NEAL BLACK, Texas Blues Rock, Roots Musician, has spent the last 25 years electrifying audiences around the World with his fusion of Blues, Rock, Roots Music. Referred to by one critic as "THE MASTER OF HIGH VOLTAGE TEXAS BOOGIE". His albums have received 4**** reviews from Rolling Stone Music Critics as well as reaching the Number One position on European Radio Charts. As a guitarist Neal Black's credits include performances on stage or in the studio with Blues/Rock legends: ​Chuck Berry, Popa Chubby, Jimmy Dawkins, Larry Garner, Lucky Peterson, Johnnie Johnson, The Chambers Brothers, Papa John Creach, Elliott Murphy, Johnny Copeland, Jimmy Vivino, Michael Meritt…

The Mirage is a late 1960s psychedelic pop band from London, England. They released seven singles in the UK. Their most notable release was their 1967 single, "The Wedding of Ramona Blair". The Mirage were under contract as house band to Dick James Publishing and backed Elton John at some of his early concerts. Bassist Dee Murray later worked Elton John's band.
Dave Hynes and Murray replaced Pete York and Eddie Hardin in The Spencer Davis Group in October 1968. Hynes and other members of the Mirage formed the Portobello Explosion. That band then changed into the equally no-commercial Jawbone.

Singer/songwriter Jacques Dutronc gained popularity in his native France with his provocative songs that matched the rebellious spirit of the '60s so well. Though he was absent from the musical scene for nearly a decade, pursuing a film career, he successfully returned to music in the early '80s and still remains one of the most popular performers in the French-speaking world. Dutronc started as a guitarist in the small rock group El Toro et les Cyclones, who recorded two singles. In 1965, he was asked by the manager of Françoise Hardy to write a few songs for her, so Dutronc composed "Le Temps de l'Amour" and "Va Pas Prendre un Tambour." Having proven himself a successful songwriter, Dutronc decided to pursue a solo career. It started in 1966 with such hits as "Et Moi et Moi, et Moi," "On Nous Cache Tout, On Nous Dit Rien," "Les Play-Boys," and others. His 1968 song "Paris S'Eveille" became an instant classic of French pop music. In 1973, Dutronc successfully ventured into film acting, which would eventually bring him a Best Actor Cesar (a French equivalent to Oscar) for the leading role in Van Gogh. His musical career resumed in 1980 with the release of the album Guerre et Pets, the result of his collaboration with Serge Gainsbourg. It was followed by 1984 hit single "Merde in France." The 1987 album CQF Dutronc boasted the work of Earl Slick (David Bowie's guitarist), Jean-Jacques Burnel (Stranglers), and Etienne Daho, among others. After the successful 1992 tour, Dutronc released a live album and a collection of his old hits. His 1995 studio album Brèves Rencontres was produced and arranged by Erdal Kizilcay.

It took 53 years, but now, at last, The Beatles’ final public performance can be heard – with all the songs complete and uninterrupted. True, a split-screen sequence of the remarkable event on January 30, 1969, was the climax of Peter Jackson’s epic Get Back trilogy. But the film’s fascinating cutaways to the drama unfolding at ground level meant the music on the roof was not always in the foreground. Finally, a new mix by Giles Martin and Sam Okell presents virtually every second from the two reels of tape containing the rooftop session. Listening to this historic audio is a thrilling experience. Although no one knew at the time, this was The Beatles’ last gig. But it’s a perfect live finale – original, humorous and unprecedented: elements that are forever associated with The Beatles.

Widely regarded as one of the foremost interpreters of Bach's music today, Masaaki Suzuki has made his name both as the artistic director of the Bach Collegium Japan and as a performer on the harpsichord and the organ. Much interest has been focussed on the BCJ/Suzuki series of Bach Cantatas, begun in 1995 and reaching its final stretch with the recent release of Volume 46 (of a projected 55 discs). Hailed by the international music press, this monumental undertaking has acquired a world-wide following. From the very beginning of the collaboration with BIS, however, there have been numerous recording projects beyond the sacred cantatas of Johannes Sebastian, and, indeed, beyond Bach himself. Some of these acclaimed recordings can now be found in a limited edition boxed set, released in connection with the 20th anniversary of Bach Collegium Japan this year.

In musical notation in Germany, the letter ‘h’ is used to represent the note b natural. So, the name ‘Bach’ forms an elegant phrase of two pairs of falling semitones. This proved an inspiration to Johann Sebastian, whose musical ‘signature’ appears again and again throughout his extensive output. Two shining examples are included on this album – the ‘unfinished fugue’ Contrapunctus XIV à 4 from Die Kunst der Fuge (as completed by Lionel Rogg) and the exquisite Ricercar à 6 from Musikalisches Opfer. Bach’s signature – as well as musical invention – has directly influenced scores of other composers down the years, as evidenced by the works included here, from Mendelssohn to Karg-Elert. The organist and, from 2008 until 2021, Assistant Director of Music at St Paul’s Cathedral, Simon Johnson has used his knowledge and insight to construct this programme to demonstrate the extraordinary range and scope of the cathedral’s organ. Expertly recorded by the Chandos technical team, this album provides an outstanding testament to this fine instrument and to the unique acoustic of the world-renowned cathedral in which it sits.

