This 10 CD box set focuses on the early part of Quincy Jones' career and includes complete LPs, such as 'Go West, Man!', 'This Is How I Feel About Jazz' and 'The Great Wide World of Quincy Jones' and live recordings from France, Belgium, Switzerland and Sweden.Disc 10 includes two LPs 'The Music of Quincy Jones as Played By Benny Bailey, Joe Harris, Åke Persson and the The Quincetet' and 'Great Big Band and Friends' by Nat Adderley, Coleman Hawkins and Lucky Thompson with The Harry Arnold Orchestra. The box set features an array of jazz stars, such as Benny Carter, Art Pepper, Zoot Sims, Freddie Hubbard, Curtis Fuller, Oliver Nelson, Clark Terry, Phil Woods and many others.

Compiling "The Very Best" of Rosanne Cash from her Columbia catalog is a difficult proposition for anyone, especially on a single disc. She traveled many roads aesthetically, from the rollicking (then) new country of Seven Year Ache to her flirtation with '80s pop on Rhythm & Romance to her free-rolling rock, country, and folk classic King's Record Shop to the more introspective material on Interiors and The Wheel. But Legacy has done a fine job, beginning with the title track of personal transformation of "The Wheel" and careening through her career. There's the gender-bending folk-country classic "The Way We Make a Broken Heart" (written by John Hiatt) and the title track of Seven Year Ache. Along the way there are stops at "Hold On" from Rhythm & Romance and duets with father Johnny on "September When It Comes" and Bobby Bare on "No Memories Hangin' Around." And the real hits, like "My Baby Thinks He's a Train" and "Tennessee Flat Top Box" are here, too. But it's in the tracks like "What We Really Want," "I Don't Know Why You Don't Want Me," and "Sleeping in Paris" where the balance and depth of Cash's contribution really come to light. This set also has a previously unreleased version of "Never Be You." There are 16 cuts in all, and each of them is a pearl. This is as fitting an introduction to an artist as country music has ever produced. She's ultimately unclassifiable, and one suspects from the candid comments she makes in Alanna Nash's liner essay that she likes it that way. Highly recommended.

Glenn Gould remains an enigmatic, fascinating figure more than two decades after his death. This new film, directed by Gould's friend Bruno Monsaingeon, who has already written four books and made a 23-part TV series about him, is something very special. Taken from Gould's own words, the pianist himself seems to act as narrator in a retrospective on his life and art. A great deal of archival footage of both interviews and performances exemplify the pianist's genius and eccentricities.

The most beautiful Pop, Rock 80s songs by Duran Duran, a-ha, Kajagoogoo, Nick Kamen, Kylie Minogue and many more on one compilation!

Anyone with even a passing interest in Italian progressive rock is unlikely to be unaware of Aldo Tagliapietra. Born in Murano, Rome, in 1945 for over forty years (1966-2009 with a break 82-86) he fronted one of the most successful Italian prog bands, Le Orme. Originally playing guitar as well as providing his distinctive melancholic falsetto vocal style he also turned to playing bass for the classic trio line-up of keyboard driven symphonic prog band of the seventies. When Le Orme temporarily split in 1982 he took the opportunity to release his first solo album "…Nella Notte" in 1984.
2012 finds him putting out his work ''Nella Pietra E Nel Vento'', where Tagliapietra sings and plays bass next to guitarist Andrea De Nardi, keyboardist Matteo Ballarin, drummer Manuel Smaniotto (all members of Former Life) and keyboardist Aligi Pasqualetto.

Recorded in 1971, Tears of Joy is a Don Ellis classic. The sheer musical strength of this ensemble is pretty much unparalleled in his career. The trumpeter/leader had backed off - a bit - from some of his outlandish and beautifully excessive use of strange and unconventional time signatures, though there is no lack of pioneering experimentalism in tone, color, arrangement, or style. This double LP/CD features a string quartet, a brass octet (four trumpets, tuba, bass trombone, trombone, and French horn), four winds, and a rhythm section boasting two drummers, a percussionist, a bassist, and the Bulgarian jazz piano wizard Milcho Leviev…

