Spiritalk 2-Revelations stands as a deeply spiritual, acoustic-driven landmark in the expansive discography of jazz guitarist and composer Kevin Eubanks. Released in 1995 on Blue Note Records as the direct sequel to his acclaimed 1993 album Spiritalk, this fifty-minute recording pushes the boundaries of modern post-bop and chamber jazz. Eschewing traditional electric fusion setups, Eubanks weaves intricate acoustic guitar counterpoints alongside second guitarist Gerald Moore, complemented by the lush, airy textures of Kent Jordan's alto flute and the soulful brass of his brother, trombonist Robin Eubanks. Anchored by the formidable dual-drum interplay of Marvin "Smitty" Smith and Gene Jackson, the ensemble delivers complex rhythmic foundations and serene harmonic exploration. Standout selections include the uplifting opener Faith, the breezy acoustic movement Like The Wind, the expansive title suite Revelations, and the elemental acoustic trilogy Earth, Sun, and Moon. Sourced from original high-fidelity lossless transfers complete with EAC sector logging verification, track cue sheets, and full retail artwork scans, this release remains an essential centerpiece for contemporary jazz guitar enthusiasts, Blue Note collectors, and modern acoustic post-bop archives.

Blues For Pat stands as an electrifying, high-energy live performance capturing one of the most celebrated contemporary jazz supergroups of the 1990s in full flight. Released in 1995 by Jazz Door Records, this seventy-minute live recording documents saxophone titan Joshua Redman alongside iconic guitarist Pat Metheny, virtuosic bassist Christian McBride, and master jazz drummer Billy Higgins. Building upon the critical acclaim of Redman's seminal Wish album, this extended concert performance showcases the quartet's breathtaking improvisational chemistry, rhythmic drive, and profound melodic freedom. Highlights include the blues-drenched fourteen-minute title track Blues For Pat, a soaring rendition of Redman's Wish, and an epic, eighteen-minute extended celebration of Sonny Rollins' Latin-jazz staple St. Thomas. Sourced from pristine high-fidelity lossless transfers complete with EAC sector logging verification, track cue sheets, and full artwork scans, this release remains an indispensable centerpiece for modern jazz purists, Pat Metheny collectors, and contemporary sax acoustics archives.

Released in 1995 on Italy's New Tone Records, The Honey Man captures legendary arranger and bandleader Gil Evans live in concert with his electro-acoustic big band during their 1986 European tour across Italy and Switzerland. Showcasing Evans' late-career mastery of electric fusion and modern big band orchestrations, the performance features blistering guitar work from Hiram Bullock, powerful horn arrangements, and a stellar ensemble including saxophone virtuoso Bill Evans, trombonist George Lewis, and tubist/baritonist Howard Johnson. The repertoire spans dynamic reinvented classics, from Charles Mingus masterpieces ("Boogie Stop Shuffle," "Goodbye Pork Pie Hat") and Jimi Hendrix's incendiary "Voodoo Chile" to George Gershwin's title track "Here Comes De Honey Man."

Released in 1995 by the European compilation powerhouse Arcade Records, Best of Love is an expansive double-CD collection dedicated to the deep, resonant baritone and orchestrally rich soul of Barry White. Spanning 34 tracks across more than two and a half hours, this collection dives into White's late-1970s and 1980s catalog—highlighting fan favorites, soulful slow jams, and infectious disco grooves such as "Change," "Sheet Music," "Beware," and "Let's Make Tonight (An Evening to Remember)." Showcasing his lush arrangements, sweeping string sections, and seductive spoken-word intros, Best of Love provides a thorough overview of the Maestro's enduring contributions to modern R&B and soul.

Five Man Electrical Band, one of the more creative Canadian groups of the early '70s, edged toward the American "big-time" without ever really receiving its due. Springing from the accomplished harmonies of all five bandmembers and leader Les Emerson's socially-attuned penmanship, the band was equally at home firing off catchy pop hits ("Signs," "Absolutely Right") as it was with more ambitious, roots-rock-grounded album material ("Coming of Age," "Country Girl Suite"). Fifteen-track collection Absolutely Right does justice to both sides, and how these merged to culminate in the environmental polemic sweep of "I'm a Stranger Here" and decidedly odd chart-fodder "Werewolf."

Dissimilar Views is an extraordinary emotional roller coaster ride through instrumental music moods and styles. It is melodic, thematic and at times esoteric, but it is always instantly accessible.
Dissimilar Views incorporates influences and textures from outside the traditional electronic music sphere alongside what was becoming David's recognisable style. The breathtaking musical odyssey gathers in music from the aborted Korce Project and several live performances, including a UK Electronica.

