Chet Baker in Tokyo is a live album by jazz trumpeter and singer Chet Baker, recorded at Showa Women's University's Hitomi Memorial Hall. Released just eleven months before his death, the album has been hailed as "A glorious moment in Chet Baker's twilight."

The early 2000s was basically the zenith of the European power metal scene in a collective sense, seeing some of the most brilliant works coming out of a host of different bands from north to south. Two particular bands on the the northern end of things in particular were that of Nightwish and Sonata Arctica, the latter of which saw their magnum opus "Silence" released at around the time vocalist Tony Kakko made this one time studio collaboration with Nightwish. This is both bands before they abandoned their roots and saw key members of their lineups cut ties for greener (though not as green as the original) pastures, ergo this is both bands back when they were actually playing power metal rather than experimenting with mallcore and modern pop influences.
This EP basically centers around the Gary Moore cover that it's named after, which is both brilliantly innovative in its adaptation and also very faithful to the original…

Trumpeter/vocalist Chet Baker had already achieved a high degree of success prior to his association with Riverside , beginning in 1958 and continuing for six albums through 1959. However, by then, his chemical dependence had tarnished both his musicianship and reputation. But, as shown in this 11-song compilation, Baker staged a comeback of sorts. “Baker may not be moving toward new eminence in jazz,” commented Down Beat writer Gilbert Erskine in his review of Baker’s In Milan LP on Riverside , “but, happily, as this date of October 1959 shows, neither is there a sign of a wasted, frittered talent. He plays with warmth and assurance, his gift of melodic inventiveness is paraded clearly and unmistakably, and his sensitivity to luminous tone beauty has not dimmed.” Highlight tracks from the lyrical trumpeter and cool-toned singer’s Riverside era include “Look for the Silver Lining,” “Polka Dots and Moonbeams” and “Alone Together.” Each CD also contains a FREE full-length bonus disc featuring other great Riverside artists.

The Smashing Pumpkins’ thirteenth collection to date, Aghori Mhori Mei continues the prolific hot streak frontman Billy Corgan kicked off a decade ago. Just last year, the band released the third and final Act of their sprawling and adventurous rock opera ATUM, a sequel to 1995’s Mellon Collie And The Infinite Sadness and 2000’s Machina/The Machines Of God. While some artists might take a breather after an acclaimed and ambitious triple album, Corgan went straight back into the studio to write, produce, and record this new 10-track body of work. As vital and vibrant a songwriter as ever, Corgan had quickly promised a 2024 follow-up on the horizon, which serves as the latest twist in Corgan’s careful commitment to how his art is presented. The band completed the recording of Aghori Mhori Mei amidst an expansive touring schedule across the last few years.

One of just two albums to be released by the easier-going American equivalent of Richard & Linda Thompson (without the brooding gloom and biting irony), this set includes some virtuoso folk-blues performances, as well as the version of "Brazil" made famous in Terry Gilliam's movie of the same name. Though the ten tunes here are all covers, Geoff & Maria Muldaur treat each as if molded from clay of their own making, just as they had old traditional numbers as members of the Jim Kweskin Jug Band. It's probably no coincidence that this album would eventually find its way to Joe Boyd's Hannibal label. It's a collection that suggests the Richard & Linda Thompson albums he would release throughout the '70s. Although it's often difficult to find, many fans will find Pottery Pie more than worth the money and effort.

One can sympathize with Freddie Cole's plight. The younger brother of Nat King Cole, Freddie has spent most of his life in his brother's shadow, even though Nat died in 1965. The problem is that Freddie is also a pianist/vocalist and sometimes performs similar material. In fact, the title of this CD is a bit absurd, since Cole is heard playing in the same type of group that Nat made famous (a trio with guitarist Ed Zad and bassist Eddie Edwards) and his repertoire includes such songs as "Home Fried Potatoes," "To Whom It May Concern," "The Best Man," and a ten-minute, six-song "Nat Cole Medley." Add to that such originals as "He Was the King" and "I'm Not My Brother, I'm Me," and one is not allowed to forget for a moment that Freddie was Nat's brother. Actually, Freddie has an older and raspier voice (which is natural, since he has outlived Nat) and his piano style is more tied to 1950s jazz (such as Red Garland) than to swing. This fairly definitive CD from Freddie Cole does give one a strong sampling of his talents.

The Story of Bossa Nova features 20 remastered original recordings from the late '50s/early '60s combined with a few modern interpretations of the genre, including 14 tracks written by composer Antonio Carlos Jobim. Taken from the vast EMI-Odeon archive of classic Brazilian music, this introductory set includes Marcos Valle's "Samba De Verao," Sylvia Telles' "Dindi," and the pre-Astrud Gilberto version of "Girl From Ipanema" by Pery Ribeiro.

Duke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards. In addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work.

With his new album “Christmas”, trumpeter Till Brönner in trio with pianist Frank Chastenier and bassist Christian von Kaphengst creates a puristic album full of chamber music intensity and refreshing expansiveness. Songs from different decades and genres like “Jesus to Child”, “Ich steh an deiner Krippe hier” or “Jingle Bells” combine them to an intimate listening experience. Relevant art is always a mirror of its time and the circumstances in which it is created.

Originally released on LP by Cramps Records in 1979. Recorded live on June 14 1979 at Arena Civica, Milan (Italy). The show, conceived to raise funds to cure Demetrio Stratos' disease, became a tribute in his honor after the news of the death of the artist occurred the day before the date scheduled for the concert.