In the first decade of his recording career, cellist Gautier Capuçon has demonstrated great versatility, playing as often as a chamber musician as he has appeared as a concerto soloist. His repertoire covers the standard cello works, though he frequently performs pieces that are less expected. Thus, on this 2014 release from Erato, Capuçon delivers a stirring performance of Franz Schubert's famous Arpeggione Sonata, which is regularly recorded by cellists, yet he fills the rest of the disc with pieces a bit off the beaten path, such as Robert Schumann's Five Pieces in Folk Style, Claude Debussy's Sonata for cello and piano, and Benjamin Britten's Sonata in C.

Obed Calvaire, Bob Franceschini, Kevin Hays, and Orlando Le Fleming will be releasing their album, Whole Lotta Love: The Music of Led Zeppelin with Chesky Records this summer. The album features the quartet playing jazz arrangements of some of Led Zeppelin’s most famous tracks like “Immigrant Song,” “Kashmir,” and “Whole Lotta Love.”

Pink Floyd Some bands turn into shorthand for a certain sound or style, and Pink Floyd belongs among that elite group. The very name connotes something specific: an elastic, echoing, mind-bending sound that evokes the chasms of space. Pink Floyd grounded that limitless sound with exacting explorations of mundane matters of ego, mind, memory, and heart, touching upon madness, alienation, narcissism, and society on their concept albums of the '70s. Of these concept albums, Dark Side of the Moon resonated strongest, earning new audiences year after year, decade after decade, and its longevity makes sense.

Lovelines commemorated the duo's 20-year association with A&M Records, though Karen had passed away six years before. Ten of the 12 tracks were recorded for other albums but were not included for various reasons; two are remixes of previously released material. Richard penned the liner notes, which give some insight into the history of the pieces. "When I Fall in Love" brings a tear to the eye as it captures that indefinable and completely unique quality that Karen brought to each song she sang. While the material in this compilation is not sensational or ground-breaking, it is definitely a sentimental selection of tunes that go easy on the ear.

A bizarrely entrancing jewel from the depths of the Japanese underground, Doo Dah Nean was originally released in small run of hand assembled cassettes by the La Musica label in the late 90’s. The album is the sole release and evidence of Nean, an entirely under-the-radar trio that crossed the sensual, disassociated female vocals of Japanese iroke kayōkyoku music with off-balance shamanic rhythm and echoing electronic rumble. Nean were the trio of Yui on bass and electronics, Naoko on voice, and Non on drums. Both Yui and Non were also part of Holy Angels, and Yui played with Ohkami No Jikan and Mauduit Nuit. Vocalist Naoko, in her lone recorded appearance anywhere, elevates the proceedings to peak outsider strangeness. Her ultra-repetitive chants and sighs balance childlike innocence with sinister knowing. Alternately distracted and humming to herself or delivering breathy, near field whispers, the simple juxtaposition of her vocalizations with Non’s stumble-drunk drums, and the amorphous blobs and gloops of tone unleashed from Yui’s instruments lands like an avant garde, proto-ASMR incantation. A truly confounding release in a La Musica catalogue that’s not exactly thin on the ground for such form.

Willie Nelson Few songwriters and performers have played a vital role in post-rock & roll country music as Willie Nelson. Although he didn't become a star until the mid-'70s, he spent the 1960s writing songs that became hits for stars like Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls"), and Billy Walker ("Funny How Time Slips Away"), as well as releasing a series of records on Liberty and RCA that earned him a small but devoted cult following. During the early '70s, Nelson abandoned Nashville for his native Texas, setting up shop with the redneck hippies in Austin and taking control of his music on the landmark Shotgun Willie (1973) and Phases & Stages (1974). He found a kindred spirit in Waylon Jennings and, together, they spearheaded the outlaw country movement that finally made him a star by 1975. Following the crossover success of that year's Red Headed Stranger and "Blue Eyes Crying in the Rain," Willie became a genuine success, as recognizable in pop circles as he was to country audiences; in addition to recording, he also launched an acting career in the early '80s. Even when he was a star, he never played it safe musically.

With ‘Vieni, o Notte’, Francesca Aspromonte signsher first recording for Aparté with an all-Scarlattiprogramme.Together with Arsenale Sonoro and BorisBegelman, Francesca explores three cantatas(sometimes described as serenate) in which thecomposer makes the night the stage for hischaracters’ thwarted loves. He gives them ariasand recitatives that are painful, contemplative, orsearing, complemented by two sonate a quattrowith madrigalian lines, whose quartet performanceby Arsenale Sonoro highlights the bold harmonicshifts, the shadows, and the light.The album closes with All’hor che stanco il sole, aworld-premiere recording - a musical meditation onlove and loss. Here, Aspromonte unfolds amastery of line and text that reveals the fullsensuality of this music.

