‘No!’ exclaims Nunciata, the stubborn Corsican grandmother, when she is begged to put an end to the vendetta between her family, the Fabiani, and their enemies, the Pietra Nera clan. Set against a backdrop of tragic deaths, voracious lust for vengeance and passionate love at the height of the Napoleonic Wars, this ‘lyric drama’ composed by Saint-Saëns in 1906 was premiered at the Opéra de Monte-Carlo and dedicated to Prince Albert I, who had commissioned it. Saint-Saëns demonstrates here the full range of his style, interweaving Debussyan chords, melodic lines à la Massenet and aggressive rhythms worthy of Prokofiev. Above all, he displays a feel for the theatre eminently characteristic of French opera, and one can only imagine how successful this score would be if it found its way back onto the stage. It was not without reason that after its triumphant premiere in Monte Carlo, L’Ancêtre was staged in several cities in France, Belgium, Switzerland and Germany, as well as Algiers (February 1911) and Cairo (February 1912), before two further performances in March 1915 in the theatre where it had come into existence.

Recorded June 13, 1963 at Rudy Van Gelder Studio, Englewood Cliffs, NJ. The Eastern Moods of Ahmed Abdul-Malik is an album by the double bassist and oud player Ahmed Abdul-Malik that was released through Prestige Records label in November 1963.

On what would have been B.B. King’s 100th birthday – Joe Bonamassa has announced the upcoming release of B.B. King’s Blues Summit 100, produced by Grammy-nominated duo Joe Bonamassa and Josh Smith, an extraordinary collaborative tribute album celebrating the legacy of one of music’s most iconic figures. Out via KTBA Records, the project launches with the release of its first five tracks and a promise of more to come in the months ahead. A total of 32 songs will be released in monthly installments through February 2026, culminating in the arrival of the full digital album as well as the Double CD and Triple LP Vinyl on February 6th, 2026.

The 1958 version of the Jazz Messengers were widely recorded during their stay in Paris, but this LP does not duplicate any of the other recordings previously released. This band (with trumpeter Lee Morgan, Benny Golson on tenor, and pianist Bobby Timmons) was particularly strong, and it is quite enjoyable to hear them stretch out on such songs as "I Remember Clifford," "Moanin'," "Blues March," and "Whisper Not." Hard bop at its best, all of it propelled by the powerful drumming of Art Blakey.

German progressive rockers Grobschnitt took a major leap forward on their second album, 1974's "Ballermann". While the ambitious, double-length release featured a fair amount of eccentric drummer/ringmaster Eroc's trademark goofy, Monty Python-esque clowning, the Krautrockers also took a definitive leap from jammy rock to a full-blown symphonic-progressive style, with the 33 1/2-minute "Solar Music" suite, one of German prog's masterworks, which would also be memorably revisited on their 1978 Solar Music Live album.

You can expect a successful mix of great rock and pop hits in a new guise. Breathtaking! In Gregorian, everything fits together, forms a unity and abducts the listener with famous melodies in a completely new sound in the timeless world of Gregorian chant. Experience the audio-visual spectacle of your live shows now at home! The Platinum Collection by Gregorian featuring: Nothing Else Matters, Tears In Heaven, Close My Eyes Forever, Brothers In Arms, Blue Monday etc.

This is series of seriously intoxicating Latin and American Bossa-Samba-Jazz sounds! It all began in the '50s when composer Antonio Carlos Jobim, inspired by West Coast Jazz, helped to form a new music that blended together gentle Brazilian Samba rhythms and melodies with cool-toned improvising. These compilations contain the results of Jobim's influential musical experiment, as they feature a myriad of artists serving up a cocktail blend of rare original Brazilian and American Bossa Nova and Jazz from the 60's. Each volume comes complete with a different sexy vixen on each of the covers…and we do mean SEXY! Includes 80 tracks featuring classic performances by Les McCann, Mongo Santamaria, Cal Tjader, The Champs, Lalo Schifrin, Nina Simone, Stan Getz, Art Blakey, Mel Torme, Peggy Lee, Dizzy Gillespie, Herbie Mann, Kenny Burrell, Mose Allison, Candido, Xavier Cugat & His Orchestra, Sergio Mendes & Brasil 66 and many more.

"Playlist: The Very Best of Toni Braxton" is the fourth greatest hits compilation released by Braxton, following "The Essential Toni Braxton, in 2007. The album was released on October 28, 2008, by Legacy Recordings, being part of Sony BMG's Playlist series. The tracklist contains Braxton most successful singles, with a few different tracks, such as "A Better Man" from her fourth studio album, "More Than a Woman" (2002), "Maybe", a single from "The Heat" and an Hex Hector remix for "Spanish Guitar". Enhanced section includes the interactive digital booklet with liner notes, photos and more.

