Constant Lambert like his colleague Peter Warlocktends to be remembered more for his personal charisma and tragically early death than for his music. Yet the twenty or so extended scores which he did compose (The Rio Grande and Summer's Last Will and Testament being perhaps the most well known) are every bit as worthy as those of his more famous contemporaries. The bulk of Lambert's output was directed at the ballet, and he was the first Englishman ever to be commissioned by Diaghilev and the Ballets Russes quite an achievement for a twenty-year-old. As a result of this, Nijinska commissioned Pomona, a ballet rich in the atmosphere of neoclassicism and the French dance music of the 1920s.

The relatively rare Masses that celebrate saints other than the Virgin Mary were usually composed in response to an individual’s or an institution’s particular devotional interest. There is good reason to believe that Nicolas Champion composed his Missa de Sancta Maria Magdalena expressly for Margaret of Austria, whose devotion to Mary Magdalene is well known. Champion (c. 1475-1533) worked for the Habsburg-Burgundian chapel from 1501 to 1524; this Mass was probably written between 1507 and 1515.

Giovanni Battista Sammartini attained a leading role in Milan’s music scene in the 18th century, his career extending from the height of the Baroque era to the Classical worlds of Mozart and Haydn by his death in 1775. Appearing here in world-premiere recordings, these works appear to belong to Sammartini’s early period, including a four-movement example that recollects archaic church sonata form. Full of fascinating stylistic quirks, these sonatas reflect the refined taste for nuance found in the Milanese musician’s finest chamber works, with an easy melodic flow that expresses a mood for stylistic change.

Five years after the disappointing The Magazine, Rickie Lee Jones returned to form with Flying Cowboys, which shared much of the playful, childlike charm of her debut, Rickie Lee Jones, and some of the musically diffuse, lyrically ambitious form of its follow-up, Pirates. From the opening track, "The Horses," which suggested a mother's delight with her child as much as a lover's devotion, Jones reintroduced the joyous tone of her early work as well as establishing the Western theme that would run through the album - cowboys, rodeos, horses, deserts - without adding up to an actual storyline. The easy rhythms and lazy, flexible singing on the first few songs were reminiscent of Laura Nyro's work with Labelle on their Gonna Take a Miracle album, after which Jones branched out into reggae and folk-blues, coming up with an affectionate bluesman voice on "Ghost Train"…

Greenslade were something of a prog rock supergroup when they formed in 1972. Dave Greenslade (son of Arthur Greenslade, noted arranger for Scott Walker, Dusty Springfield and many more) had been the keyboard player in jazz rock oufits Colosseum and If. Bass player Tony Reeves also came from the ranks of Colosseum, while drummer Andy McCulloch had been in the "Lizard" line-up of King Crimson. Vocalist/second keyboard player Dave Lawson had been in Episode Six and The Alan Bown Set and the unique ‘two keyboards/no guitar lineup’ gave them a signature sound.
Greenslade reached their peak with their third album, Spyglass Guest. While the dueling keyboards of Dave Greenslade and Dave Lawson still lead the charge, it's the first Greenslade album to feature guitar (Dave “Clem” Clempson of Humble Pie), and it's probably the band's most visceral effort…

Latin Concert is a pretty good sampling of vibraphonist Cal Tjader's influential Latin jazz of the 1950s. With pianist Vince Guaraldi, bassist Al McKibbon, Willie Bobo on timbales and drums, and the congas of Mongo Santamaria, Tjader's impressive unit performs four of his catchy originals and two by Santamaria in addition to Latinized versions of "The Continental" and Ray Bryant's "Cubano Chant." This highly rhythmic music is hard to dislike.

Food - "Forever is a Dream" CD reissue of underrated U.S. dreamy soft psych not unlike Common People. Great stoned 60s period feel that makes you smile for sure… This mysterious Chicago band's only album, which originally appeared in 1969, has been hailed in recent years as a lost classic. A beautifully arranged set that alternates between fragile ballads, orchestrated pop and rousing hippie rock, it's highly sought-after by collectors and has an evergrowing reputation among fans of intricate psychedelia.

Oxygène: New Master Recording is a new recording by Jean-Michel Jarre of his 1976 album Oxygène. It was released in 2007, marking the 30th anniversary of the original worldwide release.
Jean Michel Jarre, son of film composer Maurice Jarre, is one of the true pioneers of electronic music. Oxygène is one of the original e-music albums. It has withstood the test of time and the evolution of digital electronica. Jarre's compositional style and his rhythmic instincts were his strong points in 1976. While his popularity has escalated exponentially over the years, he never quite achieved the quality of this amazing recording. The innocence and freshness provide most of its charm. Jarre's techniques and ability provide the rest. This epic work will appeal to fans of Tonto's Expanding HeadBand, Tangerine Dream, Synergy, Kraftwerk, and Klaus Schulze.

Taylor Swift Just Revealed That Her “Special Very Chaotic Surprise” Is A “3AM Edition” Of Her New Album “Midnights” With Extra 7 Tracks And People Are Losing It. Taylor Swift’s new studio album Midnights. It’s a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face - the stories of 13 sleepless nights scattered throughout Taylor’s life.

In her interpretation of Telemann’s Fantasias, Małgorzata Malke takes her listeners on a journey to 18th-century Poland, a land which Telemann often visited, drawing inspiration from Polish folk music. "In my interpretation of the 12 Fantasias, I decided to follow the path of Polish influences in Telemann’s compositions, looking for traces of the composer’s love for Polish music", says Małgorzata Malke. "What I found in the Fantasias, was much more than I had been looking for. Their phrases are truly moving, both the ones joyous in their expression, and those filled with nostalgic reflection. All this richness comes together to form a fascinating and beautiful story I would like to invite you to enjoy!"