Describing Mei Semones' Qobuzissime-awarded debut album, Animaru, might suggest it's incoherent—opener "Dumb Feeling" starts with a sweep of classical guitar before moving to bossa nova-style folk and ends with a rocking outro. Following track "Dangomusic," while similar structurally and acoustically, is sung in Japanese and features a soothing violin flourish. You could go on defining and redefining the sounds here—there's also jazz (both vocal and non-vocal), chamber pop and indie rock—but the unifying, coherent element is Animaru making full use of Semones' wealth of talents.

Stephen Bruton's fifth album, produced by Ross Hogarth, whose credits include Melissa Etheridge, Ziggy Marley, Gov't Mule, R.E.M. and John Mellencamp. Bruton has produced albums for Alejandro Escovedo, Marcia Ball, Jimmie Dale Gilmore, Hal Ketchum, Storyville and Chris Smither. He's played guitar for Bob Dylan and Kris Kristofferson, and his songs have been covered by Bonnie Raitt, Kris Kristofferson, Willie Nelson and Patty Loveless. This album features bass player Yoggie Musgrove and drummer Steve Ferrone (who plays with Tom Petty and The Heartbreakers). On keyboards are Little Feat's Bill Payne and Austin player and composer Stephen Barber. Bruton and his buddy Randy Jacobs handle guitar duties. Old Fort Worth pal Glen Clark spices the mix with his harmonica while, Lon Price, leads the horn section on a number of tracks. Bruton's penchant for collaboration finds him co-writing nine of the album's songs with friends like former NRBQ guitarist Big Al Anderson and Memphis rocker John Kilzer.

Dutch Trio (keyboards, bass & drums) led by ex-Ekseption keyboards player Rick Van Der Linden, Trace was considered as the most famous super-group of its country. Its music includes virtuoso, researched, complicated, ever evolving themes, full of breaks and instrumental developments where the keyboards player could show his talent on Hammond organ, synthesizers, harpsichord, piano and Mellotron. By the profusion of its themes and the numerous melodies which compose it, Trace's music is close to ELP. and Yes.

‘If You Asked For A Picture’, the second album from Sabrina Teitelbaum aka Blondshell, is a no-skips, triumphant record that captures the unresolved process of figuring out who you are, too wise to suggest that it has a definitive answer. The album brims with an urgency, ambition, and devastating potency, hinted at on 2023’s self-titled debut - the specificity, self-examination, and nonchalant humour of which turned her into one of the most lauded new artists in recent memory.

The programme here covers a century of music (the earliest is Holbrooke from 1906), much of it little known, including several first commercial recordings. Add these pieces to all the other wonderful bassoon repertoire from the eighteenth century to the present day which explores every aspect of the instrument, and we will be that much closer to an ‘equal amongst woodwinds’ perception of the bassoon which—even in the twenty-first century—is still surprisingly elusive.

Pavilon De Paris , Paris France June 6, 1976. Sounboard recording.

This excellent companion volume to Founder of the Delta Blues pulls together 23 more Patton tracks (including some alternate takes that were for years thought to be lost) to give a much more complete look at this amazing artist. It's interesting here to compare the tracks from his final session to his halcyon output from 1929. Highlights include "Mean Black Cat Blues," Patton's adaption of "Sitting on Top of the World" ("Some Summer Day") and both parts of "Prayer of Death," originally issued under the non de plume of "Elder J.J. Hadley." The sound on this collection is vastly superior, from a noise-reduction standpoint, to its companion volume.

This expanded, two-CD collection features 24 tracks, all completely remastered to the highest modern standards. Included in addition to the original 10-song release is the non-LP track Smile Jamaica (the original B-side to the 'Satisfy My Soul' single written for the people of Jamaica after the assassination attempt on Marley s life at the Smile Jamaica unity concert in 1976). The second disc features the highly sought-after, unreleased live show, Live at Ahoy Hallen. This rare, unreleased audio recording of a sold out performance at Ahoy Hallen in Rotterdam, Netherlands on July 7, 1978 had originally been planned to be released with the 'Babylon By Bus' album but never came out. The Wailers were in top form that night, with stellar performances of 'Is This Love' and 'Easy Skanking' from the recently released 'Kaya,' album plus some of Marley's most beloved songs including 'Concrete Jungle,' 'No Woman No Cry,' 'War/No More Trouble,' 'Jamming,' 'I Shot The Sheriff,' 'Get Up,' 'Stand Up,' and the closing track 'Exodus,' all leaving the packed house in a frenzy. Packaged with the original artwork, Kaya: 35th Anniversary Deluxe Edition comes with a 23-page booklet that includes lyrics, rare photos, plus extensive liner notes.