Liberation arrives in 2018, six years after Lotus, by far the longest stretch of time between Christina Aguilera albums. During that hiatus Aguilera wasn't exactly in hibernation but she wasn't prominent, taking a couple of seasons off from the televised singing competition The Voice to raise a child and spending as much time onscreen as she did on-stage when she re-emerged in the middle of the 2010s. Aguilera may have been omnipresent in showbiz but she was largely absent from the pop charts. Save a handful of duets – "Moves Like Jagger," which appeared in 2011 in the first flush of The Voice's success; "Feel This Moment," a 2013 Pitbull hit; "Say Something," a 2013 Great Big World single featuring Christina on vocals – Aguilera hadn't reached the American Top Ten since 2008's "Keeps Gettin' Better," fanbait added to her hits collection of the same name.

Latin Jazz has been an important and evolving current in jazz since the mid-1940s, when Dizzy Gillespie invited the legendary Cuban conga drummer Chano Pozo to join his big band. However, Latin rhythms were present in jazz even earlier, as proven by such recordings as Louis Armstrong’s 1930 “The Peanut Vendor” (a reworking of Cuban pianist and conductor Moisés Simóns’ “El Manicero”). Even such an iconic jazz piece as W. C. Handy’s 1914 “St. Louis Blues” has a habanera-tresillo bass line. Latin Jazz would gain prominence in the 1950s and 1960s, with such celebrated figures as Ray Barretto, Cándido Camero, Tito Puente, Bebo Valdés, Pérez Prado, and Mongo Santamaría. Many American artists, such as Gerald Wilson, Quincy Jones, and the aforementioned Dizzy Gillespie, even composed their own Latin songs, as did pianist Herbie Hancock, whose “Watermelon Man” became a hit after being recorded by Mongo Santamaría. This 3-CD set compiles some of the genre’s finest performances.

Katy Perry achieved maturation with Prism, the 2013 album anchored on the self-empowerment anthem "Roar" and the club smash "Dark Horse." Considering how "Roar" scored the closing stages of Hillary Clinton's 2016 campaign, it would've seemed like a logical move for Perry to build upon its adult alternative affirmation but she's instead chosen to use "Dark Horse" as a blueprint for Witness, the long-awaited 2017 successor to Prism. Perhaps Perry shifted her approach after "Rise," the "Roar"-alike written for the 2016 Olympics that she also performed at that year's Democratic National Convention, failed to crack the Top Ten, perhaps she always planned to construct this album with electronic beats and synths, but Witness is so slick with synths it seems slippery.

The Show, The After Party, The Hotel is the third studio album from American R&B group Jodeci, released July 18, 1995, on Uptown Records and distributed through MCA Records. The album was recorded at Dajhelon Studios in Rochester, New York. The album peaked at number two on the Billboard 200 chart and was the third album from the group to reach number one on the Top R&B Albums chart. By September 1995, it was certified Platinum by the RIAA.

Dirty Work is the Rolling Stones' 18th British and 20th American studio album. It was released on 24 March 1986 on the Rolling Stones label by CBS Records. Produced by Steve Lillywhite, the album was recorded during a period when relations between Mick Jagger and Keith Richards soured considerably, according to Richards' autobiography Life. The album produced a US Top 5 hit for the Rolling Stones, the cover of "Harlem Shuffle," and featured a number of guest appearances, including contributions by Tom Waits, Marku Ribas, Patti Scialfa, Bobby Womack, and Jimmy Page on "One Hit (To the Body)".

72 Tracks. Whitney Houston, Aretha Franklin, Toni Braxton, Billie Holiday, Bonnie Tyler, Nina Simone, Britney Spears, Celine Dion, Gladys Knight, Jennifer Rush, Anastacia, Dionne Warwick, Alison Moyet, Etta James, Rita Ora, Bette Midler, Alicia Keys, Chaka Khan, Leona Lewis, Pink, Eartha Kitt, Avril Lavigne, Sarah McLachlan, Carly Simon, Aaliyah, Delta Goodrem, Labelle, Gossip and more, and many more…

Global cello sensation HAUSER returns with Cinema – a sweeping new album of iconic melodies from the silver screen. Bringing his signature romantic flair and expressive cello playing to the world of film music, HAUSER curates a stunning collection of timeless movie themes that span generations. From the nostalgic beauty of the “Tara’s Theme” from Gone with the Wind to the haunting tenderness of Billie Eilish’s Oscar®-winning “What Was I Made For” from Barbie, Cinema captures the emotional essence of some of film’s most iconic moments. With richly orchestrated arrangements, HAUSER breathes new life into works by the greatest composers in film history John Williams, Ennio Morricone, Henry Mancini, and John Barry as well as beloved ballads like Sam Smith’s “Writing’s on the Wall” (Spectre) and “The Music of the Night” from The Phantom of the Opera.