Yardbirds/Featuring Performances by Jeff Beck, Eric Clapton, Jimmy Page contains a selection of live, rare and alternate takes, plus a handful of hits, that the Yardbirds recorded at various times during their career. There are certainly some fine moments here, but they can be found on better, more coherent collections that offer a better portrait of the Yardbirds' career, or at least their rarities.

Après Brigitte Lahaie, l'aventure des Disques de culte se poursuit avec un tout nouveau disque intitulé Alain Goraguer, Musique classée X, réunissant huit compositions inédites dans un objet collector célébrant la sexualité festive, décomplexée et collective que magnifia le cinéma pornographique français en son âge d'or ! Réservez sans plus attendre votre exemplaire de ce vinyl accompagné d'un cahier d'activités elles aussi classées X, avec coloriages, dessins en points à relier, et atelier de découpage pour composer votre propre partouze, qui prendra toute son ampleur si la campagne est un succès.

SCHUBERT was working on the melodies for Winter Journey from February to October 1827. The musician was coming out of a short period that was not very conducive to creation. He lacked the literary material to stimulate his writing. The discovery of MÜLLER's first twelve poems enthralled him. He discovered the end of the cycle a few months later, thus completing the journey.

“DESERTI”, Il nuovo album di PIERO PELU' (Epic Records/Sony Music Italy), è il secondo capitolo della TRILOGIA DEL DISAGIO, lavoro iniziato con “Pugili fragili”, ultimo disco pubblicato dal cantautore toscano nel 2020. "DESERTI" è un album figlio di questo ultimo anno: delle difficoltà e i pensieri che Pelù ha sentito la necessità di condividere con il suo pubblico. Ad arricchire l'album brani che Piero ha lasciato sedimentare nel tempo alla ricerca del momento giusto per farli diventare musica e parole perché i Deserti per lui non sono solo luoghi in cui perdersi ma anche mancanze, luoghi reali e metaforici da esplorare e da affrontare.

Saxophonist and bandleader Jay Beckenstein was a master of the smooth jazz sound before the genre had a name. He hasn't lost his touch on this outing, but it's clear that his bandmates–guitarist Julio Fernandez and bassist Scott Ambush–are also learning the art of crafting a pop instrumental hook.

"Dear Jerry: Celebrating The Music Of Jerry Garcia" was recorded live at Merriweather Post Pavilion in Columbia, Maryland in May 2015. This historic one-night event honoured Jerry Garcia, one of the most influential musicians and cultural icons of our time. Among the performers celebrating Garcia are Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann and Mickey Hart, along with Eric Church, Jimmy Cliff, Peter Frampton, Jorma Kaukonen, Los Lobos, Grace Potter and several others.

Booker Ervin's debut as a leader teamed the intense tenor saxophonist with fellow tenor Zoot Sims (one will have little difficulty telling the cool-toned Zoot apart from Booker), trumpeter Tommy Turrentine, pianist Tommy Flanagan, bassist George Tucker and drummer Dannie Richmond. Ervin (who has his ballad "Largo" as a feature) performs five originals and "Poor Butterfly"; best are the slow blues "The Blue Book" and the rapid blues "The Book Cooks".

Widely regarded as the greatest gospel singer of all time, Mahalia Jacksom made her impact felt across several musical genres. Her appearances at the 1957 and 1958 Newport Jazz Festivals exposed her to audiences that had previously been unaware of her abilities, just as her weekly radio show (which began in 1954) had done earlier in the decade. This album was released in 1959 on the Columbia label.

Roy Eldridge, Dizzy Gillespie, Miles Davis, Clifford Brown, Harry Sweets Edison, Harry James, Fats Navarro, and Clyde MyCoy. This session is a tribute to legendary trumpeters by a man whose own trumpet has delighted audiences world wide for almost fifty years. As with any great jazz musician, Clark Terry has a sound that is instantly recognizable and perfectly crafted.

John Coltrane's only recording for the Blue Note label, Blue Train is considered one of the greatest jazz albums of all time. Coltrane is featured here in his debut as bandleader and composer, backed by Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass and Philly Joe Jones on drums.

Bonny Light Horseman’s new album, Keep Me on Your Mind/See You Free, is an ode to the blessed mess of our humanity. Confident and generous, it is an unvarnished offering that puts every feeling and supposed flaw out in the open. The themes are stacked high and staked even higher: love and loss, hope and sorrow, community and family, change and time all permeate Bonny Light Horseman’s most vulnerable and bounteous offering to date. Yet for all of its humanistic touchpoints, Keep Me on Your Mind/See You Free was forged from a kind of unexplainable magic.

Unlike his contemporary, Ravel (1875-1937, a selection of whose piano music Brenda Ogdon recorded in 2021; Ravel que j’aime, Sterling Records CDA1855), who was at best a mediocre player, Claude Debussy (1862-1918) was highly capable and could have made a career as a pianist had he been minded to, and not seduced by the siren song of composition.

The dominance of rhythm in African and African-derived music is the pillar of this journey across piano pieces by Ernesto Lecuona and Louis Moreau Gottschalk, deriving from the combination of long melodic lines, often related to popular songs, with Caribbean and, in particular, Afro-Cuban rhythms. These are shown not only in the bass line, resembling drums and percussions, but in each rhythmic layer and in the melody itself. Each piece tells a story that evokes the spirit and energy of the composers’ native lands, Cuba and Louisiana, reflecting their historical and cultural landscape characterised by multifaceted influences.

Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch. The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.

Goat Girl - Lottie Pendlebury (she/her), Rosy Jones (they/them) and Holly Mullineaux (she/her) release their third album Below The Waste on Rough Trade Records. The album was co–produced by the band and John Spud Murphy (Lankum and black midi).