Clarinetist and composer Kinan Azmeh bridges the gap of Middle East and jazz with this richly swinging collection of concert material during his band’s stay in Berlin. Azmeh’s clarinet unites the team of Kyle Sanna/g, Josh Myers/b and John Hadfield/dr to walk the tightrope of the mystical world of the Middle East and modern tones, rhythms and passions. The melding is a richly textured album that is as flavorful as Turkish coffee freshly brewed in hot sand.

Bob Dylan's Greatest Hits Vol. II, also known as More Bob Dylan Greatest Hits, is the second compilation album by American singer-songwriter Bob Dylan, released on November 17, 1971 by Columbia Records. With Dylan not expected to release any new material for an extended period of time, CBS Records president Clive Davis proposed issuing a double LP compilation of older material. Dylan agreed, compiling it himself and suggesting that the package include a full side of unreleased tracks from his archives. After submitting a set of excerpts from The Basement Tapes that Davis found unsatisfactory, Dylan returned to the studio in September 1971 to recut several Basement songs, with Happy Traum providing backup. The final package included one previously uncollected single, "Watching the River Flow", an outtake from the same sessions, "When I Paint My Masterpiece"; one song from Dylan's April 12, 1963 Town Hall concert, "Tomorrow Is a Long Time", and three songs from the September sessions, "I Shall Be Released", "You Ain't Goin' Nowhere", and "Down in the Flood". The remaining tracks were drawn from existing releases.

Mylène Farmer is a Canadian-born French pop superstar who rose to fame in the 1980s and topped the charts time and time again for decades thereafter. Known for giving precious few interviews, she is a deeply mysterious figure with a cult following of fans around the world. A strongly visual artist, Farmer has made videos and live performances an integral part of her musical statement and its inclination toward taboo subject matters such as sex and death.

Midwinter Graces is the 11th studio album by singer-songwriter Tori Amos. Released on November 10, 2009, through Universal Republic Records, it is the first seasonal album by Amos, and is also notable for marking a return for the artist to a more classical, stripped-down, baroque sound with various synths, string-instruments, the harpsichord and Amos' own signature Bosendorfer piano at center stage, once more. The album, like previous releases from Amos, is available in a single form CD or a Deluxe edition which includes 3 bonus tracks, a 20-page photo book, and a DVD containing an interview with the artist.

After Arthur Brown briefly ascended to stardom via the Crazy World of Arthur Brown's only album, it was a long three-year gap until the release of the next LP bearing his lead vocals, Kingdom Come's Galactic Zoo Dossier. (Although the material on Brown's Strangelands had been recorded in the interim, that record wasn't released until the late '80s.) And if not for Brown's immediately recognizable vocal histrionics, it could be the work of an entirely different artist. The Crazy World of Arthur Brown's exhilaratingly jazzy, madcap psychedelia had been jettisoned for far darker excursions into mordant early progressive rock.

Barclaycard presents British Summer Time Hyde Park, kicks off festival announcements for 2018 with another world-class headliner and the promise of yet another legendary night in the park. Pink Floyd visionary Roger Waters becomes the latest in a long line of era defining artists to grace Hyde Park – one of music’s most spectacular showmen at the greatest outdoor venue in the world. This new tour promises to be no exception, following months of meticulous planning and craft, it will inspire crowds with its powerful delivery to take the audience on a musical journey. Roger Waters – Us + Them will showcase highlights from Waters’ groundbreaking body of work, with songs from Pink Floyd’s greatest albums (Wish You Were Here, The Wall, Animals, Dark Side of The Moon), along with tracks from his critically acclaimed new album “Is This the Life We Really Want?”.

Known to music fans around the world as the “King of the Boogie,” John Lee Hooker endures as one of the true superstars of the blues genre. His work is widely recognized for its impact on modern music – his simple, yet deeply effective songs transcend borders and languages around the globe.

The winner of numerous international competitions, the brilliant young accordion player Ksenija Sidorova here presents her debut recording; a recital for solo classical accordion. A particularly accomplished artist, Ksenija has collaborated with many leading musicians (including the Belcea Quartet, and Valergy Gergiev with the CBSO), and won numerous awards and accolades. Still an underexploited resource in western classical music, the accordion has had a fast-increasing amount of music written for it since the mid-20th Century. Here, Ksenija Sidrova brings a varied recital featuring some of the best contemporary compositions for the classical accordion, alongside transcriptions of well-known works. No composer has been transcribed more often than Bach; but the accordion - heard here in Bachs Overture in the French Style - brings an advantage that few other instruments can offer; its notes do not die away as soon as they are sounded. This allows an array of colouristic possibilities, denied to other musicians.

