from a tour with the Mahavishnu Orchestra until he signed a solo deal with Atlantic Records. Throughout the next decade, he was to record a dozen visionary albums, 5 of which are included here.

There are so many James Brown compilations out there that it can be tough to pick which one is the most suitable for a particular listener's budget or pleasure. This set from Polydor in the U.K. is – for a single disc – quite solid if bare in places. Containing 20 tracks and presented for a very attractive price point, it contains all major hits – albeit edited single versions of some of them like "Get Up (I Feel Like Being A) Sex Machine." Of course, there is plenty missing, but it would be easy to come up with what is – tracks like "Mother Popcorn," "Hot Pants," and "Ain't It Funky Now" are all very conspicuously absent. But it's difficult to argue with what is here, even of the later 1970s material.

Starting with its 20th anniversary in 1991, every five years brings another double Alligator collection, and 2011 was no exception. While the 35th edition –released in 2006 – logically featured 35 songs, the compilers couldn't quite squeeze 40 onto this 40th anniversary disc, even though owner Bruce Iglauer does admit to fading a few endings off prematurely in order to maximize the list, which hits 38 selections. The trick with these albums is to both pay tribute to the label's storied past while including enough recent acts to connect the dots between the house-rocking music Iglauer built his company on, and the more modern yet still roots-based sounds he's released during the last five years.

When Opeth released Heritage in 2011, they had completed the transformation from their death metal origins through progressive death metal in the early 2000s, to full-on prog rock that celebrated their love of Camel, Jethro Tull, ELP, and more. 2014's excellent Pale Communion furthered those notions as frontman and songwriter Mikael Åkerfeldt's own vision began to emerge. Sorceress is the third installment in this phase of the band's career, and while considerably different and more exploratory than its precursors, it also references Opeth's earlier efforts like Ghost Reveries and Blackwater Park, but goes further than either in its diversity.
Uncharacteristically, Åkerfeldt wrote the album quickly. He enlisted Tom Dalgety as co-producer (who also engineered and mixed) and Opeth recorded it in twelve days at Rockfield Studios in Wales…

Layla and Other Assorted Love Songs is the only studio album by Anglo-American blues rock band Derek and the Dominos. Released in November 1970, the double album is best known for its title track, "Layla", and is often regarded as Eric Clapton's greatest musical achievement. 50th Anniversary Deluxe Edition contains the original album and a bonus disc containing out-takes, both sides of a rare non-LP single produced by Phil Spector and the band’s complete performance on The Johnny Cash Show from November 1970 (featuring guest appearances from Cash and Carl Perkins on Perkins’ own “Matchbox”). The rest of the disc is devoted to sessions from the group’s aborted second LP, newly remixed for this edition.

By licensing these previously unreleased live and studio tracks (plus some previously released but rare material) from the Special Markets division of EMI-Capitol Music, the mail-order company Collectors' Choice Music has legitimized Quicksilver Messenger Service recordings that had floated around on bootlegs and quasi-legal discs for many years. The performances all date from 1967-1968, a period during which Quicksilver consisted of lead guitarist John Cipollina, rhythm guitarist and singer Gary Duncan, bassist David Freiberg, and drummer Greg Elmore. As Richie Unterberger points out in his liner notes, "They were not so much singer-songwriters as they were virtuoso players and creative interpreters and stylists. They were not the greatest of vocalists or composers." True, but in Cipollina, with his tremolo-laden leads, they had one of the great San Francisco guitarists of the '60s…

This live Boston summit meeting between Ray Brown, Christian McBride and John Clayton was the logical outcome of several joint appearances, as well as an extension of a one-off bass troika track that McBride included on his first solo album. The idea of a bass trio on records probably would have been unthinkable in the primitive days of recording when Brown was coming up, but Telarc's fabulously deep yet clear engineering makes it seem like a natural thing to do. Whether pizzicato or bowed, whether taking the melodic solo or plunking down the 4/4 bottom line, all three perform with amazing panache, taste, humor, lack of ego, and the sheer joy of talking to and against each other beneath the musical staff.