Klaus Doldinger, best-known for leading the excellent fusion group Passport in the 1970s and '80s, has had a diverse and episodic career. He started out studying piano in 1947 and clarinet five years later, playing in Dixieland bands in the 1950s. By 1961, he had become a modern tenor saxophonist, working with such top visiting and expatriate Americans as Don Ellis, Johnny Griffin, Benny Bailey, Idrees Sulieman, Donald Byrd, and Kenny Clarke, recording as a leader for Philips, World Pacific, and Liberty. However, in 1970, he initiated a long series of fusion-oriented sessions for Atlantic that featured his tenor, soprano, flute, and occasional keyboards with an electric rhythm section…

Although I Puritani was performed during the Metropolitan Opera's first season in 1883, it had not been seen there for decades until this production by Sandro Sequi was unveiled in 1976. It was one of the greatest triumphs for the partnership of Joan Sutherland and Luciano Pavarotti, and it is to the credit of all concerned in this recent revival that one soon forgets names from the past and enjoys what is a spirited attempt to evoke mid-19th-century style.

With just a couple of cursory listens to the few tracks that popped up all over the Internet through 2007, comparisons were made between Adele, the much-hyped brassy British songstress, and Amy Winehouse, the…much-hyped brassy British songstress. However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone. Bluesy like it's no one's business yet voluptuously funky in a contemporary way, Adele rocks out 19 with a unique voice and gritty sound that dazzle endlessly. Synthesizing blues, jazz, folk, soul, and even electric pop, Adele mystifies through her mature songwriting skills and jaw-dropping arrangements.

The Cantiones Sacrae are the swan-song of one of the great masters of the motet, crowning his life's work. In them, Orlande de Lassus deploys with sovereign ease the essence of his art. The complex technique of vocal polyphony he employs illuminates the nuances of the text as closely as possible. In these works, we have the ideal balance between 'head' and 'heart' - a feature found in most of the greatest artistic masterpieces. Philippe Herreweghe has long been considered one of the foremost interpreters of the music of Lassus. Here he leads his hand-picked choral ensemble, Concerto Vocale, in definitive readings of these seminal works of the Renaissance choral repertoire.

A fixture on the New York scene since 2003, when he accepted a scholarship at the Juilliard School of Music, Norwegian guitarist Lage Lund, who won the prestigious Thelonious Monk International Jazz Competition in 2005, displays what the fuss is about on his Criss Cross debut. Framing his beautiful sound and keen sense of line are a group of young New York first-callers - Marcus Strickland, tenor saxophone; Danny Grissett, piano; Orlando Le Fleming, bass, and Kendrick Scott, drums.

Bluesbreakers with Eric Clapton was Eric Clapton's first fully realized album as a blues guitarist – more than that, it was a seminal blues album of the 1960s, perhaps the best British blues album ever cut, and the best LP ever recorded by John Mayall's Bluesbreakers. Standing midway between Clapton's stint with the Yardbirds and the formation of Cream, this album featured the new guitar hero on a series of stripped-down blues standards, Mayall pieces, and one Mayall/Clapton composition, all of which had him stretching out in the idiom for the first time in the studio…

Following collaborations with Paul Van Dyk and Schiller, Solo is the first full-length studio release from German singer/songwriter Peter Heppner since his acrimonious departure from influential synth pop outfit Wolfsheim. Produced by Peter-John Vettese (Annie Lennox) and Jose Alvarez-Brill (Kosheen), its ten English and German-language tracks include the single "Alleinesein."

This budget-priced two-for-one collection presents a pair of mid-1970s albums by Floridian singer-songwriter Lobo (born Roland Kent Lavoie): JUST A SINGER (’74) and A COWBOY AFRAID OF HORSES (’75). Highlights of the set include the breezy light-rock tunes “Rings” and “Don’t Tell Me Goodnight,” songs that embody Lobo’s sunny, laid-back sound.

In 2007 the Classics Chronological Series began reissuing every recording known to have been made by pianist Joe Bushkin (1916-2004), starting with the Commodore and Savoy sessions of 1940-1946. Released in 2008, the sequel to that amazing collection delves even deeper into the discographical dilemma of Bushkin's recording activities by tracing his movements during the years 1947-1950, beginning with six sides by Joe Bushkin & His Rhythm that originally appeared on 10" Royale and Rondo-lette LPs. This grab bag of obscure delights includes V-Disc jams, collaborations with cornetist Bobby Hackett and trumpeters Buck Clayton and Roy Eldridge, a smart take of "I May Be Wrong" sung by Liza Morrow, and a two-part romp through "Indiana" drawn from an MGM sampler called Maggie Fisher's Piano Playhouse. Tracks 15-24 are piano solos, recorded on February 24 and 25, 1950, and issued on one of the first-ever Atlantic LPs, I Love a Piano. A marvelous improviser and a skilled interpreter of popular melodies with a background in both Chicago-style and big-band swing, Joe Bushkin was now helping to establish the great mid-20th century genre of keyboard mood music.

Black Butterfly is the fourth studio album by American hard rock band Buckcherry. The album was released on September 12, 2008 in Japan, Canada, and the United Kingdom while being released on September 16 in the United States. It had been in production since late 2007…

Originally issued in 1973, CALUMET is one of the finest albums by Floridian singer-songwriter Lobo (born Roland Kent Lavoie). With a light, laid-back sound that makes contemporaries such as the Eagles and Jackson Browne seem edgy by comparison, Lobo eases into a set of amiable soft-rock tunes, including “How Can I Tell Her” and “It Sure Took a Long, Long Time.”

Present Tense was born out of two very specific desires. First, saxophonist James Carter wanted a precise recorded portrait of where he was at as a musician, aesthetically and technically. Second was producer Michael Cuscuna's dead-on assertion that Carter, for all his instrumental and aesthetic virtuosity, had never been represented well on tape. Carter's inability to resist overdoing it on virtually everything he records (ten-minute solos in standards, etc.) makes that point inarguable. Cuscuna proves to be the perfect producer - as both ally and foil - and reins Carter in to benefit the recording as a whole. The band on Present Tense is solid: the young trumpeter and fellow Detroiter Dwight Adams, pianist D.D. Jackson, bassist James Genus, and drummer Victor Lewis round out the quintet, with percussionist Eli Fountain and guitarist Rodney Jones playing on three cuts each…