Nikolai Andreyevich Rimsky-Korsakov was a Russian composer, a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade—are staples of the classical music repertoire, along with suites and excerpts from some of his fifteen operas. Scheherazade is an example of his frequent use of fairy-tale and folk subjects.

The Introduction and Rondo Capriccioso in A minor (French: Introduction et Rondo capriccioso), Op. 28, is a composition for violin and orchestra written in 1863 by Camille Saint-Saëns. It was dedicated to the virtuoso violinist Pablo de Sarasate, who performed the solo violin part at the premiere in April 1867.

"Chopin: The Piano Recital" is a recording of pianist Vlado Perlemuter performing works by Frédéric Chopin. The album, recorded in Paris in 1960, was remastered in 2024 and features pieces like the Scherzo No. 2, Berceuse, Fantasie, Barcarolle, Revolutionary Etude, Tarantella, and Ballade No. 2.

Limited edition 9-LP boxset, featuring newly remastered audio pressed on 180g vinyl, plus a bonus disc of rare material.

“Know What I Mean?” was originally released in 1960 as a collaboration between jazz saxophonist Cannonball Adderley and legendary pianist Bill Evans, along with the rhythm section of the Modern Jazz Quartet, Percy Heath (bass) and Connie Kay (drums). This new edition is released as part of the Original Jazz Classics Series and features remastered audio from the original master tapes. Available on 192/24 hi res digital.

Between 1950 and 1961, Zoot Sims forged a deep and lasting connection with France, returning frequently to perform, record, and immerse himself in the Parisian jazz scene. This album includes rare and previously unreleased recordings of three key moments in that relationship: a swing filled live session from the 1958 Cannes Jazz Festival with the Walter Davis Trio; a vibrant performance at Paris’s Blue Note Club in 1960 with a topshelf rhythm section that included two Frenchmen, pianist Maurice Vander and bassist Pierre Michelot, along with two Americans, guitarist Jimmy Gourley and drummer Kenny Clarke; and two unreleased early 1961 studio sessions under pianist Henri Renaud: one with a specially assembled saxophone section, the other in a swinging quintet format. These tracks capture Zoot’s lyrical warmth and natural swing at their peak, offering a vivid portrait of his deep affinity with the French jazz scene.

Mastered by Bernie Grundman from original analogue tapes. Personally overseen by Donald Fagen.

"Progressive piano" from a young Kenny Drew – already swinging here with a sound that's unlike anybody else at the time! The album follows nicely from Drew's early work for Blue Note – and like those sides, the groove here is a mix of creatively compelling solo lines, and a slight soulful undercurrent in the rhythms – kind of a blend of bop inspiration and some of the more creative 50s piano modes, all wrapped together with just a hint of the generation of players to come. The group features Eugene Wright on bass and Charles Wright on drums – and titles include "Angie", "Bluesville", "Four & Five", "Lo Flame", "Chartreuse", "Kenny's Blues", "Many Miles Away", and "My Beautiful Lady".

The follow-up recording for Max Bennett as a leader includes some sessions that were left off from his debut effort, and includes others from Los Angeles with a different band from the same year of 1955. Vocalist Helen Carr is included on two songs, trombonist Frank Rosolino, pianist Claude Williamson, and drummer Stan Levey contribute on the majority of the cuts, and alto saxophonist Charlie Mariano plays a larger role than on the previous date.

The first of Rolf-Ulrich Kaiser's exploitive cosmic space rock albums is also the best, and certainly kicks the seat out of the many jam bands that arose in the '90s. Unlike most "super groups" who collapse under the weight of their own hubris, the Cosmic Jokers, who were never really a proper group anyway, almost improve upon the sound of their precursors, namely Manuel Göttsching and Klaus Schulze from acid-jam-supreme Ash Ra Tempel, and Jurgen Dollase and Harald Grosskopf from blitzkrieg psychedelic Wallenstein.

