In 1977, the New York Jazz Quartet, a part-time quartet most active from 1975-81, consisted of Frank Wess on tenor, flute and soprano, pianist Roland Hanna, bassist George Mraz and drummer Richard Pratt. The band essentially performed modern mainstream jazz, with the originals of Hanna and Wess consistently challenging the players to come up with fresh statements. On this set, there are four Hanna tunes (including "Time for the Dancers" and the lengthy title cut), plus a pair of Wess compositions. Excellent music that swings but avoids predictability.

Digitally remastered reissue of this long-lost Psychedelic album from 1968 by this duo featuring Leon Russell. Poised between his past as a top Wrecking Crew session man (Phil Spector, The Byrds, Sonny And Cher) and assistant to Liberty A&R head Snuff Garret, and his future as a '70s Rock superstar, Russell teamed up with his Texas Psych buddy Marc Benno to work with Gene Clark, Harpers Bizarre and Gary Lewis in their new studio. In between sessions, they created this unusual and breathtaking album. Here once more is this amazing lost gem, intensified in Rev-Ola style, and ready to work it's magic! A great lost nugget by one of the major Rock superstars!

"Run to the Sun" is a song by British synth-pop duo Erasure, released as the second single from their sixth studio album, I Say I Say I Say (1994). Released on 18 July 1994, "Run to the Sun" peaked at number six on the UK Singles Chart, becoming Erasure's 15th UK top-10 hit. In the US, the song reached number 24 on the Billboard Bubbling Under Hot 100 Singles chart and number 14 on the Billboard Hot Dance Music/Club Play. Elsewhere, the song reached number five in Finland, number 19 in Ireland and Sweden, and number 49 in Germany.

Appearing near the dawn of the 21st century, Atlanta's Mastodon established themselves as one of the most original and influential American metal bands. Their wide-angle progressive approach encompasses stoner and sludge metal, punishing hardcore and metalcore, neo-psych, death metal, and more - sometimes in the span of a single song. The group's playing style incorporates heavy, technically complex guitar riffs, lyric hooks, long, melodic instrumental passages, and intricate, jazz-influenced drumming with syncopated time signatures. Their second album, 2004's Leviathan, was a concept offering based on Moby Dick, Herman Melville's iconic novel of whaling and obsession, and proved the band's commercial and critical breakthrough. Since its release, the record has attained status as one of the most important albums in heavy metal's history…

Recorded at Focus Studio, Copenhagen, June 18 & 19, 1997. The trio are: Mads Vinding (Bass), Ed Thigpen (Drums), Horace Parlan (Piano).
Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right-hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan always cited Ahmad Jamal and Bud Powell as prime influences. He began playing in R&B bands during the '50s, joining Charles Mingus' group from 1957 to 1959 following a move from Pittsburgh to New York…

For the first time as a reissue on CD. The first and eponymous album of classical rock influenced great German krautrockers Amos Key. Amos Key owed great debts to Bach, Beethoven and Schumann, adding a heavy krautrock twist to a music closely resembling the Nice or Egg, full of angst and weird psychedelic and space-rock touches (Freeman Brothers: In A Crack In The Cosmic Egg). Amos Key lived in Munich and consisted of great organ-player Thomas Molin, congenial bass-player Andreas Gross and superb drummer Lutz Ludwig. This fairly competent outfit recorded the album on label 'Spiegelei' just after they recorded their radio sessions (Amos Key, Keynotes, The Lost Tapes, SWF Session 1973). Sadly bandleader and organ-player Thomas Molin passed away in the 90ies but bass-player Andreas Gross tells the band story in a very vivid and funny way…

America's loudest lounge singer Richard Cheese performs swingin' Vegas versions of rock and rap songs, "swankifying" popular Top40 hits into retro vocal standards. Imagine Sinatra singing Radiohead, and you've got Richard Cheese & Lounge Against The Machine.
Backed by Bobby Ricotta on piano, Frank Feta on drums, and Billy Bleu on bass, Richard Cheese & Lounge Against The Machine have played hundreds of sellout concerts all over the world, from Las Vegas to London, from Portland to Portugal, from Honolulu to Hollywood. With his snappy jazz trio, his tiger-striped tuxedo, and his enormous microphone, lounge legend Richard Cheese presents the perfect mix of music, martini, and madcap.

