Oscar Alemán is one of the great unknown talents in jazz history. A brilliant guitarist who sounded very close to Django Reinhardt at times, Alemán was overshadowed in Europe by Reinhardt in the 1930s and spent much of the rest of his career in his native Argentina, remaining well known only in that country. This 1998 double CD from Dave Grisman's Acoustic Disc label has highlights from Alemán's career, including the eight selections he recorded during his three European sessions of 1938-1939, plus music from 1941-1947 and 1951-1954. Although the settings varied (including a sextet with violinist Svend Asmussen, a nonet, and two unaccompanied guitar solos), Alemán's basic swing style stayed the same, retaining its enthusiasm and creativity and remaining unaffected by bop. Sticking throughout to acoustic guitar and taking an occasional good-time vocal, Alemán is heard in peak form. He deserves to be much better known. A definitive two-fer from a major talent.

Live in London is a live album from Deep Purple. It was recorded on 22 May 1974 at Gaumont State in Kilburn by the BBC for radio broadcast, but was unreleased on vinyl until 1982. It features the Mk 3 lineup of Blackmore/Coverdale/Hughes/Lord/Paice during the tour for their album Burn.

Claudio Arrau recorded these concertos twice for Philips, the present performances in 1963, and then again in 1980 with Colin Davis and the Boston Symphony. There's very little to choose between them. Tempos are almost identical, and contrary to what one might expect, the slow movement of the Schumann concerto is actually a bit faster in the later version. Arrau's way with the music is wholly characteristic of the man: serious, even reverential (at the beginning of the Schumann), and played with drop-dead gorgeous tone. The result enhances the stature of both works, but the Grieg in particular. The climax of the finale has an epic grandeur without a hint of bombast that you simply won't find in any other performance. Dohnányi's accompaniments are also distinguished: he lets Arrau lead but isn't afraid to permit the orchestra to assert itself where necessary; and of course the playing of the Concertgebouw is top-notch. If you haven't heard Arrau in this music, it really doesn't matter which of his recordings you wind up with, but do try to get at least one of them.

Complete Discography compiles Minor Threat's entire body of recordings on a single compact disc. Hardcore, as a rule, wasn't particularly musically diverse, but Minor Threat were one of the genre's groundbreaking acts and their music has held up better than most of their contemporaries. As the de facto leaders of the Washington, D.C., hardcore scene, the band pioneered the straight-edge mentality by emphasizing impossibly fast tempos, brief songs, political lyrics, and a drug- and alcohol-free lifestyle. Besides setting the precedent for several generations of punk rockers with their music and ideals, Minor Threat were simply a better band than most hardcore groups. They had a tight, distinctive sound that wasn't as heavy as their Californian counterparts and, therefore, were often more bracing and effective. Although some of the music on Complete Discography, like much of hardcore in general, hasn't aged particularly well – with its cheap production, rigid song structures, and political concerns, it is very much a piece of the early '80s – the sound remains invigorating; the band possessed a visceral energy matched by only a handful of their peers.

The senses reign, and Reason now is dead (Petrarch). Giovanni Antonini, flautist and founder of the legendary Italian ensemble Il Giardino Armonico, enjoys musical voyages, the discursiveness of music. He begins with an anonymous 16th century pavane, La Morte della Ragione (The Death of Reason), which he believes refers to In Praise of Folly, in which its author Erasmus distinguishes between two forms of madness: a sweet illusion of the spirit, and a negative form, one that the vengeful Furies conjure up from hell…

'Titon et l'Aurore' is an opera in three acts and a prologue by the French composer Jean-Joseph de Mondonville which was first performed at the Académie royale de musique, Paris on 9 January 1753. The authorship of the libretto has been subject to debate; Mondonville's contemporaries ascribed the prologue to Antoine Houdar de la Motte and the three acts of the opera to the Abbé de La Marre. Titon et l'Aurore belongs to the genre known as the pastorale héroïque. The work played an important role in the so-called Querelle des Bouffons, a dispute over the relative merits of the French and Italian operatic traditions which dominated the intellectual life of Paris in the early 1750s.