This is also known as Piano Greats (according to Amazon). the album consists of three sides by Corea (featuring Hubert Laws, Woody Shaw , Bennie Maupin , Dave Holland , Jack DeJohnette , and …), and three sides by Mike Longo – to provide, according to the sleeve notes, "a brief rest between the more demanding works composed by Chick Corea".

Rare and collectable Pink Floyd broadcast recordings from 1969 - digitally remastered - including BBC sessions, audio from TV broadcasts from France and Germany, plus an early concert recorded at Southampton University.

Twenty years ago, Joe Bonamassa took the music world by storm when he released his debut solo album 'A New Day Yesterday'. Now in 2020, the blues-rock titan announces a revamped version that has been completely re-sung by Bonamassa and remixed and remastered by long-time producer Kevin Shirley. This re-release comes with three bonus tracks, produced and written with Steven Van Zandt, the legendary guitarist from Bruce Springsteen's E-Street Band.

This program is simply delicious As with other releases in this series, Howard Shelley plays Hummel with elegance and flair. Much of this music, particularly in the shorter concert works, is very brilliant and highly decorative, but Shelley never makes you feel as though it consists of empty note-spinning. The London Mozart Players accompany sensitively and with aplomb. A good time was clearly had by all, including the engineers, who provide vivid sonics.

Gathered here are two masterpieces of late 19th-century French orchestral music. Cesar Franck's Symphony in D minor (1888) is his only symphony. Drawing its lineage from later Beethoven and Schumann, it's very cohesive and its themes are quite distinct, remaining quite popular. Vincent d'Indy's Symphonie su un chant montagnard francais (1886) is a very efficient fusion of a symphony with a piano concerto. The themes are supple yet smoothly integrated into a three-movement tapestry that has also never seen its popularity fade. Many versions of these exist on disc, but Charles Dutoit seems to have a better feel than most.

Legendary British Blues Rock band Savoy Brown led by founding member Kim Simmonds, announces the release of their exciting new album, Ain't Done Yet, on Quarto Valley Records. The new album follows Savoy Brown's critically acclaimed 2019 album, City Night. "The new album continues the approach I've been taking with the band this past decade," says guitarist/singer/songwriter Kim Simmonds, who formed the band in 1965 in London, England, and is one of the longest running Blues Rock bands in existence. "The big difference with the new album is the multi-layer approach I took to recording the guitar parts. It's all blues-based rock music. I try to find new and progressive ways to write and play the music I've loved since I was a young teenager."

This disc present the essence of Grainger in many familiar pieces without the density of voices or the enchanting demands of richly dished-up arrangements. The piano is usually a sine qua non. The Arrival Platform Humlet is slightly Bachian. Stephen Orton and Hamish Milne play Scandinavie – a five movement suite for cello and piano. This encompasses soulful, Alfvén jolly and Griegian light romantic. It’s a surprise we do not hear this more often or indeed the other nicely calculated pieces here.

David Darling continues his extraordinary solo cello voyage launched on Journal October (1979) and continued with Cello (1992). The cinematic qualities of Darling's solo music has led to its use in films by Jean Luc Godard and Wim Wenders. Dark Wood inspires a different art form: the CD booklet contains a short story, 'Disturbing the Night', specially written to accompany the music by Barry Lopez, American author of the acclaimed Arctic Dreams. Lopez wrote the story as a literary counterpoint to the evocative music of Dark Wood. The music experiments further with the unique multi-tracking techniques used on Cello, creating haunting harmonies and rich textures.

The instrumental concerto occupies a very prominent place in the music of Krzysztof Penderecki. This fact is related to the great life force exhibited by this genre in twentieth century and in contemporary music. It is stimulated by commissions from virtuosos and by audience expectations; also favourable is the composers’ flexibility in approaching the form, whose chief idea continues to be the juxtaposition of the solo instrument and the orchestra. The violin and viola works presented on this CD are not only interesting, concrete realizations of the concertare idea in Penderecki’s music, but also examples of this composer’s sonic language and style in the period of his creativity which Mieczyslaw Tomaszewski called a "time of dialogue with the regained past".

Alligator Records shows a different side of its house-rocking face on this 13-cut collection of acoustic blues. While Muddy Waters, Robert Johnson and Bukka White don't appear here, other performers – some of whom one normally associates with overdriven electricity – are. Buddy Guy is present, as is Stevie Ray Vaughan. Koko Taylor's "The Man Next Door" is here and it's one of her greatest performances on record. In addition, Johnny Winter, who was no stranger to a National Steel string bottleneck earlier in his career, returns to give it another go, and the true roots doctor Corey Harris is here with "God Don't Ever Change," and Carey and Lurrie Bell with "Stop Running Around." Guy's "Hi Heel Sneakers" is terrific as is Winter's "Evil on My Mind." But it's those that are normally associated with the acoustic blues like Harris, Saffire – The Uppity Blues Women, Cephas & Wiggins, John Jackson and the legendary Sonny Terry who come off best, bringing the true rhythm and mystery with them into their songs.

Human's Lib is fueled by the nonstop synth-pop hooks and brightly textured melodies that went on to be a trademark of Howard Jones. His brand of spirited keyboard-and-lyric exuberance lent itself to a large part of the mid-'80s, especially in Britain. The tracks on Human's Lib are energetic and colorful, coming to life the best on "New Song," a number 27 hit for Jones in the U.S., and on the finely structured "What Is Love?," which gave him the number 33 spot on the singles chart four months later. While both of these songs rested at the bottom end of Billboard's Top 40, they went to number three and number two, respectively, in the U.K., with the album going all the way to number one, proving that his techno-pop stylings were better-appreciated on his side of the Atlantic. Outside of the singles, the album still holds well, with efforts like "Hide and Seek," "Conditioning," and "Pearl in the Shell" following through with a buoyant but orderly techno-pop keenness mustered through his clean use of the synthesizer. Although 1985's Dream Into Action is tighter both musically and lyrically, Human's Lib acts as a well-grounded starting point for Jones' future success.

Dee Dee Bridgewater performs 13 of Horace Silver's songs on her very well-conceived release. On most selections she is accompanied by her French quintet, but there are also two guest appearances apiece for organist Jimmy Smith and pianist Silver ("Nice's Dream" and "Song for My Father"). Bridgewater uplifts Silver's lyrics, proves to be in prime form, and swings up a storm. Other high points include "Filthy McNasty," "Doodlin'," and "Blowin' the Blues Away." A gem.

For her entry into the increasingly popular Great American Songbook subgenre, Diane Schuur de-emphasizes the vocal histrionics that in the past have come close to spoiling some of her recordings and maintains a steady, clear, exuberant tone. Good move: one of Schuur's gifts is her multi-octave range, but she has often over-relied on it at the expense of whatever song she was singing. Here, she takes to the classic compositions of George and Ira Gershwin, Rodgers & Hammerstein, Irving Berlin, and the like with a respectfulness and glee that allow her to frame and expose these culturally embedded lyrics and melodies without beating on them.