Daevid composed themes used in Self Initiation workshops - Limited release. Meditation and healing music invoked in the mountains behind Mullumbimby in upstate NSW, Australia. Later used in Self Initiation workshops held mostly in and around Glastonbury UK. Basically a wonderful Glissando guitar feast, though occasionally the recording is a bit hissy. These CDs are in matt black card covers with silver and white printing. This is the third of a 20CD series, each release a limited pressing of 1000 copies only - no more will be pressed. Daevid Allen was one of the founders of the British progressive rock band the Soft Machine in 1966. After recording just one album with the group, he became the founder/leader of Gong, which he left in 1973 to begin a solo career (though his first solo album, Banana Moon, was released in 1971 while he was still in the group).

Stockholm’s Oscar Simonsson and Magnus Zingmark embarked on their esoteric musical quest in 1997, initially sampling jazz’s rich and diverse catalogue into their own collage-style melting pot, topped with an array of guest singers from home and abroad which became their trademark. Over the three albums they recorded over the following 10 years, the pair refined and broadened their sound, replacing the borrowed music with their developing songwriting skills.
This 11-track set presents highlights from Koop’s three albums.

Ian Whitcomb is a name you might recognize if you grew up in the 60’s and were paying attention to Top 40 radio. As a young musician/singer in his early 20’s, Ian rocked onto the pop charts with a novelty tune called “You Turn Me On”. Since that time, he has become an acknowledged expert on and performer of American Songs and songs of the early 20th century…

Another great album from The Shadows. They never did disappoint and after fifty years were always underated. This album confirms the great talent throughout the group…

Most would say Nine Lives, the clever title of the first Aerosmith album in four years, is an understatement – this band has been through so much trouble it's quite surprising that this album was even released at all. Originally titled Vindaloo and set for a July 1996 release date, the album was pushed back time and time again after the band failed to meet Columbia Records' standards. Kevin Shirley replaced Glen Ballard in the producer's seat, and the band re-recorded every song until the album was as perfect as it could get. Well, frankly, it is. When the title track begins with the sounds of meowing mixed in with Steven Tyler's well-known screams, it is so shocking that the listener might suddenly turn it off.

Everybody knows "Strangers in the Night", one of the greatest hits of the 20th century. Yet, hardly anybody knows that the German composer Bert Kaempfert wrote the song. One can find his name credited next to a great number of world-famous titles. Kaempfert made music history and created a distinctive style with titles like "Spanish Eyes", "Danke Schoen", "A Swingin’ Safari" or the aforementioned "Strangers in the Night", that facilitated Frank Sinatra’s furious return to the top of the charts in 1966.
Subtitled "Celebrating Bert Kaempfert" vibes player Christopher Dell offers a contemporary sideways take on the work of the late composer, arranger and bandleader. Dell has imaginatively re-arranged Kaempfert’s tunes placing them in a thoroughly contemporary setting…

Andrew Haveron and John Wilson deliver a fresh and intensely idiomatic reading of Korngolds Violin Concerto, coupled with the formidable String Sextet. One of the most sought-after violinists of his generation and a laureate of some of the most prestigious international violin competitions, Andrew Haveron studied in London at the Purcell School and the Royal College of Music. As a soloist, he has collaborated with conductors such as Jií Blohlávek, Sir Colin Davis, Sir Roger Norrington, David Robertson, Stanisaw Skrowaczewski, and John Wilson, performing a broad range of well-known and less familiar concertos with many of the finest orchestras in the UK. In 1999 he was appointed first violinist of the internationally acclaimed Brodsky Quartet.

Starting out as a typical U.K. club soul band, and then turning toward psychedelia and prog rock in the latter half of the '60s, it wasn't until Pesky Gee! changed their name in 1970 to Black Widow, transformed, and released the satanic Sacrifice that they reached the public eye. If not singular in any particular way, the prog-edged Pesky Gee! album, released on Pye in 1969, has enough cool Hammond organ flourishes and late psych-intoned vocals (male and female) to cause interest. Much is aimless, relies too much on the blues-rock boom, or is downright bad ("Born to Be Wild"), but when they got the mix right they were superb, as on their original psych/soul/prog numbers: on "A Place of Heartbreak" there is a superb male/female vocal, a soulful beat, and some haunting changes…

Aaron Sachs was an American jazz saxophone and clarinet player. He released a few LPs in the '50s and worked with a number of well-known jazz artists such as Benny Goodman, Sarah Vaughan, Earl Hines, Red Norvo, Anita O'Day and Dizzy Gillespie.
Aaron Sachs: "I wanted to bring to this album a new kind of spirit, a combination of moods, a contrast of arrangements. The first two recording dates were comprised of eight men. Two trumpets, one trombone, two saxophones and three rhythm, drum, bass and piano. The third recording date had five men, using guitar, clarinet, piano, bass and drums. The last date included all of my original compositions with the exception of "Nancy", which Frank Sinatra takes credit for…

The most comprehensive collection of organ music by a major forerunner to Monteverdi, recorded on a historically significant instrument by an organist with a distinguished catalogue of 17th-century repertoire.

This recording, from friends and collaborators Federico Bracalente and Daniele di Bonaventura, stems from an idea they had almost 10 years ago: to merge the sounds of their respective instruments, the cello and the bandoneon, into a single sound.

In February 2020, pianist Baptiste Bailly recorded his first solo album in Valencia, titled SUDS. A jazz work, around piano and improvisation but also musical production and experimentation. Bailly incorporates electronic textures using the Moog, organ sounds, a prepared piano or even his own voice. SUDS is inspired by the pianists many travels between Spain and France. It is an intimate logbook that presents a dreamy universe, mixing the imaginary of the north and south, a space where snow covers the olive tree. One thinks one recognizes flamenco accents and musettes tunes bathed in fascinating impressionism. Lyrical and rhythmic, we discover a very personal bittersweet poetic force. The work Suds represents an important part of the record, highlighting his relationship with Mediterranean music. On the contrary, Neiges, Leau et le Vent or Larbre aux Secrets are composed like paintings of his native land, landscapes of his childhood. ""If colors or rhythmic impulses sound deliberately flamenco, Spain can be heard in its influence on impressionist language."

Monomyth stands for "thrilling instrumental soundscapes", a rollercoaster ride in which the listener can lose themselves. It is the sound of five people searching for their musical boundaries and then moving beyond them. Monomyth transports you to another world, a place that feels both new and familiar. In the ranks, we find five people from different creative and musical backgrounds. Monomyth’s music is a complete experience, a collective statement by five like-minded identities. The Monomyth sound contains all the ingredients of rock & roll, but in a totally unique way. The band wants to draw their audience into a trance, caused by shifting patterns, repetitions and drones. The result is a stirring brew with links to Pink Floyd, Hawkwind and Tool, but with the innovative force of modern techno and ambient. It is rock you can dance to and lose yourself in…