Itaipu (1989) is something of a cantata-cum-symphony-cum-oratorio with no clear text. Its topic is the world's largest hydroelectric dam, built on the Rarana River between Paraguay and Brazil, and the piece–in Glass's trademark punctuating minimalism–is filled with distinct South American instrumentation, particularly in the percussion. The music itself is noble, conjuring the human endeavor to build the five-mile-wide dam near the town of Itaipu. The Canyon (1988) is about no canyon in particular but tonally suggests the mystery of canyons in general. Both these compositions are among Glass's better works.

TDK presents an impressive staging of one of Rossini’s opera masterpieces. This production, staged by La Scala Milan is conducted by Riccardo Muti. Moïse et Pharaon - Rossini’s re-adaptation of the story of Moses in Egypt - emphasizes the dramatic moments of the biblical account beautifully and also demonstrates the composer‘s mastery of the French tradition: solos and choral work are superb compositions, the duets are expressive and touching. Including an extensive ballet scene at the beginning of Act III and featuring a preeminent international cast of singer-actors – Erwin Schrott, Barbara Frittoli, Sonia Ganassi - this recording brings a Rossini experience of the highest rank onto the screen.

Sigismund Neukomm (1778-1858) was one of the most remarkable characters of the music scene in the classical and early romantic era. He started as a pupil of Johann Michael Haydn, and later had close ties with his older Joseph Haydn. During his life he came into contact with almost every composer of fame. He travelled throughout Europe, but didn't stay very long at one place. It is assumed he has written about 2,000 works. Among them are 50 masses, three funeral services and four Requiems.

In this unusual recording Andreas Skouras demonstrates the tremendous range of tonal and expressive possibilities offered by the harpsichord. The program is highly personal but also dramaturgically cogent: A selection from the sonatas of Domenico Scarlatti is juxtaposed with four works from the 20th century.

In the late 1960s, Peter Green was one of a handful of British lead guitar heroes who were turning the music industry upside down. As a member of the original version of Fleetwood Mac, Green's tortured lead work was on a par with Eric Clapton, Jeff Beck, and Jimmy Page and many championed him as the top of the heap. Unfortunately, Green's promise came crashing down quickly, as drugs and his involvement with the occult drove him from the band and public life. He sold his beloved Les Paul guitar to become a grave digger and severed all ties to show business. Over the years, he has slowly eased himself back into it, making surprise appearances at other stars' concerts and starting to play regularly again. While his legions of true believers wait for him to find his way back to full recovery, we have this album, recorded after a successful American tour with his regular band, the Peter Green Splinter Group…

What the Dead Men Say finds Trivium firing on all cylinders. Bent's double-kick drum attack and blastbeats have been fully integrated into the band's punishing amalgam of deathcore, prog metal, thrash, melodic death metal, and more. As evidenced by the pre-release tracks "IX" and "Scattering the Ashes," in a Spawn trailer for Mortal Kombat 11, Trivium revisited various sonic eras in their history while moving their music ever forward. The former cut is an instrumental that builds in grandiose intensity for two minutes then bleeds into the crushing title track. As furious as anything on TSATS, it also employs the mind-melting technical prowess Shogun boasted. "Catastrophist" commences as nearly radio-friendly with a hooky chorus before it shifts gears halfway through to become a meld of roaring vocals, twin guitar leads, and spiraling death metal riffs fueled by Bent's triple-time drumming…

Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death in a car accident. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans and Hall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music.

A Progressive/Jazz-Rock band from Denmark, Coma came from the city of Frederikshavn in the northern part of the country and were around since 1971. The main line-up consisted of five members on bass/drums/saxes/double guitars and their debut ''Financial tycoon'' was recorded at Plexus Studios in Ringsted with three guest musicians on vibraphone, trumpet and violin. The album was released in 1977 by Genlyd Grammofon.
A quite daring band not afraid to mix different sights and sounds, Coma travelled from Zappa-esque Jazz-Rock to Psychedelic Heavy Rock and back. The majority of the tracks falls into a Jazz-Rock, often meeting straight Jazz on the way, with huge and interesting sax solos by Jakob Mygind in the style of Out Of Focus and technical playing by the rhythm section blended with obscure vocals with a humurous edge…

Known best as a member of Art Blakey's Jazz Messengers, American jazz trombonist Curtis Fuller also contributed to many classic jazz recordings, but, crucially, was a fine bandleader in his own right whose late 1950s and early 1960s output remains his best work. This four CD set features music from the era during which Curtis Fuller was at his musical prime, and when he released the strongest records of his career as leader or co-leader. Featuring eight such records in perfect re-mastered sound, this collection is an ideal starting place for newcomers to the great man's music and a fine reminder of his talent and creativity for everyone else.

Ulf Meyer & Martin Wind, featuring Billy Test and Alex Riel - Time will Tell: expressive musical testimony of a supergroup. Some supergroups arise out of pure calculation - others out of sheer coincidence or happy coincidence. The latter proves the quartet around Ulf Meyer (guitar), Martin Wind (double bass), Alex Riel (drums) and Billy Test (piano/organ/Fender Rhodes). Their album "Time Will Tell" is a musical and mental self-reflection worth listening to, presented in nine tasteful compositions - from easygoing swing numbers to intense, emotional blues ballads.

Returning anew to the original record it's fascinating to re-discover how provocative Pink Floyd's classic remains, and to hear how well this quartet's collective interplay served that music. And how beautifully Sam Yahel's organ-while not the dominant voice, surely a prominent presence-sets the aesthetic tone for these proceedings: nothing rushed or forced or extravagant…elegant and swinging and exploratory, never stepping on anyone's toes-deceptively laid back and responsive, always listening intently, with plenty of rhythmic vitality…a sensibility he shares with collaborators Mike Moreno, Ari Hoenig and Seamus Blake, which goes a long ways towards explaining why their take on Pink Floyd's music is so engaging and stands up so well to repeated listenings.

This live album was recorded at the garden party of German Winfried Wiesrecker. There are not a lot of people who can say that they had a concert in their backyard. After Winfried asked Ron Boots to play there, Ron promised he would do something special. Sometimes, Ron is in his studio in the Dutch village of Best not working on an album but just enjoying himself with his toys. At a certain moment, Eric van der Heijden and Harold van der Heijden joined him and the music you can hear of this album started to grow. Also Frank Dorittke (FD Project) was asked to accompany them on electric guitar. Off course, these four men are now known as MorPheuSz. The music the musical friends played in Winfried’s garden, is the first under this name so the garden is the birth cradle of MorPheuSz.

“My God it’s good to see you…” That first line from Nickel Creek’s seventh album Celebrants likely prophesies the warm response awaiting the Americana-bluegrass group’s first all-new release in nine years.

After blazing a trail with 2020’s critically acclaimed Good Luck Seeker, The Waterboys waste no time in delivering their brand new record All Souls Hill on Cooking Vinyl. First track The Liar is a creeping, groove-laden masterpiece, taking a powerful, descriptive swipe at Trump and the lies and deceit that infest those in power. All Souls Hill is nine tracks of Waterboys brilliance, all mixed by Scott himself. All Souls Hill is current, on the money social commentary, but with an air of hope. "All Souls Hill is mysterious, otherworldly, tune-banging and emotional.” comments Mike. “I made it with Waterboys old and new and my co-producer, brilliant sonic guru Simon Dine. Its nine songs tell stories, explore dreamscapes, and cast a cold but hopeful eye on the human drama."