The Cleveland, Ohio early music group Apollo's Fire and its director, Jeannette Sorrell, here attempt something unusual on two different fronts, which makes Sephardic Journey recommendable right off the bat. First of all, the music here will be unfamiliar to most listeners who haven't specifically studied the world of Spain's Sephardic Jews and their diaspora.

Nashville based eclectic singer songwriter releases his first full length album on boutique label Marshmellow Records. Adlai's songs touch on many topics, always with a fresh musical approach.

Called ‘Ouvertüren' in Germany, because they began with a large-scale overture à la française, Bach's Suites for orchestra offer a unique synthesis of the French and the Italian styles. The Leipzig Cantor did not content himself with a mere set of amiable dances for his ‘Collegium Musicum': he revived the genre in his own manner, accenting the contrasts, refining the orchestration, and introducing a hitherto unknown contrapuntal element. Two centuries later these admirable orchestral works continue to represent an indispensable treasure of the Baroque.

Piano Man gave Billy Joel his long-desired big hit, but it also somewhat threw him for a loop. He had been driven on Piano Man, determined to deliver an album that established him as both a serious artist and a commercial contender. Having achieved at least one of those goals (critics never gave Joel much credit), he had to release another album quickly if he wanted to keep his profile high, which he did. The problem is, Joel had put all of his best songs on Piano Man, leaving him with a shortage of material. Furthermore, promotional duties ate up his time, leaving him little to write new songs. As a result, Streetlife Serenade, the crucial third album, was a bit of a slump. Stylistically, it was a reiteration of its predecessor's Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and ragtime pulled from The Sting…

Personne d'Autre est le vingt-huitième album, édité en France de la chanteuse Françoise Hardy. L’édition originale est parue le 6 avril 2018.

"Tee" in Tee & Company is the nickname of Three Blind Mice's founder and producer Takeshi Fujii, who formed the all-star group of eight top Japanese jazz musicians in 1977 for a series of concerts and seven days of studio recording that produced three separate albums. This supergroup included who's who of the Japanese jazz scene: Kenji Mori and Takao Uematsu on saxophones, Masaru Imada on piano, Masayuki Takayanagi on guitar, Hideto Kanai on bass, Nobuyoshi Ino on electric bass, Hiroshi Murakami on drums and Yuji Imamura on percussion. Fujii and the musicians at the time were pursuing jazz as a new art form and not just as commercial entertainment. This is an important historic document of the energy that jazz had in Japan in the late 1970s!

This two-hour-plus compilation of the first five years of the history of John Mayall and his band the Bluesbreakers in their many permutations covers all the expected bases and then some. Eric Clapton, Peter Green, and Mick Taylor are all represented, but so are Bernie Watson and Roger Dean, both of whom preceded Clapton in the guitarist's spot in the band. What's more, they're not bad; they may not have been the assertive soloist that Clapton came to embody, but Dean plays a pretty hot solo on "Crocodile Walk," which was good enough to make the A-side of a single in 1965. Moreover, there was more to any of the Mayall bands than their guitarists, and Mayall's blues harmonica is showcased throughout, on tracks such as "Crawling Up a Hill" and "Blues City Shakedown."

Sting spent the entirety of his career studiously avoiding the appearance of having a good time, which is why his 2018 collaboration with reggae star Shaggy seemed so odd: at the age of 66, the rock star decided it was finally time to crack a smile. 44/876 – a collaboration named after the phone codes for their respective home countries – is most certainly a party record, albeit one that cooks at a low simmer as it swings between fleet-footed reggae sunsplash tunes and mellow grooves. If Sting seems subservient to Shaggy, that makes sense. Shaggy specializes in doing one thing well, while Sting took it as a point of pride that he could do anything from jazz to symphonies.

The harpist hooked up with a young Maryland-based band called Tough Luck for this disc, certainly one of his better outings. The traditional mindset of the combo pushed Bell back to his roots, whether on the originals "Just like You" and the Horton homage "Big Walter Strut" or revivals of Muddy Waters' "Short Dress Woman" and "Walking Thru the Park" and the classic Little Walter title cut.

Fur Ein 3/4 Stundchen (1974). Long Hair proudly presents one of the most sought after German albums of the early seventies, now for the first time officially re-released on CD: Tortilla Flat's 'Für Ein 3/4 Stündchen', originally recorded in winter 1974 and released as a private pressing. The instrumental album is very flute and electric piano driven, with very exciting guitar playing accompanied by rocking drumming with slightly jazzy influences and nimble bass lines, very tight! Many mention Supersister as a comparison, Kraan's first album, Brainstorm or Mel Collins' Circus (Crack In The Cosmic Egg), but all this is not really true. In fact the music is very unique, not typical Krautrock, but psychedelic, complex but very tuneful, with slight jazzrock influences and a little bit of British Canterbury sound…