One Woman: The Ultimate Collection condenses Diana Ross' most successful recordings into one 20-song, 71-minute disc. Ross produced the album (which is to say picked the tracks), and included six of her Supremes recordings from the 1960s (one of them, "Someday We'll Be Together," in a new disco mix). She also licensed a few songs from her stay at RCA in the 1980s, making this one of the most wide-ranging of her compilations. She also includes four tracks from the 1990s. In other words, Ross has constructed the album as she might a concert – a sprinkling of early Supremes hits, all her biggest solo hits, and what she considers the highlights of her current work.

Lurrie’s 1995 Delmark release Mercurial Son was one of the most talked about and widely acclaimed CDs of the year. 700 Blues showcases new facets of Lurrie’s talent, including his skills at smooth-swinging T-Bone-esque guitar.
Lurrie Bell was born on December 13, 1958, in Chicago. His famous father, harpist Carey Bell, had him working out on guitar as a wee lad. By 1977, he was recording with his dad and playing behind a variety of established stars, tabbed by many observers at the time as a sure star on the rise. But personal problems took their toll on his great potential; Bell's recorded output and live performances were inconsistent in the '80s and early '90s. Among the highlights of Bell's discography are three tracks in tandem with harpist Billy Branch under the Sons of Blues banner…

Eddi Reader has proven her worth as a sublime singer of pop and folk material (and beyond), but this returns her full-bore to her Scottish roots. Born from the concerts she did at the 2002 Celtic Connections festival, it's a decidedly lush performance that hauls in several well-known Celtic names like Phil Cunningham, John McCusker, and Ian Carr to help her along. But it's Reader's rendition of Robert Burns' classics that's the key here. She picked familiar material, songs that have become part of the folk continuum that can be both a blessing and a curse. But she reinvents something like "My Love Is Like a Red Red Rose," investing it with rich emotion. She positively flies on the more romantic songs, such as "Ae Fond Kiss," but she brings a surprising depth to "Charlie Is My Darling" and the chestnut "Auld Lang Syne," and "Ye Jacobites" sizzles with tension. The arrangements go for the cinematic rather than the intimate, putting them on the dangerous edge of new age. But such is the quality of everyone involved that there's no danger of teetering over and it becomes a tour de force. It is one of the highlights of Reader's splendid career, and even "Wild Mountainside," decidedly not a Burns song, fits in perfectly.

When Metheny celebrates his cerebral side, he usually follows up with something more accessible. After his difficult yet rewarding collaboration with John Scofield, I Can See Your House from Here, Metheny stresses accessibility with this captivating live album. The primary focus is on his Brazilian-influenced material from Still Life (Talking) and Letter from Home, and the very cohesive Pat Metheny Group offers characteristically expressive versions of such favorites as "Have You Heard," "Beat 70," and "Better Days Ahead." While he could have offered a wider variety of material and perhaps revisited some of his early gems, everything that he does include comes across as honest and heartfelt. Thankfully, Metheny's emphasis on accessibility and crowd-pleasing doesn't come at the expense of his artistic integrity.

Randy Newman was the nephew of film composers Alfred, Emil, and Lionel Newman, which would suggest at least some familiarity with the field, even though he had only scored one minor movie (Cold Turkey). And in his songs, heard on his series of solo albums, he displayed far more knowledge of popular music styles of the early 20th century than any of his singer/songwriter peers. Listening to his records, you could always tell that he knew his way around Scott Joplin's rags. Who better, therefore, than Newman to make his debut as a big-budget film composer by scoring an adaptation of E.L. Doctorow's novel Ragtime? So must movie producer Dino DeLaurentiis have reasoned in giving Newman the assignment. And the result worked out quite well. Newman naturally re-created much of the cakewalking Tin Pan Alley style of the turn-of-the-century era depicted in the film, but he actually had a more challenging assignment than might have appeared, since the story moves from one social stratum to another and ranges in tone from the comic to the melodramatic to the tragic.

Willie Nelson and Wynton Marsalis first worked together at The Allen Room at New York’s Jazz at Lincoln Center for two nights in 2007, and while at first it would seem to be an odd pairing, it really isn’t: Nelson's singing and guitar playing have always fallen well to the jazz side of country all along anyway, and he’s hardly been a garden variety hat act during his long career, while Marsalis has long worked to reintroduce jazz as a viable popular form in American music. It’s about synthesis, really, and so it makes perfect sense for Nelson and Marsalis to turn to the music of Ray Charles, one of the greatest assimilators of American pop music - all forms of it, from gospel to blues, country, jazz, and R&B-for their encore shows at the heralded jazz house - this time for two sold-out nights at Rose Theater in February 2009 with special guest Norah Jones…

The Gipsy Kings had major crossover success with their splendid and innovative third album, which used drums, bass, percussion, and synthesizer to beef up the sound. This French import is their first album from 1983, and it is a much more traditional affair, with only acoustic guitars, voices, and hand claps. It shows that artistically the sound did not need to be beefed up; the music is still wonderful. How can an array of seven guitars and full-throated passion not be wonderful? Commercially, the additions to their sound helped break The Gipsy Kings through to a larger audience, but now that their name is known, it should be possible for more people to go back and appreciate this album. It is in no way crude or unpolished, and the artistry and playing are of an equally high quality.

