Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans 10 tracks with a continuous arpeggio playing throughout, creating an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro’s critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her as a transcendent and multi-dimensional composer, beautifully morphing jazz, orchestral, and electronic music.

The most comprehensive set on record of the sonatas by a pivotal figure in the English Classical piano school, including several first recordings.Johann Baptiste Cramer (1771-1858) was identified by the influential pedagogue Edward Dannreuther as ‘one of the fathers of the church of pianoforte playing’. Born in Germany, he moved as a child to London with his family – his father Wilhelm was a violinist and conductor – and took lessons with a notable émigré of a previous generation, Muzio Clementi.

Wilco Evolving from a rough-and-tumble alt-country act into a mature and eclectic indie rock ensemble, Wilco have become critical favorites and cult heroes on the back of a stylistically diverse body of songs from founder Jeff Tweedy. Rising from the ashes of the seminal alt-country band Uncle Tupelo, Tweedy assembled Wilco's first lineup from the membership of UT's final edition.

Complete 3CD anthology of harmony pop band who had a Top 30 UK single in 1969 with 'All The Love In The World'. Features all of their singles as well as a huge number of demo recordings, including 20 tracks now gaining a first-ever issue. After being signed by producer and songwriter Tony Macaulay, North London harmony pop group West Coast Consortium issued a handful of sophisticated, lushly-orchestrated late Sixties singles for Pye. In the spring of 1969, they reached the No. 22 spot in the UK singles chart with the ballad 'All The Love In The World', issued under the abbreviated name Consortium. Unable to build on that success, the band splintered in 1972, although lead singer Robbie FaiR. Would put together an entirely new Consortium line-up a few years later. A 3CD set, 'All The Love In The World' features all of their Pye releases as well as subsequent recordings for the short-lived Trend label and no less than four acetate-only 1967-1969 albums recorded in the band's home studio. These demo recordings reveal them to have been a garage psychedelic pop band at heart, utilising Mellotron, fuzz guitar and Vox Continental organ while also suggesting a parallel debt to the lo-fi, DIY approach of 'Smiley Smile'/'Friends'-era Beach Boys. While some of these recordings have been issued before, this package sees the first-ever release of twenty additional tracks to provide the first-ever complete anthology of a band that deserve better than to be remembered as one-hit wonders.

Released in 1978 after London Town gave McCartney another huge hit, Wings Greatest rounds up McCartney's greatest hits from 1971 to 1978 – which means it skips "Maybe I'm Amazed" but touches on Ram. The main strength of this collection is that it contains many hits that never appeared on any album, and these are among McCartney's very best non-Beatle singles: the eccentric domesticity of "Another Day," the choogling rocker "Junior's Farm," the Bond anthem "Live and Let Die," the piledriving "Hi Hi Hi," and "Mull of Kintyre," a Scottish-styled folk ballad that was his biggest hit in England. And yes, it's fair to peg these as McCartney successes, since some of them were billed as McCartney, not Wings, and as such, this record is a great overview of McCartney's first decade of solo recording, containing many of his very best solo tunes.

Jazz & Blues Revue Featuring George Kahn Unveils Holiday Magic with New Album “Holiday Soirée” Los Angeles, CA – August 30, 2024 – As the holiday season approaches, the George Kahn = 1250 Jazz & Blues Revue is ready to light up your celebrations with their latest release, Holiday Soirée. This collection of twelve tracks is the perfect soundtrack for your festive gatherings, offering a fresh spin on Christmas and Chanukah classics. The album is a festive feast, where timeless holiday tunes meet the vibrant energy of jazz and blues. Holiday Soirée features the dynamic vocals of Courtney Lemmon, Gina Saputo, and Crystal Starr, whose voices weave together like a cozy winter scarf, wrapping listeners in warmth and cheer.

Legendary vibist Bobby Hutcherson delivers an attractive collection on this, his first recording for the Verve label. Accompanied by an all-star lineup, it's Hutcherson himself who raises Skyline to a level above the average straight-ahead jazz jam, but he is obviously inspired by his young bandmates. Alto saxman Kenny Garrett is especially impressive here. Highlights include a "Delilah" played in a relaxed, slow groove; a beautiful reading of Herbie Hancock's "Chan's Song"; and a lovely piano/vibes duet on the Hutcherson original "Candle." In addition, the opening "Who's Got You" features fine interplay between Hutcherson and Garrett, and smokin' solos from the whole crew, while the arrangement of "I Only Have Eyes for You" takes that warhorse far beyond the mundane place where it usually resides.

