This CD presents violin sonatas dedicated by Antonio Vivaldi (1678-1741) to German violinist and composer Johann Georg Pisendel (1678-1755). The manuscripts of the works come from the library of the Dresden Court Orchestra to which Pisendel himself made regular contributions in the course of 30 years.

5 Original Albums is a spectacularly expressive, historically monumental, and masterfully synchronized bebop and orchestral jazz studio box set compilation masterpiece led by the absolute ultimate architectural genius, alto saxophone vanguard pioneer, and modern jazz monarch Charlie "Bird" Parker, digitally preserved and released as a definitive 5-CD anthology in 2016 under the prestigious archival preservation banner of Verve Records. Spanning over 3 hours and 1 minute of breathtakingly intense, conceptually profound instrumental interactions across 52 historic tracking alignments, this high-fidelity document serves as an absolute peak monument in late-1940s and early-1950s legendary Norman Granz session archaeology. Gathering five iconic volumes from "The Genius of Charlie Parker" sequence, this landmark box set executes a fierce, forward-thinking sonic blueprint that captures Parker both navigating lush, sweeping classical string sections and entering absolute high-speed quintet battle matrices.

Drum 'N' Voice Vol. 4 is a spectacularly expressive, historically monumental, and masterfully synchronized jazz-funk and crossover fusion studio masterpiece led by the absolute ultimate drum vanguard monarch Billy Cobham, digitally preserved and released on compact disc in 2016 under the specialized European groove imprint Nicolosi Productions. Spanning over 50 minutes of breathtakingly intense, conceptually unbound instrumental and vocal interactions across 10 pristine, high-octane tracking alignments, this high-fidelity document serves as an absolute peak monument in mid-2010s contemporary jazz-funk archaeology. Functioning as the grand fourth chapter in his celebrated, smooth-grooving European studio recording series, this project executes a fierce, forward-thinking sonic blueprint that seamlessly marries Cobham's explosive polyrhythmic structures with slick West Coast arrangements, brilliant vocal hooks, and deep Italian jazz-funk production values.

This album is a masterclass in lyrical dexterity and sonic innovation. / The production is forward-thinking, incorporating elements of electronic music. / LMNO's flow is effortless, gliding across each track with ease. / This album is a must-listen for fans of underground hip hop.

Shindy's Dreams is a hip-hop album / that features collaborations with notable artists / the album explores themes of success and fame / it received positive reviews from critics

This Is What the Truth Feels Like is the third studio album by American singer and songwriter Gwen Stefani. It was released on March 18, 2016, by Interscope Records, and is her first solo album in ten years. Inspired by the end of her marriage and the roller coaster of emotions she experienced during the time, which also included a new romantic relationship, Stefani returned to feel inspired and started writing new and meaningful songs. With the help of producers J.R. Rotem, Mattman & Robin and Greg Kurstin, as well as songwriters Justin Tranter and Julia Michaels, Stefani wrote the whole album in a few months and described it as a "breakup record", with the songs having a "sarcastic" and dark-humor vibe, as well as being real, joyful, and happy.

A much-needed look at an overlooked side of the genius of Quincy Jones – not his jazz work, not his productions for famous soul artists, but instead his huge legacy of soundtrack material – a part of Q's career that really took off in the 60s! By the time he started working in films, Jones had already had a decade under his belt as one of the hippest arrangers, leaders, and composers in jazz – and the film business really respected those talents, and allowed Quincy to bring some really fresh styles into play – modes that really opened up the vibe of American cinema, and also paved the way for the funky styles of the 70s! As that decade approached, Jones left behind the cinema to take on some more higher-profile records of his own – but all the charms of those great albums can be found here at their roots – in this stunning collection of soundtrack material, some of which has never been on CD. The package is way more than just a sampler – and includes an album's worth of material from the films The Pawnbroker, Slender Thread, Mirage, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Walk Don't Run, The Italian Job, Lost Man, and John & Mary – plus two versions of the love theme from The Getaway, and a bonus CD with 18 tracks – titled Q's highlights, and featuring tracks from his Mercury records – plus more by Billy Preston, Arthur Prysock, Bill Cosby, Shirley Horn, Letta Mbulu, Toots Thielemans, and others. Even features the "Sanford & Son" and "Ironside" themes!

Recorded at the Point Theatre, Dublin (1995-11-24) and from the soundboard although there is some pick up mic interference 3 × Vinyl, LP, Limited Edition, Numbered, Unofficial Release, Coloured Review: Kevin Courtney
David Bowie is dead – that was the simple message which came across last night at The Point in Dublin, as the avant-garde artist formerly known as Ziggy dismembered his own legend and strewed its bloody parts around with cold, calculated abandon.

