The New Herd group of Toshiyuki Miyama was one of the most creative larger ensembles in Japan during the 70s – a group that was neither slavish to the sort of older modes you might guess from the "herd" reference to Woody Herman's band, nor tied up in some of the more commercial directions that some of the other big bands were taking at the time! Instead, they had an ear for the new developments in color, tone, and phrasing that opened up in groups like this in the post-Kenton generation – but managed to swing a bit more too – never too bogged down in their own sense of perfection to loosen up at all the right times. You'll hear the group at their best here on this late 70s album – on titles that include "Grand Guignol", "Fancy Ball", "A Falling Star", "Art Gallery", "Flower Arrangement", and "Blue Sail".

Heart Under, Just Mustard's second album, asks you to forget what you know. At every turn, this remarkable record reconfigures and stretches the ideas and ambition of a rock band, and turns a year of lockdown and personal struggles into a breathtaking artistic statement. The music the five friends from Dundalk, Ireland make is strikingly untraditional. Though to look at them, it appears that the band are a five-piece with uniform make-up of a vocalist, two guitarists, a bassist and a drummer, not a single one of them utilizes their instrument in a confined or regular fashion. Guitarists David Noonan and Mete Kalyoncuoglu make their six-strings shriek and wail, the sounds produced sounding like everything from whirring machinery to horror movie monsters.

Since 2008, Adele has allowed listeners to peek into her world, carrying them through the major stages of her life as a shoulder to cry on and a relatable presence. With her fourth set, 30, she grants more access than ever before, detailing one of her most painful seasons with poise and grace. Charting the aftermath of her 2019 divorce, 30 is not a fiery breakup album. Rather, focusing on acceptance, growth, and owning her mistakes, she's created a time capsule for her son, Angelo, to understand what his mother was going through at this pivotal time. After the curtains part on the dramatic, Judy Garland-inspired overture "Strangers by Nature," she addresses the split with "Easy on Me," redirecting her focus as a plea for patience and understanding from her son.

Delicate Sound of Thunder is a double live album by the English progressive rock band Pink Floyd which was recorded over five nights at the Nassau Coliseum on Long Island, New York in August 1988 and mixed at Abbey Road Studios in September 1988. It was released on 22 November 1988, through EMI Records in the United Kingdom and Columbia Records in the United States.

Minstrel in the Gallery was Tull's most artistically successful and elaborately produced album since Thick as a Brick and harkened back to that album with the inclusion of a 17-minute extended piece ("Baker Street Muse"). Although English folk elements abound, this is really a hard rock showcase on a par with – and perhaps even more aggressive than – anything on Aqualung. The title track is a superb showcase for the group, freely mixing folk melodies, lilting flute passages, and archaic, pre-Elizabethan feel, and the fiercest electric rock in the group's history – parts of it do recall phrases from A Passion Play, but all of it is more successful than anything on War Child.

Simply Red entered a holding pattern after 1991's Stars, turning out two records in a row that essentially replicated its charms, only with diminishing returns. Mick Hucknall must have realized he was stagnating, since 1999's Love and the Russian Winter is the first time since Stars that he's shaken up his sound. It's still recognizably Simply Red, as it trades in '70s soul and jazz-pop influences, but there are a number of reasonably contemporary influences added into the mix. As it turns out, these influences are largely based in house music, which means that Simply Red took some weird middle ground between Everything But the Girl and Soul II Soul.

Faded old-world flowers adorn both sides of the cover with a big strip of black grease disturbing the lovely imagery on the back. Beginning with Arthur Crudup's "My Baby Left Me," like that other band of famous backup players, the Section, how can this be anything but very musical? Guitarist/vocalist Henry McCullough's "Mistake No Doubt" has eerie backing vocals and is suitably well done, as is his "Let It Be Gone," and though this is far from commercial, it is important to have this document of the guys who made magic behind Joe Cocker in 1969 and Marianne Faithfull in the mid-'70s. This came right in the middle, and the Grease Band's collaborative effort, "Jesse James," could be mistaken for Doug Yule singing Lou Reed's "Train Comin' Round the Bend." It's got that chug-a-lug subdued rock sound. With Henry McCullough's Wings connection, The Grease Band gets a touch of the Beatles' guilt-by-association mystique. As intriguing and wonderful as this album is, had Joe Cocker guested on bassist Alan Spenner's "Down Home Mama" or had Marianne Faithfull taken on the traditional "To the Lord," there would have been that something extra, that intangible that makes records so very special.

"Scarlatti" is the new album from the internationally renowned pianist Lucas Debargue. This stunning new album features 52 beautiful sonatas by Scarlatti—often considered ne of the most influential composers of the Baroque era. Debargue started taking piano lessons at the age of 11. At the 2015 International Tchaikovsky Competition , Debargue was awarded the coveted Moscow Music Critic’s Prize. Debargue has performed at numerous prestigious music venues including the Royal Festival Hall, Wigmore Hall, the Berlin Philharmonic hall , Carnegie Hall and the Concertgebouw. Debargue has won many awards including the highly regarded Echo Klassik award in 2017.

Philip Glass's early works have purely functional titles, and this one is no exception. His masterpiece in this repetitious and rigorously structural composition style– Music in Twelve Parts–may be just too much for some people to take. If so, then this disc may be just the ticket. Of course, Glass's many fans will snap it up as a matter of course, but as the title implies, there's somewhat more happening here than in his very first minimalist works–just enough so that newcomers to the style ought to find something to enjoy. An important disc, then, both as a milestone in the history of a major musical movement and a reminder of style that the composer has long since abandoned.

The trumpet has had many concertos written for it by composers from the Soviet era and beyond. Appealing in its unabashed melodies and colourfully nostalgic feel, Arutiunian’s Trumpet Concerto became popular in the West, while Weinberg’s emotive Trumpet Concerto in B flat major was summed up by Shostakovich as a ‘symphony for trumpet and orchestra’. Shostakovich’s own playful Concerto No. 1, Op. 35 is recorded here with Timofei Dokschizer’s extended trumpet part, bringing it closer to the Baroque ‘double concerto’ model that the composer may initially have intended.

Guitarist, composer and producer, Thomas Naïm began playing the guitar at the age of 12. Influenced first by Rock, he then became interested in many musical currents: Funk, Brazilian music, Reggae or electronic music and finally became passionate about Jazz.

The Jazz Revue is a musical artist that performs jazz interpretations of classical music. The group was founded in 2010 by pianist and arranger Michael Brown. The Jazz Revue has released two albums, "Cello Suite No. 1" and "Dance of the Cygnets." The group has performed at a variety of venues, including the Kennedy Center and the Metropolitan Museum of Art.

The Jazz Revue is a musical artist that performs jazz interpretations of classical music. The group was founded in 2010 by pianist and arranger Michael Brown. The Jazz Revue has released two albums, "Cello Suite No. 1" and "Dance of the Cygnets." The group has performed at a variety of venues, including the Kennedy Center and the Metropolitan Museum of Art.