There’s no sign of any let up in Neil Young’s current reissue/release productivity, with the announcement of three new albums in his ‘Official Bootleg Series’. These are Royce Hall, 1971, a solo acoustic gig which was recorded on 30 January of that year on the UCLA (University of California) campus; Dorothy Chandler Pavilion, 1971, another solo acoustic performance and the last US show of his 1971 solo tour; and, perhaps most excitingly, Citizen Kane Jr. Blues (Live at The Bottom Line), an On The Beach-heavy set from New York City, 1974.

There’s no sign of any let up in Neil Young’s current reissue/release productivity, with the announcement of three new albums in his ‘Official Bootleg Series’. These are Royce Hall, 1971, a solo acoustic gig which was recorded on 30 January of that year on the UCLA (University of California) campus; Dorothy Chandler Pavilion, 1971, another solo acoustic performance and the last US show of his 1971 solo tour; and, perhaps most excitingly, Citizen Kane Jr. Blues (Live at The Bottom Line), an On The Beach-heavy set from New York City, 1974.

The magnificent series of recordings Dinu Lipatti made for Columbia in 1947-8 needs no introduction. They contain some of the most highly regarded performances ever committed to album and have remained in the catalogue almost continuously since their first issue on 78s. What makes the current set unique is the inclusion of five test albums made with the cellist Antonio Janigro, only two of which have appeared previously, and new masterings which reveal more of the original recordings than before. For the 1947 London recordings (originally released in 1999) APR had access to vinyl pressings from the original 78rpm masters and these have been further enhanced. For the newly transferred 1948 sessions, the original 78s were used rather that the subsequent LP issue (itself derived from the 78rpm masters) which appears to have been used in all other transfers. These turned out to have a much brighter sound and more ambience than the rather dull and filtered LP. We strongly believe the Schumann Concerto has never sounded so good!

A year or two shy of his bossa nova success, Stan Getz set his mind to improvising against a backdrop of darkish yet scintillating string charts. The orchestral muscle was provided by arranger Eddie Sauter; the heady and fluid horn lines, of course, came from Getz. The jazz star might have been all airy samba fog to some, but on this classic date he really showed his expansive horn talents: whether leaping and yelping on such galvanizing sides as "I'm Late, I'm Late" or ingeniously responding to the many shades heard in a grand ballad like "I Remember When," Getz is never short on ideas or panache. Admittedly Getz's most challenging date and arguably his finest moment, Focus roams the vast jazz landscape outside of bop and boogaloo to fabulous and memorable effect.

Jazz-rock combo Sea Level was formed in 1976 by keyboardist Chuck Leavell, bassist Lamar Williams, and drummer Jai Johanny "Jaimoe" Johanson following their exit from the Allman Brothers Band; guitarist Jimmy Nalls completed the original lineup, which in 1977 issued its self-titled debut LP on the Capricorn label. Honing its distinctive marriage of rock, blues, and jazz through relentless touring, the group returned to the studio with an expanded lineup including vocalist/saxophonist/keyboardist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver to cut Cats on the Coast, also released in 1977, followed in 1978 by On the Edge featuring Paul McCartney & Wings drummer Joe English; although Jaimoe had returned to the Allmans, Sea Level recorded two more albums - 1979's Long Walk on a Short Pier for Capricorn (finally released in the U.S. in 1998) and 1980's Ball Room for Arista - before dissolving.

With a rich academic and performing background in jazz and classical music, composer/multi-instrumentalist Bill Douglas brings an experienced, creative approach to his playing and compositions. On Circle of Moons, Bill Douglas returns with 13 compositions imbued with his melodic versatility and sensitivity. This album delves deeper into the Celtic foundations of Douglas' music, expressed through dreamy synth textures as well as bassoon, flute, cello, English horn, and piano accents. Adding to the romantic, evocative atmosphere of Circle of Moons are the Boulder-based Ars Nova singers, whose charged harmonies on "Heaven Is a Wild Flower" give the poetic sentiments of William Blake a new, exultant setting. Circle of Moons brings emotion and technology together for an innovative and appealing interpretation of Celtic music on songs like the title track, "Sweet Dancer," "Highstep," and "Azure."