The Unnatural History series puts obscure, collectable, and out of print singles, compilation tracks, and soundtracks on CD, making those ultra-limited works available all in one place.
Unnatural History (1990). The tracks were recorded during the 1983-86 timeline and include not only the classic Balance / Christopherson mind bending electronic surreality as Coil but also include three tracks with Boyd Rice when they were known as Sickness of Snakes which released one EP titled "Nightmare Culture"…

Like many black American blues and R&B artists, New Orleans singer and pianist Champion Jack Dupree found more respect and recognition in Europe than he did in his homeland, and he relocated to Europe in 1959, only rarely returning to the U.S. He cut several albums there, including the two included in this double-disc set from Beat Goes On, From New Orleans to Chicago, recorded in London in 1966, and Champion Jack Dupree and His Blues Band, tracked in the same city a year later (both were originally released on London Decca). Of the two, the latter release is the stronger (thanks in no small part to guitarist Mickey Baker), although From New Orleans is probably better known, mainly for the presence of Eric Clapton and John Mayall at the sessions…

"CBF10" is the 4th studio album by 80s prog band Multi Story.
In 2016 the band released their well received album, "Crimson Stone", and the band openly regarded it as a bridging album between their roots and more contemporary influences.
"CBF10" is Multi Story’s latest studio album and features some very special guests. Some of the songs have drawn juice from the band’s rockier veins yet the album still demonstrates those symphonic touches that Multi Story do so well. Tonny Larsen, from Copenhagen has designed the beautiful and evocative cover artwork and Graeme Bell (Twig) has done a great job with the graphics, additional artwork and package compilation.

Christmas songs! Not exactly what you’d expect from Rebekka Bakken, the risk-taking shooting star of the exploding Scandinavian vocal scene, Christof Lauer, the equally stormy and thoughtful sound magician of all timeless post-post and pre-pre styles and Geir Lysne, the most important European reviver of the big band score.
This music will certainly not be heard on the third week of Advent in the lifts of department stores. Which doesn’t mean that they approach the subject arrogantly or in an ironic deconstructive manner. They treat the spiritual templates between chorale and folksong with respect for the former aims and atmospheric uniqueness. The world-weary hits such as "Jingle Bells" and "Oh Christmas Tree" have anyway been left outside in the blizzard. Lauer’s approach to this material is without affectation based on his emotional background…

This band hails from the UK and produces the kind of Neo-Prog that made the country proud back in the 1980s and 90s. The guys cite different references, with the likes of Marillion, Genesis, Yes, Sensational Alex Harvey Band, Rush, Dream Theater and Pink Floyd being mentioned, but they have taken all those elements and then built them into something which is very much of their own design. Musically this is highly arranged Neo-Prog which also straddles at times into melodic hard rock and symphonic prog, by a band who are determined people are not going to forget the "rock" side of the terminology.

In the twenty-first century, Anathema have often been mentioned in the same breath as Opeth and Porcupine Tree due to their increased movement towards thoughtful progressive rock structures. It hasn’t always been that way, of course. Like Opeth, the band began life as a totally different musical beast, playing in a melodic death metal style. Shifting line-ups naturally resulted in shifting sounds, and by the time the band signed with the legendary Music For Nations label for their fifth album "Judgement" in 1999, they’d settled on a rather tough but accessible blend of gothy and alternative rock.
Comprising three discs of remastered audio material, "Fine Days 1999-2004" presents a detailed look this important period in the Anathema history…

The Russian band Roz Vitalis (from Saint Petersburg) exists since 2001 as a studio project, since 2005 as an electroacoustic chamber ensemble and since 2008 as a full-blown rock-band. Style of Roz Vitalis music can be described as the "Unclassifiable Branch of Prog Rock", Avant Prog, Sympho Prog, Instumental. The "metaphysical" goals of Roz Vitalis are "per musica ad lucem" and "to overcome chaos by means of making music". The main influences are Gentle Giant, Univers Zero, King Crimson, Le Orme, Yes.

During its ten years of existence between 1972 and 1982, the New York Jazz Quartet went through a number of personnel changes, though the one constant was founder Roland Hanna at the piano. This 1977 studio session includes Frank Wess, George Mraz, and a somewhat obscure drummer, Richard Pratt, who evidently didn't record many jazz sessions at all during his rather brief musical career. Like many of the group's efforts, this album sticks exclusively to originals by the band. Wess' flute is the focus of the hard-driving title track, and another of his compositions, the gorgeous ballad "Placitude," features the veteran playing alto flute in alternate choruses with Hanna. The leader contributed the funky "Big Band Henry" and the brisk post-bop "Tee Piece," the latter featuring Wess' hard-blowing tenor sax. The individual pieces written by Mraz and Pratt also measure up to those of the front line.