Burnin' At Backstreet was recorded at the Backstreet Club in New haven Connecticut on February 19, 1980. Baker and Frank appear in a quartet format with bassist Michael Formanek and pianist Drew Salperto. The repertoire is wholly Baker. Baker loved the Miles Davis songbook and his performances of Davis originals were always more rounded and open than Davis.' "Tune Up," the modal "Milestones" and craggy "Four" share the stage with another Baker favorite, Dizzy Gillespie's "Blue 'n Boogie." Baker is in good solo form on these up tempo numbers. His tone is fat and confident, even when presented tartly, like the opening of "Milestones"…

Lemongrassmusic present "Fortune Fairytales" - the 10th longplayer album by Dutch musician and producer Marc Hartman.
Marc says: "Everyone has a wish, everyone has dreams. For a lot of people it is about getting their fortune, having a perfect life. My fortune is music and the gift to make my own music… I feel myself fortunate. My dream came true, my own fairytale…. and this is what it’s all about."
The 15 tracks from his new album are the outcome of this joyful and creative dreaming time - the storybook that is waiting to be read, heard and dreamed on.

"Testamentum" is the 2020 conceptual farewell album by the legendary band from Hungary, which has been active since the early '60s in genres s.a. beat, psych and progressive heavy rock. Omega's (ex-)members Laszlo Benko and Tamas Mihaly as well as legendary sound engineer (and co-founder) Laszlo Nemes sadly passed away recently.

The third CD volume of altoist Tab Smith's United recordings features 21 selections, 14 of which had never been released before. The music ranges from Johnny Hodges-type small-group stomping swing and R&B-ish jump sides to sentimental ballads and a few vocal numbers (featuring unidentified singers). Among the personnel are trumpeter Irving Woods, pianist Teddy Brannon and drummer Walter Johnson. Accessible and fairly creative jazz, conservative for the early '50s but still quite enjoyable.

"Did Swans Ever See God?" is the fourth studio album by Italian act Submarine Silence, the side project of members of progressive band Moongarden. Absent from the scene since 2016, they return to delight us with an album that continues the long journey that began in 2001 with the homonymous "Submarine Silence".
The band finds itself once again wandering between the typical sounds of the Symphonic Progressive Rock of clear Anglo-Saxon matrix, confirming the predilection for the exploration and reinterpretation of musical scenarios created in the 70s by the great masters dear to all of us (Genesis, Yes , King Crimson, Steve Hackett, Anthony Phillips, Camel), supported by original Mellotron and hammond sounds, a la Tony Banks…

The Drift Inside (1999). Following on the heels of The Ambient Expanse, the first solo effort by Vir Unis, after collaborations with Steve Roach and Ma Ja Le, consists entirely of ambient floats and drifts, putting aside the 'fractal grooves' of Body Electric. Naturally, the closest similarity would be with the co-producer Steve Roach, yet Vir Unis already has his unique voice, already a sure hand with subtlety and nuance. There are 12 pieces here, and as with many albums of textual nature, the divisions between tracks aren't always noticeable. At times, such as on the opener "Currents Beneath the Shine" or "Resonate and Glow", the sound is crystalline and ethereally positive, reminding of early Michael Sterns with the music's shimmering, mandala-like patterning…

Having cut an album of standards on his first Warner Brothers album, In a Sentimental Mood (1989), Dr. John turned for its follow-up to a collection of New Orleans standards. On an album he described in the liner notes as "a little history of New Orleans music," Dr. John returned to his hometown and set up shop at local Ultrasonic Studios, inviting in such local musicians as Pete Fountain, Al Hirt, and the Neville Brothers and addressing the music and styles of such local legends as Jelly Roll Morton, Huey "Piano" Smith, Fats Domino, James Booker, and Professor Longhair. The geography may have been circumscribed, but the stylistic range was extensive, from jazz and blues to folk and rock. And it was all played with festive conviction - Dr. John is the perfect archivist for the music, being one of its primary proponents, yet he had never addressed it quite as directly as he did here.

Dr. John's Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B, offering a selection of classic New Orleans R&B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums.

