"Bar Jazz Best" is a jazz compilation album released in 2008 by Sony Music Distribution.The compilation features a selection of jazz tracks performed by various artists. The songs in the "Bar Jazz Best" compilation album cover a wide time span, often including recordings from the 1930s through the 1990s, and in some cases, even early 2000s.

This CD-release is based on original analogue master tapes and digital files from Nasjonalbiblioteket. Recorded in 1976 at. Arne Bendiksen Studio, Oslo, Norway. Originally released on LP in 1977 (Zarepta/Sonet, SLP 1437). Released by permission of Universal Music AS. Arild Andersen oppdaget trommetalentet Pål Thowsen i 1970, som 15-åring. Thowsen tok raskt steget opp i eliteserien og i 1976 fikk han anledning til å lage plate med tre av sine aller største helter: Arild Andersen, Jon Christensen og Terje Rypdal. Å lage egen plate sammen med sitt store trommeforbilde, Jon Christensen var stort for unge Thowsen. I 1976 inntok de Arne Bendiksen Studio i Oslo - begge trommeslagerne med hodet på skakke - Christensen fordi han hører dårlig på det ene øret, Thowsen fordi han trodde det skulle være slik når Christensen gjorde det - og knappe 40 minutter med høyst original musikk blei skapt. Bortsett fra tittellåta, som er skrevet av Club 7-veteranen Webster Lewis, er all musikken her unnfanget av de involverte. Musikken er ganske så løs, sjøl om den er både groovete og tildels riffbasert.

Broadcast were an English rock band formed in Birmingham in 1995 by Trish Keenan (vocals, keyboards, guitar) and James Cargill (bass). Their musical style blended elements of 1960s American psychedelia with experimental electronica, incorporating samples from various sources, and earned the band a cult following. Collection includes: Work And Non Work (1997); The Noise Made By People (2000); Haha Sound (2003); Tender Buttons (2005); The Future Crayon (2006); Investigate Witch Cults Of The Radio Age (2009).

Stellar Progressive Psychedelic Folk Rock with a huge Syd Barrett influence and lashings of distorted fuzz guitar vying with down the rabbit hole Barrettesque psychedelic ballads, a genuine left field underground masterpiece, and incredibly rare. It's unknown how many were really made in 1971 on the custom Deroy label - it had a finished sleeve but the labels were generic Deroy printings with blank spaces for the artists to handwrite their names and titles, and only one copy seems to be known, so Parameter could have been a 25 copy press like the inferior Moths LP. Galactic Ramble is a ramble through the experimental minds and philosophies of early seventies underground youth, questioning reality and senses, laden with pre Raphaelite poesie, and born in the morass of early Floyd, ISB, Cream and Donovan, tracks range from the Christina Rossetti meets Syd Barrett 'Virgin Childe' (note the essential Arnoldian "e") to the climactic Fuzz- Soaked wailing guitar distortions of the title track. Things go wonky at times, but the sheer visionary power of this masterpiece makes it a Sacred Classic of the British Underground. And one of the most elegantly perfect sleeve designs of the era. From it's inception Parameter was destined to reach only the select few. Recommended especially to anyone aching for more music like The Madcap Laughs

Recorded at The Audio Visual Company, North Brunswick, NJ. This is literally the complete sound-track from the movie (full dialogue etc). Plan 9 from Outer Space is a 1957 American independent science fiction-horror film produced, written, directed, and edited by Ed Wood. The film was shot in black-and-white in November 1956 and had a preview screening on March 15, 1957, at the Carlton Theatre in Los Angeles under the title Grave Robbers from Outer Space Retitled Plan 9 from Outer Space, it went into general release in July 1958 in Virginia, Texas and several other Southern states, before being sold to television in 1961.

Steppenwolf Live is primarily a collection of recordings from a single concert early in 1970 at the Santa Monica Civic Auditorium by Steppenwolf staged in support of their 1969 album Monster. Released in April 1970 by Dunhill Records, it contains Steppenwolf's well-known hits: "Born to Be Wild", "Magic Carpet Ride" and "The Pusher", as well as most of the songs from Monster, including three previous top 40 hits, as well as the top 40 hit "Hey Lawdy Mama" from this album. The song "Hey Lawdy Mama" was recorded in the studio, but edited in a manner to segue directly into "Magic Carpet Ride", thus retaining the album's "live" feel. On original LP copies of Steppenwolf Live, "Hey Lawdy Mama" and "Magic Carpet Ride" are banded together as a single track, with a total running time of 7:13. A differently edited version of "Hey Lawdy Mama", incorporating a fade-out instead of the segue, was released as a single.

Classic 1988 Tour Broadcast Recording Frank Zappa s 1988 tour turned out to be his last. Many fans consider it to be FZ's best tour ever; the presence of horns, percussion and "stunt guitar" (not to mention the infamous Synclavier) gave the band a tumbrel variety lacking in the synth-dominated '84 tour, and the proliferation of secret words made each show unique. Unfortunately, the tour proved to be a turbulent experience for Zappa due to conflicts among the band members, and this ultimately cut short the existence of this lineup. One of the finest shows on the tour however took place at Barcelona s Palau Dels Esports on 17th May. This performance is now available here on CD for the first time, featuring a line-up which featured Frank Zappa (lead guitar/Synclavier/vocals), Ike Willis (rhythm guitar/vocals), Mike Keneally (stunt guitar/keyboards/vocals), Robert Martin (keyboards/Synclavier/vocals), Ed Mann (percussion/Synclavier/vocals), Scott Thunes (bass/mini-moog), Chad Wackerman (drums/electronic percussion), Walt Fowler (trumpet/flugelhorn/Synclavier), Bruce Fowler (trombone), Paul Carman (alto/soprano sax), Albert Wing (tenor sax) and Kurt McGettrick (baritone sax).

