The ultimate exploration into Elton John’s extensive back catalogue, ‘Jewel Box’ encompasses a selection of deep cuts chosen by Elton himself; rarities from the earliest stage of his and Bernie Taupin’s musical journey; B-sides spanning 30 years, and songs discussed in Elton’s best-selling, critically acclaimed 2019 memoir, ‘Me’. The eight discs come in a beautiful hardcover book, enclosed in an outer slipcase. Each section contains extensive notes and, for ‘Deep Cuts’, there is track-by-track commentary by Elton. The set contains an unprecedented number of previously unheard, unreleased tracks from 1965-1971, the years that cemented the foundations of the iconic John-Taupin partnership: ‘Jewel Box’ truly is a treasure trove for Elton John fans.

In the 60's, Stan Getz and others introduced Brazilian music into jazz. Now a new generation of Brazilian players returns the favor. These Veteran guitarists Romero Lubambo and Raphael Rabello are teaming up for an evocative, high spirited acoustic guitar duet set that combines vigorous jazz improvisation with a broad range of Brazilian rhythms.

1977's Increase has Germany's Birth Control producing a sound that is a little less progressive than their earlier work, although the body of this album still incorporates strong doses of Moog and Hammond keyboard undertakings from Zeus B. Held. The songs have a more established and structural feel to them, especially pieces like "Fight for You" and "Until the Night." Birth Control's sense of humor is still prevalent as well, brought about in the lyrics of the opening "Skate-Board Sue," but where the music is concerned, they began to reveal influences from Western '70s rock, even though their fundamental progressive sound remains at the forefront. There's a definitive jazz lean which surfaces through most of the tracks, while the guitar-led rhythms are steady and dominating…

Bodkin were a Scottish quintet that released a self-titled album in 1972. They made a classic-sounding, rough-edged heavy progressive rock with the emphasis on Doug Rome's Hammond organ and complimented by Mick Riddle's guitar, Bill Anderson's bass, Dick Sneddon on drums and the cool wailing of Zeik Hume. Somewhat more jam-oriented than contemporaries such as ATOMIC ROOSTER or URIAH HEEP and not quite as hard-hitting, BODKIN nevertheless delivered spirited rock music with energetic interplay between guitar and organ, fine musicianship, and distractingly good compositions from the 21 year-old Doug Rome. A very palatable blend of dark organ-rock and dirty blues, Bodkin will surely please listeners interested in the murky and mysterious early years of the Heavy Prog scene and anyone seeking rare prog.

William Byrd’s keyboard music has always stood in the shadow of his vocal compositions. Drawing simultaneously on English and Italian Renaissance traditions, Byrd created a remarkable musical language that was flexible and entirely refined keyboard instruments of his time. Both keyboard instruments used on this recording are original pieces.

Johann Georg Pisendel was one of those artists who undoubtedly marked the European music scene of the first half of the eighteenth century. He was a reference for performers and composers of his time and his legacy continues to surprise us and discover fundamental and unknown aspects of the Baroque musical world. Yet, Pisendel is still a great unknown.

Jenő Jandó essays the same strong, direct style in his performances of the two major sets of variations as he does in the sonatas…no one could deny the strength of his playing. His approach is appropriately lighter in Op. 34. Excellent recording, clear and vivid.

Migration seems almost capable of sweeping away any sense of trouble, and soothing out any fears. The music on the album is basically of an improvisational nature, with pianist Kater and flautist Nakai developing themes and ideas that were then fleshed out in the process of recording. The music was conceived originally as a foundation for personal ritual; in the thematic development that followed, the scope of the music was widened to include spiritual growth as well, hence the title and direction of the tracks. The root of the music continues to be Kater's gentle piano constructions coupled with Nakai's Native American flutes, whistles and low-key chanting and humming; other instruments are built into this foundation, strengthening the whole rather than indulging in arrangement for the sake of it - there's no apparent attempt to impress with musical trickery here…

In his 2000 debut album, Craig David merges smooth-soul crooning with a cascade of glistening keyboards, circling guitars, and sophisticated rhythms. Displaying a healthy marriage of current R&B vocal stylings and U.K. club/dance fused beats, David's music skillfully evades feeling robotic and cold, while still sounding pristine and immaculate. As an artist who is in his late teens, he conjures up a personal and revealing work that delves into both his mature sound and youthful attitude. Co-writing and co-producing with Mark Hill of the British garage act the Artful Dodger, David wraps his scorching-cool vocals around a mellow attack of keyboards and drums, while distinctly focusing on romance, relationships, and clubbing.

This band hails from Florida with influences of early Genesis and Gentle Giant as well. It was formed in 1976 by Rick Leonard, Rodney Best, Doroccas, J. David Boyko, and Gary Chambers. Excellent vocals by Doroccas are the stronger characteristics here. Hard Rock driven passages are constant on this unique album of this fabulous band. Babylon is firmly set in the ways of the classic 70's bands, with great analogue keyboard work and extraordinarily adept musicianship. They released only one album in 1978 and broke up that same year.

Very much inspired by Klaus Schulze, Vangelis and Tangerine Dream he's given his own positive personal touch to both spacey ambient and new age. This album is pure cosmic/sequencer music recorded straight from the heart. Try to imagine a mix of 'En-Trance' era Klaus Schulze through to the more cosmic elements of Vangelis' music and you will have some idea behind this artists' recording prowess.

Yank Rachell has long been a legend in the blues world. One of the few blues mandolin players, Rachell recorded several notable sessions during 1929-1941 and then was off record for 22 years. After spending time outside of music, he was rediscovered and in 1963 he performed the music on this CD reissue. Rachell (who was in his fifties at the time), is in excellent voice throughout the date although it is his mandolin work that makes this set particularly special. He is reunited with two notable friends from the 1930s (guitarist Sleepy John Estes and Hammie Nixon who is heard on harmonica and jug) and is assisted on some numbers by both Big Joe Williams and the up-and-coming Mike Bloomfield on guitars; several numbers find Rachell backed by three guitars…

This entry into the Japan-only Premium Best series highlights the recordings of composer/performer Laura Nyro. Unlike other single-CD North American compilations, this 16-track disc gives sufficient time to her tragically underappreciated post-Smile recordings. Several of these titles are not even available on CD in the States, which is perhaps correlated to the seeming lack of interest. There are actually numerous advantages to this collection – not the least of which is the artist-sensitive track list. Presumably the Premium Best series is aimed at the casual enthusiast, as the hardcore collector would either already own the contents or buy it anyway if they were a completist. By including seminal album sides such as the imperially haunting "New York Tendaberry" and "Upstairs by a Chinese Lamp," a more accurate overview of Nyro's career is presented here.