True prog pioneers in Estonia, MESS were formed in 1974 around keyboard guru Sven Grünberg and master of electronics Härmo Härm (ex-POSITRON). With the help of a drummer, bassist and guitarist as well as artist Kaarel Kurismaa who provided ingenious stage designs full of props and intricate lightshows, MESS turned their every gig into a sonic and visual experience not to be missed. They were eventually joined on percussion by RUJA's founding member Andrus Vaht as well as by a host of musicians contributing oboe, French horn and church organ; even world famous Tõnu Kaljuste lent his choir to add flavour to their music. Highly recommended to fans of keyboard-driven space prog such as KLAUS SCHULZE, TANGERINE DREAM, JEAN-MICHEL JARRE and the likes.

Recorded over two nights at the Wuhleide Venue, Live Aus Berlin demonstrates that Rammstein actually benefits from being heard in a live setting - it recovers the immediacy and raw metallic bite that were somewhat toned down in the studio. Thus, the group sounds even more vicious, and the guttural German chanting that's one of the cornerstones of their sound takes on a more threatening aura. Even if fans are already familiar with this material, Live Aus Berlin still prove a necessary purchase.

This perfectly harmonising duo focuses on strong contrasts and thrives on empathy and intense exchanges. – Deutschlandfunk. Having previously joined forces on several Louis Sclavis recordings for ECM, including the clarinettist’s last album Characters On A Wall, in recent years Sclavis and pianist Benjamin Moussay increasingly focused on their two-way communication, playing expansive and well-received concerts throughout Europe. Now, in a programme of originals – two-thirds from the pianist’s pen, the remaining third by the clarinettist – the French duo dreams up a world of chamber conversations that juxtaposes lyrical contemplation with whimsical inventiveness in a joyous, concentrated collaboration. Thoughtfully, the duo envelopes delicate themes in warm improvisations that never rush, but patiently explore the written material with rare creativity and in fluid dialogues. Recorded at Studios La Buissonne, Southern France in March 2024, Unfolding was produced by Manfred Eicher.

Cookin' is the first of four albums derived from the Miles Davis Quintet's fabled extended recording session on October 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band's live sets - as well as the overwhelming conviction in the quintet's studio sides - would produce the lion's share of the Cookin', Relaxin', Workin', and Steamin' albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band - consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums) - to work so efficiently both on the stage and the studio…

2009 four CD antology from the British Jazz/Prog/Art Rock band. Pieced together with the active assistance of band leader Jon Hiseman, Morituri Te Salutant features extended highlights from Colosseum's original albums as well as numerous previously-unissued studio and live outtakes, including BBC session material, the aborted late '60s single `Tell Me Now' and a host of alternative recordings from the tour that was immortalised on what many admirers believe to be the band's definitive work, Colosseum Live. Lavishly packaged with hitherto unpublished photos and a 10,000 word essay, Morituri Te Salutant is the final word on one of the most individual and iconoclastic British bands to emerge from the musical and cultural revolution of the '60s.

The year after J. C. Bach arrived in London he published three sets of works, among them this set of "Favourite Overtures". All but one of them had been heard in the King's Theatre, where he served as resident composer. Only one, the first on this disc, prefaced an opera of his own, Orione; Nos. 2, 4, 5 and 6 were written for pasticcios produced at that theatre between summer 1762 and early 1763, while No. 3, as far as we know, was not known in London, making the title "favourite" seem a little optimistic (it had been written for an opera heard in Turin in 1761). Being opera overtures, and essentially products of his Italian period, they are rather lighter in content and manner than most of J. C. Bach's music.

The Royal Handel of the title of this Alpha release does not refer to music for the king specifically but to the Royal Academy of Music. Founded in 1719, this opera organization gave Handel his first major post in Britain when he was appointed the music director. He traveled back to Italy, returning to London with the singers and instrumentalists who would bring his music to life over the next two decades. He had rivals whom he eclipsed, Giovanni Bononcini and Attilio Ariosti, and they are represented on the program; it's striking how Handelian their music sounds in this context, even if the Handel arias have greater breadth.