Robin Taylor - November (2003) is an album by Robin Taylor, an accomplished jazz saxophonist and composer. November is a contemplative and introspective work, featuring Taylor’s skillful saxophone playing combined with a deep sense of atmosphere and mood. The album is rooted in jazz but features a variety of influences and textures, blending elements of improvisation and structured composition.

Cory Wong - The Optimist (2018) is an album by Cory Wong, a talented guitarist and composer known for his funky, groove-driven style. The Optimist is a highly energetic and rhythm-focused record that blends elements of funk, jazz, and electronic music, showcasing Wong's unique approach to the guitar and his ability to merge tight rhythms with smooth melodies.

Only available on Lucy's website and at her shows. A retrospective/history of Lucy's musical life, from her bedroom at age 16, all the way to major venues and recordings studios across the U.S. . The album is mostly tracks that were never released, a combination of live recordings, solo and band, and album outtakes, including some of Lucy's favorite songs that she's performed in shows over the years. Special guests include Richard Shindell, Dar Williams, Shawn Colvin, Tony Trischka, Andy Statman, Matt Glaser, and Duke Levine.

The Hot Club of San Francisco has never shied away from putting their own stamp on the Gypsy jazz sound created by Manouche guitar legend Django Reinhardt and French violin maestro Stephane Grappelli in 1930s Paris. Guitarist Paul "Pazzo" Mehling, a leading force in North America's Hot Club movement since it's inception in the late 1980s, has long made a point of featuring original tunes along with Reinhardt standards and imaginative Djangofied interpretations of songs by the likes of Lennon and McCartney. But the HCSF's 15th album, Original Gadjo, captures the creative ferment of the whole group, not just that of it's fearless leader. Slated for release Sept. 13, 2024, it's a project that finds the venerable combo revivified after a pandemic-induced hiatus, hitting on all creative cylinders. "From the beginning our mission statement was not just to preserve this music, but to pursue the intriguing question, 'What would Django do if he were still alive?'" Mehling says. "And after 35 years of chasing that sound, this album embraces our identities as gadjos, aka outsiders and Americans who were drawn to Django's sound but were not born to it."While the album features original tunes contributed by an impressive cast of current and former members of the HCSF, Mehling is still the quintet's defining compositional voice, with ebullient pieces like "Dainty" and "Praise D. Lloyd, " a churchy piece that will inspire many an "amen!" Some 35 years into the group's reign as the nation's longest-running Hot Club ensemble, the HCSF continues to expand the possibilities of Djangology.

Face to Face was a remarkable record, but its follow-up, Something Else, expands its accomplishments, offering 13 classic British pop songs. As Ray Davies' songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world. Indeed, Something Else sounds like nothing else from 1967. The Kinks never rock very hard on the album, preferring acoustic ballads, music hall numbers, and tempered R&B to full-out guitar attacks. Part of the album's power lies in its calm music, since it provides an elegant support for Davies' character portraits and vignettes. From the martial stomp of "David Watts" to the lovely, shimmering "Waterloo Sunset," there's not a weak song on the record, and several - such as the allegorical "Two Sisters," the Noël Coward-esque "End of the Season," the rolling "Lazy Old Sun," and the wry "Situation Vacant" - are stunners…

During the 1970s, solo piano box sets were rare. When Keith Jarrett's monolithic, ten-LP solo box, Sun Bear Concerts, arrived from ECM in 1978, the only comparable collection was The Tatum Solo Masterpieces, a six-disc set of the pianist's '50s sides. Jarrett's five Japanese concerts from November of 1976 in Kyoto, Osaka, Nagoya, Tokyo, and Sapporo were completely improvised and gloriously recorded by engineer Okihiro Sugano. Most jazz critics greeted it as a seminal work that set Jarrett apart from his peers.
When he hits a mysterious minor ninth to open the first concert in Kyoto, all bets are off. For nearly 80 minutes he balances tension with release, the pastoral with the cosmopolitan…

This time around, Dawkins handed the majority of the vocal duties to Andrew "Big Voice" Odom and concentrated on his guitar (actually, he had some potent help in that department, too: Otis Rush was on second guitar). A generally solid but not overly enthralling set, with two bonus cuts and an alternate take of "Moon Man" added to the CD version.

