Composed in 1882/3, Rimsky-Korsakov’s Piano Concerto was the last of a series of works written in the very happy middle period of his life; other compositions of this period, rich in charming lyricism, included the opera The Snow Maiden and the orchestral Szakza (‘Fairy Tale’). The Concerto was first performed in March 1884 at one of Balakirev’s Free School concerts in St Petersburg and was the last work of Rimsky to be wholly approved of by his erstwhile mentor. While the lyricism is still sincere and deeply felt in the Concerto, the work also foreshadows the master artificer of the later years.

Jazz pioneer and Hammond Organ s most acclaimed practitioner, Jimmy Smith bridged the gap between soul and jazz, and along with the likes of Ray Charles, forged a sound that appealed to a wide ranging cross-section of music fans during the 50s and 60s. Smith s instrument of choice, the Hammond B-3 with its unique sound and unusual range, adapted well to the genre s flexible leanings, and while Smith was far from the first jazz musician to utilise the organ - legends Count Basie and Fats Waller had both done so in an earlier era - Smith applied the instrument in such a way as to attract the mainstream; he was rewarded for this by becoming one of jazz music s household names and by having his albums fly high on the Billboard Chart in the early 1960s - an unusual feat for a jazz man. This 4CD compilation brings together eight of Jimmy Smith s finest albums, recorded for the Verve label between 1962 and 1964. Including a number of his most successful and critically acclaimed works, all of which originate from this hugely accomplished musician s golden age, this release will serve as both the perfect introduction to Smith s music for the less well versed, and as the ultimate collection for everyone else.

Being that Schubert was suffering great mental and physical anguish at the time of his Octet’s completion in 1824, it’s surprising that the work is so sunny and optimistic. At a little over an hour, it’s the Austrian composer’s longest chamber work—and his most inspired. With just eight instruments, Schubert crafts an opening movement on the scale of a Beethoven symphony, ideas ricocheting between strings and woodwind, bass and treble. The “Adagio” is a sublime song for clarinet that rivals Mozart for its understated beauty while an ebullient central scherzo, stately variations, and suave minuetto culminate in a finale of intense drama that seems to glance toward Wagner. It’s all stunningly recorded and performed, too—a benchmark performance full of wit, passion, and charm.

Over the last decade, Porcupine Tree founder Steven Wilson has been cagey when questioned about a reunion. He's enjoyed a high-profile solo career as a recording artist, producer, and remixing engineer. His bandmates are also busy: Drummer Gavin Harrison has spent years touring with King Crimson as their music director, and since 2016 he's been a full-time member of the Pineapple Thief. Keyboardist Richard Barbieri cut two albums with Marillion's Steve Hogarth, issued a pair of solo albums for Kscope, and done abundant session work. The reunion leaves out bassist Colin Edwin (who remains a vital, intrepid session bassist playing everything from avant-jazz and rock to art folk). Wilson, whose playing style is extremely different, claimed the bass chair in the studio. The formal set offers seven new tracks, and various editions include bonus cuts. The recording sessions for Closure/Continuation were kept secret for a year….

Taking their name from the original Japanese pronunciation of Godzilla, French metal quartet Gojira have risen from the utmost obscurity during the first half of their career to widespread global recognition in the second. Combining elements of thrash, death, math, groove, progressive, and post-metal with philosophical and environment-themed lyrics, the band found mainstream favor in 2012 with the release of their fifth long-player L'Enfant Sauvage and doubled-down on that success with 2016's Grammy-nominated Magma and 2021's hard-hitting and versatile Fortitude.

