This quiet, lovely record, in which the Gambian kora virtuoso Foday Musa Suso is given equal billing, was generally ignored when it came out, probably because it fit no one's preconceived idioms — be they jazz, funk, MTV, or even world music. The only performers are Hancock on a detunable Yamaha DX-1 synthesizer and drum machine and Suso spinning his webs of delicate sound on the zither-like kora, vocalizing a bit and playing a talking drum — all in real time in a Tokyo studio. The results are absolutely mesmerizing, with Herbie aligning himself perfectly within Suso's unusual, complex rhythmic conceptions and folk-like harmonies. On the 20-minute "Kanatente," Hancock does introduce some of his own advanced harmonic ideas, and he contrasts and interweaves them with Suso's deceptively simple lines in a splendid jam session that eventually ends in a dance that can only be described as Gambian funk.

The 2010 New Year’s Eve concert from Berlin frames two of the most prominent stars on DG’s roster: Elina Garanca and Gustavo Dudamel. Recorded live, this gala performance sparkles with a selection of arias and orchestral works that include excerpts from one of Garanca’s most celebrated roles, Bizet’s Carmen, and Marguerite in Berlioz’s Damnation of Faust. As well as providing world-class accompaniment, the Berlin Philharmonic makes a stirring contribution to the program with the overture to Berlioz’s thrilling Roman Carnival and excerpts from Manuel de Falla’s ballet, The Three-Cornered Hat.

Norwegian melodic rock queen ISSA is back with her sixth studio album, “Queen of Broken Hearts”. As with her past releases, the new release is a melodic rock fans dream come true with huge vocals and soaring melodies. Once again, Issa partnered with Alessandro Del Vecchio to work on her new album and - as with the successful “Run With the Pack” - an all-star team of musicians appears on this new album. Featuring Simone Mularoni (DGM) on guitar, Andrea ToWer Torricini (Vision Divine) on bass, Marco Di Salvia (Hardline) on drums, and Del Vecchio on Keys, “Queen of Broken Hearts” is ISSA’s most fully realized musical offering yet.

Guitar legend Tommy Bolin, known for his work with Deep Purple and The James Gang, lives on in this treasure trove collection of unreleased tracks! Features demos and outtakes from the recording sessions that produced Bolin's most fully realized and sadly final album, the 1976 masterpiece Private Eyes! Includes informative liner notes written by rock journalist Dave Thompson!

SUNSTORM, a project originally designed to showcase a musical style similar to singer Joe Lynn Turner’s Melodic Rock/AOR roots, now has a new face fronting the band in the form of Lords of Black and Rainbow singer Ronnie Romero. Romero’s debut album with Sunstorm, “Afterlife” will be released on March 12, 2021. In discussions with producer and songwriter Alessandro Del Vecchio, it was decided that moving the musical style of the next Sunstorm album to the more melodic AOR sound of the first records was what everyone wanted. But with Turner out of the picture, who to replace the formidable vocalist? Ronnie’s name came about when the label decided that continuing the successful project was a must and that the music being crafted would put it back at the forefront of the scene….assuming the right vocalist was involved.

Every so often, a piece of music comes along that defines a moment in popular culture history: Johann Strauss' operetta Die Fledermaus did this in Vienna in the 1870s; Jerome Kern's Show Boat did it for Broadway musicals of the 1920s; and the Beatles' Sgt. Pepper's Lonely Hearts Club Band album served this purpose for the era of psychedelic music in the 1960s. Saturday Night Fever, although hardly as prodigious an artistic achievement as those precursors, was precisely that kind of musical phenomenon for the second half of the '70s – ironically, at the time before its release, the disco boom had seemingly run its course, primarily in Europe, and was confined mostly to black culture and the gay underground in America…

Though Alice Cooper's 1989 comeback gave him his first hit album in over a decade, the Trash record left some diehard fans disappointed, as did 1991's Hey Stoopid. Many listeners felt that Cooper had sold himself short, now completely focusing on sleazy sexual anthems, making him just another face in the heavy metal crowd. By the time The Last Temptation was released in 1994, the hair band fad that had fueled Cooper's return was dead, and Cooper was obviously aware of its downfall – the album sounds almost nothing like its two predecessors. Instead of relating to such albums as Motley Crue's Dr. Feelgood, Last Temptation seems more similar to Ozzy Osbourne's No More Tears. Thematically, the record returns to mostly conceptual songs, such as "Nothing's Free," "You're My Temptation," and "Cleansed by Fire." Though the album still has a few goofy interruptions, such anthems as "Lost in America" nonetheless boast more originality than anything off of Hey Stoopid or Trash. Far surpassing anything Cooper recorded in almost 20 years, The Last Temptation is unquestionably some of his best work.

Waterside is the seventh studio album by Gary Hughes. This is the first solo album for Hughes in 14 years. The album was released on the 12th of March 2021, through Frontiers Records. Over the course of his over three decades in music, Gary Hughes has established himself as one of England's premiere Melodic Rock/Hard Rock singers and songwriters. With fourteen TEN studio albums, one rock opera (in two parts), and more, the body of work that he has amassed during his career is truly impressive. While with his band TEN Gary offers a hard rock sound which is rooted in the tradition of bands such as UFO, WHITESNAKE, and RAINBOW, with his solo material he offers a more melodic sound which has strong roots in the late 80’s AOR and Melodic Rock scene. The new solo album,“Waterside,” marks his long awaited return to Melodic Rock. This is also his first new solo since his last solo record “Veritas," released well over a decade ago.

Despite its promising arc in the early '90s, the term "acid jazz" became a pejorative all too quickly. By the mid '90s, in order to stake claim to ears, minds and asses, deejays and producers were fleeing for the (then) perceived higher ground of the nascent drum & bass and jungle scenes, genres which themselves had woefully short lifespans. Into this mad dash entered United Future Organization's stunning self titled debut, like a groovy Robert De Niro airlifting himself IN to Saigon just as everyone else was leaving. And the results are remarkable from beginning to end, save perhaps for a palpable drop in energy in the album's last few tracks. But it is rare for any group to string together six consecutive tracks of such high quality and diverse sound to begin any record in their catalogue, let alone their official debut.

Cannonball Adderley - And Strings & Jump For Joy (1995) {Verve 528 669-2 rec 1955-1958}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 337 Mb | MP3 @320 -> 158 Mb
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© 1955-58, 1995 EmArcy / Verve / Polygram | 528 669-2
Jazz / Hard Bop / Soul Jazz / Saxophone

This is twofer with two wonderful but different albums, one with a orchestra and with a normal jazzgroup extanded with a string quartet playing Ellington music, and on both the albums Cannonball just play so nice, yeah this with strings is his first album for EmArcy recorded 1955, I can agree with the reviewer that feel that these album feels the same, nah I definitely feel the different in them, but now its your turn to feel the differents or the simularity if yoou like, but I can promise you that you gonna love these albums. This is the 1995 Verve press and it sounds good, and I bet you recognice the 1958 rhythm section.

Arnold Schoenberg - Chamber Music - Arditti String Quartet (1995) {2CD Set, Auvidis–Montaigne MO782025}
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© 1995 Auvidis / Montaigne | MO 782025
Classical / Modern Classical / Avant-Garde / Chamber Music

Arnold Schoenberg exercised very considerable influence over the course of music in the 20th century. This was particularly through his development and promulgation of compositional theories in which unity in a work is provided by the use of a determined series, usually consisting of the 12 possible different semitones, their order also inverted or taken in retrograde form and in transposed versions.