Ekseption is a Dutch band that was famous during the late sixties/early seventies for the way it combined themes from classical composers with contemporary rock and jazz in a blend of dominating, virtuoso keys and trumpet plus sax(es).
The band came as close as any group from the European continent ever did to stealing the thunder of early classical rock outfits such as the Nice and rivaling the early work of Emerson, Lake & Palmer. In Holland, they charted singles based on classical compositions and released successful concept albums, and were - along with Focus - the top progressive rock band in the Dutch-speaking world.

In this performance of Handel's best-loved oratorio, conductor Christopher Hogwood returns to the original performance traditions. The choruses are sung by boy trebles and male altos, tenors and basses, and member of the Choir of Westminster Abbey. The soloists improvise embellishments in the arias and, in certain cases, join in the singing of the choruses - just as they would have done 240 years ago. In addition, Members of the Academy all play instruments of the period or accurate modern copies.

One has to give credit to an '80s new wave musician who can adapt and create contemporary-sounding music. There are icons from that era who continue to release new recordings - Depeche Mode and the Cure, for example - but don't evolve musically; the sound is unchanging as if they were still back in the decade. This is not a bad thing, however; core listeners are usually who buy these artists' newly released albums and they don't generate new fans. That said, hats off to '80s Brit popster Gary Numan, best known for the hit "Cars," who offers up a modernized industrial-goth set in Pure. The album can comfortably sit alongside Marilyn Manson and Nine Inch Nails on store shelves. Pure doesn't drive like the industrialized adrenaline rush that is, say, Orgy, but the tracks' lingering and creepy pace leaves behind a different kind of impact - it's more haunting than relentless…

40th anniversary edition of Ozzy Osbourne’s classic third studio album Bark At The Moon on standard black vinyl – includes bonus poster.

Soundboard recording of GNR live at Deer Creek Music Center, Noblesville, IN, USA on May 29th, 1991 (day 2 of 2).

More diverse than Vanessa Williams' two previous albums, Sweetest Days finds the singer exploring jazz-influenced songs without giving up the type of boring, radio-minded fluff that had enabled her to sell millions of albums. The CD's standout track is "Ellamental," an irresistible R&B/jazz/hip-hop tribute to Ella Fitzgerald. (Much to her credit, Williams was insightful enough to praise the jazz legend while she was still alive instead of waiting until after her death.) She's almost as appealing on "Sister Moon" (a torchy Sting gem) and the Babyface contributions "You Can't Run" (which has a Sade-ish quality) and the haunting "Betcha Never."

With the creation of her Lana Del Rey persona, singer/songwriter Lizzy Grant stitched together the iconography of a fading American dream with soaring but melancholic pop songwriting, becoming an icon unto herself in the process. Her distinctive approach blurred sadness and longing just as it did past and present, drawing on the influence of classic American pop while integrating modernized touches like trap beats and millennial cultural references. With sixth album Norman Fucking Rockwell!, Lana Del Rey expands her vision with the most daring and vulnerable work of her catalog.

It's almost a blessing that, for legal reasons, this four-piece can't call itself Black Sabbath. It only serves to hammer home the point that with Ronnie James Dio up front and Vinny Appice in back, Tony Iommi and Geezer Butler express a very different side of their musical personalities than they ever did with Ozzy Osbourne on vocals and Bill Ward on drums. Where the original lineup was an ultra-heavy blues band, with a rhythm section that never failed to swing (OK, they failed a little bit on "Sweet Leaf"), when Dio came on board in 1980 the group was reinvented as a heavy metal juggernaut.