When these recordings first came out, far in advance of the period instrument revolution, they were revelations. Though modern instruments were used, there was an effort to get performance practices right… And there was the incredibly powerful, absolutely heavenly sound of that chorus of men and boys, as well as the lifelike recordings that perfectly captured the vast space of the Chapel of King's College. Since that time there have been other performances that depict the letter of each work to a greater degree than these, but many listeners will argue that there are none that have better encapsulated the spirit of this music… These are star-studded "great singing" recordings in which the artists will be remembered as much as the music itself.

The years have only been kind to the album considered David Ackles' masterpiece when it was released. Ackles combined an early-'70s singer/songwriter sensibility with a theater music background that placed him as much in the tradition of Brecht-Weill and Jacques Brel as Bob Dylan. Not only are his songs fully realized, dramatic statements, but Ackles proves himself a warm, accomplished singer. When this album got no higher than #167 in the charts, Ackles' fans were heartbroken. Decades later, American Gothic remains one of those great albums that never found its audience. It waits to be rediscovered.

Raymonda is a grand ballet in three acts, four scenes with an apotheosis, originally choreographed by Marius Petipa to the music of Alexander Glazunov (his opus 57) and libretto by Lydia Pashkova. Raymonda was created especially for the benefit performance of the prima ballerina Pierina Legnani, and first presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently.

Djabadary was largely unknown in his homeland during his lifetime and was first discovered by Georgian audiences, then behind the Iron Curtain, in the 1940s. His music is noted for its fusion of Western classical traditions with folk themes from Georgia, along with the eclectic sounds of the surrounding Caucasus region.

The Piano Trio in B-flat major, Op. 97, by Ludwig van Beethoven is a piano trio completed in 1811. It is commonly referred to as the Archduke Trio, because it was dedicated to Archduke Rudolph of Austria, the youngest of twelve children of Leopold II, Holy Roman Emperor. Rudolf was an amateur pianist and a patron, friend, and composition student of Beethoven. Beethoven dedicated about a dozen compositions to him. The Archduke Trio was written late in Beethoven's so-called "middle period". He sketched out the draft for it in the summer of 1810 and completed the composition in March 1811. It follows the traditional four movement structure with sonata form in the first and rondo sonata form in the last movement. It also allows for a more prominent part for the piano than previous compositions.

Love is precious, blind, many-splendoured, and, like a wild rose, beautiful and barbed. On his latest long-player, Lovely Music, Russian-American pianist Simon Nabatov revisits old acquaintances, scouring his back catalogue for captivating case studies of l’amour, seeking in passages of poetry and prose, tales anecdotal and personal, the inspiration for his audacious mood music suffused with sentiments suggesting affection, tenderness, adoration, and even obsession.

When jazz vocalist Freddy Cole sings, it's with a built-in groove that's unshakeable, with warm, honeyed tones that wrap the lyrics in velvet and set them down firmly in the pocket. Cole has one great little album here; if you thought it was impossible to produce a modern-day jazz vocal album that's not infused with endless oodles-of-noodles riffing that shows you nothing except the ability of the vocalist to sing everything but the melody, be prepared for greatness. With a small combo led by pianist Cedar Walton and tenor saxophonist Grover Washington, Jr., Cole has a backdrop that never gets in the way of his magic nor does anything that doesn't help the song. Timber-wise, he owes a lot of his phrasing to his older brother, Nat "King" Cole, and Francis Albert Sinatra, but Freddy ultimately remains his own man and that's what makes this album such a success. Ten or 12 stars, at least.