John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music.

Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's "Who Do You Love?" and "Mona," as well as the lesser lauded - yet no less intense - contribution of Gary Duncan's (guitar/vocals) "Calvary." This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cipollina (guitar/vocals), Greg Elmore (percussion), David Freiberg (bass/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious…

Young Team, Mogwai's first full-length album fulfills the promise of their early singles and EPs, offering a complex, intertwining set of crawling instrumentals, shimmering soundscapes, and shards of noise. Picking up where Ten Rapid left off, Mogwai use the sheer length of an album to their advantage, recording a series of songs that meld together – it's easy to forget where one song begins and the other ends. The record itself takes its time to begin, as the sound of chiming processed guitars and murmured sampled vocals floats to the surface. Throughout the album, the sound of the band keeps shifting, and it's not just through explosions of noise – Mogwai isn't merely jamming, they have a planned vision, subtly texturing their music with small, telling details. When the epic "Mogwai Fears Satan" draws the album to a close, it becomes clear that the band has expanded the horizons of post-rock, creating a record of sonic invention and emotional force that sounds unlike anything their guitar-based contemporaries have created.

Valentin Silvestrov composed Requiem for Larissa between 1997 and 1999 as a memorial to his wife, musicologist Larissa Bondarenko, who died in 1996. It is a big and unceasingly somber work, scored for chorus and orchestra. Understandably, this Requiem is to a degree reflective, incorporating musical themes drawn from older works that had special meaning to the couple. While Silvestrov's typically glacial tempos are in evidence here, some of the opening half of the piece has an angular spikiness that recalls serial techniques without actively engaging in them. Instrumentally, Requiem for Larissa is dark, atmospheric, and even a little cinematic; the choral parts are sparse and minimally applied. In the fourth-movement Largo, the voices take over and settle down into an ethereal texture that leavens the gloom somewhat, but by this time 25-and-a-half minutes have gone by and some listeners will have already tuned out owing to the toughness of the opening section.Requiem for Larissa is an intensely personal piece performed with respect and care by the Ukrainian National Chorus and Symphony Orchestra under conductor Vladimir Sirenko.

The view into "infinity" gives freedom! Man lives in his narrow temporal space and, with his mind focussed only on the supposedly 'real' sensory world, grasps only the outside of his being: he loses himself in the multiplicity of things. A feeling for the cosmic interconnectedness of all beings has been lost. In the prison of materialism, man cannot free himself from such polarity - that is why he is ruled by strife, war, egoism, lust for power and possessiveness.

The CD features the original album, plus three extra tracks (stunning pre-overdub trio versions of Red & Fallen Angel and the full version of Providence).
King Crimson fell apart once more, seemingly for the last time, as David Cross walked away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past - Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together…

The music of GRAMMY-nominated and Latin GRAMMY-winning composer, Roberto Sierra, is performed worldwide and has long been admired for its confluence of Caribbean elements and inventive modernist language. The works on this album cover a decade’s worth of composition and examine crucial concepts – the idea of time in music; creative new applications of sonata form with regard to mood, tempo and character; and evocations of images seen through Latin American eyes. Continuum, directed by Cheryl Seltzer and Joel Sachs, has enjoyed a 40-year friendship with Sierra, receiving dedications and premiering numerous of his compositions.

Arguably a milestone for both director Sergio Leone and his musical cohort Ennio Morricone. After deconstructing the classic American western by way of The Good, the Bad & the Ugly and A Fistful of Dollars, Leone distilled his intentions with 1968's Once Upon a Time in the West. For his part, Morricone framed Leone's meditative camerawork and mythic narrative with a mix of hauntingly spacious pieces and reconfigured snatches of old-timey tunes. Just within the stretch of the first four pieces here, Morricone evokes the endless expanse of the West with a Copland-esque aria (the main title theme), weaves some twisted grit into the showdown theme with loads of guitar fuzz ("As a Judgment"), ingeniously combines whistling and a clippity-clop rhythm for a respite piece ("Farewell to Cheyenne")…

