On November 23, 2024, Avishai Cohen and his Quintet gathered at the world-renowned Little Big Beat Studio for a special Studio Live Session. In the intimate setting of this legendary space, Cohen was joined by Roni Kaspi (drums), Itay Simhovich (piano), Yuval Drabkin (saxophone), and Yonathan Voltzok (trombone). Together they created a performance that was both powerful and delicate, marked by spontaneity, deep interplay, and the unmistakable energy of musicians fully attuned to one another.

Limited CD Box with t-shirt and slipmate. Vinyl-on-demand presents the definitive excavation of Bryn Jones' formative years with Complete Oblique 1980-1983, a comprehensive 7LP/7CD box set that collects every recording from the pre-Muslimgauze era. This extraordinary archaeological document captures one of experimental music's most prolific figures in the crucial period before his transformation into the underground legend we know today. Between 1980 and 1983, working under the moniker E.g Oblique Graph, Jones was assembling what would become one of experimental music's most singular vocabularies through minimal electronic pieces built from synths and tape manipulations. This collection gathers all three impossible-to-find cassettes originally released on "Kinematograph Tapes" (Extended Play, Piano Room, Inhalt) plus the rare 7" Triptych for Bourbonese Qualk's "Recloose Organization."

A White Sport Coat And A Pink Crustacean (1973). While it still lies much closer to Nashville than Key West (like in the boisterous slide guitar solo that lights up "The Great Filling Station Holdup"), Jimmy Buffett's A White Sport Coat and a Pink Crustacean does begin to delineate the blowsy, good-timin' Key West persona that would lead him to summer tour stardom and the adoration of millions of drinking buddies everywhere. "Why Don't We Get Drunk," "Railroad Lady," and "Grapefruit - Juicy Fruit" rightly became crowd pleasers. But Buffett reveals himself a storyteller with the touching sigh of "He Went to Paris," where a slide guitar appears again to lend a subtle gleam to the arrangement, or in the gorgeous, sweetly sad tale of a passed-away poet's unlikely posthumous success…

Though an expectedly eclectic mix of blues, calypso, Caribbean music, and bits of reggae, disco, and other pop forms, Music Fuh Ya (Musica Para Tu) was not one of Mahal's more inspired outings. No one could criticize Mahal for lack of ambition in his efforts to integrate more styles into the folk-blues blend at the core of his music. But the surfeit of instrumentation, particularly the steel drums, were sometimes distractions more than enhancements, resulting in a forced, slick party atmosphere to cuts like "You Got It." Something like a cover of the blues-folk classic "Freight Train" plays much more to Mahal's strengths, but the trimmings of jazzy sax and steel drums aren't necessary when Taj alone could do a more convincing version…

Scott LaFaro left us a very small number of recordings due to his unexpected and untimely death in 1961. He was a genius who developed a revolutionary way of playing the bass. Whether a studio or live recording, they are all worth listening to. This album consists of three ABC "Stars of Jazz" TV programs as well as a very rare rehearsal session at Bob Andrews' Recordville, the record store belonging to Andrews, the famous devotee of the West Coast jazz scene. All are 1958 performances while Scott was with the Victor Feldman group.

A German band formed in 1978 largely of musicians from the Giessen region, Anabis produced three studio albums before disbanding in 1988. The band's music has proven somewhat difficult to classify, with a psychedelic element that has been compared to fellow countrymen Eloy, and a singer (Holger Sann) who has engendered comparisons to the theatrics of Gabriel-era Genesis.

Experimental musician Claire Rousay and visual artist Dani Toral have been in each others’ orbit since young adulthood in San Antonio, but it took a decade for them to find A Softer Focus. Before Rousay had put her compositional gray matter to task for the album’s music, she knew she wanted to work with Toral- being familiar with her past work centering her Mexican heritage. Toral’s vibrant color palette and reinterpretations of comfort in oneself and the natural, vegetative world connected easily with her explorations in communication and intimacy. Historically, Rousay primarily operated in non-melodic experimental music, sculpting compositions from obsessive field recordings, inserting voice-to-text, percussion played via text message sounds, conversations, and daily life…

"Not For Sale. Promotion Only" printed on disc.

