The first album of this new band: “Djambolulù swing trio”, a trio formed by strings instruments dedicated to Italian swing-manouche, a few standards and a lot of original compositions, a reunion between the most appreciated musicians in the style in the national field and also internationally recognised. As a special guest, there’s Stefano “Cocco” Cantini, one of the most estimated jazz saxophone player. The two guitar players marked the history of gypsy jazz in Italy, Maurizio Geri started to develop his passion for Django in 1989 and formed his “Swingtet”…

It's been said that the only reason to cover a song is to reinterpret it, rearrange it, rethink it, rework it, and make it your own. While there is validity in that summation, especially if the revamped song is to be memorable, one can pay sufficient homage to an artist without completely overhauling the original work. Such is the case with this collection of songs. It appears as though many of these artists' main objective was to sound as much like Jethro Tull as possible…

On Febrary, 1972, The Mike Douglas Show broadcast a full week, five shows, with co-hosts John Lennon and Yoko Ono. Included among guest appearances and musical performances are John and Yoko discussing their love for each other, Lennon's boyhood recollections, Ono's unique art projects, and lots of candid discussion…

Earl King was an important figure in New Orleans musical history not just for his guitar technique and recordings but also for his song writing talents. Here then are the complete singles he released between 1955 and 1962. Here are 31 examples of his legacy, 30 of which he wrote himself including the hits "Those Lonely, Lonely Nights", "Always A First Time", "Trick Bag" which was later revived by Robert Palmer and "Come On (Part 1 & Part 2)" which went on to be covered by guitar stars Jimi Hendrix, Stevie Ray Vaughn and Anson Funderburgh. Several tracks are making their CD debut (at the time of release).

Sam Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour. Hopkins' brothers John Henry and Joel were also talented bluesmen, but it was Sam who became a star. In 1920, he met the legendary Blind Lemon Jefferson at a social function, and even got a chance to play with him. Later, Hopkins served as Jefferson's guide. In his teens, Hopkins began working with another pre-war great, singer Texas Alexander, who was his cousin.

Thirty years on, renowned Beethoven specialist, Rudolf Buchbinder presents his second complete cycle of Beethoven's piano sonatas, this time recorded live at Dresden's Semperoper. Beethoven and Buchbinder is an event like Bach and Glenn Gould, like Johann Strauss and The Vienna Philharmonic. Says Buchbinder, "I have been able to discover a different Beethoven, richer and more multi-layered. It is Beethoven himself who demands this freedom from his interpreter."

This 2CD album brings together ten of the most famous tenors, performing nearly 50 of the greatest arias of all time. It also features a 16-page booklet with everything you need to know about each tenor nationality, short biography, best recording, trivia and more in an appealing and witty design. Disc One contains 24 operatic arias, opening with the all-time tenor of tenors, Luciano Pavarotti, singing Nessun Dorma. Juan Diego Flórez delivers the astonishing Ah mes amis (with its 9 top Cs) in supreme style, Villazón sings Verdi and Handel, while Jonas Kaufmann can be heard in Puccini, Bizet (Carmen) and even Wagner.Disc Two contains film themes, Neopolitan songs, Sicilian songs, sacred music and others. Highlights include Andrea Bocelli s Ave Maria (from his best-selling Sacred Arias album); Joseph Calleja singing the love theme from Cinema Paradiso, Plácido Domingo with No Puedo Ser and José Carreras singing Granada.

Born in Munich, Christina Landshamer studied at the city’s Hochschule für Musik und Theater under Angelica Vogel, and subsequently in Konrad Richter’s lied class and Dunja Vejzović’s soloist class at the State University of Music and Performing Arts in Stuttgart. After making her debut as Ännchen at the Semperoper under Christian Thielemann, she began the current season in the same role in a concert performance with German broadcaster NDR’s Symphony Orchestra under Thomas Hengelbrock, and will make her American debut at the end of 2015 with the Pittsburgh Symphony Orchestra as a soloist in Händel’s Messiah and Mozart’s Coronation Mass under Manfred Honeck.