Recorded at the last stop on their 2002 tour, Alive in Seattle documents an impeccable performance and production, mixed for surround-sound playback on both regular and Super Audio CD formats. A warm artist/audience vibe permeates this set; it's easy to imagine families sprawled out on an amphitheater lawn, taking in the music on an early summer evening…

Prokofiev arranged excerpts from his ballet Cinderella for solo piano as three separate suites: the Three Pieces Op. 95, Ten Pieces Op. 97, and Six Pieces Op. 102. Here Olli Mustonen fashions his own extended suite that starts with Op. 95 intact, continues with Op. 97 reordered minus one piece, and concludes with three of the Op. 102 selections. In the main, Mustonen’s amazingly worked-out pianism toes the fine line between brilliant individuality and irritating self-absorption. In Op. 97, for instance, the pianist brings remarkable crispness and élan to the frolicking triplet figurations throughout Fairy Spring and the Grasshoppers and Dragon Flies, and rubs our noses in the Autumn Fairy’s dissonant accents. At times, however, interpretive tics transform the music’s rhythmic profile and thematic resourcefulness into mannered mush. The Op. 95 Pavane is a case in point.

Dr. Feelgood was the ultimate working band. From their formation in 1971 to lead vocalist Lee Brilleaux's untimely death in 1994, the band never left the road, playing hundreds of gigs every year. Throughout their entire career, Dr. Feelgood never left simple, hard-driving rock & roll behind, and their devotion to the blues and R&B earned them a devoted fan base. That following first emerged in the mid-'70s, when Dr. Feelgood became the leader of the second wave of pub rockers. Unlike Brinsley Schwarz, the laid-back leaders of the pub rock scene, Dr. Feelgood was devoted to edgy, Stonesy rock & roll, and their sweaty live shows - powered by Brilleaux's intense singing and guitarist Wilko Johnson's muscular leads - became legendary…

The four chamber works by Austrian Thomas Larcher recorded here show that's he's a composer to watch out for. His compositional voice is strikingly unencumbered by adherence to any orthodoxy, and his work is direct in its emotional and intellectual communication. My Illness Is the Medicine I Need, for soprano, violin, cello, and piano, is particularly effective; its aphoristic texts come from a Benetton "Colors" magazine that included photographs of psychiatric hospitals and quotations from their patients. Larcher's understated text setting allows the voices of the patients to be heard with unaffected bleakness and it is strongly moving. Even though it uses a contemporary harmonic language, the string quartet Ixxu (1998-2004) is old-fashioned in its emotional clarity. Its last movement, "ruhig," is genuinely peaceful and brings to mind the serenity of Arvo Pärt's Fratres. His 1990 quartet Cold Farmer is similarly direct and generous in inviting the listener in, and here again the slow movement is especially deeply felt and engaging.

Collectables combined Percy Faith's interpretations of Lerner & Lowe's Camelot and My Fair Lady on one compact disc. The two albums make a perfect match, not only because they consist of music written by the same team, but because they capture Faith at his peak. He's well-suited to this style of music, turning the lovely songs into soothing easy listening recordings, which may be a little schmaltzy to some ears but should satisfy his fans just fine.

One of the highest regarded progressive symphonic bands from Iceland. Their career started in 1971, and lasted till 1978. In that time they only managed to release two albums, 1976's "Spelgun" and 1977's "Hríslan Og Straumurinn". They have a predominantly symphonic style, with elements of rock, blues, jazz, and even a bit of funk. Very much in the school of their '70's contemporaries, but infused with the essence of Iceland. Their closest relative would probably be Finland's Wigwam. Other influences are the usual suspects, Yes, Camel, and some Kansas.

Ganymed was an Austrian/German space disco band founded in 1977. In 1978, they released their biggest hit, “It Takes Me Higher”, which hit #5 on the Austrian charts for four weeks and also hit #23 on the German charts…

Charismatic trumpeter Avishai Cohen launched his exuberant, home-grown band Big Vicious six years ago, after relocating from the US to his native Israel, rounding up players to shape the music from the ground up, and co-authoring much of its newest material together with them. The group is an association of old friends. “We’re all coming from jazz, but some of us left it earlier”, Avishai says, summing up the stylistic reach of his cohorts. “Everyone’s bringing in their backgrounds, and that becomes part of the sound of the band.” Textures from electronica, ambient music and psychedelia are part of the blend, so too grooves and beats from rock, pop, trip-hop and more. A wide-open approach to cover versions – from Massive Attack to Beethoven - is also integral to the Vicious vision. Recorded in Studios La Buissonne in the South of France in August 2019 and produced by Manfred Eicher, Big Vicious’s debut album is issued as the band gears up for extensive international touring.