The Shout! Factory label continued its series of reissues from progressive rock masters Emerson, Lake & Palmer with 2011's Live at the Mar y Sol Festival '72. Keyboardist Keith Emerson, vocalist/bass guitarist/guitarist Greg Lake, and drummer Carl Palmer were only three years into ELP and were riding high on their massive success at the time of the show on April 2, 1972, the second day of this three-day festival in steamy, scorching Puerto Rico. (Other acts on the bill included Alice Cooper, the Allman Brothers Band, B.B. King, Dr. John, Faces, J. Geils Band, and several lesser-known artists. It was a pivotal gig for a then essentially unknown Billy Joel. Several bands like Black Sabbath and Fleetwood Mac were scheduled to perform but either didn't show up or were prevented from playing due to a variety of logistical nightmares, including serious problems that promoter Alex Cooley was having with the Puerto Rican government)…

Originally released in 2000, expanded version with Japanese traditional instruments, synthesizers and the Tokyo Symphony Orchestra, and Yoshiko Sakata's narration of the famous old Japanese tale, translated into modern Kyoto dialect.

The Essential Dolly Parton is a comprehensive greatest hits album by American country singer-songwriter Dolly Parton, originally released in 2005 as part of Sony Legacy's Essential series and widely reissued in 2010.

Australian new wave rockers known best for their '80s hits "Crazy" and "Electric Blue." Collection includes: Flowers (1980); Primitive Man (1982); Sidewalk (1984); Measure For Measure (1986); Man Of Colours (1987); Code Blue (1990); Big Wheel (1993).

Five CD box set containing a quintet of original albums packaged in mini LP sleeves and housed in a slipcase. Collects "Twice Removed From Yesterday" (1973), "Bridge Of Sighs" (1974), "For Earth Below" (1975), "Live" (1976) and "Long Misty Days" (1977).

100 tracks. Status Quo, Uriah Heep, Slade, The Allman Brothers Band, Thin Lizzy, The Guess Who, Lynyrd Skynyrd, Atomic Rooster, The Moody Blues, Steppenwolf, Blue Oyster Cult, Santana, Rainbow, Lou Reed, Kiss, Toto, Ted Nugent, Electric Light Orchestra, Iggy Pop, Rush, Motorhead, Cheap Trick, Judas Priest, REO Speedwagon, Yngwie Malmsteen, Soundgarden, Accept, Alice Cooper, Dio and more, and more…

The music made by Quincy Jones during the second half 1950s was a stunning example of contemporary jazz during that pivotal decade for the form. Listening back today to these groundbreaking records delightfully illustrate how the dynamic musician, performer, composer and arranger first introduced his extraordinary skills to the world. After spending the first half of the decade working for other musicians, including a number of freelance commissions arranging songs for renowned artists such as Dinah Washington, Duke Ellington, and his close friend Ray Charles, Jones soon decided it was time for him to take the lead. The first album release to feature Quincy as a named artist was the 1955 release on Mercury Records 'Jazz Abroad' on which he featured alongside jazz drummer Roy Haynes. Next up was, 'That's How I feel About Jazz' featuring an all star cast including Art Farmer, Lucky Johnson & Phil Woods - following which he would record and release a further six albums before the end of the 1950s, all for Mercury. Quincy Jones first eight albums, all released during this period, are featured on this 4CD set in their entirety, in glorious re-mastered sound, making this package the most complete Quincy Jones 1950s collection available today.

This fabulous five disc set is replete with some of those old Stokowski warhorses all recorded in absolutely mind boggling Phase 4 sound, overblown perhaps but astounding for its time. Decca's remastering is absolutely magnificent and the discs are jam packed with almost six hours of music. This is another fine memorial to a great conductor who remained astonishingly vital until the very end of his life.

Schubert's "Winterreise" is one of the most famous song cycles that exist in classical music and musicians take it up again and again because of its beauty, sorrow and depth. It is about life itself and which performer does not want to give his or her opinion on life? Both tenor Christoph Prégardien and pianist Michael Gees have their own vision on the cycle. Playing together, a third view develops, combining their two visions into an exciting interpretation of Winterreise.

From 1957-1973 Werner recorded 55 of Bach's church cantatas as well as the St. John and St. Matthew Passions, the Christmas, Easter and Ascension Oratorios, the B minor Mass and the motets. MusicWeb stated, 'Werner's pacing of the (St. Matthew Passion) and his vision of it is compelling. The drama moves inexorably forward and the entire story is most movingly related.'

