Soprano saxophonist Yuval Cohen's debut for ECM is a thrilling offering that captures the brother of long-time ECM traveller Avishai Cohen charting innovative paths through eight originals in graceful interplay with his freshly formed quartet. Pianist Tom Oren, bassist Alon Near and Alon Benjamini on drums are longtime acquaintances of Yuval's who are not only outstanding instrumentalists in their own right, but share a deep, intuitive understanding for the leader's musical language and improvisational approach. "I'm very fortunate to be able to play with these young guys," says Yuval.

Discover another take on Adams’ acclaimed 2020 release Wednesdays with this re-worked edition of the record on double black vinyl. The new collection curated by Adams breathes fresh life into the record, offering fans and newcomers a chance to experience the album in a new perspective.Featuring refreshed takes on some of the original tracklisting, Another Wednesday reinvents the sound and spirit of the album. The re-work includes a selection of thoughtfully chosen cover tracks —paying homage to the music that inspired the original album’s creation.

Collection includes twelve studio albums, one EP, and also tree compilations: "Please" (1986); "Actually" (1987); "Introspective" (1988); "In Depth" EP (1988); "Behaviour" (1990); "Discography" (1991); "Very" (1993); "Bilingual" (1997); "Essential" (1998); "Nightlife" (1999); "Release" (2002); "PopArt" (2003); "Fundamental" (2006); "Yes" (2009); "Elysium" (2012); and "Electric" (2013).

Cardboard sleeve (mini LP) reissue from Diana Ross & The Supremes featuring the high-fidelity SHM-CD format. Part of a ten-album Diana Ross & The Supremes SHM-CD cardboard sleeve reissue series featuring albums "Where Did Our Love Go", "More Hits By The Supremes", "I Hear A Symphony", "The Supremes A Go Go", "Sing Holland Dozier Holland", "Reflections", "Join The Temptaions", "Love Child", "Let The Sunshine In", and "Cream Of The Crop".

Nearly 40 years in, the Manics are turning back the clock to the arty alt-pop of the 1980s—and also playing at reinvention. Bassist Nicky Wire takes lead vocals on several songs for the first time, and it doesn't at all feel like a concession to keep a band member happy. Wire's voice is more barbed and ominous-sounding than James Dean Bradfield's, and so are his lyrics. "The pinnacle of despair/ The apex of denial/ The skyscrapers of untruth/ Customized feeds/ Net neutrality/ Smart meters/ Smart order/ Smart fucking railways/ Body positivity/ Believe in yourself/ Imposter syndrome/ Fuck that!" Wire growls on the hard-charging title track, bemoaning how online culture pays lip service to wellness and self-care even as it fuels a desire to tear one another down.

Kristoffer "Kris" Kristofferson is an American country music singer, songwriter, musician, and film actor. He is known for such hits as "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", and "Help Me Make It Through the Night". Kristofferson is the sole writer of most of his songs, and he has collaborated with various other figures of the Nashville scene such as Shel Silverstein. In 1985, Kristofferson joined fellow country artists Waylon Jennings, Willie Nelson and Johnny Cash in forming the country music supergroup "The Highwaymen". In 2004, Kristofferson was inducted into the Country Music Hall of Fame. Collection includes: Kristofferson (1970); The Silver Tongued Devil And I (1971); Border Lord (1972); Jesus Was A Capricorn (1972); Breakaway (1974) with Rita Coolidge; A Star Is Born (1976) with Barbra Streisand; Natural Act (1978) with Rita Coolidge; A Moment of Forever (1995); The Austin Sessions (1999); The Essential Kris Kristofferson (2004) 2CD; This Old Road (2006); Closer To The Bone (2009); Please Don't Tell Me How The Story Ends: The Publishing Demos 1968-72 (2010); Feeling Mortal (2012).