Sunny Days, Starry Nights is an album by jazz saxophonist Sonny Rollins, released on the Milestone label in 1984, featuring performances by Rollins with Clifton Anderson, Mark Soskin, Russell Blake and Tommy Campbell. The Allmusic review by Scott Yanow states: "By 1984 it was a common complaint that Sonny Rollins's live appearances were much more exciting than his studio recordings. Although none of the latter were throwaways (and virtually all of the Milestone sessions have their moments of interest), few were real gems. Sunny Days, Starry Nights as usual finds the great tenor at his best on the two ballads ("I'm Old Fashioned" and Noel Coward's "I'll See You Again") while the other four originals have been largely forgotten."

A great combo from Mannheim, Germany, also known as Joy & The Hit Kids. They were mixing jazz-rock, krautrock, funk, soul, pop and psychedelic rock, with Hans W. Herkenne (drums, percussion), Albin Metz (trumpet, bass), Roland Heck (organ, piano, vibes, marimba, percussion, vocals), Dieter Kindl (bass, guitar, percussion), Gerd Köthe (saxophone, flute), Klaus Nagel (guitar, woodwind, percussion, flute) and Hans Lingenfelder (guitar). Led by extraordinary vocal skills of female singer Joy Fleming, the band released their debut 'Overground'in 1970 (released under the name 'Turbulence' in UK and 'Joy Unlimited' in the US). Their second album, 'Schmetterlinge' (which means 'Butterflies' in German) along with the debut is the most representative band's material, and certainly worth checking.

Oliver Lieb was particularly influential via the first wave of European club trance that emerged in the 1990's, the melodic and more accessible cousin of techno… and the distinctive futuristic, techy quality of his trance productions also carries over into his downtempo and ambient albums, relatively few in number but exceptionally high in quality. "Constellation" (1993) was his first ambient album release. The title certainly makes explicit the deep space and sci-fi themes but the music itself is sophisticated and understated. The fourteen minute "Dimension X" is an absolutely gorgeous cosmic hymn with exquisitely layered melodic loops in the best Berlin-school ambient tradition and executed with a feather-soft touch. This stunningly accomplished track alone makes the album worth having.

Art Pepper's final recording sessions were comprised of duets with pianist George Cables. Pepper, who splits his time almost evenly here between alto and clarinet, is in surprisingly strong form considering that he only had a month left to live. He is heard at his best on "Goin' Home," "Don't Let the Sun Catch You Crying," "Isn't She Lovely," and "Lover Man," really pouring out his emotions into the ballads.

One of the most ambitious Euro-disco acts of the late 1970s was Space, which shouldn't be confused with the alternative rock band that recorded Spiders in 1996. By the time that Space was formed in the 1990s, the Euro-disco act heard on Deliverance had long since called it quits. Recorded in London and Paris in 1978, this conceptual, mostly instrumental LP employs a lot of futuristic sci-fi imagery and is quite high-tech for its time. Synthesizer-dominated instrumentals like "Air Force" and "Running in the City" give the impression that Jean-Philippe Iliesco, the album's producer, had been paying close attention to German innovators like Kraftwerk and Giorgio Moroder-and yet, Deliverance has a high-tech energy of its own.

The Bangles combined the chiming riffs and catchy melodies of British Invasion guitar pop with a hint of the energy of new wave. In the process, they became one of the handful of all-female bands of the '80s to win both critical and commercial success. The critical success came first – with their self-titled debut EP and full-length album, All Over the Place – and popular success arrived once they polished their sound, added some synthesizers, and deviated slightly from their trademark jangling guitar hooks. Once they were selling at the platinum level, the Bangles didn't stay together long, but they left several pop gems in their wake.

Henry Mancini was an American composer, conductor and arranger, who is best remembered for his film and television scores. Often cited as one of the greatest composers in the history of film, he won four Academy Awards, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award in 1995. His best known works include the theme to The Pink Panther film series ("The Pink Panther Theme"), "Moon River" to Breakfast at Tiffany's, and the theme to the Peter Gunn television series. The Peter Gunn theme won the first Grammy Award for Album of the Year. Mancini also had a long collaboration on film scores with the film director Blake Edwards. 2014 three CD box set containing 60 of the composer/arranger's finest recordings. Features 'Moon River', 'Baby Elephant Walk', 'Peter Gunne' and many others.

When Gretchen Wilson released One of the Boys in 2007, she took a left turn and offered as many ballads as she did straight contemporary country-rockers. The album didn’t sell as well as its two predecessors. Wilson went into the studio and cut I Got Your Country Right Here two years later – producing it with Blake Chancey and two tracks with John Rich. She felt it reflected her live shows better than her previous recordings did and would connect better with her audience.