Recorded March 14, 19, and 27, 1968. Limited Edition Hybrid SACD! Featuring ESOTERIC's Proprietary Re-Mastering Process to Achieve the Highest Level of Sound Quality! Japanese Pressing, Deluxe Digi-pak Packaging, THE Definitive Performance on SACD!

All Analog Process (AAA) From The Original Master Tapes. Cut By Kevin Gray At Cohearent Audio. Lyric Sleeve Included. Ltd Feather Blue Vinyl Edition. In 1970, one of the leaders of the musical Mardi Gras Indian Tribes movement, The Wild Magnolias, became the first band to have a commercial recording released as a Mardi Gras Indian group. The band’s legendary performances at the New Orleans Jazz & Heritage Festival also helped them launch into the recording of their 1974 debut LP—the self-titled The Wild Magnolias which we are so pleased to present to you here. Easily some of the most fantastic New Orleans funk and soul ever laid down on vinyl. Eight songs that don’t let up with its street-beat funk, call-and-response vocals (with lyrics like “just a few puffs to make you feel all right” leading the charge) and a recording that captures the unhinged mania of so many talented musicians crammed into a studio making a stone-cold classic.

Originally released in 1969. Regarded as one of the greatest blues albums of all time. All Analog Process (AAA) From The Original Master Tapes. Cut by Kevin Gray. Midnight Color Vinyl. Recorded in 1969, this album, as McDowell’s titular quote suggests, is not just a collection of songs but a significant piece of musical history. It’s a masterclass, a confessional, a musical statement, and a history lesson all in one. Despite its seemingly simple nature, it’s a profound work. Regarded as one of the greatest blues albums of all time, I Do Not Play No Rock 'N' Roll is a must-listen, a testament to one of the greatest musical forces that has directly influenced The Rolling Stones, Aerosmith, The Black Keys & Bonnie Raitt (to whom McDowell taught slide guitar). In 1959, McDowell’s talent was first captured by folklore musicologist Alan Lomax, and from there, he quickly rose to stardom with his live recordings and festival appearances across the US and UK. This album is a testament to McDowell’s unique voice and guitar style, dominating the air and filling it with raw power and authenticity.

200-gram gatefold double LP cut at 45 RPM. Mastered by Bernie Grundman from the original analog tapes. Surfacing is the fourth studio album by Canadian singer-songwriter Sarah McLachlan, released on 15 July 1997. It was produced by McLachlan's frequent collaborator, Pierre Marchand, and its release coincided with the start of McLachlan's Lilith Fair tour. The album reached the top position on the Canadian RPM 100 Albums chart, number two on the US Billboard 200 and became her first album to reach the top 50 outside of North America, achieving that in the UK, Australia and the Netherlands. It was certified as Diamond in sales in Canada and as 8× Platinum in sales in the US. Critical reviews were mixed; some of the more positive reviews praised the songwriting, while the album's detractors criticized it as banal and slow.

Record Store Day 2024. Cut From The Original Analog Master Tapes. By Kevin Gray. All Analog Process (AAA). High Quality Black Vinyl Release. Limited edition of 1500 Exclusive for RSD 2024. SRC was born out of a smashing up of two of Detroit’s brightest bands, The Fugitives and The Chosen Few (which also featured future Stooge Ron Asheton). The new band gained a fanatic local following, eventually capturing the attention of Capitol Records. On this record, the band shifts effortlessly from mountaintop introspection to wild distorted crescendos creating one of the most melodically heavy LPs ever made, an over-the-top psychedelic fuzz guitar masterpiece. When it was released in the US in 1968, the LP created fan and critical excitement. Still, it was in the UK where the cultdom made its most significant impact, with John Peel playing the hell out of it on his radio show and even Genesis’ Peter Gabriel claiming that this first SRC album was one of his favorites, saying he “wore the record out” (and you can absolutely hear SRC’s melodies buried inside Gabriel’s musical DNA!). This Record Store Day 2024 release was cut from the analog master tapes by Kevin Gray, in an All Analog Process (AAA).