This major release is a previously unavailable live performance from a great Tubby Hayes lineup that never made a commercially available album. Recorded on 5th December 1968 by Ted Lyons at the legendary Hopbine in North Wembley, The Syndicate reveals Hayes' new quartet that featured the spectacular Dublin born guitarist Louis Stewart and 22 year old drummer Spike Wells, with Kenny Baldock standing in for regular double bassist Ron Mathewson.

The Brothers Johnson first earned national recognition as recording artists by singing the sensuously funky mid-tempo number "Is It Love That We're Missin'," featured on Quincy Jones' album "Follow Me".

Barb Jungr expresses her passionate artistry with this new collection of classic and original material. With the most original voice since Nina Simone or Edith Piaf, Barb carves a unique path through many genres of popular music. This "world-class female vocalist" (Daily Telegraph) has written three original songs for her new album. 'Do You Play Guitar', the album's elegaic opening track, 'Written Down In The Dark Again', a disturbing exploration of sex, and 'Lipstick Lips Lament', a wonderful evocation of classic American song-writing.

Trumpeter, bandleader, composer, and one of the most important figures in jazz music history, and music history in general. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz. Winner of eight Grammy awards…

This is the first ever commercial release of an important late period Tubby Hayes performance that fully captures the more restrained and subtler side of his robust talent.

G.Stoner is a singer/songwriter who (with the help of some excellent musicians) gives most of his tracks a soul/funk/r&b-treatment, sometimes with a little psych-edge.

Baritone Nathaniel Watson and pianist Michael McMahon, both based in Montreal, give us their rendition of Franz Schubert's monumental song cycle, Winterreise, written in 1827, the year before Schubert's tragic, early death.

Herbert Schuch and Gülru Ensari look back on musical memories of their childhood(s).

”Otilia scoops up a spell of inspiration. Developing alternative playing techniques with my harp I discover mysterious colors and new forms of sounds. I like to use the harp also as a percussion, and by adding kalimba, sandpaper, mom’s silver spoons, my own voice and a looper, I created my one-woman’s orchestra. I composed my music to be performed live. On stage it takes a little longer to build up some of the layers, but otherwise live performance doesn’t differ much from the versions on this album."

Carlo Maria Giulini conducts the Chicago Symphony Orchestra in a Grammy winning performance of Gustav Mahler’s four-movement Symphony No. 1 in D. If you want a Mahler First above all for beauty of tone and phrasing and precision of ensemble, then this is a plain first choice. In addition Giulini’s qualities suit this work. For all the orchestral sophistication, he has a transparent honesty which accords well with Mahler in ‘Wayfaring Lad’ mood. Nor does he use the Chicago orchestra’s virtuosity to whip up excitement in fast tempo.

It's not hyperbole to say that this is Sanborn's best record since his Warner Brothers heyday of the '80s. The same can be said of the quality of the musicians gathered for the alto saxophonist's first album for Verve. The material may be the best he's ever assembled, with many cover tunes that are singularly identified with other artists, yet he redefines them. None of those words are meant to disparage those Grammy-winning gold albums of yore, it just his high standards have been magnified many fold on these 10 tracks.

Peter has chosen five tracks from "New Blood" for "Half Blood" and exclusively supplied the instrumentals to these tracks so members can fully appreciate the precise arrangements. "Half Blood" is only available to Bowers-Wilkins' Society of Sound members.

Colin Stetson was born and raised in Ann Arbor, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007. Over the years he has worked extensively, live and in studio, with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmore. Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a song-writer. Stetson’s astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stemming from that approach and aesthetic, he has been contributing regularly to the world of film, TV, and game scoring over the past decade with such titles as Hereditary (2018), The First (2018), Red Dead Redemption 2 (2018), Color Out of Space (2019), Barkskins (2020), Mayday (2021), Among The Stars (2021), Texas Chainsaw Massacre (2022), and Uzumaki (2022).

This album is one of the reasons that Idris Muhammad is regarded as the drumming king of groove. Featuring the arrangements and keyboards of Bob James, the saxophone punch of Grover Washington, Jr., guitarist Joe Beck, trumpeter Randy Brecker, percussionist Ralph MacDonald, and the knife-edge slick production of Creed Taylor, this 1974 issue is a burning piece of deep, jazzy soul and grooved-out bliss…