One of the best rock combos to grace the Harvest label in the early 70s - a German trio who've got plenty of proggish inflections, and who really serve up some great keyboards and guitar over heavy drums! There's a bit of vocals on the set, natch, but the best tunes feature lots of jamming on a variety of keyboards that include moog, Hammond, and electric piano - spun out in a really pulsating set of rhythms.

It's fair to say that the Orb never would have reached the British pop Top 40 without the influence and promotion of John Peel, who sponsored three sessions between 1989 and 1995. (There have also been two additional dates for other presenters.) Peel, a veteran of the late-'60s British music scene, appreciated the Orb's blend of futurism and folky traditionalism, seeing them not just as dance saviors but another dot in the line that connected pixilated popsters like T. Rex and the Incredible String Band (both of which Peel had been closely associated with). The Orb's first session was recorded in 1989, well before they had released an album, and it boosted the popularity of both the group and the ambient house phenomenon immeasurably. Although Peel's attention helped, a lot of excitement surrounded the music itself, a gorgeous tableau of music laced with samples taken from Dr. Alex Paterson's immense kit bag of records…

…This is the best you will ever hear of the "Spiritual Choir-Music of Heinrich Schuetz (1585-1672). This one-disk performance is a selection of ten of the 49 motets in Schuetz's 1648 opus, interspersed with six quite distinct selections from the Kleine Geistliche Konzerte of 1636. The two sources are radically different; the earlier works are in the operatic 'secunda prattica' style of Monteverdi, sung by soloists over decorated basso continuo; the later works are superbly old-fashioned choral polyphony of the 'prima prattica' of composers dead before Schuetz was born. As a concert listening experience, the combination is highly effective, offering a variety and sprightliness that a through-reading of the complete Geistliche Chormusic can't provide.

In 1968, six former choral scholars from King’s College, Cambridge established the King’s Singers, later described by The Times as “the superlative vocal sextet”. The group has always comprised two countertenors, a tenor, two baritones and a bass, and over the years it has proved consistently exceptional for vocal distinction and breadth and diversity of repertoire. This celebratory collection of eight CDs focuses on Renaissance composers from Italy, England, France, Spain, Germany and the Low Countries.

Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s Lieder, over 700 songs, grouped according to the poets who inspired him. Thanks to the Bärenreiter’s Neue Schubert-Ausgabe (New Schubert Edition), Tübingen, which uses primary sources, the performers have been able to benefit from the most recent research of the editorial team.

That’s What Happened 1982-1985: Bootleg Volume 7 is the next installment in the celebrated, award-winning archival series that began in 2011, shining an in-depth light onto different eras of the legendary career of Miles Davis. In the 1980s, popular music had moved to a smoother, electronic-based sound that traded the steam of previous years for subdued arrangements meant to elicit peace and deep reflection. Miles Davis embraced this era, pulling inspiration from FM radio and an upstart music video channel called MTV. He was searching for the next frontier, letting his creativity roam. This music on The Bootleg Series Vol. 7 captures that exploration, and finds Miles beginning to re-emerge in a creative landscape far different than the one he left in 1975.

This release in a series of live recordings of concerts from the Fabrik in Hamburg-Altona, one of those hidden treasures from the archive of the NDR, was intended to bring back the memory of changes and revolutions in the world of jazz of more than four decades ago. It has now turned into an obituary - at the end of September 2022 the tenor saxophonist Pharoah Sanders passed away at the age of 81. This recording of the Sanders Quartet from 6 June 1980 is so far the oldest from the Fabrik, predating the great jazz-epoch of the venue. An era, which even today Thomas Engel, the first program planner of the Fabrik, describes as a very special period for popular and not-so-popular culture in Hamburg and far beyond. Furthermore, this concert formed part of the then fifth edition of what was still called the New Jazz Festival, a summit of German, European and US-American musicians.

Think you’ve heard Led Zeppelin covered in every possible way? Think again!! Here, all-female tribe band Lez Zeppelin reimagines Led Zep classics and adds in the beautiful and dramatic elements of a string ensemble. The project, in the form of an EP, is titled The Isle of Skyros, and releases on November 1.