The cello came to prominence in the eighteenth century by supplanting the viol as both a solo instrument and a favored choice for continuo support. The cello's impressive range and wide variety of tonal colors has inspired composers ever since. Bruno Cocset leads the ensemble Les Basses Re?unies in a recording that takes us back to the origins of the cello and to the instrument's early repertoire.

Rosa Passos is one of the few singers currently in Brazil dedicated to a genuine evolution of Brazilian music, devoid of fashionable trend and commercialism. She has established herself firmly in the country's artistic scenery, acknowledged by many such as João Gilberto, Maria Schneider, Clare Fisher, Paquito d'Rivera, Johnny Alf, Nana Caymmi (who recorded two of her compositions), and even the number one enemy of bossa nova, the fundamental music researcher J.R. Tinhorão, even if she hasn't had her deserved media exposure.

These two symphonies were composed for Haydn's second visit to London, during the winter months of 1794-95. He knew the musicians for whom he was writing, and they were a virtuoso ensemble. Therefore these are among the largest scaled, most technically demanding among all his symphonies.

After two albums that downplayed their penchant for gothic sounds and mystical lyrics, Uriah Heep brought these elements back to the fore on 1975's Return to Fantasy. The resulting album retains the musical experimentation that marked Sweet Freedom and Wonderworld but has an overall harder-rocking feel that makes it more consistent than either one of those albums. Return to Fantasy throws down the gauntlet with the title track, which builds from a tapestry of spooky synthesizer and organ riffs into a thunderous rock tune where the guitar and organ duel over a galloping backbeat laid down by Lee Kerslake. It's bracing stuff and one of the finest rockers in the Uriah Heep canon.

This CD invokes the presence of the divine mother. I listend to this CD while at a week long silent meditation retreat. It filled me with a gentle joy, peace and immense loving kindness. It is very calming, gentle and nurturing. It features the following songs: Ganesh Invocation, Devi Prayer and Lalitha Ashtotram, which is a Sanskrit mantra of the 108 sacred names of the mother divine. ~ Brad VanAuken

At this point in music history, it's become a given that the Velvet Underground were one of the most important and innovative rock bands of their era, and that the four albums they released during their lifespan rank with the most challenging and satisfying work in the rock canon…

Marillion's Made Again is a good live double album; the first disc containing a great live set of tracks from Season's End, Afraid Of Sunlight, Misplaced Childhood and Holidays In Eden. The second disc contains a live version of Marillion's first real neo-prog extravaganza, Brave, performed live in its majestic entirety.

Even with Phil Woods standing out, the "four altos" on this jam session all sound pretty similar. Few listeners will be able to consistently pick out which solos are by Gene Quill and which by Sahib Shihab, Hal Stein or Woods. The solos (and the backup of pianist Mal Waldron, bassist Tommy Potter and drummer Louis Hayes) are generally hard-swinging and well-played, but the strong influence of Charlie Parker makes all of the altoists sound alike.

Lindemann, the now-defunct Rammstein side project named for frontman Till Lindemann and featuring multi-instrumentalist and producer Peter Tägtgren, are bringing their upcoming Live In Moscow film to the cinema.
Live In Moscow was shot on March 20 last year at Moscow’s VTB Arena, and is described by the distributors as "the great party before the global shutdown." The film will be shown in cinemas in the UK, USA, Russia, Belarus, Ukraine and Australia on March 20, with ongoing screenings taking place in Germany and Austria over the summer. Venue details are available by registering at lindemann.film.

As the most anticipated musical of the millennium, Andrew Lloyd Webber’s Love Never Dies is almost guaranteed a lukewarm reception. Being the sequel to The Phantom of the Opera, the most successful musical of all time, tends to have that effect…

Despite her Latin heritage, Joan Baez probably wouldn't have been encouraged by her 1960s record label, the New York-based independent Vanguard, to sing an entire album in Spanish. At A&M Records, the Los Angeles firm co-founded by Herb Alpert that she joined in the early '70s, however, it would have been a different story, and it was A&M that released Gracias a la Vida ("Here's to Life") in 1974. Baez demonstrates an affinity for Mexican folk music on such obvious choices as "Cucurrucucu Paloma," but it's no surprise that, a year after the assassination of leading nueva canción folksinger Victor Jara in a military coup in Chile, an atrocity that shocked the American folk community, she has not backed away from her political commitments. There is "Guantanamera," a song that may have been a Top Ten U.S. hit for the Sandpipers in 1966…

The World Of Oz - The World Of Oz (1969) {Deram–Repertoire REPUK1070 rel 2006, remastered & expanded}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 296 Mb | MP3 @320 -> 128 Mb
Full Artwork @ 300 dpi (jpg) -> 47 Mb | 5% repair rar
© 1969, 2006 Deram / Repertoire Records | REPUK 1070
Rock / Psychedelic Rock / Psychedelic Pop

Great melodies, simple songs and a production that consists of the full works, "World Of Oz" is a magical world indeed. It's in much the same territory as Mark Wirtz, The Herd and all those other transitory late 1960s pop acts that presented a colourful, unchallenging escape. There might not be any hits, but the singles "Muffin Man" and "King Croesus" are unforgettable. Having said that, there are catchy melodies and sumptuous arrangements all over this album. The band themselves were a four-piece with a suitably boyish lead singer. The bonus tracks don't add much as all but one are single versions of album tracks but there is quality enough without them.

Herbie Hancock Quartet - Quartet (1981) {CBS Japan, 45DP-54, Early Press}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 337 Mb | MP3 @320 -> 164 Mb
Full Artwork @ 600 dpi (png) -> 162 Mb | 5% repair rar
© 1983 CBS Inc. / CBS Sony Japan | 45DP-54
Jazz / Bop / Hard Bop / Piano

Acoustic magic from Herbie Hancock – proof that he wasn't only cutting electro records in the 80s! The set's got a fluid, open feel that's a bit like some of the VSOP Quintet work – although the group here is slightly different, with Hancock on acoustic piano, Ron Carter on bass, and Tony Williams on drums – plus a young Wynton Marsalis on trumpet – stepping in where Wayne Shorter and Freddie Hubbard left off. The tracks are somewhat sharp-edged and modern, but never in a way that's too outside – more just a continuation of the VSOP mode, with some of the Marsalis love of darker colors and tones. The double-length set has plenty of room for long solos.