Friday On My Mind is the first North American album from The Easybeats. The album was released as Good Friday in Europe, in the same month. This version omitted "Hound Dog" and replaced it with "Women" (re-titled "Make You Feel Alright (Women)") from the Australian It's 2 Easy album. A 1992 Repertoire CD release, under the same title and cover art as the North American album, has the track listing of the European Good Friday album.

One of Robert Cray's best albums ever, and the one that etched him into the consciousness of blues aficionados prior to his mainstream explosion. Produced beautifully by Bruce Bromberg and Dennis Walker, the set sports some gorgeous originals ("Phone Booth," "Bad Influence," "So Many Women, So Little Time") and two well-chosen covers, Johnny "Guitar" Watson's "Don't Touch Me" and Eddie Floyd's Stax-era "Got to Make a Comeback." Few albums portend greatness the way this one did.

It's not as if Albert King hadn't tasted success in his first decade and a half as a performer, but his late-'60s/early-'70s recordings for Stax did win him a substantially larger audience. During those years, the label began earning significant clout amongst rock fans through events like Otis Redding's appearance at the Monterey International Pop Festival and a seemingly endless string of classic singles. When King signed to the label in 1966, he was immediately paired with the Stax session team Booker T. & the MG's. The results were impressive: "Crosscut Saw," "Laundromat Blues," and the singles collection Born Under a Bad Sign were all hits. Though 1972's I'll Play the Blues for You followed a slightly different formula, the combination of King, members of the legendary Bar-Kays, the Isaac Hayes Movement, and the sparkling Memphis Horns was hardly a risky endeavor. The result was a trim, funk-infused blues sound that provided ample space for King's oft-imitated guitar playing.

After the expanded instrumental scale and sonic experimentation of Court & Spark and The Hissing of Summer Lawns, Joni Mitchell reverses that flow for the more intimate, interior music on Hejira, which retracts the arranging style to focus on Mitchell's distinctive acoustic guitar and piano, and the brilliant, lyrical bass fantasias of fretless bass innovator Jaco Pastorius. Known for his furious, sometimes rococo figures beneath the music of Weather Report, Pastorius is tamed by Mitchell's cooler, more deliberate ballads: these meditations coax a far gentler, subdued lyricism from Pastorius, whose intricate bass counterpoints Mitchell's coolly elegant singing, especially on the sublime "Amelia," which transforms the mystery of Amelia Earheart into a parable of both feminism and romantic self-discovery. This isn't Mitchell at her most obviously ambitious, yet the depth of feeling, poetic reach, and musical confidence make this among the finest works in a very fine canon.

Underground folk legend Malcolm Holcombe releases his twelfth full length album, Another Black Hole. Comprised of 10 new songs, Malcolm is accompanied by his usual recording ensemble of Jared Tyler on dobro, David Roe on bass, and Ken Coomer on drums. Very special guest Tony Joe White is also featured on several tracks, with his inimitable swamp guitar sound, propelling Malcolm's distinctive Appalachian folk into regions previously untapped. Also appearing are Future Man percussion and Drea Merritt on vocal harmonies. Another Black Hole is sure to captivate both long term fans as well as be a revelation to the uninitiated.

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. Small jazz groups brought out the best in Billie Holiday - especially groups as good as the one heard on this classic 1957 recording. Ben Webster, Harry "Sweets" Edison and the other members of this stellar ensemble were not just gifted soloists but sensitive accompanists as well. Lady Day was rarely more ably supported than she was on this program of sturdy standards, including three gems by the Gershwin brothers -and she rarely sounded more luminous. Originally released in 1957.

Distinguished British music interpreter Sir Andrew Davis joins forces with the BBCSO once again, this time with acclaimed soloists Dame Sarah Connolly and Andrew Staples, in this thoughtful presentation of the last two substantial choral works of Sir Edward Elgar. The matury of Elgar as an orchestrator is obvious in both works on this album, notably, in 'The Music Makers' (1912), during passages in which he quotes from 'Sea Pictures' and the Violin Concerto, and in representing the sound of aircraft in 'The Spirit of England' (1917). Elgar uses self-quotation to reflect: 'The Music Makers' is a canvas of self-reflection, written quickly following a period of illness.