BROADCAST RECORDING FROM 1973 S TIME FADES AWAY TOUR Following the success of Neil Young s 1972 album Harvest, a new tour with The Stray Gators - to be augmented by Danny Whitten - had been planned, but it became apparent during rehearsals that Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an apparent overdose. On the tour, Young struggled with his voice and the performance of drummer Kenny Buttrey, a noted Nashville session musician who was unaccustomed to performing in the rock milieu, was deemed sub-standard. Buttrey was eventually replaced by former CSNY drummer Johnny Barbata, while David Crosby and Graham Nash contributed rhythm guitar and backing vocals to the final dates of the tour. The album assembled in the aftermath of the tour, Time Fades Away, was released in October 1973, and has often been described by Young as my least favourite record"; it was not officially released on CD until 2017. But, despite Young s disappointment with the new release, the album did contain a number of truly great songs, and this CD, recorded for FM radio broadcast on the tour from which the album was compiled, on 28th January 73, features three of the record s very finest cuts, including the title track plus Don t Be Denied and Last Dance . The rest of the show features Young classics from previous albums, his unreleased tribute to Joni Mitchell, Sweet Joni , and two numbers that would be included on his next album, 1975 s Tonight s The Night , written largely for Danny Whitten.

Seven Separate Fools is the eighth studio album by American rock band Three Dog Night. Released in 1972, the album reached number six on the US Billboard 200, becoming the band's highest-charting album. The LP version of the album was released with seven large playing cards (each nearly 12 inches in height) as an extra bonus. Beach Boys founder Brian Wilson, who contributed "Time to Get Alone" to the pre-TDN vocal trio Redwood, placed the LP at No. 3 among his all-time Top Ten favorite records in a 2016 conversation with Esquire's Middle East branch. Wilson succinctly stated, "Danny Hutton’s vocals are truly on point."

Rock & roll had grown louder and wilder by leaps and bounds during the '60s, but when Blue Cheer emerged from San Francisco onto the national rock scene in 1968 with their debut album, Vincebus Eruptum, they crossed a line which most musicians and fans hadn't even thought to draw yet. Vincebus Eruptum sounds monolithically loud and primal today, but it must have seemed like some sort of frontal assault upon first release; Blue Cheer are often cited as the first genuine heavy metal band, but that in itself doesn't quite sum up the true impact of this music, which even at a low volume sounds crushingly forceful. Though Blue Cheer's songs were primarily rooted in the blues, what set them apart from blues-rock progenitors such as the Rolling Stones and the Yardbirds was the massive physical force of their musical attack.

Klaus Mäkelä’s second album with the Orchestre de Paris from the series celebrating Ballets Russes scores. His previous two albums have achieved a plethora of 5* reviews and incredible physical and streaming success - over 16M streams and €400k revenue combined. His upcoming international concert dates and US Tour start on 14th March 2024, including Klaus' debut at Carnegie Hall on 16th March. This is Orchestre de Paris' first Carnegie Hall appearance in over 20 years. The programme includes Stravinsky's “Le sacre du printemps” and “L’Oiseau de feu”.

When Nikolai Kapustin’s music was discovered by a wider audience in the West, it certainly came as a shock: Who was this Soviet composer, whose music mostly resembled an Oscar Peterson improvisation, but was notated in heavily detailed scores? As we continue to discover more of his music, not least on this new recording, Kapustin shows how he developed his style subtly and steadily, always moving with the times. As the music that influenced him changed, so did his own. The development of Big Band Jazz can be traced in his work and, in that sense, Kapustin never settled on one style, except that he fused jazz and classical music so inseparably in the first place.

Calm Animals is the fifth studio album by British band the Fixx, released on February 7, 1989. The single "Driven Out" gave them a No. 1 song on the Mainstream Rock Tracks chart in early 1989, and reached No. 55 on the Billboard Hot 100. The single "Precious Stone" reached the top 25 on the Mainstream Rock Tracks chart later that year. Calm Animals was the Fixx's only album to be released on RCA Records.

It was one of the more unlikely major-label releases of 1992: it had nothing to do with grunge, and was certainly not a last holdout from '80s mainstream sludge. On the flipside, it wasn't really the incipient alternative country/No Depression sound, either; for all that, there was a clear influence from the likes of Gram Parsons and fellow travelers throughout the grooves. This wasn't a sepia-toned collection of murder ballads or the similarly minded efforts that were almost overreactions to Nashville's triumphalism throughout the '90s. At base, Hollywood Town Hall found a finely balanced point: accessible enough for should-have-been success (sclerotic classic rock station programmers were fools to ignore this while still playing the Eagles into the ground) but bowing to no trends. Its lack of variety tells against it a bit – while there are certainly stronger moments than others, most of the songs do have a tendency to blend into each other – but the core strengths of the group come through. George Drakoulias fleshed out the sound just enough, with the side help of performers like Benmont Tench and Nicky Hopkins adding fine extra touches without swamping the identity of the group.

When the music of Nikolai Kapustin was discovered by a wider audience in the West, it was positively shocking: Who was this Soviet composer, whose music sounded more like an Oscar Peterson improvisation than anything else – but who wrote detailed scores, black with notes?! As we discover more and more of his music (and there’s so much more yet to discover!), a very distinct, always wholly charming voice emerges, whether in a freewheeling outright-jazzy work like his Concerto for 2 Pianos and Percussion, the more symphonic Fifth Piano Concerto, or the frisky Sinfonietta which transports us into a smoky 1940s bar in Manhattan.