The insert-note here relates the remarkable story that Barbirolli, stepping off the boat-train at 11 o'clock one morning in 1935 after a visit abroad, was told that at 2 o'clock he was to record Vieuxtemps's Concerto No. 4 a work he had never even heard, let alone seen with Heifetz. Using a score "so yellow with age that the pages crumbled" as they were turned, the work was nevertheless recorded in a single session a tribute not only to Barbirolli's professionalism and skill but also to Heifetz's confidence in the conductor (then aged 36, two years older than himself), having already recorded concertos by Glazunov and Mozart with him, as the most able of accompanists.

The Black Art Jazz Collective was founded in 2012 by Wayne Escoffery and Jeremy Pelt with the aim of honouring and preserving the art of some of the progenitors of jazz who inspired them, hired them and mentored them first-hand. And while the band does pay homage to the greats of the past they also continue the evolving tradition of jazz with a body of work that remains firmly entrenched in the modernism of today. From the angular melody of Escoffery's "Involuntary Servitude," to the ingratiating groove of Pelt's "For the Kids," the ensemble extends the range and potential established by their illustrious predecessors with innovative original compositions, solos that run the gamut from thoughtful to virtuosic and a shared sense of purpose that is unique on today's jazz landscape.

B.B. King is joined by some of the best British and American blues musicians of the day on these all-star sessions recorded in London in 1971. Among the many guests include Ringo Starr, Alexis Korner, Dr. John, Klaus Voormann, Gary Wright, Steve Winwood and other members of Humble Pie and Spooky Tooth. Several of these guests contribute songs to the album, fleshed out by a couple of blues chestnuts and an original number written by King and Dave Clark.

The Rolling Stones release a brand-new Best Of compilation album, Honk, featuring the biggest hits and classic cuts from every Rolling Stones studio album from 1971 - 2016's Blue & Lonesome. The 47-track release includes eight Top 10 singles, “Brown Sugar,” “Tumbling Dice,” “Angie,” “It’s Only Rock’n’Roll (But I Like It),” “Fool To Cry,” “Miss You,” “Emotional Rescue” and “Start Me Up.” and more. Exclusive to the Deluxe edition is a 10-track offering of live recordings taken from various concerts in the band's storied touring history.

Stay There 'Til I Get There is Lynn Anderson's first album for Columbia Records following a successful stint on the independent Chart label. Since Anderson's crossover smash "Rose Garden" was released several months later, Stay There 'Til I Get There sounds just like one of her Chart albums, down to the banjo picking on the hit title track. The one departure from her earlier records is the poverty of compositions by Anderson's mother, Liz Anderson. Producer Glenn Sutton takes her place to an extent, but Anderson also covers the underrated Sonny James song "True Love's a Blessing" and Bobbie Gentry's hit "Fancy." "Rose Garden" gave Anderson's sound a strong push toward pop music, so those who enjoy her early straight country recordings will also enjoy this first album for Columbia.

Multi-instrumentalist & vocalist Slim Gaillard's joyous music appealed to adults and little children alike, with songs about love, traveling, potato chips, beer and everything in between. Searching For You: The Lost Singles of McVouty (1958-1974) is the first collection of new Gaillard music officially released with the endorsement of the Gaillard family in decades. Very little is known about the label sources (ie, Putti Records, SGM Records, Delgado, Blue Chip Records, etc.), but they all seem to have been made for companies likely owned by Slim that he was sending out to A&R men and radio stations trying to score regional hits.

"A month after he turned 30, The Weeknd is launching the next era with his most fully realized album yet, “After Hours.” Sonically, the hallmarks are ultra-cinematic keyboards, pulsating sub-bass, hard beats (which are seldom danceable), ‘80s synthesizer flourishes and caverns of echo, all of which contrast with his high, angelic voice."

Dan Smalley is unwavering, echoing hard-lived experiences and removing any filters throughout his forthcoming If I’m Being Honest EP. The four-song set places him solidly within Country music’s rich legacy of storytellers. Smalley draws candidly on his own life story to deliver compelling tales of persistence, love, and redemption. Working with Keith Stegall, known for his award-winning work with the likes of Alan Jackson and Zac Brown Band, brings the same kind of sparkling production to Smalley’s If I’m Being Honest EP and songs like “Till Country Comes Back,” with its buoyant banjo and steel guitar.

Multi-instrumentalist and singer-songwriter George Moir releases his debut EP, Spare Room. The release was heralded by his single "Blame", released in February. Sharing a taste of the album, "Blame" is a warbly, piano-led indie bander, with gospel harmonies and self-produced bedroom flair.

Returning to action after a decade-long hiatus, Roxette don’t skip a beat on 2011’s Charm School. Roxette were never in the thick of things, never setting the pace, but they did reflect their times during their 1988-1991 peak. They still reflect those times 20 years later, still favoring the brightly colored productions of the late ‘80s, still relying on cavernous drums and squealing fuzz guitars skipping over tightly wound guitar riffs, piling on synth after synth, every element accentuating their enormous hooks. Roxette may be a band out of time on Charm School but, well, that’s their charm: they’re still unapologetically big pop, they still celebrate melody over everything else.

The pairing of Hank Williams, Jr. and Connie Francis seems like a coming together of equals now that Williams has become a big star, but at the time the duo recorded Sing Great Country Favorites, Williams was a 15-year-old boy at the beginning of his recording career and Francis was a very well-established artist. Francis, ten years Williams' senior, was given the task of gazing adoringly at Williams for the photo session, which must have been an awkward shoot. Thankfully, the age disparity isn't reflected in the music, as Williams' mature-sounding vocals take the lead and Francis sings mostly harmonies.

Some of this third Bo Hansson album was done at home while most of it was a formal studio creation. Violin and acoustic guitars are added to the mix of sounds on this proto-new age collection of instrumental music. The organs and synthesizers still swell in impressive solos especially on the title track and some of the tunes are fairly memorable, although some of the "tracks," such as "Time and Space," are nothing but short instrumental interlude. Without the dramatic pacing of Hansson's first album, this recording ultimately overstays its welcome.

What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is uneasy laughter, the sensational second sub pop release from Los Angeles-based moaning. Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A.

Packaging contains photos, liner notes & remembrances from members of Wilco and Guided By Voices Throughout the 1980s, the California based Game Theory was ONE OF THE MOST original (and critically acclaimed) indie-rock bands. Their blend of ’60s and ’70s pop influences such as Todd Rundgren and Big Star coupled with a post-punk energy led to a string of diverse albums nearly all produced by Mitch Easter of Let’s Active. For the past several years, Omnivore has painstakingly reissued each and every one of their original albums with the addition of a slew of unreleased bonus tracks. Their final album, 1988’s Two Steps From The Middle Ages was reissued in June 2017.

Having waited 17 years for Drift Code, some may be surprised at Clockdust's swift arrival, but the album's roots can be found in the same extended sessions. "Early on I realised I had two albums worth of material," Webb explains. "The first tunes I wrote were electric guitar based, with long arrangements that built up in layers to something sonically quite dense. These became the bulk of Drift Code. As a reaction, I wrote a batch of songs that were tighter in their structure but had more feeling of space. These make up the bulk of Clockdust."