From 1972 and 1973, two albums originally released on the CBS/Columbia record label.
"Let My Children Hear Music" features seven original Mingus compositions.
"Charles Mingus And Friends In Concert", originally a double LP set, features a star-studded selection of sidesmen including Gerry Mulligan, James Moody, Dizzy Gillespie and Lee Konitz amongst others.
Digitally remastered and slipcased, and with extensive new notes.

Burt Bacharach's Greatest Hits is an essential 12-track collection highlighting the genius composer, arranger, and conductor whose work defined 1960s pop sophistication. Originally compiled in 1973 and released on CD by A&M Records in 1988, the album features instrumental and vocal renditions of his timeless collaborations with lyricist Hal David. Packed with world-famous standards and film themes, the compilation includes timeless classics such as I'll Never Fall In Love Again, The Look Of Love, What The World Needs Now Is Love, Raindrops Keep Fallin' On My Head, Alfie, and (They Long To Be) Close To You.

The Power Of Joe Simon is an expanded 18-track reissue of the classic 1973 soul LP by American R&B vocalist Joe Simon, released in 2000 by Southbound Records. Highlighting Simon's versatile, smoky baritone, the collection gathers his top-tier early 1970s recordings for the Spring label, produced by the legendary Philadelphia soul duo Gamble & Huff alongside John Richbourg and Simon himself. The album features iconic chart-topping smashes like Drowning In The Sea Of Love and Power Of Love, alongside soulful renditions of country-soul standards such as Help Me Make It Through The Night. Expanded beyond the original 10-track vinyl release, this CD edition adds eight rare non-LP B-sides and unissued tracks—including a soulful cover of Indiana Wants Me and the rare gem Weekend On The West Coast—making it an essential document of 1970s Southern and Philly soul.

Gamma's 1973 debut Alpha is an eclectic Dutch affair, blending brass rock in the Ekseption mold with Focus-style flute passages and Jan Akkerman flavored guitar, all carried by talented musicians and mostly instrumental charm.

A overlooked gem in Elvin Jones' Blue Note career - and an album that's virtually the blueprint for the Stone Alliance sound forged later in the decade by bassist Gene Perla and reedman Steve Grossman. Both players are working to full effect on this smoking little set - mixing some of the more spiritual modes of other group members with their own sharper-edged, funky-leaning styles - all held together perfectly by both Jones' tight work on drums, and his expansive musical vision. Other players are great too - and include Pepper Adams on baritone sax, David Liebman on flute and tenor, and Jan Hammer on acoustic piano - an instrument he handles with surprising subtlety and soul.

"A Passion Play" is the sixth studio album by Jethro Tull, released in 1973. Like its predecessor, "Thick as a Brick" (1972), it is a concept album the theme being the spiritual journey of one man in the afterlife. Alongside Thick As A Brick, 1973′s A Passion Play is Jethro Tull’s most overtly Progressive and conceptual release, featuring a complex poetic narrative framed by the most adventurous music of the band’s career. The album offers dazzling virtuoso instrumental passages, evocative synthesiser sequences, and fuses Folk, Jazz and Rock influences in a strikingly unique, wholly Jethro Tull way. A Passion Play (An Extended Performance) features new Steven Wilson (Porcupine Tree) mix of the album, alongside Steven Wilson mix of the infamous ‘Chateau Disaster’ recordings that preceded it.

Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second - and, no thanks to internal feuding, last - studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading - with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass - can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury…

Originally released in 1973 on Bearsville/Warner Bros. and presented here in its Japanese paper sleeve reissue via Victor Entertainment (VICP-63733), M. Frog is the groundbreaking self-titled solo debut from French synthesizer pioneer and former Utopia keyboardist Jean Yves Labat (aka M. Frog). Recorded in May 1973, this rare experimental milestone stands as an adventurous artifact of early synth-rock exploration, utilizing EMS Synthesizers and color-coded graphical notation. Fusing boundary-pushing avant-garde electronics, whimsicalprog-rock passages, and quirky synth-pop precursors, tracks like "We Are Crazy," "Champegarpaen," and the expansive "Relax Goliath" showcase Labat's unique blend of electronic wizardry, playfulness, and monastery-influenced soundscapes. An essential listen for fans of early Kraftwerk, Tangerine Dream, and experimental progressive music.

Released a year after Eat a Peach, Brothers and Sisters shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, "Ramblin' Man" and "Jessica," helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group's new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts' emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through "Ramblin' Man," feature Berry Oakley - their sound is rock-hard and crisp. The subsequent songs with Williams have the bass buried in the mix, and an overall muddier sound. The interplay between Leavell and Betts is beautiful on some songs, and Betts' slide on "Pony Boy" is a dazzling showcase that surprised everybody…

Metamorfosi's Inferno is a remarkable record that sits somewhere in the middle between Italian rock, opera and synth-dominated heavy prog. It is often called dark and sinister, an impression further enhanced by the bleak artwork, and it certainly is quite gothic from a 70s perspective. Of course, by today's standards it is fairly mild and friendly. Inferno is a conceptual album, based on Dante's "La Divina Commedia".

After raging through R&B early in their career, then exploring the limits of psychedelia, the Pretty Things changed their direction with Freeway Madness, which in retrospect seems like the first part of a musical trilogy (along with Silk Torpedo and Savage Eye). With a huge change in personnel and the team of Phil May and Pete Tolson doing most of the writing, the sound featured John Povey's keyboards, while the lush harmonies that had buoyed Parachute became a mainstay of the sound, which turned decidedly more American radio-friendly. They could rock as hard as ever, but the softer side was decidedly mushier (as on "Love Is Good"), with harmonies so tight you could bounce a quarter off them ("Peter")…

Semiramis is one of the most bizarre and talented one-album Italian acts from the 70s. Their prog offer is astonishingly "schizophrenic", since it is founded upon a trategy of brutal contrast between the very heavy (delirious guitar solos and riffs, red hot rhythm patterns) and the realms of acoustic sensibility (acoustic and classical guitars interludes, gentle drops on vibes, string synth layers). The musicianship is top-notch, flawlessly responding to the demands of the complex compositions and fast paced rocky sections. Semiramis' sound is reminiscent (to a certain degree) of Balleto di Bronzo, UT-era New Trolls, PFM and Metamorfosi, though you can tell that Semiramis has got a peculiar musical "insanity" of their own, an "insanity" that allows them to push the boundaries of sympho prog to extravagant levels of tension, contrast and dissonance.