Double-CD compilation that includes all three of the albums King recorded for Leon Russell's Shelter label in the early 1970s, as well as some other cuts (half a dozen of which were previously unissued) recorded around the same period. King's vocal and guitar-playing skills remained intact when he joined Shelter, but these recordings aren't among his best. That's partially because he was playing with rock-oriented sidemen, and partially because the material - divided between covers of blues standards, contemporary rock and soul items, and songs written by Leon Russell - wasn't especially exciting or sympathetic. Most crucial was the near-total absence of material from the pen of King himself. Although this set isn't bad, when you want to turn to classic King, you'll go elsewhere, particularly to the sides he recorded for the King label in the '60s.

The J. Geils Band made many fine, sometimes great, studio albums but where they really captured their full, thrilling potential was on the concert stage. Most live albums tend to be a poor excuse for actually being at the show in question, but the Geils Band's live albums jump out of the speakers with so much joy, fun, and unquenchable rock & roll spirit that you might as well be there. "Live" Full House was their first live record, and it is a blast from start to finish. Recorded in 1972 at Detroit's Cinderella Ballroom, the group runs through songs from their first two albums, The J. Geils Band and The Morning After, kicking out the jams on rockers like the Motown chestnut "First I Look at the Purse," Otis Rush's "Homework," and one of the group's first self-penned classics, "Hard Drivin' Man," as well as positively scorching through an incredible version of John Lee Hooker's dark and evil blues "Serves You Right to Suffer"…

Benjamin Schmid has long been regarded as one of the most versatile violin virtuosos of our time, at home in both the classical and jazz genres. Following his album of jazz violin concertos, Schmid now returns with the Salzburger Bläserphilharmonie under the direction of Hansjörg Angerer with works by Friedrich Gulda and Kurt Weill. Gulda opened a new era of musical freedom with his "Concerto for Violoncello and Wind Orchestra" (here in the version for violin) at its premiere in the Vienna Konzerthaus in 1981.

Lee Konitz has long been a versatile jazz musician, adaptable to many different styles. This Brazilian-flavored session is one of two that the alto saxophonist recorded during the mid-'90s for Venus; his session partners include trumpeter Tom Harrell, guitarist Romero Lubambo, pianist David Kikoski (who mostly sticks to electric piano), bassist David Fink, drummer Duduka Da Fonseca, and percussionist Waltinho Anastácio. As expected, Konitz's light sound works well with the Brazilian favorites they perform, with Harrell being a particularly inspired foil for the leader. The works of Antonio Carlos Jobim are well represented, including breezy takes of "Favela" and "Wave." Harrell's lyrical "September" (featuring him in a fine muted solo) and Konitz's "Brazilian Serenade" also fit the mood of this relaxing CD very well. This rewarding release is well worth investigating.

On this double CD, “Paths into Impressionism” are taken: starting with the two important Sonatas for Violin and Piano by Fauré, the first of which was already described as a masterpiece by Saint-Saëns, and four other short pieces by Fauré, the great Salzburg violinist Thomas Albertus Irnberger and the German pianist Michael Korstick, who is already very familiar with the French idiom through many of his own recordings, present further works from the French and Belgian repertoire in their usual masterly and spirited interpretations: the Sonata by the early deceased Guillaume Lekeu, which was commissioned and premiered by Eugène Ysaÿe, and Maurice Ravel’s Sonata for Violin and Piano (with a Blues as the middle movement), which is characterized by Ravel’s view that violin and piano were fundamentally incompatible. The resulting manifold parallel developments and bitonal frictions create specific stimuli, though without showing even the slightest hint of the music falling apart.

