"Laughing on the Outside" is the fifth studio album by American singer Aretha Franklin, Released on August 12, 1963 by Columbia Records. The album was recorded at Columbia Recording Studios in New York and Hollywood. These sessions found a 21-year-old Aretha Franklin recording Jazz Music and Pop Music standards, from Johnny Mercer to Duke Ellington. She is backed by the arrangements of Columbia producer Robert Mersey.

Released in 1974, Faces in Reflection was, in many ways, George Duke's third album as a leader for MPS. The first two, Solus and The Inner Source, were recorded separately but issued as a double-LP by SABA, which shortly thereafter ceased doing business and was folded into MPS. That said, there is little resemblance between the man who recorded his early albums like Save the Country, those aforementioned, and the seasoned studio experimentalist who cut Faces in Reflection. Duke's periods with Cannonball Adderley and Frank Zappa (the latter an ongoing relationship; it was Zappa who introduced Duke to the synthesizer) had taught him a ton musically and about working in the studio. The players here include Leon "Ndugu" Chancler and bassist John Heard.

BLACK LOVE (20TH ANNIVERSARY EDITION) includes nine previously unreleased recordings. Among the standouts are acoustic versions of "Going To Town" called: "Go To Town" and "Crime Scene Part Two." Also included is a demo for "Faded," which closed the original album, as well as a solo piano cover of the New Order classic "Regret." The unreleased material also highlights the band's creative process with "Mick Taylor Jam" and "Wynton Kelly Jam."

Released in 1974, Faces in Reflection was, in many ways, George Duke's third album as a leader for MPS. The first two, Solus and The Inner Source, were recorded separately but issued as a double-LP by SABA, which shortly thereafter ceased doing business and was folded into MPS. That said, there is little resemblance between the man who recorded his early albums like Save the Country, those aforementioned, and the seasoned studio experimentalist who cut Faces in Reflection.

Since 2007, cellist Christian Poltéra has recorded a number of acclaimed discs for BIS, of less often heard concertos by composers such as Othmar Schoeck, Frank Martin and Samuel Barber, as well as contemporary classics including Henri Dutilleux’s ‘Toute un monde lointain…’. Across the world, reviewers have been bowled over by Poltéra’s effortless technique, but even more so by his communicative skills and beautiful sound, typically using adjectives such as ‘glowing’, ‘lyrical’, ‘ripe’ and ‘singing’.

Being asked to describe his own music, Christian Löffler states that he tries to combine melancholy with euphoria. „All my music is connected by a gloomy spirit, which is minted by a warm sincerity. I try to merge all kinds of different acoustic colors to obtain this feeling in my music.” 'Mare' is his second studio album and follows in a similar vein to his self-released debut, 2012's 'A Forest'. However a key difference is that while his first album was heavily sample-based, 'Mare' is much more organic, in which nearly every sound and every instrument is self-recorded. Many of the album's ideas are based on field-recordings taken from the surroundings.

Stefan Torto's productions are intricate and mature, with more variety and complexity than most in the chill scene these days. Light and darkness collide beautifully amidst elaborate arrangements. Like a collage of the ages we live in, the pallet of Stefan's musical and emotional ingredients are wide-ranging and coexisting. All skilfully mixed together in an indivisible whole. The result is deeply satisfying music for dedicated chillers.