The legacy of the Krautrock primeval rock, which is still active as one of the oldest German bands. On the occasion of the 50th birthday of the German cult herb rock band Bröselmaschine, MIG-Music put together a sensational box with five CDs and two DVDs that fully documents the history of this unique group from 1968 to 2017.
The anthology contains the four studio albums from 1971, 1976, 1978 and 1984 as well as a concert recording of the Burg Herzberg Festival in 2006. The concert and a performance at the Rockpalast (2005) can be found on the two DVDs. An impressive 48-page booklet with detailed liner notes and many photos make this carefully remastered compilation a special gem. It is exciting and entertaining to accompany this extraordinary band over the decades in different formations.

Parrott's decision to perform this selection of Vivaldi's sacred music with sopranos and altos shows how the all-female forces of La Pietà might have coped with tenor and bass lines. Delectable performances in superior sound.

The Big Latin Band of Henry Mancini (1968). A great little album of Latiny tunes from Henry Mancini - played by a very hip lineup of west coast jazzmen! The rhythms have a great mix of Latin influences and Mancini magic - the kind of grooves you'd hear on his 60s soundtracks at the time, played by a lineup that includes Bud Shank and Tom Scott on reeds, Buddy Childers and Pete Candoli on trumpets, Ray Brown on acoustic bass, Max Bennett on fender bass, Larry Bunker on percussion, and Shelly Manne on drums. The vibe is nice and relaxed - a bit more upbeat than bossa, but not as all-out as other RCA Latin sessions - thanks to Mancini's nice sense of warmth and space in the arrangements…

Willie James Lyons plays just a few bars and if you dig the blues you immediately realize that he is one of the greatest blues-guitarists. Yet, this album is the first he has recorded! He is a very personal musician, an exceptional creator with inventive ideas, with phrases full of lyrism and feelings. His very beautiful, warm and pure tone allows one to identify him from the very first notes. Along with Willie Kent the singer of the band, you'll get a taste of an every night bluessession on Chicago's West Side. Hot, pure, intence and full of deep emotion of the blues.

The Eton Choirbook is a richly illuminated manuscript collection of English sacred music composed during the late fifteenth century. The Huelgas Ensemble, known for their splendid interpretations, selected five astonishing works which were never recorded before. Founded by Paul Van Nevel in 1970, the Huelgas Ensemble soon specialized in the music of the Middle Ages and Renaissance, drawing closely on primary sources and making a vital contribution to the study of early music through its published research. The Ensemble's performances are informed by a profound understanding of medieval and Renaissance vocal techniques and practices.

This album from Major Records and re-flexion is the continuation of the Elektrisch! series. As the previous one, Volume 2 is also packed with exclusive and rare club remixesfrom well known bands and artists as well as hot newcomes from the electronic music scene.
Alphaville, Camouflage, Erasure, Unheilig, Boytronic and many more.

“Indisputably the most consummate artist in the history of the classical trumpet,” was how Gramophone described Maurice André, a musician characterised by both brilliance and refinement. These six CDs, which give pride of place to music from the 18th and 20th centuries, complement some of the most popular concertos ever written for trumpet with an enticing and fascinating selection of rarely-heard works.

Like many other composers of his time, Johann Sebastian Bach (1685-1750) reused and rewrote much of his earlier material, often transcribing entire works for new instruments. So it probably would not have surprised him that musicians today are doing the same things with his music. Theorobist Hopkinson Smith follows up his successful album of Bach's Cello Suites 4, 5 & 6 transcribed for lute with the present disc of Nos. 1, 2 & 3, saying he transcribed the latter for theorbo because he finds the instrument more ideally suited in sound and aesthetic to the first three suites.

Philippe Pierlot and the Ricercar Consort's 2006 recording of Bach's Magnificat brings back the glory days of historically informed performances, those halcyon days in the 1980s when musicians, empowered by scholarship and energized by virtuosity, were recording the Baroque repertoire with the zeal of the newly converted. Though Pierlot and his musicians are of a younger generation, they bring a missionary fervor to the music, a program of Bach's Magnificat, BWV 243, and Missa Brevis, BWV 235, interspersed with two well-chosen organ works, the Fuga sopra il Magnificat, BWV 733, and the Präludium und Fuga, BWV 541. Pierlot's textures are clean, his rhythms buoyant, his colors bright, and tempos brisk, but not rushed in the fast movements, and contemplative but not moribund in the slow movements.