Live at the record plant Los Angeles, March 20, 1974.

Liam Gallagher documents his triumphant two-night Knebworth Park shows with the release of the live album 'Knebworth 22'. Returning to the scene of the era-defining Oasis gigs of the '90s, the huge audience stretched from fans who had been present some 26 years earlier right through to teenagers relishing the excitement of their first big gig. 'Knebworth 22' is a must-have live album for any fan who wants to relive the experience.

One of the most recognised and esteemed names in all of jazz music, Dizzy Gillespie's work, his live performances and his multiple recordings are legendary. A truly gifted player on his chosen instrument, the trumpet, Gillespie was famous for the complexity of his improvisation. His work also had a profound effect on the popularity of bebop during the 1940s and 1950s. Dizzy's influence on host of jazz masters who followed in his footsteps, from Miles Davis to Lee Morgan and numerous others, was profound, and he embraced a wide variety of styles and arrangements during his lifetime. Some of his finest work emerged during the late 1950s to the mid-1960s, when he was initially signed to Verve Records, and then, from 1962 onwards, to the legendary Philips label. This four-disc collection, containing over five hours of music in total, features eight of the finest LPs Gillespie recorded for Philips during the 1961-1964 period, and houses some of the best playing to grace jazz records at this time.

The bilingual multi-instrumentalist (guitar/piano) and vocalist will likely be lumped with fellow Canadian blues women such as Sue Foley (who was instrumental in bringing her to Ruf's attention), but on the basis of this sophomore release, that's misleading. Rather, the Ottawa raised musician infuses blues into a variety of singer/songwriter styles. The Way It Feels, which was released in Canada almost a year before it came out in the States, revels in different musical set pieces that display Roxanne Potvin's sultry voice and eclectic stylings. The guest roster of Daniel Lanois, John Hiatt, Bruce Cockburn and Memphis Horns veteran Wayne Jackson indicates that Potvin is comfortable in styles besides the blues and R&B that characterize, but doesn't monopolize, this album. Terrific, even revelatory covers of Joe Tex's "I Want To (Do Everything for You)" and Freddie King's "Your Love Keeps Working on Me" find Potvin immersed in the soul aspects of the blues, and her own compositions that dominate this set occasionally follow suit. The lovely solo piano ballad "Don't Pay Attention" is clearly aimed at the Norah Jones crowd, as is the waltz time, French-sung "La Merveille".

Recorded in Ghana in 1981, Mick Fleetwood's solo debut reveals more diversity and depth of feeling than any of Fleetwood Mac's multi-platinum monsters. Six of the tracks are not overt attempts at worldbeat, instead using a variety of West African musicians as sidemen, sidewomen, and, in the case of drum ensemble Ebaali Gbiko, sidechildren. Of these six tracks, several stand out. "Walk a Thin Line," written by Fleetwood Mac guitarist Lindsey Buckingham, is an infectious pop song blending Adjo Group's enchanting backing vocals with guest George Harrison's lush 12-string and slide guitars. Another Fleetwood Mac veteran, Peter Greenbaum (aka Peter Green), accompanies a multinational percussion section for a remake of his "Rattlesnake Shake," originally found on Then Play On. Even the Buddy Holly classic "Not Fade Away" gets supercharged with a percussion ensemble made up of Fleetwood on drums and Lord Tiki and Adjo Group on hand drums and percussion. The West African tracks that make up the remainder of the album are pure pleasure.

Recognized most for his keyboard work but also a composer, producer, arranger, and vocoder-armed vocalist, Brandon Coleman is among the flock of jazz-rooted musicians hatched out of Los Angeles during the early 2000s. The musician is connected with virtually all West Coast luminaries of his generation – Kamasi Washington, Ryan Porter, Miles Mosley, Thundercat, and so on – and has ventured stylistically afield with Babyface and Anthony Hamilton among those who have sought his talent. Moreover, Coleman is likely the lone link from smooth jazz stalwart Boney James to polyglot experimentalist Flying Lotus, the latter of whom featured him on Until the Quiet Comes and You're Dead!, and issued Resistance on his Brainfeeder label. This is actually Coleman's second album as a leader. His first, Self Taught, received a low-key release in 2011 and a few years later was reissued in Japan. Like it, Resistance enables Coleman to indulge in his affinity for late-'70s/early-'80s electronic funk from a jazz perspective. As a teenager, around the time he started learning to play, his head was spun by Herbie Hancock's vocoder-ized Sunlight, and that work, as well as other openhearted moments of the master's catalog from Man-Child through Lite Me Up, informs the material here. Considering Coleman's rare spotlight, truckload of stockpiled gear (20 instruments, just for himself), and accommodation of fellow instrumentalists and background singers numbering in the dozens (including many L.A. players), Resistance is extraordinarily condensed.

