This is one of the most highly acclaimed soul albums of the 1970s. A longtime innovator at Motown, Robinson responded to the Funk revolution in black music (Marvin Gaye, James Brown, Sly Stone, Curtis Mayfield, Al Green) with an effective counterpoint: the stylish and mature album A Quiet Storm. This landmark album spawned and lent its name to the "Quiet Storm" musical programming format, a format still adopted by radio stations across America 40 years later.

Eleni Karaindrou’s collaborations with stage director Antonis Antypas have generated some of her most powerful music. Medea, like the earlier Trojan Women, comes out of this association. Recorded at the Ancient Theatre of Epidaurus, the music vibrates with emotional intensity. Karaindrou gives her themes to a small ensemble, its sound-colours creating an ambiance both archaic and contemporary, as textures of santouri, ney, lyra and clarinets are combined and contrasted.

"On this album, I've arrived HERE," Keys says. "A place where I'm willing to truthfully look at myself in the mirror and to also see the reality of who we have become in this world. The good, the ugly, the shadows and the light. I've come to realize that in order for us to grow and to understand and accept each other we have to recognize the complexity of ourselves. We have to be able to talk about it and meet each other where we are, HERE."

Improvisation on the keyboard was very much expected of the leading classical musical minds in earlier years. And what came about was framed by the compositional practices of the time. So Johann Sebastian Bach might improvise elaborate fugues based on a particular theme; Mozart was known to create brilliant variations spontaneously on a theme given to him at the spur-of-the-moment. Fantasias were possible and were another, more free option, but of course what came out was something the composer might have more carefully worked over in a formal composition. There were definite resonances between the improvised and the composed.

By 1963, Harry Belafonte's live act had taken on the proportions of a theatrical event, tightly choregraphed and rehearsed with elaborate production numbers. For a solid month during the summer of 1963, the act sold out Los Angeles' Greek Theatre, an open-air amphitheatre nestled in the Hollywood Hills. Fans who couldn't get in would climb trees surrounding the theatre to get a glimpse of the show (Belafonte may have coined the phrase "nosebleed section").

Seit 2007 ist das Pulsar Trio aktiv. In der ungewöhnlichen Besetzung mit Klavier, Schlagzeug und Sitar spielen sie Instrumentalmusik, die um die indische Sitar kreist. 2012 spielten sie ihr Debütalbum “Erpelparka-Suite” ein. Nun haben sie bei t3 Records “Caethes Traum” veröffentlicht.

John Pizzarelli lays it all out in the title of his 2015 album: this tribute to Paul McCartney is designed for play in the smoky late-night hours, when everything turns sweet and mellow. Furthermore, this is a tribute to McCartney, not the Beatles. There isn't a Fab song to be found here, as Pizzarelli focuses entirely on Paul's solo work (for these intents and purposes, this includes Wings records), concentrating on the '70s but also sliding McCartney's Great American Songbook wannabe "My Valentine" into the mix.

Building upon South of the Border's (1964) Top Ten success, Herb Alpert dismissed the contingency of Los Angeles-based studio instrumental all-stars, which he had christened the Tijuana Brass. Because there was enough demand for live dates, just like a musical Gepetto, Alpert formed a real Tijuana Brass. The bandleader/trumpeter was joined by Tonni Kalash (trumpet), Robert Edmondson (trombone), Pat Senatore (bass), John Pisano (guitars), Lou Pagani (piano), and Nick Ceroli (drums). Ostensibly, the personnel wasn't a primary consideration as Alpert and company had already begun making serious inroads on the pop music scene.

An album focusing on music of chain gangs, this record is as explosive and powerful as any in Belafonte's catalog. Accompanied again by the Belafonte Folk Singers and the occasional guitar and bass (with conductor Bob Corman credited under his real name, Robert De Cormier), Belafonte turns the hypnotic, rhythmic chants of Negro prisoners into riveting, passionate songs of unrelenting loneliness and shame ("Swing Dat Hammer"), torturous days laboring in the hot sun ("Go Down Old Hannah"), hatred for their captors ("Grizzly Bear") and even their guard dogs ("Here Rattler Here").

This is another of Belafonte's attempts to musically circumnavigate the globe, performing songs from a variety of world cultures. Songs from the West Indies, once a major portion of his repertoire, were reduced to one on this album. Joining him on this album is a junior high school choir from Queens, New York.

After flirting with traditional African-American material in his previous albums, Belafonte, for the first time, devotes an entire album to the blues. However, of the eleven songs, only two could be classified as traditional blues: "In the Evenin' Mama" and "Cotton Fields," the latter given a five minute treatment. Belafonte would take this song on the road as part of his live act for the next decade. Of the other songs, three were covers of Ray Charles standards ("A Fool For You," "Hallelujah I Love Her So," "Mary Ann").

Belafonte's second album includes songs featured in the Broadway production of Three for Tonight, which starred Belafonte along with Gower and Marge Champion. The collection again featured a variety of material, which would become a hallmark with his albums up until the mid-1960s. But now, for the first time, the power of Belafonte's interpretive skills become apparent, especially with songs culled from field recordings of chain gangs and southern prisons. "Jump Down, Spin Around" and "Sylvie" were both popularized by Leadbelly.

Probably the lushest album Harry Belafonte ever made, this record offered further proof to record store owners that HB should be moved from the folk section to easy listening. The liner notes try to label the record as a concept album of ballads, but the only concept we can see is another record to be heard in subdued volume in dentists' offices and elevators. One begins to wonder whether Belafonte, not even 40, had his best years behind him already.

The core of Kayo Dot might be that mood one that lies at the crossroads of darkness and mystery. In film, music that accompanies mystery is often nocturnal, playing on a primal relation in our brains between the unknown and the night. Its this intersection that is the essence of Kayo Dot. Kayo Dot has never made the same record twice. From chamber music to progressive black metal, from goth to jazz and avant ­garde classical, Kayo Dot is experimental and often unclassifiable.

Set across 2 CD’s, Cre/ation The Early Years 1967 – 1972 charts the evolution of the band and bears witness to their part in cultural revolutions, from their earliest recordings and studio sessions to the years prior to the release of The Dark Side Of The Moon, one of the biggest selling albums of all time.