The first piece composer Catherine Lamb has written specifically for acoustic guitar was commissioned by Chilean guitarist Christián Alvear. Extending concepts from an installation piece titled Secondary Rainbow with Bryan Eubanks, Lamb employs electronics over an infinite cycle of four "environmental chords" which overlap and resonate with one another.

No one can accuse Flying Steps of resting on their laurels. Hot off the heels of ‘Flying Bach’ and ‘Flying Illusion’, the Berlin-based troupe are back with their most ambitious project to date. ‘Pictures at an Exhibition’ is seemingly a hundred things in one, a magical amalgamation of dance, music, live performance, art, history and all the rest, highlighted by the instantly recognisable visible art of Brazilian brothers OSGEMEOS. This is an exhibition come to life, a spiritual successor to Modest Mussorgsky’s 1874 work of the same name. As exciting for adults as it is invigorating for children, we can’t wait to see what Flying Steps come up with next.

Christian Escoudé is part of this small family of jazz guitarists from the gypsy milieu, his talent has allowed him to play with the greatest as Mc Laughlin, Martial Solal, John Lewis. Some unpublished notes of the music of Django Reinhardt found in the family attic are at the origin of the idea of ​​this album. We discover tracks composed by Django, which have never been recorded or never played associated with compositions by Christian Escoudé and lyrics written by the singer Stephy Haik. Here is a new original album dedicated to the work of the great Django Reinhardt.

The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock & roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar…

When The Tower of Power left Warner Bros. for Epic, many felt that it was a good move. In retrospect, it proved a disaster. This second Columbia album was a marked comedown from the first, which was erratic but still contained the essential Tower ingredients — hook-laden songs, exuberant vocals, and punchy charts and instrumental support. This not only didn't have any of these elements, it was poorly produced and woefully arranged as well.

Although it was their sixth album overall, Tribal Tech's 1993 release, Face First, was only the second to feature the still-existing lineup of guitarist Scott Henderson, bassist Gary Willis, keyboardist Scott Kinsey, and drummer Kirk Covington. Previously, Henderson and Willis had juggled lineups and eased further away from traditional jazz toward improvisational fusion through the 1985-1991 albums Spears, Dr. Hee, Nomad, and Tribal Tech. But the quartet of musical leftists gelled on Face First, improving on its promising 1992 debut, Illicit.