Talented and flamboyant British synthesizer act whose pop focus helped achieve steady success on both sides of the Atlantic during the 1980s. Collection includes: Side Kicks (1983); Into The Gap (1984); Here's To Future Days (1985); Close To The Bone (1987); Big Trash (1989); Queer (1991).

Celebrating Erik Satie represents a creative and stimulating selection of jazz arrangements and improvisations. Ximo Tebar is a respected guitarist and creative force from Spain who has taken the compositions of the eccentric, irascible, and innovative French composer and transmuted them into jazz ensemble performances. Tebar shakes things up while retaining enough straight-ahead jazz to appeal to the masses; it's no accident that "En Habit de Cheval" possesses a clear reference to John Coltrane's magnum opus, A Love Supreme (Impulse!, 1964). Like Coltrane, Tebar is fortunate enough to have recruited other outstanding musicians who can implement his complex ideas. The watchword of this album is "plays," with the implications of irony and humor, tinged with Chaplin-esque sadness that characterizes what Tebar and his ensemble, taking a cue from Satie, offer. Satie was an inventive, experimenting composer who influenced musical impressionism and minimalism, which in turn strongly impacted modern jazz.

Fronted by former South London lovers rock vocal harmony group, Alpha (sisters Jackie & Jean Heron and Marlene Richardson), Take Three was the brain-child of writer/producer trio "S.H.E." - Steve Sinclair, Peter Hinds & Kevin Ellis.
Meeting each other at The Factory community centre in Paddington (now known as the Yaa Asantewa centre and in the last few years, The Yaa Centre) Steve & Kevin began a partnership writing and directing their own theatre productions as part of The Black Theatre Co-Op, which called the centre home at the time. When a song they had written together for one of their productions received praise and plaudits, the path toward writing and producing records began, bringing in more seasoned hand Peter Hinds - formerly a member of key brit funk groups Light of the World and Beggar & Co, and player with Incognito, Imagination & Loose Ends - to complete the circle.

Momoko Kikuchi celebrates her 40th anniversary of debut in April 2024. The second part of the 40th anniversary project! The ultimate best album filled with Momoko Kikuchi's history will be released! Disc 1 covers hit songs from the past composed by Hayashi Tetsuji, who built her heyday, and songs that are attracting attention again in the city pop boom. Disc 2 includes songs written and composed by Momoko Kikuchi herself, as well as songs by the legendary band "RAMU."

The first album by the trad folk duo of Tim Hart and Maddy Prior, Folk Songs of Olde England, Vol. 1, is as interesting for what came of it as for what it is. This album, recorded in 1968, led directly to the formation of Steeleye Span, whose early albums were an electrified variation on this album's traditional acoustic British folk-rock. It could also be argued that Hart and Prior's example was influential in Fairport Convention's decision to move from a California-style folk-rock sound into something more uniquely British. In light of what came after, Folk Songs of Olde England, Vol. 1 sounds a bit tentative and at times slightly twee (Prior's voice has not quite matured into the rich, expressive instrument it would soon become), but on their own merits, these sensitive renditions of traditional British folk favorites like "Maid That's Deep in Love" or "A Wager a Wager" are respectful of tradition but not bound to it, performed with an infectious enthusiasm quite similar to what the Young Tradition were doing around the same period.

The slightly unusual date Two Jims and a Zoot features tenor saxophonist Zoot Sims interacting with two guitarists (Jimmy Raney and Jim Hall) while given subtle support by bassist Steve Swallow and drummer Osie Johnson. Although the eight selections (none of which caught on as standards) had all been written recently and sometimes display the influence of bossa nova, the quiet performances could pass for 1954 rather than 1964. The cool-toned improvisations and boppish playing have a timeless quality about them although for the time period aspects of this music already sounded a bit old-fashioned.

In 2010, though the release of Big Whiskey and the Groogrux King was relatively fresh, these live tracks bring a more lived-in sound that evolves with the band in the post LeRoi Moore era. Songs like Lying in the Hands of God, Funny the Way It Is, and Time Bomb all have their own moments of pure rock energy that resonates with the storied Bethel Woods location. The band clearly leaves nothing unsaid from the first notes of Squirm to the closing sounds of All Along the Watchtower. This concert recording is sure to satisfy all DMB fans seeking a high energy DMB experience.

