The Symphony No. 5 in C minor, Op. 67, also known as the Fate Symphony (German: Schicksalssinfonie), is a symphony composed by Ludwig van Beethoven between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies, and it is widely considered one of the cornerstones of western music. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies during the Classical period, Beethoven's Fifth Symphony has four movements.

Manuscript number Mus. Ms. 31528 of the British Library, London, is a collection of 46 undated works for violoncello. Of these at least 30 are autograph works from Giuseppe Dall’Abaco (a mix of solo sonatas with basso continuo, 2 virtuoso cello duos, as well as 1 ‘Duetto’ of debatable provenance) including his unpublished „Op.1“ (XII Sonate | Per il Violoncello, e Basso | Del Sig. Giuseppe Barone | Dall’Abaco). The very high quality script, along with the appearance of bass figures at critical moments, strongly suggests that this set of pieces was in preparation for publication. The manuscripts of the remaining 18 sonatas are not so carefully prepared, including scribbled revisions, and are in need of some final corrections. Furthermore, the bass line appears almost entirely without figures, leaving ambiguity as to which instrument(s) would have made up the continuo section.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence.

One of the masterpieces of the period, Lee Michaels was essentially recorded live in the studio by only Michaels (organ/bass pedals) and Frosty on drums. It's a fabulous performance and one of the finest R&B/rock sets of the period. The first side is comprised of a medley of soulful workouts that come out sounding not unlike Led Zeppelin. Here, Michaels pulls out all the stops (literally) and showcases the organ as a bona fide rock instrument. Despite the lengthy drum solo, it's one of the finest sides of Los Angeles rock & roll. Michaels also reprises "My Friends," a song from his first album, to great effect. Lee Michaels is also home to the good-time, pro-drug anthem "Highty Hi," as well as an awesome cover of "Stormy Monday." A true party platter.

This programme marks the eagerly awaited return of Véronique Gens to Baroque music and Lully, in which she made a name for herself at the start of her career. It presents airs from Atys, Persée, Alceste, Proserpine, Le Triomphe de l’Amour and other works by Louis XIV’s famous composer, but also several by Marc-Antoine Charpentier (Médée), Henry Desmarets and Pascal Collasse. Whether well known, rare or in some cases even unpublished, all of them present roles for powerful women whose love is unrequited: dark passions, bitter laments, jealousy, vengeance, the type of dramatic characters that Véronique Gens embodies with all the charisma that has made her reputation. This recording is also the result of an encounter with the youthful ensemble Les Surprises, founded and directed by Louis-Noël Bestion de Camboulas. Together they conceived this programme, which mingles airs, dances and choruses, in collaboration with the Centre de Musique Baroque de Versailles.

Reinald Werrenrath (August 7, 1883 – September 12, 1953) was an American baritone opera singer, who also recorded popular songs and appeared regularly on radio in the early decades of the twentieth century. Werrenrath commonly used the pseudonym Edward Hamilton.

Hardly a German musician has distinguished himself so consistently as an instrumentalist and songwriter by such an unmistakable musical language and has constantly evolved as well as ECHO award winner and exceptional bassist Hellmut Hattler, who has been with Kraan, Tab Two or his for nearly five decades Formation Hattler - always innovative and confidently indicating groove and sound.

When your father was the late Chicago blues and Chess Records icon Jimmy Rogers (not to be confused with pioneering country singer Jimmie Rodgers), some would argue that you have a hell of a lot to live up to. But the question "How does Jimmy D. Lane compare to Jimmy Rogers?" is both unrealistic and unfair – it would be like expecting Ravi Coltrane to accomplish what John Coltrane accomplished, or expecting Hank Williams, Jr. to be another Hank Williams, Sr. Besides, Lane is a fine Chicago bluesman in his own right. With Rogers making a guest appearance on "One Room Country Shack" and Muddy Waters' "Another Mule Kicking in Your Stall," listeners get to hear father and son playing alongside one another. Rogers, who died on December 19, 1997, had only two months to live when this historically important album was made. But Legacy is not only noteworthy because it contains the last recording of Rogers; it's also noteworthy because of the rich singing and expressive guitar playing that Lane brings to Memphis Slim's "Four O'Clock in the Morning" and Howlin' Wolf's "Big House," as well as heartfelt originals like "In This Bed," "Clue Me," and "Pride." Lane is someone who really understands the blues, and that fact is impossible to miss on this excellent date.

Brooklyn Funk Essentials have been fusing soul, hip hop, spoken word, jazz and, of course, funk for 25 years and over 6 albums, the most recent ’Stay Good’ is released on September 20th. During this time they have made a name for themselves as electric performers, exhilarating their loyal and broad fanbase with performances on every continent. Established in the early ‘90s by Arthur Baker and Lati Kronlund, Brooklyn Funk Essentials were regulars of New York’s vibrant club scene when their debut album, ‘Cool & Steady & Easy’, hit the shelves. Released by pioneering funk and electronic taste-makers Dorado Records and combining classic funk’s raw, mind-bending basslines, peak-era disco’s euphoric vocals and early hip-hop’s observational lyricism, the album and its follow up, ‘Make Em Like It’ topped charts around the world. Fast forward to 2019 and following 2015’s reunion with Dorado and the success of ‘Funk Ain’t Ova’, the band are set to release ‘Stay Good’, a fun, funky and fresh collection of tracks featuring throughout are the powerful and soulful vocals of Alison Limerick, now a full time member of the band. Lati wrote and produced her debut hit ‘Where Love Lives’.

During the 1970s, Roy Eldridge had a regular gig at Jimmy Ryan's in New York playing music that fell between swing and Dixieland. For this Pablo LP, he sought to play a program with his regular group (Joe Muranyi on clarinet and soprano, trombonist Bobby Pratt, pianist Dick Katz, bassist Major Holley and drummer Eddie Locke) that, although recorded in the studio, would sound like one of the Jimmy Ryan sets. So, in addition to such standards as "Between the Devil and the Deep Blue Sea" and "All of Me," Eldridge also performs (and takes occasional vocals on) some older tunes like "St. James Infirmary," "Beale Street Blues" and "Bourbon Street Parade." The music is quite joyful and spirited, with Eldridge in exuberant form.

Premiata Forneria Marconi's third Italian album (their fourth if one counts the 1973 release Photos of Ghosts, the English version of Per un Amico) came out shortly before ELP's Manticore imprint released its English version under the title The World Became the World. Unless lyrics sung in a language other than English is aggravating to you, by all means prefer the original version. Like for Banco del Mutuo Soccorso and Le Orme, the music of PFM is impregnated with the lyricism of the Italian language. The most confusing of the group's first three LPs, L'Isola di Niente (The Island of Nothing) sees the group pushing its music to a new level of complexity, while giving a first hint at their later jazz-rock orientation. ..

"The innovation, spirit and power of Jamaican music is a constant source of creative manna for us," explains Eric Hilton of DC-based electronic band THIEVERY CORPORATION about their new album THE TEMPLE OF I & I. "On the musical map, Jamaica is an entire continent. Frankly, we could have spent a year there, soaking up the vibes in the air and the strength and resilience resonating from the people. And for us, the only way to connect with this rich source of inspiration was to work in that environment - to feel the pulse of the place."