Our Mann Flute (1966). Very groovy work from Herbie Mann - as you might guess from the image on the cover! The set's got a mod sort of 60s feel - hinted at by the title's reference to the Our Man Flint spy movies of the time - and Herbie keeps things tight and soulful throughout - serving up smoking solos over jazzy backings from Jimmy Wisner, Arif Mardin, Oliver Nelson, and Richard Wess. There's definitely a touch of the Atlantic Records soul instrumental sound at times - but we mean that in a great way, with a strong focus on the rhythms as much as the solos.
Impressions Of The Middle East (1967). In a way, this album's very similar to some of the best Verve "groovy experimental" albums from the same period - like some of Cal Tjader's Eastern/Latin work - and it features Herbie playing with a wide range of instrumentation that includes oud, zither, harp, and lots of eastern percussion…

In Concert: Merchants of Cool is a live album by British hard rock band Bad Company. It was recorded principally at The Paramount Theater, Denver, Colorado and The Grove of Anaheim, Anaheim, California, in January 2002. It features hits from both Bad Company and precursor band Free as well as two new studio tracks, "Joe Fabulous" and "Saving Grace".

Domenico Cimarosa, one of the last great exponents of the Neapolitan School, was also one of the most-performed opera composers before the arrival of Rossini. He composed over 60 such works and was esteemed from Venice to St Petersburg where he was appointed to the Russian Court. L’Italiana in Londra (‘The Italian Girl in London’) is a charming and sophisticated intermezzo that displays an incredible understanding of comic situations and characters, satirising different cultural stereotypes that are as identifiable today as they were in the 18th century. Humour and wit abound in this acclaimed production.

The 15th studio long-player from the progressive rock/AOR legends - and first collection of new material in 16 years - The Prelude Implicit is the first Kansas album to feature new vocalist and keyboardist Ronnie Platt, who replaced founder Steve Walsh after the former announced his retirement in 2014. The 12-track set also marks the studio debuts of keyboard player David Manion and guitarist Zak Rizvi. That's a lot of new blood, but rest assured, The Prelude Implicit is very Kansas-y. Platt's amenable voice is custom made for melodic rock - think Tommy Shaw-meets-Paul Rodgers - and the presence of founding members Phil Ehart (drums) and Rich Williams (guitar), alongside longtime violin/guitar player David Ragsdale and bassist Billy Greer, helps to further ground the proceedings, resulting in something that sounds both familiar and forward thinking…

This 20-track collection from PolyGram compiles every one of Jacques Brel's most popular songs, all in their most famous versions. From his first hit "Quand On N'a Que l'Amour" to early peaks like "La Valse à Mille Temps," "Les Vieux," and "Mathilde," Quinze Ans d'Amour picks the best of his early material, with only one song recorded after 1968.

This well re-mastered disc is a generous compilation of two former LPs. The Hummel, recorded in 1965, was originally one LP and the Weber, recorded in 1959, was the other. The two Hummel works were written in 1812 (Quintet) and 1816 (Septet) and the Weber quintet was completed in 1815 having been started some four years earlier in 1811. Hummel and Weber both belong to the generation of composers who started in service and, during their lives, made the transition to becoming independent freelance musicians. Hummel was much admired as a virtuoso pianist and most of his works feature the piano in some form or another.

"Biophilia" is the seventh studio album from the unique artist from Iceland and the first since 2007's "Volta." The themes of the songs have a certain "sci-fi" feel to them, her early performances of the new material were described as "meditation on the relationship between music, nature and technology." The sound is a retreat from the daring if uneven "Volta" and is probably closest to the "Vespertine" sound, with the occasional hint of "Medulla". This album would be closest to Vespertine as a basic description, with the wintry electronic sound replaced by a more serene, slightly warmer sound. Beats are toned down just a bit. Bjork's penchant for wildness and sometimes harsh sounds is toned down even more in favor of the natural beauty of her singing voice. Here she relaxes her vocal eccentricities perhaps more than ever, relying on the natural ability of her "normal" voice.

Rush’s sixteenth studio album, Test for Echo, was released on 10 September 1996 on Anthem Records. It was the final Rush album co-produced by Peter Collins. The band supported the album with a world tour in 1996 and 1997! By December of 1996, the Test For Echo Tour was in the southern states of the US, and on the 5th of the month, Rush played at the Summit, in Houston, Texas, where they put on one of the tour’s very best shows! The whole affair was recorded and broadcast across local radio too, and the concert is now available in its entirety on this new 2CD set!