This is part of a series of releases on the Naxos label devoted to the 40 symphonies of Michael Haydn, younger brother of Franz Joseph. These have been commercially successful, and it's easy to see why: there's music of unsuspected high quality here, and you can see why the younger Haydn's work was taken for Mozart's in several cases for decades, and why Mozart, who was spare in his praise of other composers, bestowed it upon this one. All four of these symphonies are in the three-movement form that Mozart had mostly left behind by the late 1770s and 1780s (when the Haydn works were composed), but the individual movements are quite confidently handled, with the elegant but harmonically wide-ranging slow movements perhaps the best of the lot.

This album, the first in a series devoted to the 41 symphonies of Michael Haydn, leads off with perhaps the most historically famous one of all: the Sinfonia in G major, Perger 16, is none other than the missing Symphony No. 37 of Mozart, which was not removed from the Mozart canon until 1907. The reason for the error was that a copy of the work exists in Mozart's handwriting; he wrote a slow introduction to the first movement (not performed here), and apparently copied out the piece in preparation. It remains difficult to believe that listeners' suspicions weren't raised before that; the work's simple, squarish movements resemble those of the symphonies Mozart wrote in his mid-teens.

Arriving in the City in 1996 from his home town of Windsor in rural Maine, Craig Lawrence Brann was fully aware of what it was like to be a big fish in a small pond, but was immediately caught up in the powerful current of NYC's vast oceanic and unparalleled jazz scene. From celebrated prodigy to a salubrious pro touché in— you guessed it —a New York minute. With every spare Andrew Jackson, he would make his way into the city to see his known heroes or to be introduced to those who would soon come to crowd that same pantheon.

The Cologne based Haesen & Breidenbach is a jazz / chansons françaises duo consisting of vocalist Charlotte Haesen and guitarist Philip Breidenbach. Together they effortlessly combine jazz, indie-folk and other musical influences from all over the world into their own heart felt and authentic sound.

The velvety voice of one of Canada's most versatile vocalists, Steve Maddock shows a new side belting out the blues on 10 blues-drenched tunes! The project began in 2018, when Cory Weeds pitched an idea to Steve for a Joe Williams tribute show at Frankie's Jazz Club in Vancouver. Williams is arguably one of the greatest jazz & blues singers we've ever had. In March 2019, they played two club dates, calling the show "Nothin' But the Blues: A Tribute to Joe Williams". It was so well received, that they immediately began planning a follow-up gig.

“I see life as a palette of powerful rich colours, each one of them worthy of attention, each one beautiful, even if it is the darkest colour of all. For there is no light without darkness, there is no joy without sadness, there is no white without black. They help each other exist. Each one is the reason for the other. Some songs paint a deep blue haunting loneliness, red inner turmoil or grey melancholy. Others paint a golden dawn full of hope and youth, a purple milky way where all things intertwine and connect, a green endless ocean of the eyes of a loved one.

Weighing in at a hefty 100 tracks across five CDs, "Rock And New Wave: The Ultimate Collection" surveys four decades of hits. The album runs from the beginnings of hard rock in the late 60s (Deep Purple, Iron Butterfly) through the mid-70s (Dr Feelgood, Hawkwind) via punk from the UK (The Damned, The Stranglers) and the US (Ramones, Richard Hell & The Voidoids) to new wave (Ian Dury & The Blockheads, Television). There's also space for eighties US metal (Faith No More, Skid Row), UK alternative rock (Echo & The Bunnymen, The Jesus & Mary Chain) and tracks from the new romantic artists that were inspired by New Wave (A Flock Of Seagulls, The Associates) alongside British rockers from the 90s and 00s (The Darkness, Terrorvision). "Rock And New Wave: The Ultimate Collection" features 100 anthems to appeal to any fan of guitar music.

A group from the New York punk scene established at the CBGB's club in the mid-1970s, Talking Heads gradually turned away from it to merge its rock and funk energy with other musical forms, from electro ambient to world music. from the 1980s. Comprised of leading mind David Byrne (songwriter, songwriter, guitar and vocals), guitarist Jerry Harrison, bassist Tina Weymouth and drummer Chris Frantz, the quartet benefits from the services of visionary producer Brian Eno for both major albums Fear of Music (1979) and Remain in Light (1980), paving the way for the new wave after the post-punk of the first two collections (Talking Heads 77 and More Songs About Buildings and Food).

The Secret Policeman's Third Ball took place at The London Palladium over four consecutive nights 26–29 March 1987. The show's format was retooled in an effort to take advantage of the growing number of rock musicians supporting Amnesty. Instead of it being primarily a comedy show with a few musical cameos, the event made a point of giving equal emphasis to comedy and music. The show's four nights were divided up into two nights of comedy and two nights of music.

