Dinah Washington's first solo recordings (with the exception of a session supervised by Lionel Hampton in 1943) are included on this Delmark repackaging of her Apollo sides. Recorded in Los Angeles during a three-day period, the 12 selections feature the singer with a swinging jazz combo that has tenor-saxophonist Lucky Thompson, trumpeter Karl George, vibraphonist Milt Jackson and bassist Charles Mingus among its eight members. The 21-year-old Washington was already quite distinctive at this early stage and easily handles the blues and jive material with color and humor. Recommended despite the brevity (35 minutes) of the CD.

Trikolon were a very gifted trio from Osnabrück. As precursor of Tetragon, they played a very varied progressive rock. They even were influenced by classic and blues. Their only LP “Cluster” was already released in 1969. It was edited by themselves in a number of 150 copies. Thus it had been one of the most earliest works of this kind. Correspondingly modest were the means with which it was recorded, and here lies its only weak point. But whoever, for example, is listening to “Blue Rondo”, will be excited about the true firework performed on organ, accompanied by racing drums. Hendrik Schaper on keyboards, the creative element of the band, performs brilliantly. As well do Ralf Schmieding on drums and Rolf Rettberg on bass - the latter nowadays a professor for music in Berlin. The bonus track of 22 minutes was recorded live.

III: Chroma/Contour is the third album from Billow Observatory, the collaborative project of Danish producer Jonas Munk (Manual, Ulrich Schnauss collaborator and more) and Michigan native Jason Kolb (Auburn Lull). The album's nine tracks eschew the pulse and rhythm that defined the duo's previous effort (II: Plains/Patterns) in favor of sparse melodic possibilities and a more abstract palette of sounds. Chroma/Contour suggests looking both 20 years forward and twenty years back, while forgetting the present altogether.
Much of the album plays out as a study in minimalism: the texture and colour of each sound is being explored in miniscule detail, with enough space in the soundfield to allow each sonic constituent to breathe fully…

This recording is the first official release in any format of this once-in-a-lifetime concert performance featuring Dame Joan Sutherland and Fritz Wunderlich. In 1959 performances of Handel were just beginning to embrace the original instrument movement making this recording an invaluable historic record of performance practice. In addition to musicological interest, the CDs present Joan Sutherland at the beginning of her illustrious career in the full bloom of youth. She was flown in as a last minute replacement for the scheduled soprano and proceeded to give a virtuoso performance of the demanding title role. Full of Handel's gorgeous melodies and with vocal fireworks in bountiful supply, it is no wonder that Sutherland completely awed the German public. She is joined by Fritz Wunderlich, the acclaimed German tenor, in their one-and-only collaboration. He as well was a last minute replacement and rises to the exacting demands of Handel. His rich and pliant tone is perfectly suited to the technical and dramatic demands of the opera.

After their acclaimed recording of Weber’s Freischütz, the Dresdner Philharmonie and conductor Marek Janowski present yet another German opera classic with Beethoven’s Fidelio. They work together with a stellar cast, including Lise Davidsen (Fidelio/Leonore), Christian Elsner (Florestan), Georg Zeppenfeld (Rocco), Christina Landshamer (Marzelline), and more. This should have been a live concert recording, but recent shutdowns frustrated those plans. Luckily, it turned out possible to record Beethoven’s masterpiece in two studio sessions, with two different, established choirs: the Sächsischer Staatsopernchor Dresden, as well as the MDR Leipzig Radio Choir.

The second half of the '90s was difficult for the Cranberries, not just because of changing fashions, but because the group embraced both a social consciousness and a prog rock infatuation, crystallized by the Storm Thorgerson cover of Bury the Hatchet. Thorgerson has been retained for their fifth effort, Wake Up and Smell the Coffee, but the group has hardly pursued the indulgent tendencies of their previous collaboration with him – instead, they've re-teamed with producer Stephen Street and come up with an album that's as reminiscent of their debut as anything they've done since. So, even if it's wrapped in new clothing, this is essentially a return to basics, and it's a welcome one, since it's melodic, stately, and somber – perhaps not with the post-Sundays grace of "Linger," but with a dogged sense of decorum that keeps not just the group's musical excesses in check, but also O'Riordan's political polemics (although she still sneaks in cringe-inducing lines like "Looks like we've screwed up the ozone layer/I wonder if the politicians care").