Joe Zawinul was a fantastic composer, musical visionary who pioneered the use of electric piano/synthesizers in modern music. He composed the soul jazz hit Mercy Mercy Mercy for Cannonball Adderly. In a Silent Way (1969) and Pharaoh's Dance for the seminal album Bitches Brew (1970) for Miles Davis and formed the Jazz Rock Fusion Band Weather Report with saxophonist/composer Wayne Shorter in 1970. After the demise of WR he formed his own world fusion band called The Zawiful Syndicate in 1988 and recorded three albums. Joe was a true innovator of modern music in the late 20th and 21st century, like Miles Davis, he had that mystic mojo, always sensing the cutting edge, incredible sensibility for the future sonics, a true master of sound.

22 best songs of soul in 1971. All are original versions. True delight for ears of music lovers.

Trettio'riga Kriget have been releasing albums since 1974. They've been around for almost as long as many of the progressive rock canon's greatest, and 10 albums are evidence to the fact they've spent most of that time actively…

A 19-track collection of otherwise unavailable live performances from 1966-1968, taken from shows in Melbourne, Stockholm, London, and the '67 Monterey Pop Festival, as well as radio and television broadcasts. Most of this dates from the psychedelic version of the band, which will disappoint those who are primarily interested in the group's rock/R&B prime. It's quite a good relic, though, with rough and ready execution by both Burdon and the band, and some unusual R&B and psychedelic material alongside the versions of hits like "Inside Looking Out," "Monterey," "San Franciscan Nights," and "When I Was Young." Sound ranges from fair to very good.

Grateful Dead were at the peak of their powers on RED ROCKS 7/8/78, the latest live release from the vaults of the Rock and Roll Hall of Famers. The 3-CD set was recorded between TERRAPIN STATION and SHAKEDOWN STREET, whose the stellar seven-piece line-up makes the band’s first visit to the Morrison, Colorado amphitheatre a memorable one. The venue's outstanding acoustics are further burnished by the skills of faithful Dead engineer Betty Cantor-Jackson, whose crisp soundboard recordings are renown among fans as “Betty Boards.” From the opening notes of “Bertha” through such favorites as “Estimated Prophet” and “Wharf Rat” until a gleeful closing version of Warren Zevon's “Werewolves Of London,” the energy and inspired performances never let up.

The Melos Ensemble was formed by musicians who wanted to play chamber music scored for a larger ensemble in a combination of strings, winds and other instruments with the quality of musical rapport only regular groups can achieve. All its members were excellent musicians who held positions in notable orchestras and appeared as soloists. The clarinetist Gervase de Peyer, flautist Richard Adeney, viola player Cecil Aronowitz and cellist Terence Weil were the founding members.

Throughout his career, Buddy Morrow loved playing with big bands and doing what he could to keep nostalgic swing alive. He began playing trombone when he was 12 and within two years was working locally. Morrow developed quickly and moved to New York, where he studied at the Institute of Musical Art. He made his recording debut in 1936 with singer Amanda Randolph and trumpeter Sharkey Bonano. Morrow known as Moe Zudekoff until he changed his name in the early 1940s kept busy during the swing era, working with Artie Shaw (1936-37 and 1940), Bunny Berigan, Frank Froeba, Eddie Duchin, Tommy Dorsey (1938), Paul Whiteman (1939-40) and Bob Crosby. After serving in the Navy (1941-44) he was with Jimmy Dorsey's Orchestra (1945). In 1945, at age 26, Morrow formed his own big band but it quickly failed. He became a studio musician for the remainder of the decade. In 1950 he formed a new orchestra that had strong success, giving an R&Bish sound to older standards and having a hit with "Night Train." Morrow spent most of the 1960s and '70s as a studio musician but he worked a bit with the World's Greatest Jazz Band in 1970; in the late 1970s he took over Tommy Dorsey's ghost band. Since then Morrow has been one of the few full-time big band leaders, performing melodic dance music based in the swing era.