This remarkable album marked the recording debut of German violinist Julia Fischer as well as the beginning of her extraordinary partnership with Russian-born conductor Yakov Kreizberg. Julia Fischer was about twenty-one when she made these recordings, which is all the more astonishing because in each work her interpretive acumen, sense of maturity and all encompassing technique are qualities one associates with a seasoned master of this kind of challenging repertory.

Andrea is the tenth studio album released by Andrea Bocelli, in 2004. This album, being Bocelli's fifth pop release, peaked at number 1 on the Dutch Albums Top 100, stayed on that chart for 33 weeks, and ended up being certified Gold.

A collection of the classic Italian popular songs of Rossini, Tosti, Denza, Leoncavallo and Gastaldon can normally be relied upon to make ideal relaxed listening. They’re especially rewarding material for a lyrical tenor voice, and in Andrea Bocelli we have one of the most natural, relaxed and graceful tenors of today. In Leoncavallo’s Mattinata he soars gloriously to the high notes, and he seems naturally suited to Tosti’s elegantly shaped melodies. Ideale, especially, unfolds with fine expression and gradations of tone.

This splendid Dutton Epoch SACD, licensed from Sony, contains two organ concertos by Joseph Rheinberger. The concertos are among the finest ever composed for this instrument. Rheinberer included brass soloists and timpani as well as an orchestra. E. Power Biggs is featured along with the Columbia Symphony directed by Maurice Peress, recorded in St. George's Episcopal Church in New York November 28-29, 1973 on the grand Möller organ. For this reissue, the producers used great imagination taking full advantage of the four channels, separating the instruments most effectively.

The Cincinnati Pops is one of America's favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes. This rootin'-tootin' salute to Westerns on TV and movie screens was the most popular demonstration disc at the 1987 Consumer Electronics Show in Las Vegas.

James Louis "J. J." Johnson was an American jazz trombonist, composer and arranger. Johnson's work in the 1940s and 1950s demonstrated that the slide trombone could be played in the bebop style; as trombonist Steve Turre has summarized, "J. J. did for the trombone what Charlie Parker did for the saxophone. And all of us that are playing today wouldn't be playing the way we're playing if it wasn't for what he did. And not only, of course, is he the master of the trombone - the definitive master of this century- but, as a composer and arranger, he is in the top shelf as well". From the mid-1950s on, Johnson was a perennial polling favorite in jazz circles, even winning "Trombonist of the Year" in Down Beat magazine during years he was not active. He was voted into the Down Beat Hall of Fame in 1995.

Harry Haag James was an American musician who is best known as a trumpet playing band leader who led a big band from 1939 to 1946. He broke up his band for a short period in 1947 but shortly after he re-organized and was active again with his band from then until his death in 1983. He was especially known among musicians for his astonishing technical proficiency as well as his superior tone, and was extremely influential on up-and-coming trumpet players from the late 1930s into the 1940s. He was also an actor in a number of films that usually featured his band.

Hervé Billaut is a French classical pianist. For this release for Lyrinx label he is performed the classical works by Gabriel Fauré - Nocturnes, Preludes, and Ballade.

Movies let the imagination soar. Entire worlds of fantasy are brought to the screen to thrill, excite, lift us above the everyday, and remain embedded in our hearts and minds. This collection of GREAT FILM FANTASIES by Erich Kunzel and The Cincinnati Pops Orchestra gathers together music from some of cinema greatest flights of imagination - Star Wars, Harry Potter, and The Lord Of The Rings. Just close your eyes and then the world of fantasy to be with you.

The Cincinnati Pops is one of America's favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes.

This is a good, solid pops recording; a disc that's fun to hear. It's not necessarily for hardcore jazzheads or swing dancers, but might be just the thing to introduce some of these classic tunes to folks who think they don't like jazz. Most of these tracks don't swing hard, but there are a few that even a dedicated dancer would want to try out.

Composed between 1963 and 2005 these four works form a spectrum that demonstrates a tendency among composers of American concert music to draw from a wide range of musical streams; classical, popular, folk and jazz in order to reach out to their listeners.

This all-acoustic affair is also a family affair - mix jazz guitar pioneer Larry Coryell with his talented sons, Julian and Murali, and what do you get? A smoking blend of acoustic jazz and blues that will turn heads and ears. On The Coryells, their first-ever recording together, Larry's seminal approach to jazz guitar meshes naturally with Murali's blues guitar/vocals and Julian's lyrical jazz guitar riffs. Featuring a special blend of new songs, stellar jams and standout covers, The Coryells showcases both the complex interplay of their guitars and their unique familial ability to groove.

The history of rock is scattered with the wreckage of supergroups who turned out to be less than super (and one or two who turned out OK). The Thorns were built in the tradition of the supergroup, though the members are actually less than superstars. Two of the three Thorns, Pete Droge and Shawn Mullins, are best known as one-hit wonders (1994's "If You Don't Love Me, I'll Kill Myself" and 1998's "Lullaby," respectively), while the third, Matthew Sweet, has had a career with one great album (1991's Girlfriend) and a few uneven ones.

What's New is an album of traditional pop standards released by American singer/songwriter/producer Linda Ronstadt in 1983. It represents the first in a trilogy of 1980s albums Ronstadt recorded with bandleader/arranger Nelson Riddle.