Former Yes and Moody Blues keyboardist Patrick Moraz mixes numerous Latin and rock rhythms together via his lively synth work, resulting in a full-flavored, energetic album. Not typical sounding to say the least, there are hints of funk and marimba, Caribbean and South American styles, and even flamenco, all guided by Moraz's whirlwind keyboard playing. Inspired by the Brazilian ballet, each song dances with piquancy and flow, never repeating the same rhythms or sounds while at the same time introducing a wide variety of percussion instruments. Andy Newmark's drums add dimension to the fiery patterns conjured up on "Dancing Now" and "Incantations," raising the musical temperature of both tracks. Delightful additions of marimbaphone, cello, gongs, tam-tams, and even castagnets jump in and out of all the songs, fusing both a modern and a primitive sound together…

Jon Hopkins supplemented Immunity and Singularity, his two massively ambitious and acclaimed experimental techno albums released during the 2010s, with EPs containing ambient versions and pieces designed for relaxation. His 2021 album Music for Psychedelic Therapy is a full immersion into beatless compositions, moving far away from the grand, intricately crafted progressive dance epics of his two most well-known albums. The release is a three-dimensional sound bath meant to be played continuously while the listener is lying down in the dark, and it incorporates natural sounds within its layers of shifting textures, chimes, and subtle bass modulations. It isn't as jarring or heart-racing as Hopkins' more rhythmic works, but it does feel like it's channeling spiritual energy in a similar, chemically enhanced way. The album might appear new age on the surface, but it's more than just a set of blissful, mind-cleansing meditations…

R-O-R refers to the chemical compound ether, when two elements come together to create entirely different matter. This ethereal compound also gives its name to the collaboration between Icelandic musicians Gyða Valtýsdóttir and Úlfur Hansson, whose new album AUGA brings together the two musicians in a unique new work of cosmic alchemy.

Music from Faye Adams, Charlie & Ray, Maurice Williams & The Zodiacs, and more – 50 tracks in all.

This set of archival recordings lets us witness the formation of arguably the most powerful and expressive voice in rock history. From the earliest known performances in the small bars of Texas to the first sessions with Big Brother to her mesmerizing live shows, Janis never left behind her raw roots. She drew upon them to impel emotional performances as if by exposing her pain she gained power over her past and transformed it into a gift. In these newly sourced pearls, we can hear as never before the birth and fast burning flame of Janis Joplin. Included are outtakes and unreleased songs from the 1968 "Cheap Thrills" studio sessions, demos for the 1969 Kozmic Blues album and vast improvements on all existing vintage (1962-65) live recordings. The vintage recordings, in particular, are wonderful and although we had some of this material from the long out of print "Janis" movie soundtrack vinyl release, this collection has 39 (!) tracks recorded between 1962-65 including the ubiquitous "Typewriter Tapes" made by Jorma. The fourth CD unchains the urgent expression and lets it be heard in a complete Big Brother concert from 1967.

"Taken From Rare Studio Demos".

New recording Label Solo Musica: Richard Strauss Elektra with an opulent cast.The recording is characterised by an uncompromising fidelity to the work, which makes it possible to experience Richard Strauss' masterpiece in all its facets. All of the passages that are usually cancelled, which are essential for understanding the work and its power, have been opened up. Richard Strauss himself emphasised in his memoirs how important words and singing were to him in the opera. He reported that the conductor Ernst von Schuch unleashed the orchestra at the dress rehearsal to such an extent that Strauss had to muffle him in order to maintain a balance with the voices.

The Orpheus myth was as important for the birth of opera in France as it had been in Italy. In 1684, Charpentier composed a work for three voices, Orphée descendant aux Enfers. With this piece, remarkable for its style and concision, he showed how well he had assimilated Carissimi’s art. It is a dramatic scene, similar to the ‘sacred histories’ of the Roman master. The text, by an unknown author, narrates Orpheus’ quest for his beloved in the Underworld. /quote]

Anthony Newman does a fantastic job with the "great eight". Tempos are wisely chosen; never too quick (as is often the case with these suites played on harpsichord), but definitely never too slow (as is the case on almost all the piano recordings of these suites). The 1st, 3rd, and 8th suites are particularly well done; and as far as the 5th goes, it gets a very well-played, although somewhat straightforward performance.

Since his debut in 1959, harpsichordist and fortepianist Igor Kipnis has performed in recital and as soloist with orchestras throughout the world, including North and South America, Western Europe, East Germany, the Soviet Union, Czechoslovakia, Poland, Israel, the Far East, and Australia. He is a prolific recording artist with 81 albums to his credit, of which 55 are solo. Among the honors he has received are 6 'Grammy' Nominations, 3 'Record of the Year' Awards from Stereo Review , the 1969 Deutsche Schallplatten Prize, and the 1988 Gold Star award from the Italian periodical, Musica .