Horace Parlan on piano, Wilbur Little on bass, and Dannie Richmond on drums.
Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right-hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan always cited Ahmad Jamal and Bud Powell as prime influences.

On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.

Mémoriance is a unique sounding French symphonic progressive band from the 1970s who released 2 studio albums. Their debut album, "Et Après…", is a fine blend of styles, ranging from fellow French symphonic bands like Ange, Atoll and Carpe Diem, but also with a blend of Steve Hackett style guitar playing, as well as a hint of "Wish You Were Here", era Pink Floyd.
Their second release "L'Écume des jours d'après Boris Vian" is a concept album, based on the 1947 philosophical novel "L'Ecume des jours" (Froth on the Daydream), by Boris Vian.

This cupdisc Mona da Vinci doesn't sound like Mona Lisa's smile looks like - but the music on this brand-new disc is also very mystical and full of surprises. Five of the six tracks have never been released before and Calumet does only exist in a live version. Enjoy for example a brilliant guitar solo on Phantoms And Oracles by one of TD's guest guitarists Zlatko Perica. Delight in this special cupdisc - a true option for future dreams and realities!

One of two paired box sets chronicling the entirety of Kate Bush's recorded work as of 2018, Remastered features upgrades of her first seven albums: The Kick Inside, Lionheart, Never for Ever, The Dreaming, Hounds of Love, The Sensual World, and The Red Shoes. Apart from the remastering, there are no extras on this box – those have been shuffled off to Remastered, Vol 2 – but that's enough, considering that the albums haven't been revisited since their original CD releases. The remasters are clean and detailed, feeling fuller than their predecessors, and that's appropriate for music as sumptuous and transporting as this; the improved fidelity has the effect of making the music seem more vivid, not less.

One of the progenitors of heavy metal and British prog rock, Deep Purple had several different distinct lineups during the band's run, and there was always a shuffling of personnel, it seems, which makes the overall consistency of Deep Purple's recorded legacy pretty impressive, especially in retrospect. This three-disc set takes a particularly unique approach to the band's history, presenting instead a parallel one, with tracks from various bandmembers' projects in other guises and bands. Serious fans of this iconic band will find these discs fascinating.

The discovery of music manuscripts from the estate of composer and music journalist Johann Mattheson in Armenia has been the cause of great excitement for fanciers of the German Baroque – here, finally, is the opportunity to get to know this friend of Handel and Bach whose written words are so eloquent and informative, yet whose music has proven so elusive. Nevertheless, first things first – Brazilian-born harpsichordist Cristano Holtz makes the first comprehensive recording of a Mattheson set that has been available all along in Ramée's Johann Mattheson: Suites, namely the set of 12 harpsichord suites Mattheson published in England in 1714 and in Germany a little later. "Comprehensive" should not be taken to mean "complete"; this 75-minute disc contains a little less than half the set, with four suites presented in excerpted form. Purists may cry foul, but the full set of 12 suites would probably last about three hours in performance, and one is thankful to Ramée for restricting the release to a single disc and highlighting the good parts.

At long last, Muddy's historic 1941-1942 Library of Congress field recordings are all collected in one place, with the best fidelity that's been heard thus far. Waters performs solo pieces (you can hear his slide rattling against the fretboard in spots) and band pieces with the Son Sims Four, "Rosalie" being a virtual blueprint for his later Chicago style. Of particular note are the inclusion of several interview segments with Muddy from that embryonic period. This much more than just an important historical document; this is some really fine music imbued with a sense of place, time and loads of ambience.

John Abercrombie and Ralph Towner have forever been tied to the ECM roster as leaders and individualists, and initially it was hard to imagine their styles being compatible. As an amplified electric guitarist, Abercrombie's steely, sometime unearthly sound was an uneven puzzle piece alongside the graphic, stoic, classically oriented style of Towner. Yet on Sargasso Sea, there are several instances where they merge together as one, feeling their way through pure improvisations, angular and colorful motifs, or thematic nuances and a certain strata of consciousness that makes a world of common sense. There are selections where they both play acoustic guitars, but it is mostly Abercrombie's hopped up sound through an amp over Towner's bold and beautiful unplugged instrument, tossing in a piano overdubbed on two tracks…

Guru Guru's debut album shows why the band, even if it never reached the levels of appreciation and influence the likes of Can or Neu! did, still maintained a healthy reputation over the moons for its early work. Opening number "Stone In" has a quite appropriate title for a starting track - it is wonderfully tripped out, to be sure, and if Manuel Gottsching was more of a guitar god, Genrich kicks up a lot of frazzled noise. The principle of the Trepte/Neumeier rhythm section seems to have been "find loud weird grooves and then play them, sometimes chaotically." Again, they aren't Can's wickedly effective combination of Holger Czukay and Jaki Leibezeit, but they're not just falling over themselves either…

For its fourth album, Big Country made two changes seemingly intended to bolster its fortunes in America – switching from Mercury Records to Reprise and enlisting hot producer Peter Wolf. The bagpipe guitar sound was de-emphasized, along with the political lyrics, and Wolf treated singer Stuart Adamson as he had Starship singer Mickey Thomas, adding echo and backup harmonies to beef him up. On songs like the lead-off single "King Of Emotion" (Top 20 in Britain, non-charting in the U.S.), Wolf sought to retain Big Country's heroic quality while adding the widescreen dramatic style and cheerleader choral approach of Starship's "We Built This City." It was a brave try, but didn't really suit the group, making Peace In Our Time Big Country's least representative and least interesting album. (Nevertheless, the title track made the U.K. Top 40, and "Broken Heart [Thirteen Valleys]" also charted.)