While this album suffers from execrable reputation (some of it deserved), it's not quite as bad as what some reviewers would have you believe. While the music here is obviously affected by some trends of its time, this alone isn't necessarily a bad thing. The entire fusion movement had moved on that direction anyway - Weather Report, Mahavishnu Orchestra, Herbie Hancock, you name it - so, as a result, we get some funky fusion jams with some melodic parts. Definitely needs rehabilitation among some "fans"

I'm astonished at two things: One, that it's taken me so long to discover this amazing album, and two, that the music on here is so incredibly good. Truly, this was a trailblazing album, fusing country, folk, and bluegrass, and making it palatable for rock audiences. It helped of course that Gene Clark of the Byrds was sitting in with the Dillards, giving this project more street cred for the folkies and rockers. The musical virtuosity on here, the soaring harmonies, and the high quality of the songs, is most impressive.

The Five Blind Boys of Mississippi was an American post-war gospel quartet. With lead singer Archie Brownlee, their single "Our Father" reached number ten on the Billboard R&B charts in early 1951.[1] It was one of the first gospel records to do so.

The Five Blind Boys of Mississippi should not be confused with The Blind Boys of Alabama, a group led by Clarence Fountain. There is some dispute as to which of the two groups was named first. Some sources say that the Five Blind Boys took their name when Percell Perkins joined them in the mid-1940s. According to Fountain, however, the two groups were actually christened simultaneously during a Newark, New Jersey quartet contest in 1948.

Cheap Thrills is designed for the curious listener who has always wanted to explore Frank Zappa but was intimidated by his overwhelming catalog. Of course, so is Strictly Commercial, which contains all of Zappa's most familiar songs, but Cheap Thrills has the advantage of being cheap, plus giving an idea of the weird diversity of Zappa's catalog, since it's filled with cult favorites, live tracks, smutty jokes, and assorted album tracks. It's not necessarily the most accessible introduction to Zappa – again, that would be Strictly Commercial – but it's more accessible than the average album while giving a sense of what the albums feel like. And you can't ask for much more than that from a budget-priced introduction.

Ennio Morricone, the Italian composer whose credits include the "spaghetti" Westerns that made Clint Eastwood a star, has died in Rome aged 91.

According to Italian news agency Ansa, he died in hospital having fractured his femur in a fall some days ago.

The prolific composer also wrote music for Once Upon a Time in America, The Untouchables and Cinema Paradiso.

Having received an honorary Oscar in 2007, he went on to win one in 2016 for Quentin Tarantino's The Hateful Eight.

Morricone, who was simply known as "Maestro" in his home town of Rome, scored more than 500 films over seven decades.

"I recommend these highly. If you want the best digital versions of these great Blue Note albums, grab these. In my opinion they are the best that have ever been done and probably the best that ever will be. They can't stay in print forever so don't delay!" - Steve Hoffman, Mastering Engineer

On Bluesnik, Jackie McLean was beginning to adapt to the free-jazz stylings of Ornette Coleman, and Hubbard proves he is equally at home. He could handle a mixture of hard bop and free jazz with the skill of an older and more experienced musician. I recommend these highly. If you want the best digital versions of these great Blue Note albums, grab these. In my opinion they are the best that have ever been done and probably the best that ever will be. They can't stay in print forever so don't delay!" - Steve Hoffman, Mastering Engineer

Melodiya presents an album of Grigory Ginsburg, a wonderful virtuoso pianist and one of the glorious representatives of the Russian piano school of the 20th century.

Ginsburg’s name is now overshadowed by some of his better known peers such as Emil Gilels, Sviatoslav Richter, Yakov Flier, Stanislav Neuhaus and others. Meanwhile, in his time in the 1930s-1950s, his concert performances entranced audiences and critics alike.

This album comprises compositions by Franz Liszt and Anton Rubenstein’s Piano Concerto No. 4. Ginsburg’s interpretation of the concerto became a model for musicians of many generations.

"Viotti's A minor concerto is my very special rapture. It is a magnificent piece, from a strange booklet in the invention; as if he fantasizes, it sounds, and everything is masterfully thought and made. If people had a clue that they would get from us drop by drop what they could drink there to their heart's content"

Pierre Monteux was 86 when the first of these recording sessions took place and would die in 1964, when he recorded the Bolero here–no doubt the oldest conductor to do so. You can detect a bit of slackening in the later performances, but the Ma Mere l'Oye ballet is also form 1964 and sounds lovely. Don't expect flash and virtuosity, although the LSO certainly plays well. Approach this CD as a memento of one of the century's premiere musicians.

A collection of traditional and folk arrangements from the Argentine born, Asturian vocalist, whose passion explodes from deceptively timid verses, or lilts like a mournful shepherd accompanied only by a setting sun. Essential listening.

A sorely overlooked (stunning) performance of these remarkable works by Werner Haas. What a beautiful performance! Werner Haas makes you feel that this is exactly the right tempo for the piece when in fact he is faster than most. It's just such exquisite phrasing and attention to tone.

Finding any previously unreleased Paul Bley material is a wonderful gift. I'm just hoping for more. Much of this live for radio recording was recoded in a studio later (or perhaps just prior) to the European tour but it is great to hear the variations. Paul Bley played many of the same pieces over and over but never the same way twice.

For ten years, San Francisco’s I the Mighty has been going strong. While maintaining the same lineup, the group has managed to carve out a niche within the saturated post-hardcore, alternative rock scene distinctly their own. Highly influenced from genre-bending bands like Coheed and Cambria, I the mighty have always shown the same fearlessness with every release. Whether it is a ballad or a fiercely fast paced guitar driven song, the group sounds equally at home.

Christopher Czaja Sager is highly regarded by music critics on both sides of the Atlantic: “Christopher Czaja Sager is truly perceptive, sensitive and imaginative and a deeply-gifted musician of rare qualities and values. He is worthy of the highest expectations and highest values”.