Obscure British psychedelic quartet based in London who played the Marquee, among other clubs, in 1969. Their only album, released around 1970 on the German Metronome label, is rumored to have been produced by Rod Stewart.

Surprisingly enough this 1963 LP was the first time (other than a couple songs) that Ella Fitzgerald and Count Basie recorded together. (The match-up was so logical that it would be repeated many times over the next 20 years.) Fitzgerald sounds fine and, even if Quincy Jones' arrangements did not give the Basie musicians as much space for solos - although two songs do feature a bit of trumpeter Joe Newman, trombonist Urbie Green and Frank Foster on tenor - this is an enjoyable effort. High points include "Honeysuckle Rose," "Them There Eyes" and "Shiny Stockings."
It was originally issued as "Ella & Basie!" and reissued later with slightly different cover art as "On the Sunny Side of the Street".

First recognized as the dance duo behind the club hits "Stakker" (as Humanoid) and "Papua New Guinea," Future Sound of London later became one of the most acclaimed and respected international experimental ambient groups, incorporating elements of techno, classical, jazz, hip-hop, electro, industrial, and dub into expansive, sample-heavy tracks, often exquisitely produced and usually without easy precursor. Notoriously enigmatic and often disdainful of the press, the group's Garry Cobain and Brian Dougans worked their future-is-now aesthetic into a variety of different fields, including film and video, 2- and 3-D computer graphics and animation, the Internet, radio broadcast, and, of course, recorded music…

US is a Dutch neo-prog band formed in 1998 by Jos Wernars (guitars) and Ernest Wernars (bass), but the musicians career dated back from 1978 when first incarnation of the band was named Saga, releasing one album and disappered in to oblivion. They reunite in 1998 and give the band name US, releasing first album in 2000. The second album from 2003 named "Eamon's Day" is a perfect neo-prog album. Everything is well done, elegant arrangements, brilliant vocal parts and above all the bass lines are very intristing. The voice of Stephan Christiaans is very smooth very good, with many jaw dropping moments and fits very well in the music they play. What is more intristing is that the bass is very predominant, sometimes is used like a prime instrument, with excellent chops and elegant interluding with the rest…

Dan Morganstern makes an excellent point in his liner notes when he laments the tendency to refer to Roy Eldridge as a “link between Louis Armstrong and Dizzy Gillespie.” For one thing, Diz eschewed the kind of brilliant trumpet tone that characterized the work of Eldridge and Armstrong. Considered in this light, if one starts with Armstrong’s early achievements and then looks for anything like that kind of distilled joy in all the subsequent history of the music, one gets no further than the spectacular sides the man they called “Little Jazz” made for Columbia in January 1937. There’s just no one after that to “link” to, ever…

Going by the enigmatic code name 35007 ("loose" spelled upside down), Dutch musicians Mark Sponselee (guitar, bass, drums, synths, effects), Bertus Fridael (guitar), Michel Boekhoudt (bass), and Sander Evers (drums) perform ambient trance-groove music of a predominantly instrumental design. Secretive by nature, the group rarely performs live, and when it does, it's usually with the help of a visual specialist to provide a truly multimedia and multi-sensory experience. Both their 1994 debut, Especially for You, and its 1997 follow-up, 35007, interspersed occasional vocal tracks amidst the prevalent instrumentals, but even these were summarily abandoned on subsequent releases like 2001's Sea of Tranquility EP and 2002's full-length Liquid. The band likes to keep things as secretly as posible and that's why they are rarely seen live, but when they do they always have image projections and visual effets to accompany their sound.

Reading The Bones (1997). In the tradition of Steve Roach, Robert Rich, Vidna Obmana and other purveyors of ethno-ambience, Biff Johnson creates music that takes the listener on a journey to the outer reaches of inner space. On Reading The Bones, Johnson creates an audio prophecy of sonic, shamanic proportions. Co-produced by Steve Roach.
Mirage At The Crossroads (1999). Biff took a journey into the southwest to finish his 1999 CD, Mirage At The Crossroads. Co-produced by Steve Roach, it contains 9 cuts with 72 minutes of music including the 15 minute epic piece "A Road From Somewhere." Somewhat more aggressive and intense than Reading The Bones, it has the groove factor taking a more active role on some tracks. And, of course, Biff's signature harmonic textures are in full bloom.

