Hammond's debut recording from 1964 - much of which remains in his live repertoire to this day.
John Hammond, Jr. is one of a handful of white blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-'60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a white Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence…

Gnidrolog are one of the more overlooked bands that took part in the progressive rock explosion in Britain around 1971-73.
As to their sound, on the strong and tight rhythm section an alluring high tone vocal is supported by the melody of flute and saxophone. And they seem to put more emphasis on whole band ensemble than each solo playing. Particularly the flute is played with enthusiastic intensity, and the saxophone is rather functioning to lead the ensemble, giving the strong proceeding vector. Guitar also takes some solo part but it is better utilized as an accompaniment with compare to the wind. The ensemble of vocal and saxophone may remind you of the sound of Van der Graaf Generator but the voice is quite different…

Jazz musicians have provided so many Duke Ellington and Billy Strayhorn tributes over the years that in the late '90s, one greeted an Ellington/Strayhorn homage with the question"Do we really need yet another one?" The frustrating thing was how safe many of those tributes continued to be - instead of taking chances and turning their attention to some of Ellington and Strayhorn's lesser-known works, many players chose only the most obvious standards. That's exactly what Tommy Smith does on The Sound of Love, a relaxed Ellington/Strayhorn tribute that unites him with pianist Kenny Barron, bassist Peter Washington, and drummer Billy Drummond. It's frustrating that the Scottish tenor saxman doesn't surprise us more and that he pretty much sticks to often-recorded classics like "Solitude," "In a Sentimental Mood," and "Chelsea Bridge"…

Musician, music therapist and founder of Healing Music in Japan. Fumio Miyashita began his musical career in 1966. In 1969, he was an original member of the rock musical, 'Hair', in Tokyo. He formed the progressive rock groups Far Out and Far East Family Band, releasing ground-breaking albums and touring internationally. Always interested in oriental philosophy since studying karate at a young age (he became a black belt in high school), he became interested in oriental medicine after an injury on stage that only healed after undergoing acupuncture. In 1977, he immigrated to the United States, where he continued to study oriental medicine, philosophy, the Chinese Five Elements and also began, in earnest, to research music therapy…

Not long after the disintegration of Colosseum, Greenslade was born, with their inaugural self-titled album whetting the appetites of progressive rock fans worldwide. Dave Greenslade used the group to showcase his illustrious keyboard intricacies alongside Tony Reeves' bass guitar, Andrew McCulloch's predominant percussion work, and Dave Lawson's vocals, all of which made Greenslade a quintessential prog album. The attention almost never veers from David Greenslade's beautiful organ texturing, alternating between hard and delicate patterns while defining the album's pure progressive sound. Reeves' bass riffs are spatial and thorough, complimenting the keyboard runs when needed while falling in behind the music at the proper times.

Lively, ambitious, almost entirely successful debut album, made up of keyboard-dominated instrumentals ("The Barbarian," "Three Fates") and romantic ballads ("Lucky Man") showcasing all three members' very daunting talents. This album, which reached the Top 20 in America and got to number four in England, showcased the group at its least pretentious and most musicianly – with the exception of a few moments on "Three Fates" and perhaps "Take a Pebble," there isn't much excess, and there is a lot of impressive musicianship here. "Take a Pebble" might have passed for a Moody Blues track of the era but for the fact that none of the Moody Blues' keyboard men could solo like Keith Emerson.

The general trend in recordings of Renaissance polyphony has been toward typing music to specific surroundings: royal festivities, religious feast days, and the like. This collection by the Huelgas Ensemble goes in the other direction, providing three CDs' worth of music ranging from the medieval era to Anton Bruckner, with most of the pieces falling into some stretch of the High Renaissance. The music was recorded, beautifully, in a Romanesque church near Dijon in 2018, and the program is unified loosely by a set of general guidelines for the selections at that event: the music emphasized "unknown repertoire, undeservedly obscure composers, and experiments that fall outside the scope of the normal concert season."

If ever anybody deserved a two-disc anthology of his offerings as a solo artist it's fusion drummer Billy Cobham. After making his stellar debut with John McLaughlin's Mahavishnu Orchestra, Cobham made eight records for Atlantic from 1973-1978. To varying degrees, these recordings were true statements on the state of jazz-rock fusion. Many blame Cobham for being a member of the technical-expertise-is-everything school, and to a degree it may be true. But the tracks collected here by Barry Benson and Nick Sahakian provide evidence of something else entirely: that along with technical expertise in spades, Cobham had soul, groove, and a handle on how powerful rock & roll could contribute to jazz improvisation if harnessed in the right way. And every single track on these two discs does exactly that and more.

This is Lucile Boulanger’s first solo recital. The French gambist, universally praised for her natural and moving playing – BBC Music Magazine even described her as ‘the Jacqueline du Pré of the viola da gamba’ – juxtaposes Bach with Carl Friedrich Abel, a great master of the bass viol and a close friend of the Bach family. Although Johann Sebastian never wrote for solo viola da gamba, we know that he transcribed many of his works for other instruments. So Lucile Boulanger has chosen, for example, to transcribe three dances from the Sixth Suite, ‘because it sounds particularly good on the viol, being written for five-stringed cello (a step towards the six or seven strings of the viol?). It is in D, the viol key par excellence, and its style, already somewhat galant , is reminiscent of Abel… This album gives me the opportunity to showcase the viol as both a melodic instrument – with the grain of the bow, the fragility of tone – and a polyphonic one.’

Carl Philipp Emanuel Bach thought highly of the art of his father, Johann Sebastian. However, this did not prevent him from pursuing his own path. Even when Carl Philipp Emanuel made himself a candidate for the position of Thomaskantor as Johann Sebastian’s successor, he did not reverently demonstrate his artistic ties to his father. Instead, he accentuated his compositional independence in one of his first choral works and confidently presented himself with a Magnificat. In Leipzig, this would inevitably subject him to direct comparison with his father, who, at the age of 38, as the newly appointed Thomaskantor, had also presented a Magnificat as his first major work on July 2, 1723. To this day, Carl Philipp Emanuel’s Magnificat is measured against that of his father. In December 2020, the Gaechinger Cantorey chorus and orchestra under the musical direction of Hans-Christoph Rademann and together with an excellent ensemble of soloists performed both magnificent works together in concert – unfortunately in front of an empty hall but reaching their audience via livestream and recording it for this extraordinary release.

The concept of metanoia – that, which goes beyond thought – most commonly describes a change in the way of seeing and thinking about things. With this recording, italo-brazilian conductor Simone Menezes and her chamber orchestra “K”, together with the choir “Sequenza 9.3”, go on a musical journey to find moments of metanoia in the lives and works of composers such as Giacomo Puccini, Arvo Pärt, Heitor Villa-Lobos, Alexander Borodin as well as Johann Sebastian Bach.

This project represents a starting point in gently opening up the possibilities of incorporating an element of improvisation into the oeuvre of Bach's chamber music. Given that both Toshi and Anthony are improvising musicians, able and willing to extemporise in a variety of genres (jazz, folk music, early music, etc.), but also being devotees of the repertoire and musical language of Bach, it seemed natural to use certain works of Bach’s as a basis for new invention. The result is a fresh approach to Bach, where improvisation is part of the overall soundscape, whether through ornamentation, basso continuo or entire passages opened up for ‘jamming’. The instrumentation for this programme is also diverse, with Toshi and Anthony using two instruments each; broadening the timbral spectrum. This project is, for them, a crucial way in exploring just how we can be both faithful to the score and true to ourselves as creative musicians interested in mastering this musical language.