Released in 1995 by legendary audiophile label DCC Compact Classics and compiled by renowned audio engineer Steve Hoffman, Music For A Bachelor's Den In Hi-Fi is a mid-century space age pop and exotica compilation. Restored from original master tapes, the 15-track collection captures the cool, velvet-draped lounge culture of 1950s and 60s stereophonic recordings. Featuring lush orchestral instrumentals, sultry cocktail jazz, and tropical percussion from pioneers like Les Baxter ("Quiet Village"), The Arthur Lyman Group ("Yellow Bird," "Love for Sale"), Nelson Riddle, Jackie Gleason, and George Shearing, this volume is an essential time-capsule soundtrack for lovers of vintage hi-fi culture and retro lounge music.

Much like Deep Forest's debut album, Boheme is a combination of club music and worldbeat. While the album is certainly danceable, it works better as trance-inducing mood music, although it isn't quite as consistent as the debut.
Frontrunners of chillout, French electronic duo Deep Forest fused traditional indigenous music from around the world with relaxed ambient beats, creating a new breed of captivating electronic pop that found worldwide success. Their approach was best typified by their 1993 smash "Sweet Lullaby," which brought together the group's original electronic sounds with a haunting traditional lullaby from the Solomon Islands. The group repeated its multi-platinum formula on a host of albums throughout the '90s.

Recorded live on February 15, 1991, at the famous Sweet Basil jazz club in Greenwich Village, New York, and released in 1995 on Evidence Music, My Funny Valentine captures one of the most revered rhythm sections in modern jazz history. Master pianist Cedar Walton, legendary bassist Ron Carter, and peerless drummer Billy Higgins—performing together as the Sweet Basil Trio—deliver expansive, masterclass interpretations of classic jazz standards. Highlighted by a sprawling, 15-minute exploration of the title track alongside swinging renditions of "Just in Time" and Monk's "'Round Midnight," the trio's fluid communication, exquisite acoustic balance, and effortless groove showcase piano trio interplay at its finest.

Originally released in 1975 and reissued on CD in 1995 by Finland's legendary Love Records, this self-titled debut from Tabula Rasa is a classic landmark of Finnish progressive rock. Led by guitarist and main composer Heikki Silvennoinen alongside the expressive vocals of Jukka Leppilampi and the prominent, pastoral flute work of Jarmo Sormunen, the album delivers a warm, melodic blend of symphonic prog and folk rock. Guest piano contributions from Wigwam's Jim Pembroke add extra depth to the band's delicate acoustic passages, soaring guitar lines, and intricate arrangements. Fans of Camel, Jethro Tull, and 1970s Scandinavian prog will find this an indispensable classic.

Released in 1995 by Verve Records, Music For Loving With Strings is the definitive 2-CD compilation gathering legendary tenor saxophonist Ben Webster's celebrated mid-1950s orchestral ballad sessions recorded for Norgran and Verve. Arranged and conducted by Billy Strayhorn and Ralph Burns, these classic recordings frame Webster's warm, breathy, and incomparably expressive tenor saxophone against lush, romantic string backings. Featuring iconic interpretations of Ellingtonian masterpieces ("Chelsea Bridge," "Prelude To A Kiss," "Sophisticated Lady"), timeless American songbook standards ("Willow Weep For Me," "Blue Moon," "My Funny Valentine"), and bonus alternate takes, this collection stands as a benchmark in orchestral jazz and romantic tenor saxophone balladry.

Released in 1995 on FMR Records, Flight records a captivating live performance by one of the most seminal trios in British free improvisation: pianist Howard Riley, bassist Barry Guy, and percussionist Tony Oxley. Recorded in March 1971 at the Royal Festival Hall in London, this session captures the legendary trio at the peak of their groundbreaking early-70s collaboration. Seamlessly integrating avant-garde classical structures with ferocious free jazz intensity, the trio navigates through the monumental 21-minute improvised centerpiece "Motion," delicate microtonal textures on "Cirrus," and the deeply expressive "Two Ballads." A landmark document showcasing three titans of European avant-garde music in complete empathetic dialogue.

Released in 1995 on Lejazzetal, Swing Guitars is a breathtaking acoustic session from Belgian master guitarist Fapy Lafertin—widely regarded as one of the most faithful modern heir-apparents to Django Reinhardt's acoustic guitar tradition. Accompanied by his UK ensemble Le Jazz (featuring rhythm guitarists Dave Kelbie and Pete Finch, bassist Tony Bevir, violinist Steve Elsworth, and guest vocalist Anabela Da Silva), the album was recorded using a single vintage 1938 ribbon microphone at Dumpers House in Chew Magna. The resulting production delivers an astonishingly warm, authentic, and natural sound field. Across 16 classic tracks—including Reinhardt/Grappelli standards like "Minor Swing," "Anouman," and the title track, alongside charming French chanson and Great American Songbook numbers—Lafertin's fluid phrasing and acoustic timbre shine with timeless elegance.