An Aborted Eddie Harris Tune (Pete Robinson) David Pritchard - guitar Charles Orena - tenor & soprano saxophones, flute Pete Robinson - piano, electric piano, organ, melodica, ring modulator (Chicago) Bruce Cale - double & electric basses, violin Brian Moffatt - drums, percussion (Chicago) 4 Star downbeat magazine review : "With Weather Report, Miles Davis, and others, Contraband makes music of eclectic inspiration, multi-dimensional in scope, striking of passion."

Reissue of his 1962 album. The multi-talented writer-cartoonist singer Shel Silverstein's most durable legacy has been his work as a children's book author, but between 1959 and 1980, he released a variety of albums, dabbling in multiple genres: Jazz, Folk, Country, Rock.

Head Hunters is the twelfth studio album by the American pianist and composer Herbie Hancock. Recording sessions for the album took place during evening at Wally Heider Studios and Different Fur Trading Co. in San Francisco, California. Head Hunters is a key release in Hancock's career and a defining moment in the genre of jazz. In 2003, the album was ranked number 498 in the book version of Rolling Stone magazine's list of the 500 greatest albums of all time. In 2007, the Library of Congress added it to the National Recording Registry, which collects "culturally, historically or aesthetically important" sound recordings from the 20th century.

When Get Up with It was released in 1974, critics – let alone fans – had a tough time with it. The package was a – by then customary – double LP, with sessions ranging from 1970-1974 and a large host of musicians who had indeed played on late-'60s and early-'70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, James Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, and others. In The Rolling Stone Album Guide (2004), J.D. Considine described the compilation's music as "worldbeat fusion".

Amandla is an album by jazz musician Miles Davis, released in 1989. It is the third collaboration between Miles Davis and producer/bassist Marcus Miller, after Tutu (1986) and Music from Siesta (1987), and their final album together. The album mixes elements of the genres go-go, zouk, funk and jazz, combining electronic instruments with live musicians. The composition "Mr. Pastorius", featuring drummer Al Foster, is a tribute to late jazz bassist Jaco Pastorius. "Catémbe" is a Mozambican and Angolan cocktail of red wine and cola.

Kenton in Hi-Fi is an album by bandleader and pianist Stan Kenton featuring performances of Kenton's signature compositions from the 1940s recorded in 1956 and released on the Capitol label.

The remarkable output of 555 Keyboard Sonatas by Domenico Scarlatti (1685-1757) remains one of the most original compositional contributions in Western Art Music. Pianist Ian Holtham has selected 23 of the sonatas sequenced into four baroque tonal groupings.

Howe Gelb has been recording for 30 years as the leader of Giant Sand, a Southwestern band with many lineups and guises centered on his conversational vocals: twangy, mariachi-tinged, jazzy, noisy, trivial, metaphysical. "Further Standards" takes inventory by adding Lonna Kelley to several of the original tracks from “Future Standards” to ‘up’ the previous standard. Further, it offers evidence of how these standards hold up live in concert one recent steamy night in London.

Libby Morris is a Canadian comic actress. She appeared in several BBC radio shows of the 1950s and moved into TV and film from the 1960s onwards. She then moved on to London, England, where she starred in her own show doing impersonations "Ad - Libby" is her 1966's album released via RCA Victor label.

British singer-songwriter James Bay follows up four digital-only EPs with his first full-length album, recorded in Nashville with triple Grammy-winning producer Jacquire King. Chaos And The Calm includes the top 10 British single Hold Back The River from the EP of the same name. In 2015 Bay received the Critics' Choice trophy at the Brit Awards, putting him in the same illustrious company as previous winners and international superstars Adele, Florence + The Machine, Ellie Goulding and Sam Smith.

There are artists who can command attention. They lean into their songs with an irresistible edge and total emotional connection and stay there. Sallie Ford is one of those artists. Her 2017's album "Soul Sick" finds Ford further mining, updating and perfecting her vintage influences to stand alongside her uncompromising and confessional lyricism. The album is produced by Mike Coykendall (M. Ward and She & Him). "Ford is like a cross between Liz Phair and Buddy Holly".– The New Yorker

British singer-songwriter Alice Jemima follows her introductory EP "Liquorice" with this debut self-titled album which includes the EP's two singles "So" and "Liquorice". Jemima merges sultry sweet vocals with contemporary electronic production, creating catchy yet intelligent pop that speaks of universal emotions.

As a young musician, concert pianist Lara Downes was often discouraged by the lack of diversity in her field. Downes is half Black, and growing up, there were very few well-known Black composers or performers in classical music. Now today, she's trying to change that with a project we've been following at MORNING EDITION. Each month for as long as she can keep it up, Downes is releasing a mini album meant to showcase the work of overlooked or forgotten Black composers. And you can hear the music on her label Rising Sun Music.

B.B.King said “The blues are a mystery“, and Willie Dixon stated: „The Blues are the true facts of life.“ When Hans Theessink and Big Daddy Wilson sing Blind Willie Johnson‘s classic “Everybody Ought To Treat A Stranger Right” – first recorded in 1930, the song has lost none of its relevance in the present day. Theessink’s own “Virus Blues”, is a haunting reflection of our own time and age right now: “Makes no difference if you’re rich or poor, if you’re yellow, black or white.” And remember, “You gonna reap what you sow” – one day “PAY DAY” is gonna come.

Played with perfect complicity, on period instruments, by violinist Aylen Pritchin and pianist Maxim Emelyanychev, two outstanding representatives of the younger generation of Russian musicians, these pieces by Brahms are presented in all their authenticity, faithful to the composer's original intentions.