J'accuse..! - Abbandono Del Tempo E Delle Forme (2007) is an album by the Italian experimental rock band J'accuse..!. This album is known for its unique blend of avant-garde, progressive, and experimental rock, with influences from post-rock and the darker, more atmospheric side of experimental music.

Benny Golson - New York Scene (1957) is a seminal album by Benny Golson, a highly respected American jazz saxophonist and composer. Released during the peak of the hard bop era, New York Scene features Golson’s distinctive tenor saxophone playing and his sharp compositional skills. The album is known for its sophisticated arrangements, tight rhythm section, and rich harmonic textures.

Kazumi Watanabe - Milky Shade (1976) is a groundbreaking album by Kazumi Watanabe, a highly influential Japanese jazz guitarist. Released in the mid-70s, Milky Shade is considered one of the key albums in Watanabe's early career and an important release in the Japanese jazz fusion scene.

Ben Webster & Georges Arvanitas Trio - Autumn Leaves (1972) is a beautiful live recording featuring Ben Webster, one of jazz's most celebrated tenor saxophonists, and Georges Arvanitas, a French jazz pianist, along with his trio. The album captures a performance of intimate, expressive jazz, showcasing Webster's masterful saxophone playing in a small combo setting.

Robin Taylor - November (2003) is an album by Robin Taylor, an accomplished jazz saxophonist and composer. November is a contemplative and introspective work, featuring Taylor’s skillful saxophone playing combined with a deep sense of atmosphere and mood. The album is rooted in jazz but features a variety of influences and textures, blending elements of improvisation and structured composition.

Cory Wong - The Optimist (2018) is an album by Cory Wong, a talented guitarist and composer known for his funky, groove-driven style. The Optimist is a highly energetic and rhythm-focused record that blends elements of funk, jazz, and electronic music, showcasing Wong's unique approach to the guitar and his ability to merge tight rhythms with smooth melodies.

Only available on Lucy's website and at her shows. A retrospective/history of Lucy's musical life, from her bedroom at age 16, all the way to major venues and recordings studios across the U.S. . The album is mostly tracks that were never released, a combination of live recordings, solo and band, and album outtakes, including some of Lucy's favorite songs that she's performed in shows over the years. Special guests include Richard Shindell, Dar Williams, Shawn Colvin, Tony Trischka, Andy Statman, Matt Glaser, and Duke Levine.

The Hot Club of San Francisco has never shied away from putting their own stamp on the Gypsy jazz sound created by Manouche guitar legend Django Reinhardt and French violin maestro Stephane Grappelli in 1930s Paris. Guitarist Paul "Pazzo" Mehling, a leading force in North America's Hot Club movement since it's inception in the late 1980s, has long made a point of featuring original tunes along with Reinhardt standards and imaginative Djangofied interpretations of songs by the likes of Lennon and McCartney. But the HCSF's 15th album, Original Gadjo, captures the creative ferment of the whole group, not just that of it's fearless leader. Slated for release Sept. 13, 2024, it's a project that finds the venerable combo revivified after a pandemic-induced hiatus, hitting on all creative cylinders. "From the beginning our mission statement was not just to preserve this music, but to pursue the intriguing question, 'What would Django do if he were still alive?'" Mehling says. "And after 35 years of chasing that sound, this album embraces our identities as gadjos, aka outsiders and Americans who were drawn to Django's sound but were not born to it."While the album features original tunes contributed by an impressive cast of current and former members of the HCSF, Mehling is still the quintet's defining compositional voice, with ebullient pieces like "Dainty" and "Praise D. Lloyd, " a churchy piece that will inspire many an "amen!" Some 35 years into the group's reign as the nation's longest-running Hot Club ensemble, the HCSF continues to expand the possibilities of Djangology.

Face to Face was a remarkable record, but its follow-up, Something Else, expands its accomplishments, offering 13 classic British pop songs. As Ray Davies' songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world. Indeed, Something Else sounds like nothing else from 1967. The Kinks never rock very hard on the album, preferring acoustic ballads, music hall numbers, and tempered R&B to full-out guitar attacks. Part of the album's power lies in its calm music, since it provides an elegant support for Davies' character portraits and vignettes. From the martial stomp of "David Watts" to the lovely, shimmering "Waterloo Sunset," there's not a weak song on the record, and several - such as the allegorical "Two Sisters," the Noël Coward-esque "End of the Season," the rolling "Lazy Old Sun," and the wry "Situation Vacant" - are stunners…

During the 1970s, solo piano box sets were rare. When Keith Jarrett's monolithic, ten-LP solo box, Sun Bear Concerts, arrived from ECM in 1978, the only comparable collection was The Tatum Solo Masterpieces, a six-disc set of the pianist's '50s sides. Jarrett's five Japanese concerts from November of 1976 in Kyoto, Osaka, Nagoya, Tokyo, and Sapporo were completely improvised and gloriously recorded by engineer Okihiro Sugano. Most jazz critics greeted it as a seminal work that set Jarrett apart from his peers.
When he hits a mysterious minor ninth to open the first concert in Kyoto, all bets are off. For nearly 80 minutes he balances tension with release, the pastoral with the cosmopolitan…

This time around, Dawkins handed the majority of the vocal duties to Andrew "Big Voice" Odom and concentrated on his guitar (actually, he had some potent help in that department, too: Otis Rush was on second guitar). A generally solid but not overly enthralling set, with two bonus cuts and an alternate take of "Moon Man" added to the CD version.

Ekseption is a Dutch band that was famous during the late sixties/early seventies for the way it combined themes from classical composers with contemporary rock and jazz in a blend of dominating, virtuoso keys and trumpet plus sax(es).
The band came as close as any group from the European continent ever did to stealing the thunder of early classical rock outfits such as the Nice and rivaling the early work of Emerson, Lake & Palmer. In Holland, they charted singles based on classical compositions and released successful concept albums, and were - along with Focus - the top progressive rock band in the Dutch-speaking world.

In this performance of Handel's best-loved oratorio, conductor Christopher Hogwood returns to the original performance traditions. The choruses are sung by boy trebles and male altos, tenors and basses, and member of the Choir of Westminster Abbey. The soloists improvise embellishments in the arias and, in certain cases, join in the singing of the choruses - just as they would have done 240 years ago. In addition, Members of the Academy all play instruments of the period or accurate modern copies.

One has to give credit to an '80s new wave musician who can adapt and create contemporary-sounding music. There are icons from that era who continue to release new recordings - Depeche Mode and the Cure, for example - but don't evolve musically; the sound is unchanging as if they were still back in the decade. This is not a bad thing, however; core listeners are usually who buy these artists' newly released albums and they don't generate new fans. That said, hats off to '80s Brit popster Gary Numan, best known for the hit "Cars," who offers up a modernized industrial-goth set in Pure. The album can comfortably sit alongside Marilyn Manson and Nine Inch Nails on store shelves. Pure doesn't drive like the industrialized adrenaline rush that is, say, Orgy, but the tracks' lingering and creepy pace leaves behind a different kind of impact - it's more haunting than relentless…

40th anniversary edition of Ozzy Osbourne’s classic third studio album Bark At The Moon on standard black vinyl – includes bonus poster.