Noname’s first album in five years is a cool and masterful interrogation of the culture. She's taking everyone’s name—including her own. Sometimes the only way to work through the bullshit is to point at your close friends and ask, “Do you all see this, too, or am I bugging?” Their confirmations stop you from feeling like you’re on a different planet from everyone else. That’s the driving force behind Noname’s first project in five years, the eye-opening and disruptive Sundial. On the first track, with her typical buttery, head-in-the-clouds delivery, she raps, “We smokin’ positivity like dust, trust.” It’s a cutting quip: She’s fed up with anti-critical positivity, the kind that leads corporations to dress up and commodify Black art, turning an artist’s politics into a commercialized performance. She has no time for the idea that It’s all good as long as they’re Black, no matter what they’re selling. Sundial pushes back against that complacency in a real regular-person kind of way. It’s not preachy or too heavy. Noname is not trying to sell herself as a revolutionary. She’s also unafraid of biting self-reflection that leaves her own contradictions out in the open. In rap, where it’s so often about seeming indestructible, hanging yourself out to dry is a gutsy move.

The new instrumentation published by Edition Eulenburg in l972 was used as the basis for this recording. This edition attempts to remove the obvious errors in Franz Xaver Süssmayr`s “routine instrumentation” (Bruno Walter), which has been the subject of criticism more or less since he made it at the request of Constanze Mozart, and furthermore to colour it with the hues ot Mozart’s own palette.

Although at least one of the three oboe concertos on this recording is almost undoubtedly spurious, this is still one of the loveliest Handel recordings ever made - gorgeous melodies, elegant but energetic playing and sound engineering that can hardly get any better.

The Messa di Santa Cecilia (mass of Saint Cecilia) is a religious work by Alessandro Scarlatti, written in 1720 for five soloists (SSATB), choir and orchestra, commissioned by and dedicated to cardinal Francesco Acquaviva of Aragona. Scarlatti was sixty years old at the time and composed at the beginning of the 18th century, in a modern style of the period, characterised by brio and seduction, which culminated in the great masses of Bach and Beethoven and "seems to foretell Haydn's last masses". This remarkable work, "coronation of all his church music", almost contemporary of Bach's Magnificat (1723), has nothing to envy to it, "both in terms of musical interest and stylistic synthesis of early 18th century trends".

Here we have coruscating performances by Simon Callaghan and the Sinfonieorchester St Gallen of three of Reinecke’s four piano concertos. Written respectively in 1860, 1872 and 1900, they reflect big changes both in their musical hinterland and in his evolving art. Callaghan certainly plays them with conviction…he and Pitrénas give Reinecke’s invention space to breathe. The melodic invention is not so individual as that of Brahms or Robert Schumann, but [No. 1] is a fine work that deserves a place on the concert platform…This is a delightful disc and leaves me hoping that Hyperion will give us the Third Concerto (perhaps with the early Konzertstück Op 33) in due course.

The Blu-ray delivers a variety of Whitesnake video footage, including live tracks from the band's 2008 European tour, acoustic performances from the era, and an interview by Eddie Trunk. New songs like “Best Years,” “A Fool In Love,” and “Can You Hear The Wind Blow” come to life in these incredible live performances. The Blu-ray also features promo videos for “Ready To Rock” and “Lay Down Your Love.”

Prepare for an explosive journey through a blistering setlist with Duran Duran's 'A Hollywood High' on Blu-ray and DVD. Visually stunning, this electrifying high-rise rooftop performance was filmed in Los Angeles at The Aster, framed against an iconic LA skyline and the Capitol Records building. Experience the pulsating energy of the band's timeless music in crystal-clear 4K, enhanced by 5.1 and Dolby Atmos surround sound. With exclusive extras, behind-the-scenes footage, and interviews, this video is a must-have for any Duran Duran fan. Bonus features include: Interview with Roger Taylor, ‘All Of You’ exclusive (never seen before) performance, Film premiere Q&A highlights

NOW Music proudly presents NOW – 80s Alternative: 80 tracks across 4 CDs encapsulating the era and celebrating an incredibly diverse decade for ‘Alternative’ music.

Was den deutschen ihr Nibelungenlied, das ist den Finnen die Kalevala. Dieses Nationalepos inspirierte Sibelius zu künstlerischen Höchstleistungen, wie Der Schwan von Tuonela oder Tapiola. Im reich bebilderten Booklet werden zudem die wichtigsten Szenen durch Werke des Nationalkünstlers Aksela Gallen-Kallelas illustriert. Für die Zusammenstellung konnte man aus dem reichhaltigen Fundus hervorragender Sibelius-Aufnahmen des Ondine-Katalogs schöpfen.