2008 digitally remastered and expanded edition of Claire's 1973 sophomore album, a masterpiece of Folk Rock and the art of songwriting featuring music of both innocence and maturity. Produced by Paul Samwell Smith (who had recently worked with Cat Stevens), October is a highlight of Claire's early career and is certain to appeal to those who appreciate the art of the singer/songwriter. The possessor of one of the finest voices in popular music, Claire Hamill signed to Island records at the age of 16, recording two albums which featured contributions from John Martyn, Free and Terry Reid. With her songs covered by Eva Cassidy and cited by Kate Bush as an influence, this reissue is the first part of a program that sees the reissuing of Claire's work by Esoteric Recordings.

Count Anton George Apponyi was a relative of Haydn's patrons the Esterhazys. Although commissioned by Count Apponyi, the quartets that bear his name were actually inspired by a series of successful public concerts of Haydn's music in London organized by Johann Peter Salomon. These concerts made Haydn an international music superstar and brought about a decided change in the composer's style. The emotional, virtuosic and powerful music found in these quartets presages the spirit of the Romantic period. Following on their decidedly symphonic reading of Haydn's Seven Last Words, the Pražák Quartet is fully in tune with the grand gestures found in these first three of the six Apponyi quartets.

This CD, recorded live, will leave you smiling with delight and amazement. These symphonies are among Haydn's greatest; written in 1788-89, they exhibit every facet of his technical skill, inspired inventiveness, and emotional range. At the height of his mature mastery, he experimented with new forms, daring modulations and key changes, and breathtaking swings of mood and character. One of his fingerprints is the alternation between serene major and somber minor, especially in his variations; but he has surprises in store everywhere, as solemnity gives way to sprightliness, elegance to rusticity, tragedy to mischievous humor.

This is the Rachmaninov Third to end all Rachmaninov Thirds, a performance of such super-human pianistic aplomb, pace and virtuosity that it makes all comparisons, save with Horowitz himself, a study in irrelevance.

This was the band's comeback album after a fairly dire patch in the mid-'70s. The fact is, Back and Fourth (originally issued by Polygram) isn't really that good a record, lacking the imagination and spirit of experimentation that highlighted their early albums for Charisma. But at its best, it was smoothly commercial, standing next to those earlier albums roughly where the Bee Gees' early disco stuff stood next to material like Odessa. And it was a success, mostly thanks to the presence of Alan Hull's best song to date, the Springsteen-like "Run for Home." With its original lineup back together, Lindisfarne went for the gold this time, building their music on folk-like melodies (and a distinctly American sound, at that), country-type hooks ("King's Cross Blues"), and pleasing harmonies, exemplified by "Warm Feeling," where the group sounds like an earthier, edgier Firefall…

In the midst of his tenure with the Oscar Peterson Trio, Herb Ellis had the chance to turn the tables on his boss and employ him as a sideman, though the keyboard virtuoso strangely reigns in his chops and pretty much stays in the background. This pair of sessions was first issued on a Norgran LP and finally reissued as a Verve CD in early 2006. The first four tracks add Jimmy Giuffre (alternating between baritone sax, tenor sax, and clarinet) and trumpeter Harry "Sweets" Edison, along with fellow Peterson sideman Ray Brown and drummer Alvin Stoller. Ellis' originals include the easygoing "Sweetheart Blues" and the cooking bop vehicle "Pogo," where both the leader and Edison eclipse Giuffre's efforts on sax. "It Could Happen to You" focuses exclusively on Ellis, with Peterson and Edison sitting out and Giuffre adding some background color on clarinet…

Those who love rather complex and dynamic sequencer music with an acoustic edge and an occasional high-tech feel should check out the music Paul Ellis' has put down on his amazing album "Last Hiding Place of Beauty". The CD contains four long tracks, all making a powerful, straightforward statement, keenly melting vibrating sequencer patterns, fx's, and a wide range of vintage flavored synthesizer textures such as Mellotron flute. As said previously, the overall structure is rather complex, although lots of space is found within the core of every piece of music. The great interplay between bass grooves, drums, electronic and acoustic instruments is quite mind blowing, especially on the 16-minute title track. The overall outcome is simply breathing the joy of honest electronics more than once.