Sofia Coppola has, with two elegant movies, proved herself a talented director with a keen eye for interior life. She's also got great ears. For Lost in Translation, the story of a May-December friendship in Tokyo between two displaced Americans, the score is a tonic for jetlag. Coppola prescribes a dose of shoegazer pop, from My Bloody Valentine's chiming "Sometimes" to Jesus & Mary Chain's fuzzed-out "Just Like Honey." The music nails the hazy conscious state of actors Bill Murray (as a movie star with a midlife crisis) and Scarlet Johansson (as an emotionally marooned twenty-something). It also provides a safe, warm envelope in which they can enact their overseas adventures. Working with producer Brian Reitzell, whose band Air scored her previous Virgin Suicides, Coppola lured Valentine's Kevin Shields into providing several slices of dreamy indie-rock and sonic wallpaper, as stylish as it is formless. There's a welcome bit of Japanese goofiness, a funhouse-mirror reflection of U.S. folk-rock courtesy of early-1970s band Happy End. And a "hidden" track provides the audio of Murray, in the film, doing his sleepy karaoke version of Roxy Music's "More Than This."

Gioachino Rossini's Messa di Gloria of 1821, right in the middle of the years when he ruled the operatic scene, has been less often recorded than the free-spirited and personal Stabat Mater of his old age. Various reasons could be advanced for this comparative neglect. Stacked up against Rossini's operas of the period it's something of a mixed bag. Some of it is intensely operatic, but it also looks back to the past with its giant contrapuntal "Cum sancto spiritu" (the mass consists of a Kyrie and Gloria). From the point of view of the cult of individual Romantic genius, a major problem is that Rossini may have had a collaborator on the work, one Pietro Raimondi, who honed some of the more polyphonic passages.

In some ways, this is a strategic retreat for Antonio Carlos Jobim after the classical departures of the '70s – a retrospective of past triumphs, including some of the most trod-upon standards ("Ipanema," "Desafinado," "One-Note Samba," etc.), with Claus Ogerman again at hand. But these are thoughtful retoolings, some subtle, some radical, ranging in backing from a lonely piano to elaborate yet sensitive Ogerman orchestral flights that cram more complexity than ever into the spaces (listen to his beguilingly involved take on "Double Rainbow") with only a few overbearing faux pas. Jobim's own vocals sound increasingly casual in temperament as he serves them up in an unpredictable mixture of Portuguese, English and scat. And there is much unfamiliar material here, often dressed up in a brooding classical manner.

Master and Commander, based on the hugely successful literary series by Patrick O' Brian, chronicles the adventures of Captain Jack Aubrey of The Royal British Navy. Musically speaking, the seafaring genre hasn't lived up to its expectations in a long, long time. For a world saturated with lore, shanties, and melodies inspired by the ocean, Hollywood remains unresponsive, uninspired, and bereft of the combination to Davy Jones' locker. One would expect a bombastic, heroic, and unforgettable motif to assist our protagonist in his exploits, but composers Iva Davies and Christopher Gordon provide nothing of the sort. The original portion of the score succeeds in riding wave upon wave of tension, but swashbuckling tales of the sea require a memorable tune, not just a storm of Taiko drums and washed-out strings. The composers fare better on a recurring folk medley, lovingly rendered by master violinist Richard Tognetti – fans of the novels on which the film is based know full well that Lucky Jack is a fiddle-slinging-bard of a captain – that captures the true spirit of being miles away from home with your mates and fending off ghostly freighters. The remainder of the soundtrack yields a tad more bounty, utilizing famous classical pieces from Mozart, Bach, and Boccherini to great effect, bailing out the brackish water intent on keeping this ship permanently docked.

Disco tunes with a Brazilian spirit – recorded in Philly by Gary Criss, but with all the sunny finish of Copacabana! The tunes were all arranged by John Davis – and have this soaring style that's really great – a mighty vibe that grabs onto all the best Davis energy and moves the grooves strongly – almost in a way that doesn't even need Gary's vocals! Most tunes have a lot of great conga work – which brings an early bottom to the tunes, especially amidst Criss' smoother vocals and the soaring strings in the arrangements – balancing things out in a surprisingly great way. Titles include "The Lady Is Latin", "Amazon Queen", "Rio De Janeiro", "The Girl From Ipanema", and "My Rio Lady". CD features bonus tracks – "Rio De Janeiro (Tom Moulton 12" mix)", "Rio De Janeiro (Richie Rivera 12" mix)", "Brazilian Nights (12" mix)", "Amazon Queen (12" mix)", "Rio De Janeiro (single version)", and "Brazilian Nights (single version)".

Former leader of Nerves (Californian punk-rock group) and Plimsouls, he began a solo career in 1987. Described as a “masterpiece” by Rolling Stone magazine, his first album was produced by T Bone Burnett. John Hiatt, the Byrds are on it. His unmistakable voice serves autobiographical lyrics in a mix of scorching rock and edgy blues.