Santero y Los Muchachos, una banda integrada por músicos con largas trayectorias que han unido sus fuerzas en busca de una intensidad más cruda, con melodías elegantes y sonidos sencillos, para transformar el rock del presente asomándose al pasado.

Bailey's … is the most rounded portrayal to date … the set as a whole is a considerable achievement, a worthy addition to the Decca/Solti Wagner discograohy.

Franco-Algerian singer, cellist and songwriter Nesrine is a storyteller, a "Scheherazade", for our times. And her album "Kan Ya Makan" – the Arabic for "once upon a time" – has something of the aura of a modern "Tales from the Arabian Nights". The Times newspaper (UK) has called Nesrine "an incandescent, multilingual talent", Rolling Stone Magazine is fascinated by her "musical world without borders". Her songs in Arabic, French and English have the character of a personal biography, encompassing both Algeria, the country in which her family originated, and her current home town, Paris. With an impressive classical career that began in the East-Western Divan Orchestra, among others, she has successfully established herself as a solo artist.

At just 16 years old, Jaden Evans is already making waves in the jazz world with the release of his debut album, "Evans on Evans." A prodigious talent on the piano, Jaden grew up surrounded by music, being the grandson of the legendary jazz pianist Bill Evans. Inspired by his grandfather's timeless recordings, innovative harmonic approach and contributions to the jazz trio format, Jaden began formal training the piano at the age of six, receiving lessons from his mother, Michele Evans, who taught him to read classical music as well as understand jazz charts and the fundamentals of improvisation. He studied for a few years with Michael Preddy and is now under the tutelage of Charles Chen.

The complete uncollected Noise New York studio recordings of Galaxie 500. A twenty-four track chronological journey through rarities and outtakes including never-before-heard songs, from the start of their incendiary career to their final studio session. Uncollected Noise New York ’88-’90 marks Galaxie 500’s first release of new archival material in nearly thirty years and their most comprehensive collection of unreleased and rare material ever. Produced and engineered by Kramer at Noise New York 1988-1990. Featuring B-sides, outtakes, and non-album material, the compilation also boasts eight never-before-heard cuts.

The Benedictine abbey at Lambach in Upper Austria was founded in 1056. Research undertaken since 2002 has revealed a treasure trove of musical works written by musicians associated with the abbey. Two such composers are featured on this disc, recorded in the historic building itself: Beniamin Ludwig Ramhaufski (c.1631-1694) and the Salzburgborn Joseph Balthasar Hochreither (1669-1731), who possibly studied with Biber.

Glazunov, a pupil of Rimsky-Korsakov, received encouragement also from Belyayev, an influential patron and publisher whose activities succeeded and largely replaced the earlier efforts of Balakirev to inspire the creation of national Russian music. Glazunov joined the teaching staff of the St Petersburg Conservatory in 1899 and after the student protests and turmoil of 1905 was elected director, a position he retained until 1930 (although from 1928 he remained abroad, chiefly in Paris, where he died in 1936).

Hard to find South African jazz gems selected by record digger Fred Spider, featuring tracks by Victor Ntoni, Gibson Kente, Winston Ngozi, Victor Ndlazilwane, Zim Ngqawana and Jonny Dynai, among others. While music traditions are often defined by established and protected sets of characteristics, popular music in South Africa betrays a willingness to adapt homegrown styles and an enthusiasm to adopt new influences. Musical currents like marabi, goema and mbaqanga help define what makes indigenous jazz unique, but it's the eclecticism and hybridisation found in South African crates that keeps vinyl archaeologists like Fred "Voom Voom" Spider digging deeper. If we consider jazz to be a global musical dish, it follows that South Africa brings a distinct sonic salsa to the table. Spider calls it "Chakalaka Jazz" after the local tomato, onion and chilli relish that frequently accompanies South African meals. It's the essential ingredient that unites and spices this diverse selection of tracks spanning the years 1969 through 2003. Featuring locals, exiles and expats with a reverent nod to the golden years of the 1970's, these rare musical treasures are held together by that magical South African favour.