All the blues singers on this CD were recorded in Chicago, although whether that qualifies their music as “Chicago blues” is another matter: Alfred Fields made but a single session, Tony Hollins recorded both pre- and postwar, with a very different sound each time, and Johnny Shines’ consistent brilliance, which eventually led to an extensive discography aimed at white fans, had little impact on his own people, mainly because the companies he recorded for didn’t know how to market him.

The autumnal sound of Britain at the turn of the 70s, looking out through wet window panes to a new decade with a mixture of melancholy and optimism for what might come next. With the Beatles gone and the pound sinking, a new and distinctive sound emerges, led by flutes and mellotrons. Available in 18-track CD and 19-track double LP formats.

Three years on from their Hidden Stories album, Belgian trip-hop legends Hooverphonic return with new studio album, Fake is the New Dope, released through Sony Music Belgium. The twelve track set contains previously released tracks including Don’t Think, Por Favor and Then I Found You, as well as a number that have not been heard until release day.

Guitarist Robin Trower's watershed sophomore solo disc remains his most stunning, representative, and consistent collection of tunes. Mixing obvious Hendrix influences with blues and psychedelia, then adding the immensely soulful vocals of James Dewar, Trower pushed the often limited boundaries of the power trio concept into refreshing new waters. The concept gels best in the first track, "Day of the Eagle," where the opening riff rockingly morphs into the dreamy washes of gooey guitar chords that characterize the album's distinctive title track that follows.
At his best, Trower's gauzy sheets of oozing, wistful sound and subtle use of wah-wah combine with Dewar's whisky-soaked soul-drenched vocals to take a song like the wistful ballad "In This Place" into orbit…

Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen - bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen - and American expatriate drummer Kenny Clarke. These complete recordings, including multiple alternate takes, evoke the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords…

Stunning second album from this experimental German group. Within the space of 9 tracks they manage to sound like Led Zeppelin (check out opening number "Hobo!"), Uriah Heep, Genesis and Soft Machine in an excellent mixture of hard rock and surreal progressive music.

Echo celebrates the tenth anniversary of an extraordinary partnership between two virtuosos whose previous releases include 2018's album Soar and their 2013 debut Clychau Dibon. Echo marks the third part of this remarkable trilogy. The harp and kora share centuries of history, and Catrin and Seckou create a unique dialogue in a musical alliance of rare empathy, inspired by differences and similarities. Their atmospheric magic crosses genre boundaries, from folk and world music to classical and contemporary as their fingers flow like opposing tributaries into a single river of sound. Echo is the tender triumph of an extraordinary musical partnership that combines harp and kora, the modern and traditional, different cultures and common humanity.

First Complete, Authorized Release of alto sax giant’s 1972 Olympia performance transferred from the original tape reels recorded by the ORTF and housed in the INA (the Institut national de l'audiovisuel). Released by Elemental Music in cooperation with the Cannonball Adderley Estate and INA France. Includes an extensive booklet with rare photos; essays by acclaimed jazz author and historian BOB BLUMENTHAL and producer ZEV FELDMAN, plus testimonies by TIA FULLER, LOU DONALDSON & VINCENT HERRING, and a never before published 1983 NAT ADDERLEY interview.

This particular live album consists of shows from 1997 and 1998.They mention in the liner notes that there has been no overdubs or remixes and very few edits."The albums title refers obliquely to the effort required to dismantle and relocate the first floor studio (Northern Echo), to the required venue, and in particular to the rather unwielding M400 (mellotron) which was supposedly designed for gigging…" . A mellotron designed for a tour ? Haha that is funny. As per usual we get lots of spacey sounds and electronics with plenty of guitar and mellotron.