The Live Adventures of Mike Bloomfield and Al Kooper is a double album recorded at the Fillmore West venue; the album is a successor to the studio album Super Session, which included both Bloomfield and Kooper in addition to Stephen Stills, and had achieved commercial and critical success earlier in 1968. The performances, recordings and production cannot be described as flawless; in his sleeve notes, Kooper describes the difficulties of finding rehearsal space, Bloomfield's insomnia, and the failure of a vocal microphone during "Dear Mr Fantasy"; the track "I Wonder Who" is faded during a Bloomfield solo for no apparent reason. Nevertheless, the album remains an important, if raw, document of a live blues-rock performance of the period and, apart from its intrinsic qualities, is notable not only for one of the earliest live recordings by Carlos Santana but also for Bloomfield's debut as a vocalist. Whilst he is not historically noted in this role, in "Don't Throw Your Love on Me So Strong", according to Kooper, "he displays consummate homage to the traditional guitar-voice trade-offs; a lesson in phrasing and understanding."

Sly & the Family Stone harnessed all of the disparate musical and social trends of the late '60s, creating a wild, brilliant fusion of soul, rock, R&B, psychedelia, and funk that broke boundaries down without a second thought. Led by Sly Stone, the Family Stone was comprised of men and women, and Blacks and whites, making the band the first fully integrated group in rock history. That integration shone through the music, as well as the group's message. Before Stone, very few soul and R&B groups delved into political and social commentary; after him, it became a tradition in soul, funk, and hip-hop. And, along with James Brown, Stone brought hard funk into the mainstream. The Family Stone's arrangements were ingenious, filled with unexpected group vocals, syncopated rhythms, punchy horns, and pop melodies. Their music was joyous, but as the '60s ended, so did the good times.

The three string quartets of Brahms emerged late in the career of the composer, who was skeptical for a long time given the burden of Beethoven's heritage. The Novus Quartet, winner of the ARD Competition and the Mozart Competition, has proven itself as one of Korea's best ensembles. From the beginning, it dared to the Second Vienna School, Franck, Shostakovich and Schubert. At Brahms, their transparent sound combines with full commitment and a concise, passionate melody that excellently lives up to the composer's incomparable sense of architecture.

Mahúgo has taught harpsichord and historical performance practice at the Badajoz Superior Conservatory (Spain) and continues to teach and give lectures on these subjects in Spain and abroad (Albacete Conservatory, Barcelona Liceu Superior Conservatory, University of Michigan). He has recorded for several TV and radio stations in Spain and elsewhere in Europe (RNE, TVE, Bartók Radio, MTV). His first harpsichord CD, a recording of the complete harpsichord works of the French 18th-century composer Pancrace Royer (Brilliant Classics/Onclassical.com), received rave reviews from several magazines (Ritmo, Melómano, Fanfare), and was chosen as “CD of the Month” by Scherzo magazine in April 2013 and “CD of The Year” by the Spanish newspaper El País.

Sly & the Family Stone harnessed all of the disparate musical and social trends of the late '60s, creating a wild, brilliant fusion of soul, rock, R&B, psychedelia, and funk that broke boundaries down without a second thought. Led by Sly Stone, the Family Stone was comprised of men and women, and Blacks and whites, making the band the first fully integrated group in rock history. That integration shone through the music, as well as the group's message. Before Stone, very few soul and R&B groups delved into political and social commentary; after him, it became a tradition in soul, funk, and hip-hop. And, along with James Brown, Stone brought hard funk into the mainstream. The Family Stone's arrangements were ingenious, filled with unexpected group vocals, syncopated rhythms, punchy horns, and pop melodies. Their music was joyous, but as the '60s ended, so did the good times.

These two ballets reveal a specific facet of Stravinsky’s genius, his skill in pastiche. Having used music from eighteenth-century Naples for Pulcinella, he turned to Tchaikovsky for Le Baiser de la fée.On both occasions, he succeeded in transforming the exercise of homage into a highly personal work.Stravinsky had a special artistic affinity with the Toronto Symphony Orchestra, which amply repays the debt with this new recording.