The Czech pianist Johann Ladislaus Dussek (1760-1812) had an extremely successful concertizing career throughout Europe and especially in England, where he stayed for ten years. Dussek is credited with being influential in extending the size of the early pianoforte, working closely with British piano-maker John Broadwood and playing one of Broadwood's first six-octave instruments. One has to wonder whether Dussek was aware how much the "future" of pianism belonged to him, and how thoroughly that "future" would forget his existence.

The Finzi Clarinet Concerto has been particularly lucky on CD, with a whole series of fine versions issued, including those above. Yet Emma Johnson, spontaneous in her expressiveness, brings an extra freedom and often an extra warmth to make this in many ways the most winning of all. Finzi's sinuous melodies for the solo instrument are made to sound as though the soloist is improvising them, and with extreme daring she uses the widest possible dynamic range down to a whispered pianissimo that might be inaudible in a concert-hall.[[/quote]

US Festival California 1983

Helge Sunde is a 44-year-old Norwegian trombonist and composer who often works with jazz/classical composer Geir Lysne, sounds as if he checks out Hermeto Pascoal, Django Bates, Carla Bley, and British jazz and TV composer Colin Towns – and who has produced a cracker of a contemporary big-band album with this set. Sunde's Denada ensemble has produced powerful work before, but the balance of moods, melodic variety and arranging ingenuity on Finding Nymo (the sax-playing Nymo brothers Frode and Atle are star soloists) ought to raise his standing outside continental Europe. He throws listeners off the big-band scent with the eerie vocoder whispers at the start, but busy phrase-swapping between the horns, and arrhythmic ensemble riffs with solo-sax wails rising out of them introduce a Django Bates feel. When In Rome is a hooting, swaggering theme with revving engines and street noise, Valse Triste starts like a funeral lament and turns into a demonically waltzing dance, and the title track begins as tentative, sputtery improv, then coalesces into a melody. Guests Olka Konkova (piano) and Marilyn Mazur add flourishes to an already formidable set.

Live at Great Western Forum 1983.Track 2-7, 2-8 & 2-9 = bonus tracks recorded live at Nassau Coliseum.

Live broadcast by WPLJ-FM from RCA Studios, New York City, USA, 27th September 1972.

57 tracks. The complete band history, discography & family tree.

The Encore Series consists of Official “Bootleg” style recordings from Peter Gabriel shows, recorded directly from the soundboard (with added ambient microphones) by Ben Findlay (Real World staff engineer) and released as a professionally mastered and manufactured 2 CD set (no CD-R's). They come in a gatefold package with artwork designed for the Encore Series by Real World and are unique for each concert and city.

Less than two years after the fantastic The Ride, the most rocking icon from the Belgian music scene sends a lively, spacy longplayer into the world on which his fantastic band members get all the freedom they need to give free rein to their enormous musical baggage and creativity. Despite their flourishing solo careers, the artists continue to find a growing pleasure in playing with Daan that makes them rise above themselves. First single DUMB is already glowing proof of that. Or as Daan himself says: ‘DUMB is a call to reunite us all, even if we are very different, in a long sweet positive parade…’

Live at Tokyo Dome, Japan March 30/31 1998.

Linde Tillmanns presents her new album “Stillness, Chaos, Thoughts, Feelings” containing 12 compositions by her hand for sextet and trio.

This sixth instalment of Masaaki Suzuki's critically acclaimed complete organ works by Johann Sebastian Bach presents the first eleven pieces from a manuscript since referred to as the Leipzig Chorales. Conceived around 1739, this collection is unusual in that it contains no new compositions, but rather 'reworkings' of organ chorales dating from the years 1708-17, when Bach was in Weimar.

‘The terms romanticism and late romanticism direct our thoughts to musical epochs, but the selection on this album is based on a word art that encompasses romantic ideas and experiences such as sadness, joy, love, fear, despair, expectation and longing that have existed at all times. This album features works by composers Alvin Vikman, Agneta Skölds, Laura Netzell and Valborg Aulin. It also features choral works by Anton Webern, Peteris Vasks and Ludvig Norman.

Al Kooper (born Alan Peter Kuperschmidt; February 5, 1944) is an American retired songwriter, record producer, and musician, known for joining and naming Blood, Sweat & Tears, although he did not stay with the group long enough to share its popularity.[1] Throughout much of the 1960s and 1970s he was a prolific studio musician, including playing organ on the Bob Dylan song "Like a Rolling Stone", French horn and piano on the Rolling Stones song "You Can't Always Get What You Want", and lead guitar on Rita Coolidge's "The Lady's Not for Sale". Kooper produced a number of one-off collaboration albums, such as the Super Session album that saw him work separately with guitarists Mike Bloomfield and Stephen Stills. In the 1970s Kooper was a successful manager and producer, recording Lynyrd Skynyrd's first three albums. He has had a successful solo career, writing music for film soundtracks, and has lectured in musical composition. Kooper was selected for induction for the Rock and Roll Hall of Fame in 2023.

Four CDs. The first comprehensive overview of the band's initial run which technically began with Cherry Red issuing the band's debut single 'Chenko' in 1983. For this box set frontman and mainstay Simon Toulson-Clarke undertook a deep dive into his archives and discovered 11 previously unreleased demos from 1980-1982. As well as the previously unreleased audio, Simon was also able to provide a treasure trove of unseen photos from the very earliest days of the band all the way through to 1990. Disc One contains the band's debut album 'The Circle & the Square' as well as seven bonus tracks that include both sides of their debut single as well as other rarities. Disc Two includes sophomore album 'Motive' as well as five rare bonus tracks. Disc Three is comprised of 12 hard to find alternative mixes including Paul Oakenfold's remix of 'Enjoy'. Disc Four contains the eleven previously unreleased demos from 1980-1982. Red Box initially came to prominence in the 1980s with UK Top Ten hits 'Lean on Me (Ah-Li- Ayo)' in 1985 and 'For America' in 1986. Both of these tracks were included on debut album 'The Circle & the Square' in 1986 (WEA), which would be followed by 1990's 'Motive' (EastWest), with no further albums forthcoming until 'Plenty' (2010) on Cherry Red Records.