Bruce Springsteen Among rock music's most iconic figures, Bruce Springsteen often feels like the one who loves and believes in rock & roll the most, eager to re-create the breathless emotions it brings out in him. Embracing the pleasures of the sounds of AM radio in the 1950s and '60s (garage rock, British Invasion, R&B, blue-eyed soul, emotional teen pop) with the literacy of the singer/songwriter movement and a fierce desire to document the lives of the blue-collar world in which he grew up, Springsteen's music was always a grand, ambitious amalgam. (He once said he dreamed of making an album with words like Bob Dylan, sounding like Phil Spector, and with vocals like Roy Orbison.) His sound found full flower on 1973's eclectic The Wild, The Innocent & The E Street Shuffle (which introduced his most important backing group, the E Street Band), and he rose to stardom with 1975's streetwise, sweeping Born to Run. 1978's Darkness on the Edge of Town and 1980's The River marked a thematic shift, as his songs addressed the malaise of the working class, whose dreams had begun slipping out of reach.

Bruce Springsteen Among rock music's most iconic figures, Bruce Springsteen often feels like the one who loves and believes in rock & roll the most, eager to re-create the breathless emotions it brings out in him. Embracing the pleasures of the sounds of AM radio in the 1950s and '60s (garage rock, British Invasion, R&B, blue-eyed soul, emotional teen pop) with the literacy of the singer/songwriter movement and a fierce desire to document the lives of the blue-collar world in which he grew up, Springsteen's music was always a grand, ambitious amalgam. (He once said he dreamed of making an album with words like Bob Dylan, sounding like Phil Spector, and with vocals like Roy Orbison.) His sound found full flower on 1973's eclectic The Wild, The Innocent & The E Street Shuffle (which introduced his most important backing group, the E Street Band), and he rose to stardom with 1975's streetwise, sweeping Born to Run. 1978's Darkness on the Edge of Town and 1980's The River marked a thematic shift, as his songs addressed the malaise of the working class, whose dreams had begun slipping out of reach.

AD & Sorry Jaynari bring a fresh sound / to the hip-hop scene with this album / featuring notable collaborations and / solid production throughout the tracks

A diverse lineup, with tracks showcasing a mix of MCs and producers. Kay Slay holds it all together. Solid but unremarkable. Not for the faint of heart. Old-school at its core.

The essence of Camille Saint-Saëns' music comes through perhaps most clearly in his music for solo instrument and orchestra, which exemplifies his elegant combination of melody and conservatory-generated virtuosity. The two cello concertos are here, plus a pair of crowd-pleasing short works for piano and orchestra, and the evergreen Carnival of the Animals, with pianists Louis Lortie and Hélène Mercier joining forces along with a collection of instruments that includes the often-omitted glass harmonica. There are all kinds of attractions here: the gently humorous and not over-broad Carnival, the songful cello playing of Truls Mørk, and the little-known piano-and-orchestra scene Africa, Op. 89, with its lightly Tunisian flavor (sample this final track). But really, the central thread connecting them all is the conducting of Neeme Järvi and the light, graceful work of the Bergen Philharmonic Orchestra; French music is the nearly 80-year-old Järvi's most congenial environment, and in this recording, perhaps his last devoted to Saint-Saëns, he has never been better.

The Wild Heart is the second studio album by American singer-songwriter and Fleetwood Mac vocalist Stevie Nicks. Recording began in late 1982, shortly after the end of Fleetwood Mac's Mirage Tour. After the death of her best friend, Robin Anderson, and with new appreciation for her life and career, the recording took only a few months and was released on June 10, 1983, a year after Fleetwood Mac's Mirage. It peaked at No. 5 on the U.S. Billboard 200 charts and achieved platinum status on September 12, 1983. The album is notable for its array of prominent guest musicians. Tom Petty made a return to write "I Will Run to You", on which his bandmates from the Heartbreakers performed. Nicks' Fleetwood Mac bandmate, drummer Mick Fleetwood, made an appearance on the track "Sable on Blonde". Toto's Steve Lukather contributed some of the guitar work on what would become the album's biggest hit single, "Stand Back", which also features an uncredited contribution from Prince, who played the synthesizer track.

Recorded in early 1975, Tale Spinnin', Weather Report's fifth studio album is filled with sunny textures of Latin and African flavors. During the '60s and early '70s Weather Report began to move towards a more cosmopolitan groove, and a melding of song with jazz in new and refreshing ways. The recording stands with anything recorded during the so-called "jazz-rock fusion" era, if only on the basis of the range of fresh, intriguing originals by the band's co-founders and principle composers, the keyboardist Joe Zawinul and the saxophonist Wayne Shorter. Zawinul's pioneering interest in what we now call world music is more in evidence with the exotic percussion, wordless vocals, and sandy sound effects of "Badia," and his synthesizer sophistication is growing along with the available technology. Wayne Shorter's work on soprano sax is more animated than on their previous albums and Alphonso Johnson puts his melodic bass more to the fore.