L’amor conjugale tells the same story as Beethoven’s Fidelio, but in a charmingly different adaptation of the original French text by the Italian librettist Gaetano Rossi. In Giovanni Simone Mayr’s hand, the conjugal love is not just between the two principal characters Amorveno and Zeliska, but also between two theatrical and musical traditions, a love affair between two styles developed north and south of the alps. While the orchestration is clearly influenced by Mozart and Haydn, the vocal writing is often purely bel canto, and this blending of styles is one of the most attractive and unique attributes of the opera.

Antonio Florio et son équipe de la Cappella de'Turchini nous ont habitués à de passionnantes découvertes dans le répertoire de leur ville de Naples, au passé musical si riche et pourtant délaissé par la plupart des musiciens.

The infinite cosmos of French organ music is Ben van Oosten's realm, and he now has recordd the complete organ works of Camille Saint-Saëns in a sump-tuous box set. He performs on the Cavaillé Coll organ in Ste. Madeleine in Paris, one of the most beautiful instruments of its kind and an organ with a big orchestral sound on which Saint-Saëns himself left his traces for more than two decades.

After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations - Lennon with his lacerating, confessional John Lennon/Plastic Ono Band, Harrison with his triple-LP All Things Must Pass - but Paul McCartney certainly didn't, turning toward the modest charms of McCartney, and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, Ram.
Where McCartney was homemade, sounding deliberately ragged in parts, Ram had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken…

Strapping Young Lad's guitarist leader embarked on a solo career with the enigmatic "Ocean Machine", an album of encompassing, thrilling atmospheres in which pop, metal, progressive metal, trash and nuances of electronic blended together in a very balanced way. This atmosphere somewhat recreated the best from the 80's decade: from the mainstream heavy metal scene to the dark atmospheres of The Cure or the frantic energy of Queen. To his virtuous and somewhat prolific guitar work in the vein of Steve Vai or Joe Satriani, Devin Towsend added his inspired gift for creating remarkable melodies and outstanding choruses, while his dynamic voice and obtuse lyrics gave the album the necessary melodic profoundness…

On this fairly typical trio set, guitarist Barney Kessel is joined by bassist Bob Maize and drummer Jimmie Smith. "Stella by Starlight," "St. Thomas" and "Shiny Stockings" generate some heat; there are three Kessel originals and also two veteran ballads. The music swings without giving listeners any real surprises, but Kessel's fans can consider this one of his best Concord recordings.

Esoteric Recordings are pleased to issue the first ever Official UK CD edition of the self titled album by Fields. When the first line-up of Rare Bird folded in early 1971, keyboard player Graham Field formed this outfit with bass player, vocalist and guitarist Alan Barry and King Crimson drummer Andy Mcculloch. Although the band failed to emulate the commercial success of Field’s previous group, the sole album they recorded was a magnificent example of British Progressive Rock. Much sought after for many years, this official Esoteric CD edition has been re-mastered from the original master tapes, features two bonus tracks and an essay by Sid Smith and interview with Graham Field.