The Father, the Son and the Godfather is a snapshot from a time when art music escaped from the courts and churches. Domestic music-making in the company of close friends became a treasured extension of social interaction, and the resulting boom in ‘market opportunities’ offered composers a tremendous freedom in their choices of genres and styles, as demonstrated by this colourful programme. It features three composers whose music could not be more different, taking into account that all works were composed during the span of only two generations by authors who knew each other better than just well: J.S. Bach (the father), C.P.E. Bach (the son) and Georg Philipp Telemann (CPE’s godfather).

Released in 1997 on the Brazilian label Som Interior, Ao Vivo No Rio Jazz Club is a captivating live document from Rio de Janeiro progressive rock outfit Lummen. Captured in an intimate venue setting, the performance highlights the band's rich fusion of symphonic progressive rock, Brazilian folk, and fiery jazz-rock improvisation. Led by vocalist, flutist, and acoustic guitarist Marco Aurêh alongside multi-instrumentalist André Henriques (violin, mandolin), electric guitarist Celso Schopen, bassist Fred Mendonça, and drummer Marcelo Ksesky, the 6-track set balances intricate instrumental interplay with melodic vocal arrangements. Moving dynamically from pastoral acoustic passages featuring flute and violin to electric jazz-rock solos and symphonic climaxes on long-form suites like "Mansão," "Vulcão," and "Destino Imaginário," this album remains a highly valued obscurity for fans of 1990s South American progressive rock and jazz-fusion.

Released independently in 1995, Kadath Decoded is the ambitious debut concept album by German progressive metal group Payne's Gray. Inspired by H.P. Lovecraft's dream-cycle novella The Dream-Quest of Unknown Kadath, the 67-minute opus weaves intricate technical metal, symphonic progressive rock, atmospheric acoustic passages, and theatrical vocal arrangements into a dark, fantastical narrative arc. Driven by the dual-vocal delivery of Haluk Balikci and Hagen Schmidt, Jan Schröder's guitar and flute work, Tomek Turek's symphonic synths, and the complex rhythmic foundation of bassist Martin Mannhardt and drummer Daniel Herrmann, the album stands alongside early Fates Warning, Psychotic Waltz, and Watchtower as a underground progressive metal classic. Spanning 12 epic tracks—from atmospheric preludes ("Dream sequence") and sweeping melodic suites ("Moonlight waters," "Reaching kadath") to the dramatic climax of "Nyarlathoteps reception"—Kadath Decoded remains a highly prized gem for cult progressive metal collectors.

Originally recorded in London in January 1966 and issued on Polskie Nagrania Muza as Volume 6 of the iconic Polish Jazz series (and reissued on CD in 2004 as PNCD 306), this self-titled album by the Zbigniew Namysłowski Quartet is a foundational cornerstone of European post-bop. Recorded shortly after the group made history as the first Polish jazz band to perform in Great Britain, the session captures Namysłowski's alto saxophone leading a classic lineup featuring piano prodigy Adam Matyszkowicz (Makowicz), bassist Janusz Kozłowski, and drum icon Czesław Bartkowski. Combining blues-inflected modal jazz with intricate folk dance rhythms, blues phrasing, and irregular time signatures, the 7-track recording features signature Namysłowski compositions like the 7/4 opener "Siódemka," "Straszna Franka," and "Chząszcz Brzmi W Trzcinie." An essential historic document for fans of 1960s European modal jazz and the Polish Jazz canon.

Released in 2004 on the Italian lounge and electronic imprint Cool D:vision, Casa Brasil is a sun-drenched, sophisticated album led by vocalist, guitarist, and producer Rinaldo Donati. Effortlessly blending traditional Brazilian rhythms like bossa nova and samba with European lounge jazz, smooth trumpet hooks, and subtle electronic programming, the 14-track release offers an elegant, modern homage to the classic sound of Rio de Janeiro. Supported by a skilled jazz lineup—including trumpeter Marco Brioschi, pianist Antonio Zambrini, vibraphonist Marco Bianchi, bassist Andrea Donati, and drummer Carlo Virzi—Donati crafts a seamless mix of warm original compositions and reimagined Brazilian classics. Highlights include the breezy grooves of "Give The Nova Dance A New Chance," smooth interpretations of Antonio Carlos Jobim's "Insensatez" and "É Preciso Perdoar," and Djavan's "Esquinas," making this an essential listen for fans of modern nu-bossa, Latin jazz, and relaxed summer lounge sounds.