Like its predecessor (similarly designed right down to the traffic cone cover, though green instead of red), Kraftwerk 2 has never been properly re-released, giving it the same lost-classic aura as the first album, or at least lost, period. Thankfully, bootleg reissues in 1993 restored it to wider public listening; even more so than Kraftwerk 1, its lack of official reappearance is a mystery, in that the band is clearly well on its way to the later Kraftwerk sound of fame. Stripped down to the Hütter/Schneider duo for this release, and again working with Conrad Plank as coproducer and engineer (this album alone demonstrates his ability to create performances combining technological precision and warmth), Kraftwerk here start exploring the possibilities of keyboards and electronic percussion in detail. Given that the band's drummers were gone, such a shift was already in the wind, but it's the enthusiastic grappling with drum machines and their possibilities that makes Kraftwerk 2 noteworthy.

Although its programming has been juggled a bit, and the CD has been given liner notes, this Delmark release is a straight reissue of the original LP. Clocking in at around 38 minutes, the relatively brief set is the only recording that exists of Vinson, pianist Jay McShann, and guitarist T-Bone Walker playing together; the sextet is rounded out by the fine tenor Hal Singer, bassist Jackie Sampson, and drummer Paul Gunther. Vinson, whether singing "Plese Send Me Somebody to Love," "Just a Dream," and "Juice Head Baby" or taking boppish alto solos, is the main star throughout this album (originally on Black & Blue), a date that helped launch Vinson's commercial comeback.

Somewhere in Afrika, an ode to Mann's home country of South Africa, contains a formula that is atypical of Manfred Mann's Earth Band sound. With rhythms that combine an African flavor with a modern rock feel, vocalist Mick Rogers takes over on vocals with the number 22 hit "Runner," released as the album's only single. Tracks such as "Demolition Man" and "Eyes of Nostradamus" are model Earth Band efforts, but the compelling material lies in songs such as "Lalela," "Koze Kobenini," and the title track, which conveys Mann's love for his birthplace without sounding overly pretentious or manufactured.

The companion volume to the hugely successful first ‘Best Of’, with yet more excellent highlights from 15 years of bassist/bandleader Bill Wyman’s post-Stones musical project, sampling six key albums. Includes standout tracks from studio and stage, where the Rhythm Kings are in their element. Numerous special guests include Albert Lee, Georgie Fame, Procol Harum’s Gary Brooker and former colleague Mick Taylor on slide guitar (‘Can’t Get My Rest At Night’). A re-cut of the Stones’ ‘Melody’ – originally from the ‘Black And Blue’ album on which Bill appeared – features Eric Clapton, while George Harrison guests on ‘Love Letters’. A lively cover of the Beatles’ ‘Taxman’ features Australian guitar virtuoso Tommy Emmanuel. Specially released to coincide with Autumn 2012 Rhythm Kings European dates. Expertly remastered by Jon Astley (whose past credits include recordings by the Who, Led Zeppelin, George Harrison and many others). Superb sound – the best in the business!

Ou Phrontis means "Who Cares" in Greek. Inscribed on the lintel above the door of T.E. Lawrence’s cottage at Clouds Hill it symbolized a place where Lawrence felt at home, free from the cares of the world. This fourth CD from the dynamic piano trio of Brian Marsella, Jorge Roeder, and Ches Smith (“Suite for Piano,” “The Fourth Way,” “Ballades”), presents eight challenging Zorn compositions inspired by stoic philosophy and science. The telepathic interplay and virtuosity of these remarkable musical masters is on full display here—a stunning collection of music that makes you think as much as it makes you feel.

Eight years after Blue Maqams, Anouar Brahem returns with a poignant project, titled after a line of verse by poet Mahmoud Darwish, which asks “Where should the birds fly, after the last sky?” Graceful chamber pieces for oud, cello, piano and bass subtly address the metaphysical question and its broad resonances in a troubled time. While drawing upon the traditional modes of Arab music, Brahem has consistently sought to engage with the wider world, too, and found inspiration in many sources from different cultures. Bassist Dave Holland and pianist Django Bates are again part of the Tunisian oud master’s international quartet, joined now by cellist Anja Lechner.

Lost celestial solo piano transmissions retrieved! “These unique works comprise a precis of Ra's portfolio. There are jovial romps through tradition and remarkable, thoughtful expansions of it. Small wonder his work continues to inspire today's leading pianists.” - Martin Johnson (WSJ, NPR, and beyond)

After a decade working as a jazz pianist in NYC, GRAMMY-nominated pianist and composer Pascal Le Boeuf took a leap of faith and enrolled in Princeton University’s PhD program to explore the boundaries of jazz improvisation and contemporary classical composition. Seven years later, “Ritual Being” is a compendium of his explorations featuring leading performers Linda May Han Oh, Justin Brown, Friction Quartet, Sara Caswell, Todd Reynolds, Jessica Meyer, Nick Photinos, Remy Le Boeuf, Ben Wendel, and others. The title track “Ritual Being” is about the effects of mankind’s behaviors on the planet and each other.

A great little record from Japanese guitarist Kiyoshi Sugimoto – a musician you might know from dreamier bossa-styled records in the 60s – but who here comes across with a sharper edge and a richer sound overall! Sugimoto plays both acoustic and electric on the record, in a way that's not rock at all – definitely jazz, with maybe some bluesy aspects in the phrasing – but which also features a set of tunes from the rock scene of the time – all taken here in instrumental readings that are pretty darn groovy overall! Instrumentation shifts a bit throughout – so that some tunes are gentle and open, others are full and fuzzy – and titles include "The Wizard", "Heart Of The Country", "Samba Pa Ti", "Deja Vu", "You've Got A Friend", and a cool "Beatles Suite".

A Time To Remember is a continuation of the special synergy that inhabited Elina Duni’s acclaimed Lost Ships and finds her regrouping with that album’s quartet of guitarist Rob Luft, Matthieu Michel on flugelhorn and Fred Thomas on percussion and piano. As the title suggests, the notion of ‘time’ pulls through the programme like a theme, connecting music from different parts of the world – traditionals, popular songs and original compositions – in performances of deep lyricism but also fleet-footed folklore. The repertory spans Albanian and Kosovan traditionals, American songs like the Broadway classic “I’ll Be Seeing You” and Stephen Sondheim’s musical ballad “Send In The Clowns” as well as originals by Rob and Elina. Commenting on the group’s last effort, Jazzwise said that “the sum of Duni and Luft’s work together seems greater than their individual achievements, where concept and conceptualisation have combined to produce a classic.” A Time To Remember should confirm that proposition and further expands on the qualities explored previously.

Norwegian bassist Arild Andersen, an ECM musician for more than fifty years, is a masterful player who has always welcomed a challenge. His first recording with his new quartet – including rising stars Marius Neset and Helge Lien (both bandleaders in their own right)– is almost entirely improvised. The players make the leap of faith together and find and develop forms in the moment, an object lesson in spontaneous group creativity. Affirmation was recorded in November 2021 at Oslo’s Rainbow Studio.