First formed under the name Le Point, this trio from Bison changed their name, because there was another group using it. Two members of Travelling had played previously in Introversion, before joining forces in this trio that made one sole album released on the now legendary (and ultra collectible) Futura record label. One can easily detect the Canterbury influence of this KB-led trio reminding you of distant French cousins Moving Gelatine Plates, and some allusions to Soft Machine, most notably to the singer's voice that will remind you of Robert Wyatt and his fuzzed-out Ratledge-like organs. They can also sound like Egg, but the composition are not quite that complex and are listener-friendly.

"I feel like 'Home' is a second part of the same book, that the start was in 'Esja', a musical prelude to a real plot. I feel Home is a story with an ending, so the next book can tell a totally different one. I am constantly looking for new ways of expression. I am curious where 'Home' will lead me and my music". — Hania Rani

We are super proud to announce ‘Ghosts’, showcasing the sound of an ever-evolving artist who passes repeatedly and gracefully between musical worlds: as composer, singer, songwriter, and producer. This album builds on Rani’s earlier successes ‘Esja’ and ‘Home’ with an expanded yet still minimal setup of piano, keyboards, synths and foregrounds her mysterious, bewitching voice. Ghosts is also an album of collaborations as Rani is joined by Patrick Watson, who breathes unearthly life into the ethereal ‘Dancing with Ghosts’. ‘Whispering House’ written and recorded with her friend Ólafur Arnalds, casts a peaceful, ineluctable spell; and Portico Quartet’s Duncan Bellamy contributes vital loops to ‘Don’t Break My Heart’ and ‘Thin Line’.

Inner Symphonies is entirely written and performed by Hania and Dobrawa, and recorded in Szczecin’s Philharmonic Hall. ‘It really comes from our two very close but very different worlds,’ explains Hania. ‘Inner means something little, private, intimate, while the symphonic means something huge. It’s a new adventure for us.’

Al Di Meola's "Twentyfour," is a testament to creativity. Conceived during the tumultuous times of the pandemic, what started as a simple acoustic project evolved into something much grander. Al's initial intention to craft a reflective acoustic album on the challenges of the time expanded exponentially as he found himself unable to resist the allure of boundless musical exploration.

The last of Quicksilver's albums before they broke up is a disappointment, and a real poser for all but the most dedicated fans. The songwriting was getting thin by this time, as indicated by the presence of numbers like "Chicken," a traditional piece arranged by Dino Valenti, which is little more than four minutes of wasted time on a 36-minute record. This track, and Valenti's promising but ultimately disappointing "Changes," were a sure sign that the band was delivering an album, but nothing more than that, as a way of fulfilling a contract; it's even hard to visualize the group doing this material on-stage. The presence of trumpets, trombones, and saxes is also a problem, because they make Quicksilver sound more like Blood, Sweat & Tears than themselves, and Valenti wasn't David Clayton-Thomas…

Not since his debut, Entrance, had Edgar Winter appeared in a solo capacity. This time out, he reverts to his heavy jazz and gospel influences to produce an album that merits much more attention than what it ultimately received. Winter is decidedly laid-back on tracks such as "Hello Mellow Feelin'" and "Tell Me in a Whisper," which serve as the finest of the nine tracks here. Winter puts on his party hat once again with the rocking "Out of Control," the final track on a pretty nice little rock & roll document.

Peter Green was discovered by John Mayall and was lead guitarist in the late 60 s Bluesbreakers before leaving to form Peter Green's Fleetwood Mac with Mick Fleetwood and John McVie. After well documented health problems, Green reappeared in the mid 90's, much changed but with his talent and love of the blues still intact, as an integral part of Peter Green Splinter Group.
Originally released in 2001 and only available at concerts or via the band's official website, this was their seventh album. The opening track, "I Believe My Time Ain't Long", is a variation on the Robert Johnson song "Dust My Broom". Green had first recorded the track with Fleetwood Mac in 1967 (variously credited to Elmore James or Jeremy Spencer), and it had been released as the band's first single.