Zorbonauts is a new band name under which the more serious musical side of those otherwise abstract humourists, Deckchair Poets, now shelter. Thus Zorbonauts is also based upon the musical talents of Geoff Downes (Yes), Nick D’Virgilio (Big Big Train), Ollie Hannifan (Synaesthesia), Dave Meros (Spock’s Beard) and Lynden (Jerusalem). Zorbonauts first release, Tall Tails, is a contemporary look at material originally performed and recorded by Lynden, during his early Jerusalem days, which has now been turned inside-out, given several lyrical alterations, and, in the case of Primitive Man, an impressive extention. It should be noted that the track, She Came Like A Bat From Hell, was written, performed, recorded (in 1971), and released (in 1972), many years prior to Meatloaf’s first album of a vaguely similar name.

The virtuoso bassist Victor Bailey returns with his strongest and most consistent effort to date,titled Slippin’ N’ Trippin’. Bailey states “on this record I wanted to feature more of my bass guitar than on my other CD’s. I’m also a versatile keyboardist,vocalise a little, and play a little drums too”.

Legendary star of the stage and screen, William Shatner, brings his dramatic interpretive talents to the blues music canon on this superb new album! Features guest appearances by blues giants Sonny Landreth, Canned Heat and Tyler Bryant plus country superstar Brad Paisley, Deep Purple's Ritchie Blackmore, and many more. Features "Let's Work Together" (featuring Canned Heat) and "I Put A Spell On You" (featuring Pat Travers).

It's ironic that some of the people who swear up and down that they don't like jazz will get into Robben Ford, whose career has as much to do with jazz as it does with blues, pop, soul and rock. Though Ford was never a "jazz snob," his jazz credentials are quite solid. Jazz, blues and rock are all primary ingredients of Sunrise, a CD that was released in 1999 and contains live performances at Los Angeles and London venues in 1972.

Recorded in 2000 at the world's most important festival for 20th century music, the Musik Triennale Cologne, this concert programme successfully set out to capture the great wealth and diversity of modern classical music.

Juan Pablo Torres is one of the best trombone players in the Latin-jazz community of the 1990s.This CD is compilation of tracks of well known latin flutist Dave Valentin and Juan Pablo Torres.Here you'll find both artists in excellent form.

For his 30th Anniversary as a recording artist, Charnett Moffett delivers a far-reaching set of his distinctly original jazz featuring an all-star cast of long-time collaborators from his distinguished career.

This is classic raw British blues-rock with a slightly prog edge and features a ‘juggernaut’ of riffs. The audio has been remastered and this comes with two bonus tracks; the mono single cut of ‘BDD’ plus the B-side of that single, a brilliant solo acoustic McPhee performance of ‘Gasoline’.

Una giornata uggiosa is an album by the Italian singer and songwriter Lucio Battisti. It was released in January 1980 by Numero Uno. The album was Italy's fifth best-selling album in 1980. It was also the last one to feature his collaboration with lyricist Mogol.

This band, led by guitarist Terutsugu Hirayama (who was originally with the band Novela) has an extremely powerful symphonic sound somewhat reminiscent of mid-period Renaissance, but more extreme in every way. Their sound is positively stunning. Yes, there are vocals all over their albums and I don't understand a word of them but I don't care. Vocalist Megumi Tokuhisa is a chameleon of sorts, within the same song she can switch from sounding like an innocent child to a very dynamic and powerful singer. Of the three albums, the first (Egg) is probably the easiest to sink your teeth into, but the third (Fable) may be the most musically sophisticated, moving away from the neo-prog sound and more into the area of bands like The Enid. Hirayama also has a solo disc Castle of Noi that is similar in style and pre-dates the other three (i think). Rumor has it that in concert they are every bit as powerful as one might be led to believe by their recorded output.