Herman’s Hermits were one of the most commercially successful artists of the beat era. In a recording career which began in 1964 and spanned seven hectic years, Herman’s Hermits registered more than 30 worldwide chart entries and were undisputed hitmakers with a string of singles and albums in the top-10 and Grammy awards starting in 1965. They were also part of that hit-making machine cultivated by Mickie Most, who was one of the major forces in the flood of acts coming from the UK in the mid-1960s. They forged a successful career up until 1968 when rapidly changing pop trends dictated their demise which would finally happen in 1970. Their numerous visits to the Paris and Playhouse Theatres in London during their iconic heyday produced a vast number of sessions for radio broadcast and reveal a more authentic side to one of British pop music’s most endearing acts. London Calling proudly presents, Herman’s Hermits, live in session 1964 to 1968. Superb and professionally re-mastered original radio broadcasts with background liners, rare and original memorabilia and timeline photos.

On January 10, 2014, a star-studded tribute concert to Gregg Allman directed by Don Was was held at the Fox Theatre in Atlanta. All My Friends showcases this show in double-CD/single-DVD and, in light of the subsequent announcement that the Allman Brothers Band would retire at the end of 2014 in the wake of the twin departures of Warren Haynes and Derek Trucks, it gains a certain sense of poignancy…

The sound of the saxophone is not commonly associated with romantic classical music. One could even think of Schumann's music as an awkward choice for the instrument ; Taewook Ahn proves the opposite to be true, right from the first note of this album. What better vessel than the saxophone, indeed, could embody the intrinsical contradictions of romantic aesthetics ? What could encapsulate the soul of the 19th century better than this elegant hybrid of wood and brass ? More than a mere list of transcriptions, this album provides a rediscovery of some of the most iconic pages in romantic literature. Tomoyo Umemura, Taewook Ahn and Rainer Crosett bring unheard colors into some of Schumann's most intimate works, exposing the very fabric of its texture – with sensuality, playfulness and taste. A young, convincing, resolutely modern take on beautiful classics.

The violinist releases the results of a uniquely ambitious "lockdown project" – a barnstorming new account of Paganini's fiendish Caprices, recorded in the late spring of 2020.
The transcendental heroics of Paganini’s Caprices have presented the ultimate test for generations of violinists; Alina Ibragimova’s accounts of this most exclusive repertoire join a select few of the most celebrated.

Konstantin Kramer has taken "time" (Zeit): the recordings have "kept him alive" throughout the Corona year. They have saved him over time. They made him come to himself and forced him to deal with himself and his available time. They have helped him channel his anger and frustration. But they have also made him realize his love and passion for music and his double bass, and confirmed to him that all the time he has invested over the last few years has not been in vain…

The last studio album from Three Dog Night to crack the Top 20, Hard Labor shows the growing cracks in the band's armor. Where on previous albums they had selected songs that highlighted their harmonic prowess, most of the tracks on Hard Labor are essentially solo efforts with group backing vocals. As a result, the band loses much of their soul and spirit. The lightweight hits, "Sure As I'm Sittin' Here" and "Play Something Sweet (Brickyard Blues)," both with Cory Wells singing lead, are most representative of the record. However, the highlights are the Chuck Negron-sung "The Show Must Go On" (written and originally performed by Leo Sayer) and the dramatic, emotional ballad "I'd Be So Happy" (penned by Skip Prokop of Lighthouse fame).

Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears. Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations.

Jef Neve is widely regarded as one of Europe's most talented young jazz composers. Born in 1977 and classically trained at Leuven's Lemmensinstituut, the Flemish pianist has showcased his skills in everything from orchestras to funk-pop bands, but achieved his big breakthrough when he teamed up with bassist Piet Verbist and drummer Teun Verbruggen to form the Jef Neve Trio.
Neve arrived at a very personal language, one which draws freely on classical music and has the impetus of jazz and rock. Take 'A Waterfall Never Comes Alone', for example. It begins with an ostinato and mutates through moods of brooding intensity to become a hymn of the spheres…

Al Bano and Romina Power are an Italian pop music duo formed in 1975 by then-married couple Albano Carrisi and Romina Power. They were highly successful in Italy and mainland Europe throughout the 1980s and the early 1990s. Their best known international hits include "Felicità", "Sharazan", "Tu, soltanto tu (Mi hai fatto innamorare)", "Ci sarà", "Sempre sempre", and "Libertà!"…