Two things stand out on this previously unreleased concert recording from 1970: first, Ella's irrepressible energy and girlish sense of humor, which she indulges at every opportunity; second, her eclectic tastes, which allow her to follow Duke Ellington's "Satin Doll" with "Spinning Wheel," a Blood, Sweat & Tears song. And that's not to mention the Harry Nilsson number and the three Bacharach songs. There are the standard Ella showpieces that no audience would have let her leave out - "Mack the Knife," "The Girl from Ipanema," "You'll Have to Swing It (Mr. Paganini)" - and she sings all of them with her typical flawless intonation and freewheeling allusiveness (only Ella could have figured out how to quote "Hello Dolly" in the middle of "Cabaret," or would have wanted to)…

Taken from the 2003 album "Other People's Songs", "Make Me Smile (Come Up And See Me)" is a cover of Cockney Rebel's smash UK hit. The US version of the single contains three versions of this song, plus three exclusive tracks.

Time Out (2008). "Time Out" is an evocative and uplifting musical tapestry where gentle piano sounds and melodies lead you into a world of pure silence as the ground of all being. Pure and elegant, intricate and subtle, Oliver Wright's solo piano melodies invoke the serene mind, and invite you to slip out of time and into the spaciousness within where you can deeply relax. Through the gentle power of the piano, he invites you to simply embrace and accept life as a joyful and carefree journey. Pure natural timeless melodies, at times evocative and inspirational, at times compelling and graceful, with sounds that have the power to transcend all thought and time. Simply listen, relax and be moved…

Barock Project is the name of an Italian Progressive rock band, made of young but very experienced musicians. They are led by keyboardist virtuoso Luca Zabbini, who composed a concerto for piano and saxophone, a true sign of excellent musical abilities! Their project is described by themselves, "To spread the finest and perfect structure of classic music (Mainly baroque music) with a rock style, and a little bit of jazz harmony, all supported by a pop song structure"…

This release gives one a definitive look at the Count Basie Orchestra during its final years. Trumpeter Pete Minger, trombonist Booty Wood and Eric Dixon on tenor and flute are the main soloists, but it is the classic Basie ensemble sound (which never seems to get dated or lose its charm and power) that carries the day. Whether it is "Wind Machine," "Splanky" or "In a Mellow Tone, " this is a highly enjoyable set.

Original electronic music that is directly inspired by the classic electronic music sound from circa 1972/82. Dreams of the future as seen from the past, and meanderings into fantastic worlds, surreal, psychedelic.

Digitally remastered and expanded edition of this 1969 album from the Psych/Progressive rockers. Formed in 1967, the group signed to Pye Records the following year, following a series of legendary appearances at the MIddle Earth club and a support slot for Jefferson Airplane on their first UK tour. This debut album was a fine piece of work with many classic tracks such as 'Ride With Captain Max' This reissue adds both sides of the band's first single as bonus tracks.

The Bugs were a U.K. garage rock revival band who seemingly existed just long enough to make one album, 1987's Darkside, and then vanish. While this is something less than a tragedy, a listen to Darkside (which rather unexpectedly was reissued on CD in 2006) proves this band was significantly better than the average European garage-pysch merchants of the era. The disc's sleeve features no credits, and Ace/Big Beat play coy about the group's membership in their bio, which means this may or may not be some semi-supergroup of '60s-obsessed U.K. rockers, but whoever these folks were, they bring the fuzztone energy with plenty of style and an impressive reserve of energy. Darkside is full of guitars stalking a netherworld between fuzz and jangle while diving in and out of a deep sea of echo and reverb, with the singer matching the six-string chaos with glorious howling and full-bodied vocal mania…