Universe in Blue, a collection of undated live club performances by Sun Ra & His Blue Universe Arkestra, was issued in small-run pressings with two different LP covers on Sun Ra's Saturn label in 1972. Until now it has never been officially reissued on LP or CD.

For the last 12 years, audiences have scrambled to get seats at venues whenever celebrated American tenor saxophonist Mark Turner toured with Danish guitarist Mikkel Ploug's quartet. The bond between the musicians becomes especially evident when they explo-re their shared musical language which seam-lessly blends composed and improvised ma-terial. On his new album, NOCTURNES, Ploug presents new original compositions and fresh interpretations of inspiring source material by Danish composers Bent Sorensen and Carl Nielsen.

These three sonatas - composed originally for the viola da gamba and harpsichord - are very musically-appealing compositions. And unlike previous Baroque cahmber-music tradition, the harpsichord is not relegated to mere continuo but projected into the spotlight as co-soloist - perhaps to showcase some of Bach's keyboard virtuosity. There are several fine period recordings of these works on viola da gamba and harpsichord (Savall, Peri, Crum, Wispelwey) or modern cello with harpsichord (Ma, Tortelier). But if your taste favors all modern instuments (cello, piano), then this circa-80's CD by the legendary Martha Argerich and Misha Maisky is the ticket.

Dr. Wu' a.k.a. Jim Ashworth and Bryan Freeze have up until now, been deeply rooted in Texas Blues with the help of such players as the great Buddy Whittington, Mouse Mayes, Red Young, and other top musicians. Band mates Jim Ashworth and Bryan Freeze formed Dr. Wu’ in 2002 after growing up and playing in various bands starting in the late 60’s. The name was taken from a favorite Steely Dan song that encourages us to live life to the fullest and strive to be the very best that we can be.

Jephtha was the last full-length composition that Handel wrote. (The Triumph of Time and Truth of 1757 was almost entirely made up of pre-existing music.) Given this fact, and also that the actual writing of it was an inordinately laborious task for Handel as he fought with rapidly failing eyesight, it's incomparable depth of expression and personal commitment make the whole work a profound and magnificent conclusion to his life's output. Based on a story from Judges XI, it tells of Jephtha leading the Israelites against the Ammonites and his ultimate sacrifice.

A second solo album and a second Gramophone 'Choice' accolade which was widely acclaimed as a benchmark recording.
Pamela Thorby has an international reputation as one of the most versatile and stylish recorder players of her generation. Her virtuoso playing can be heard on numerous recordings, ranging from the medieval period to the present day. Pamela is perhaps best known for her baroque playing with the Palladian Ensemble (with whom she has recorded nine acclaimed albums), but also as a soloist with the English Concert and many other eminent UK orchestras.

This "Idomeneo" takes us to Zurich from Vienna and again Harnoncourt finds much fire and passion in a work which is notoriously difficult to bring off. My selected comparison here was the indefatigable Peter Maag (Arts Archives) whose litheness of tempi and superb singing team is given a good run for their money by Harnoncourt and in particular the booming voice of Hollweg who can safely lay claim to be one of the finest Idomeneo's on record. Yet again Harnoncourt is a thrilling exponent of the Mozartian idiom and the opera really finds a dramatic twinge especially in the final act.

From the fantasy cover art by Rodney Mathews to the fuller production and focused songwriting, 'Chase The Dragon' is an album that deservedly put Magnum on the map. Songs such as the medieval war-themed opener 'Soldier Of The Line', 'The Spirit' and 'Sacred Hour' would become live staples for decades to come while uplifting rockers like 'On the Edge of the World' struck a perfect balance between the guitar and keyboard histrionics. The album cracked the UK Top 20 but it would be a slightly bumpy road to the bigger success they enjoyed in the late '80s.

After being the best-kept secret within the heavy side of blues rock, as part of the "closed" blues scene for two decades, the band is now moving to Mighty Music and finally getting the recognition they deserve. "Scars To Remember" is the tenth album from the Danish-based blues power trio, which has it's stylistic roots in the late '60s and '70s, with inspiration from bands/artists such as Jimi Hendrix, Robin Trower, Frank Marino & Mahogany Rush, Deep Purple, Black Sabbath, and others.Formed more than two decades ago and having played countless shows in those years, Blindstone hit it hard in the US, due to their sound, and released most of their albums on the American label Grooveyard Records.

This blues-roots rock supergroup of sorts features musicians bred, if not always born, in the South. The only real royalty would be singer/songwriter/percussionist Cyril Neville, who shares lead vocals with younger but still established blues-rock journeymen guitarists Mike Zito and Devon Allman. Bassist Charlie Wooton from Zydefunk and ex-Derek Trucks drummer Yonrico Scott comprise the solid rhythm section rounding out this quintet. With all this instrumental and vocal firepower, the musical possibilities of mixing Neville's familial, funky New Orleans swamp with Zito's soulful blues and Allman's tougher rock are enticing.

It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority – the resonating grandeur Eric Carmen's "Hungry Eyes" contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. "Wing Ryder" changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King's Tapestry – sheer art for art's sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in "Wing Ryder" fuse styles that Fleetwood Mac and the Eagles were employing.