Asako Toki's new album, which marks her 10th anniversary this year since her solo debut in 2004, is the fourth in the "STANDARDS" series, which has been long awaited by her fans for the first time in nine years! Just like her time, this is a jazz standards album produced by her father, Japan's leading saxophonist Hidefumi Toki. In addition to standard songs such as “In a Sentimental Mood,” “Round Midnight,” “Smile,” “Stardust,” “The Look of Love,” “Misty,” and “Cheek to Cheek,” an original song “Lady Traveler” with English lyrics written based on the works of Eiji Toki "After Dark" is also included. She also covered Red Hot Chili Peppers' ``Californication'' as a surprising song choice. Asako Toki's favorite jazz singer Blossom Dearie's Christmas song "Christmas in the City" is a duet with her beloved Haruomi Hosono! This is a new jazz standard album full of "songs that only Asako Toki can sing today" to be delivered on the anniversary year!

Mysterious one-off project, co-led by 3 US expatriots living in Munich, Germany: Keyboardist Jimmy Jackson, drummer George Green and Guitarist William Powell. Major point of interest for most progressive and psychedelic rockfans is Haboobs very significant connection with Amon Düül II. Bandleader Jimmy Jackson plays organ on Amon Düüls Albums "Dance of The Lemmings" and "Wolf City". He also played organ on many LPs of Embryo (Embryos Rache, Steig aus, Rock Session) and has further numerous studio credits (for example: Doldinger's Passport, Tangerine Dream "Electronic Meditation").

A unique disc devoted to cello Galant music composed mid-18th Century in the areas of Mannheim and Berlin.

The second LP from this heavy blues-rock\psychedelia group, who remained on the edge of obscurity with two incredibly rare albums released on Nasco in 1970. Both albums were reissued in 2001. On their second album, the standouts are a cover version of "World of Pain," originally by Mountain, and a rave-up on the blues standard "Don't Need No Doctor," while elsewhere they soak in instrumentals with electric keyboards and guitar distortion with no apparent direction.

The Biblical story of Belshazzar’s hubristic arrogance set against the valour of the young warrrior-leader Cyrus provided the 20-year-old Rossini with a dramatic story with West-Eastern resonances which still speak to us today. For the title role of Cyrus, Rossini wrote what would be his longest-ever contralto role, to which the great Rossini singer Ewa Podles is both naturally attracted and ideally suited. She is partnered by two young American stars of Rossini singing, Jessica Pratt and Michael Spyres, and a conductor-scholar, Will Crutchfield, of immense experience and sympathy.

The latest high quality recording of the profound "Bull 3" recorded with LGO in 1963, for the 10th anniversary of Sanderling's death! A masterful performance full of the German spirit of yesteryear. New reissue from the original ETERNA analog tape. World's first SACD release! Mastered only in the analog domain and directly converted to DSD! The 11th SACD hybridization of the latest reissue project of ETERNA's original analog tapes in Japan, the latest SACD release of Kurt Sanderling's (1912.9.19-2011.9.18) early session recording of Bruckner's Symphony No. 3, which was made 10 years after his death. This piece was a specialty of Sanderling's, which he conducted many times during his life, and several later live recordings of the piece are available in addition to this recording.

Written when Busoni was an only 12, the concerto may be reminiscent of Mendessohn, with shades of Hummel and Beethoven too - but even if it doesn't sound like mature Busoni, it is still a fascinating document of the youthful composer's uncannily advanced technique.

When Procol Harum's ninth studio album, Something Magic, was released in March 1977, it sold poorly and was largely dismissed, with the group breaking up at the end of the promotional tour for it. After its previous album, Procol's Ninth, produced by Jerry Leiber and Mike Stoller, Procol Harum might have been expected to go back to a more conventional approach; instead, the group hired the hot studio of the day, Criteria in Miami, and its hot resident producers, Ron and Howie Albert. When the band arrived in Florida and played the songs intended for the album, the Albert brothers threw half of them out. That left half of an album to fill, which led singer/pianist/composer Gary Brooker to turn to a parable-like poem written years earlier by his lyric partner Keith Reid, "The Worm & the Tree," and - in a move anticipating This Is Spinal Tap - writing a musical suite around it to fill up side two…

The Aussie extreme/progressive metal outfit's third full-length effort, Urn, continues in the vein of Ne Obliviscaris' 2014 breakout LP Citadel, delivering a lethal blend of blastbeats and soaring melodies that invoke Dimmu Borgir by way of Dream Theater. Anchored by Tim Charles' meticulous violin work and clarion clean vocals - co-founder Xenoyr handles all of the larynx-melting bellows - the six-track set is split into a pair of two-part epics and a couple of impressive standalones. "Urn" is the most brutal of the two narrative-driven bookends, with drummer Daniel Presland setting a relentless pace that's matched in both might and melody by guitarists Matt Klavins and Benjamin Baret. The atmosphere-driven "Eyrie" firmly ensconced in the middle of the 45-minute set provides a bit of sonic refuge - at least until around the five-minute mark…

Tony Joe White says he always saw the friends he invited to play on this album–Eric Clapton, Mark Knopfler, J.J. Cale, Michael McDonald, and the late Waylon Jennings–as "keepers of the fire." They're also premier custodians of loneliness and despair, the two emotions that lie at the heart of this hypnotic submersion into country/swamp blues. From the kickoff track, "Run for Cover," with Wayne Jackson of the Memphis Horns, these meditations on mourning–lost lovers, spiritual struggles, anxiety that knows no name and no bottom–grab the listener fast and pull him down into swirling dark waters.

Ten track compilation of killer instrumental songs, which was originally released on LP in 1972. The tracks were later included on the Ethiopiques series of albums and compilations, which brought the treasures of the Ethiopian music scene of the 60s and 70s to a wider audience. Featuring tracks by Mulatu Astatke, Tèsfa-Maryam Kidané and Bahta Gèbrè-Heywèt.