Schumann Gold Review by Blair Sanderson
To celebrate the 200th anniversary of Robert Schumann's birth, Deutsche Grammophon combed through its vast archives for the most representative excerpts and short pieces by this famous German Romantic composer, not only drawing on his collections of lieder and keyboard pieces, but also taking movements from long works, such as the symphonies, concertos, and chamber pieces. This 2010 twofer presents a distinguished roster of artists, from conductors John Eliot Gardiner, Leonard Bernstein, Rafael Kubelik, Georg Solti, and Herbert von Karajan, to pianists Martha Argerich, Vladimir Ashkenazy, Vladimir Horowitz, Nelson Freire, Maria-João Pires, and Radu Lupu, along with a large number of chamber instrumentalists and vocalists to make this a sampler of the label's stars, as well as a survey of Schumann's most memorable music. One might think a collection that spans several decades and offers both ADD and DDD recordings might sound uneven, but the audio quality is fairly well balanced in volume and consistently clean across the album's 33 tracks. Because examples are given of all of Schumann's key works and favored genres, this is a fine introduction to his music, and Schumann Gold provides easy access to many fine offerings in DG's catalog.

Alexander Glazunov was one of the most important Russian romantic composers, but didn’t belong to the “Mighty Handful” or “The Five”, whose strongly nationalistic tendencies he respected, but did not embrace. Glazunov’s music is of “western” charm, lyricism and inner passion. His symphonies, still somewhat neglected in favour of those of his compatriot Tchaikovsky, are brilliantly orchestrated and full of sweeping romantic grandeur, a true discovery for those not acquainted with these Russian master pieces!

Zorn and Laswell have been friends and musical compatriots since they first met in 1978, and have been responsible for some of the most intense and memorable music in the late 20th and early 21st centuries. Recorded in early 2021, near the end of the year’s pandemic lockdown, it marks the first time Zorn had touched the saxophone in over fifteen months. Laswell had spent most of the year locked in his apartment. Something special was happening that day—and after the session Laswell felt rejuvenated—as if all the toxins and poisons had left his body. Soulful and essential, "The Cleansing" is an historic meeting—and the first recorded duo project by these two Downtown magicians.

In 2008, after a fifteen-year hiatus, the legendary Cynic reemerged with 'Traced in Air.' An album of sublime beauty, "Traced in Air" blended their renowned musical prowess with splendor and grace. Now, a decade later, the trio usher forth a renewed edition of that very album. Featuring new tracking by virtuoso bassist Sean Malone, and a vibrant new remix and remaster by Periphery’s Adam "Nolly" Getgood (Animals As Leaders, Devin Townsend, Haken), "Traced in Air Remixed" underscores just how vital and important this album truly is.

This album compiles recordings from '64 and '65. Them was a constantly changing group, and exact personnel listings for each recording are now impossible to determine, but Van Morrison and bassist Alan Henderson were the driving forces…

This album of popular short pieces provides a memento of the first French lockdown in 2020: Renaud Capuçon and pianist Guillaume Bellom performed on social media each day, raising the spirits of their fans. Ideal for streaming, the collection includes music by Enrico Morricone, Charlie Chaplin, Carlos Gardel, Tchaikovsky, Rachmaninov and Schumann.

A rare treat from vocalist Saundra Hewitt - a singer with an incredible range right from the start - and a righteous power that matches some of her bigger-name 70s contemporaries! The grooves here are jazzy, but with a definite soulful undercurrent - especially on the rhythms, which often get a nice crackle from Bernard Purdie's drums! Paul Griffin plays electric piano on the set, and Bob Mintzer serves up some nice tenor solos too - but the whole righteous vibe hangs heavily on Saundra's great lyrics - on tunes that inlcude "Won't Be Water Next Time", "Got A New Pair Of Shoes", "Heart Of Stone", "Up On Cripple Creek", "Just To Be With You", and "I Loved You Too Much".

The second album of this Danish group has very similar sound textures as found from their first album. They are emphasizing acoustic, carefully constructed harmonies, analogue organs and beautiful singing melodies for painting lush feelings to being paired with upright rock'n'roll passages. In addition of the more delicate and dynamic parts, there are also some quite straightforward and more unimaginative moments here, like the track "Classified Adds" - A symptom of filler-track syndrome, which was diagnosed already on their first album. The beginning of the fourth tune "Late Night Woman Blues" returns back to more ethereal feelings, morphing as a traditional blues number with acoustic slide guitars and amplified rhythm guitars…

Nathaniel Rateliff and the Night Sweats present their 3rd studio album, The Future. Nathaniel once again demonstrates that he is a writer and performer of the highest order, who seems to be smack dab in the middle of what we all hope is an extended creative peak. The album showcases Nathaniel's unique observations of our world and people's ongoing struggle in learning how to better understand each other. The Future was produced by Brad Cook (Bon Iver, Kevin Morby, Waxahatchee, Hiss Golden Messenger) and R.M.B. The latter being the production team of Nathaniel himself, Patrick Meese, and James Barone (Beach House).