Even though they were a global chart-topping, hit-making machine less than ten years prior, David Coverdale came up empty when he tried to find a U.S.-based record company to issue the group's 1997 release, Restless Heart (available Stateside only as an import). To Coverdale's credit, he did not attempt to give Whitesnake a modern-day makeover (which so many pop- metal bands of the late '80s did post-Nirvana, and failed miserably), as he follows in the same melodic rock mold of Whitesnake's previous two releases, 1987's Whitesnake and 1989's Slip of the Tongue. Unlike the late-'80s edition of Whitesnake (which included Steve Vai, Tommy Aldridge, etc.), the 1998 version is not a showcase for rock's most renowned hired guns. In addition to Coverdale, the only holdover from the group's previous album is guitarist Adrian Vandenberg, who FINALLY gets the chance to appear on a full-length Whitesnake recording (after several close calls on the aforementioned releases). Instead of walloping listeners over the skull with an album opening rocker, Coverdale kicks things off on a mellow note, with the bluesy ballad "Don't Fade Away," but harder-edged material soon follows, including the riff-rocking title track, and "Crying," which shows the singer's Zeppelin fixation remains. The times may have changed, but David Coverdale is content with his old sound – and longtime Whitesnake fans will be pleased.

Sold exclusively at lalalandrecords.com for the first 90 days of release. La-La Land Records, Metro-Goldwyn-Mayer and Universal Music Enterprises proudly present the 60th anniversary remastered and expanded 2-CD re-issue of renowned composer John Barry’s original motion picture score to the fourth James Bond film, THUNDERBALL. Produced by Albert R. Broccoli and Harry Saltzman, the 1965 film stars Sean Connery as James Bond 007 and is directed by Terence Young, returning to the series for the third time. Bold and brassy, propulsive and daring - John Barry’s THUNDERBALL is a mesmerizing monsoon of orchestral might that helped surge the Bond franchise to new heights! As illustrated within this exhilarating remastered showcase – THUNDERBALL sounds sensational and it cements its legacy as one of Barry’s finest works. Included are the iconic title song “Thunderball” by Barry and lyricist Don Black performed by Tom Jones, as well as the song “Mr. Kiss Kiss Bang Bang” by Barry and lyricist Leslie Bricusse, with versions performed by Dionne Warwick and Shirley Bassey! Expanded beyond previous soundtrack editions, THUNDERBALL is unleashed like never before within this deluxe presentation.

Arthur Honegger’s three Mouvements symphonique coupled with Pacific 231 used to fit nicely onto one LP, but like Charles Dutoit’s versions of these four works released on Erato in 1985 that included the First Symphony, David Zinman’s new disc adds additional pieces, in this case the more frequently recorded Second Symphony and the Monopartita, which receives what appears to be its third recording. Zinman’s performances offer the rhythmic drive of Honegger’s Rousselian influences without stinting his own bittersweet lyricism. The orchestra itself, now familiar from Arte Nova’s superb cycle of the Beethoven Symphonies, doesn’t have the air or lightness of the old Suisse Romande Orchestra under Ernest Ansermet, but it does have better chops and better discipline. Decca’s sound and production are by the same team that recorded Arte Nova’s Beethoven–their work here is a little more distant and appropriate to these brightly scored works.

May 12th 2021 marks the 150th anniversary of Daniel-François-Esprit Auber’s passing. The most important figure of the French lyrical scene along with Meyerbeer during the second third of the 19th-century, he was so popular that his name was given very soon after his death to the main road running along the newly opened Opéra Garnier. Insomniac, Auber spent his days and nights composing, writing no less than forty-seven lyrical pieces in his lifetime, mostly irresistible comic operas.

Three artists across three discs celebrating the very best music from the era of Dreamboats & Petticoats. This collection is loaded with original recordings of timeless hits from three of the greatest 1960s groups in The Walker Brothers, The Righteous Brothers and The Platters.

Elgar’s unjustly neglected ‘greatest choral masterpiece’ (Jeremy Dibble) is given an outstanding new recording by conductor David Temple, Crouch End Festival Chorus, London Mozart Players, and soloists Francesca Chiejina, Dame Sarah Connolly, Benjamin Hulett and Ashley Riches. Composed in 1906 after The Dream of Gerontius and The Apostles, The Kingdom depicts the lives of Christ’s disciples and the community of the early church with a mixture of gentle conversational sections and astonishing dramatic passages. Recorded in the recently restored Victorian Theatre at Alexandra Palace, its fluid musical narrative is both arresting and profoundly moving. Echoing Sir Adrian Boult, David Temple considers the oratorio to be Elgar’s pinnacle achievement. ‘I truly believe The Kingdom to be Elgar’s greatest choral work. It is a gem from the first note to the last.’

Includes rare tracks, demos and alternate mixes.