Following 2018’s widely acclaimed "Now We Have Power", the new record sees the Sanguine Hum on triumphant form, with seven new songs. Including the thirteen-minute epic "The Yellow Ship", the album highlights the band’s uniquely cinematic and thoughtful approach to the contemporary Prog genre.

The present box is the fourth of five. Together it's 50 CDs of music by Klaus Schulze. It includes the former sets Silver Edition (10 CDs), Historic Edition (10 CDs), Jubilee Edition (25 CDs), and five new albums made especially as bonus for The Ultimate Edition.

An excellent idea (if, perhaps, a somewhat self-indulgent one): 12 of Peter Hammill's (Van Der Graaf Generator) finest recent songs, rendered into the German language that his more stentorian vocals seemed to be striving for, even in English. Titled for Out of Water's "Evidently Goldfish," the album is dominated by material from the early '90s: cuts from Fireships and The Noise account for more than half the album, while the remainder is culled from 1988's In a Foreign Town and 1986's And Close As This. But Offensichtlich Goldfisch is no simple retread of already familiar material. Although little more than the vocals were re-recorded from the original master tapes, the musical textures change immensely in their new setting, regardless of whether or not one understands German…

During 1951-57, Tab Smith recorded extensively for the United label, and although he was initially popular (due to the hit record "Because of You"), nearly half of the 90 titles he cut went unissued. Delmark in their Tab Smith CD series plans to eventually come out with all of the performances. Their second Tab Smith release has 20 selections, including five songs being released for the first time. Smith, a former swing stylist who was best known in the R&B market during the 1950s, was not a honker like many others in the genre, and his mixture of relatively gentle stomps and ballads is appealing. The distinctive altoist (who takes four vocals) is often joined by Sonny Cohn (mistakenly listed as "Sammy Cohn") or Irving Woods on trumpet and Leon Washington or Charlie Wright on tenor, along with a rocking rhythm section, on four complete sessions from 1952-53. Fun if not essential music.

Yleclipse, from Cagliari, Italy, formed in 1998 under the moniker Eclisse. After the debut album, the band name was changed to Yleclipse. In fact, the band lists as their influences Genesis, Steve Hackett, Anthony Phillips, Marillion, Fish's solo material, IQ, and Pendragon. Yleclipse are certainly one of the best examples of neo-prog from Italy. The band describes their musical philosophy on their website: "The founder-members share the same love and interest for a particular musical field of research: progressive rock. The aim we've been trying to achieve since the earliest rehearsals and the first recording session, was to combine the peculiar progressive and experimental 'eclecticism' with the elegance and the immediacy of the pop song…

Not all of the installments in the Verve Jazz Masters series contain material originally issued on Verve. Verve Jazz Masters 3, for example, consists of 14 examples drawn from seven Chick Corea LPs released on the Polydor label during the years 1972-1978. Six of these come from Corea's Return to Forever period. The backbone of this collection (tracks one, seven, ten and fourteen) are selections from the highly acclaimed album Light as a Feather (1972) and there are excerpts from Hymn of the Seventh Galaxy (1973) and No Mystery (1975). The other eight titles are traceable to Corea's theatrically costumed and somewhat heavy-handed production albums The Leprechaun (1975), My Spanish Heart (1976), Friends (1978) and The Mad Hatter (1978). This disc will be useful as a vintage jazz fusion sampler or more specifically as an overview of what Chick Corea was up to during the Nixon/Ford/Carter years.

The kitsch enthusiast or novelty seeker will get a kick out of Ray Conniff's 1988 album Always in My Heart. Known primarily for orchestral versions of contemporary pop songs, his recordings during the late-1960s and early 1970s as Ray Conniff and the Singers included many straightforward recordings of current pop hits. This 1988 collection, sans singers, includes songs by Edith Piaf, Bob Dylan, Percy Faith, and from Andrew Lloyd Webber and Tim Rice's Evita! This fun easy listening album has decent track listing, but, at barely over 20 minutes, will be worthwhile only if you want to hear a specific song in the set.