With live albums, remix albums, and even an all-covers album in their back catalog, Erasure have utilized every stopgap device known to man except the unplugged album, until now. With plenty of dobro, strings, pedal steel, and nylon string guitars, Union Street is a soft, all-acoustic affair. While that may seem an uninspired choice after the excellent and purposeful Nightbird - or downright ridiculous since they are a dancefloor-filling synth duo at the core - the oddball song selection and elegant arrangements are surprising enough to believe this is more than a cash-in or by-the-numbers release. Instead of unplugging "Love to Hate You," "Oh l'Amour," or any of the other club hits that have made an impact past their core audience, Erasure have chosen album tracks and B-sides, most dealing with heartbreak, and a handful dealing with hope…

Originally release in 1964 “Jazz Impressions of A Boy Named Charlie Brown” is the 6th album from jazz pianist Vince Guaraldi. It was recorded for an unreleased Peanuts TV special and includes the first recording of “Linus and Lucy” and other Peanuts favorites.

This recording showcases three new evocative works by GRAMMY Award-winning American composer Michael Daugherty, exploring the triumphs and tragedies of flight. Blue Electra is a dramatic violin concerto inspired by the sensational life and mysterious disappearance of aviation pioneer Amelia Earhart in 1937. Last Dance at the Surf is a one-movement dance symphony for orchestra that reflects upon rock ’n roll legend Buddy Holly’s final performance in 1959 at the Surf Ballroom in Iowa and his tragic death in a plane crash just hours after his show.

You are PRE-ORDERING a signed copy of my new album. Orders will be processed once stock has arrived. Release date is 11th April. I CAN NOT guarantee that you will receive your copy in time for release.

Unreleased 19-track set recorded at the Peninsula library on Long Island in 1972 of the piano legend and trio.British born jazz piano legend Marian McPartland was a trailblazer in the music business recording over 40 albums for various labels including Savoy, Capitol, Concord and her own independent imprint, Halcyon Records. She was the host of Piano Jazz on NPR from 1978-2001 showcasing countless luminaries including Elvis Costello, Linda Ronstadt, Stephen Sondheim, Tony Bennett and countless others. She was awarded a lifetime achievement Grammy, designated a jazz master by the National Endowment for the Arts, appointed an officer to the Order of the British Empire (OBE) and an inductee into the National Radio Hall of Fame. This never before released performance was recorded at the Peninsula library in Lawrence on Long Island in New York on December 10, 1972, before a crowd of fans and students for a Sunday afternoon concert. The 18-track set features McPartland with Rusty Gilder on bass and Joe Corsello on drums playing various standards including "Stella by Starlight", "A Night In Tunisia" and "Satin Doll" along with songs of the moment like "Fire & Rain", "Raindrops Keep Fallin on My Head" and "The Summer of '42 Theme". The 19-track CD set features extensive liner notes from music historians Barry Singer and Paul de Barros with rare photos and memorabilia. The release will be supported with a major publicity campaign celebrating this overlooked legendary musician and influential cultural force.

Season 7 of Black Mirror was released on Netflix on April 10, 2025, and features six new episodes, including the show's first-ever sequel — "USS Callister: Into Infinity", a continuation of the popular episode from Season 4.The soundtrack for the new season was composed by a diverse group of artists: Daniel Pemberton, Ames Bessada, Ariel Marx, Brian Reitzell, Matthew Herbert, and Lucinda Chua, reflecting the season's wide emotional and genre range.

Ashley Hutchings produced this very lively solo album (Tony Cox adds some synthesizer on two tracks, otherwise it's just Carthy's voice and guitar, and, as on "Locks and Bolts," ajust his voice), which relies heavily on his dexterity on guitar. The sound of the latter instrument is pushed very far into the front in the mix of this, perhaps Carthy's best recorded album, with a very "hot" all-acoustic texture. Other songs include "Geordie," "King Knapperty," "Bonny Lass of Angelsea" (featuring some amazingly restrained and tasteful synthesizer), and "Palaces of Gold," the latter an angry, topical original by Leon Rosselson about a mining disaster. The only track that doesn't entirely work is "Willie's Lady," a seven minute epic that, effective as it may be in concert, needed something more than just Carthy's guitar and voice to carry it off on record.