Collection includes: Can't Buy A Thrill (1972); Countdown To Ecstasy (1973); Pretzel Logic (1974); Katy Lied (1975); The Royal Scam (1976); Aja (1977); Gaucho (1980).

This album was a huge leap for Prism. It is the first album to really define their style. There are no weak tracks on this album, it's simply perfect. Shake your Head starts the album powerfully and promising…

Coniunctio is a 1970 collaborative album between The Blue Effect and The Jazz Q Prague, the latter featuring Jiří Stivín. This is taken from the 1973 reissue released by Supraphon.

For several years, decades in fact, a lost gem issued originally not just in the US but in the UK as well (and our vinyl pressings were always much better than their US counterparts), on Chrysalis records who, for a while, had some very good material in this genre, for example the two Auracle albums (and wouldn't lots of us like to get those on CD). But finally it's now reappeared on CD and how very nice it is to be reacquainted with it in that format. Anyway, this album ~ his second, as far as I know ~ features a host of jazz luminaries of the day (Hancock, Erskine, Pastorius, Carlton, Ritenour, Gadd, etc.) and its only failing is its mildly raw upper registers, though thankfully there are no vocals to pollute the proceedings and Jaco Pastorius' electric bass work is of truly sterling calibre. On this album, if anywhere, you can hear why he was held in such very high esteem by his contemporaries.

Extraction is a collaborative studio album by guitarist Greg Howe, drummer Dennis Chambers and bassist Victor Wooten, released on October 7, 2003 through Tone Center Records. According to Howe, the album went through a very difficult recording process which spanned two years, resulting in disagreements between the three musicians and Shrapnel founder Mike Varney, as well as several delays in the release date.

This double-length set, not the "legendary" four-LP Carnegie Hall concert, is the one to get to hear what Chicago sounded like in their classic early period. In contrast to the Carnegie Hall show, where the band emphasized its precision to the point of deadening any excitement that might have been generated, here Chicago sounds upbeat and lively, bent on giving a good, exciting show and not on capturing a perfect performance. There are moments, as on the crescendo of "Dialogue," where the spirit outstrips the cleanness of the performance, but the group is so tight and forceful that one lets them slide by; at other times, as on "Beginnings," they're so smooth and lithe in their extension of the piece that one just wants to bask in it; and then they switch gears to the rougher, harder "Mississippi Delta City Blues," and make that work too. The whole performance is good, with a steady stream of worthwhile high points.

Tony Williams' Emergency was one of the first and most influential albums in late-'60s fusion, a record that shattered the boundaries between jazz and rock. Working with guitarist John McLaughlin and organist Larry Young, Williams pushed into new territory, creating dense, adventurous, unpredictable soundscapes. With Emergency, Tony Williams helped create the foundation of the style and sound of fusion. It's a seminal release, originally released on two albums and now available on one CD.

"I'm Going Home" from Ten Years After's previous release put them on the charts, at least in the U.K. (the band's U.S. breakthrough was at Woodstock a year after its release), but the four-piece was already experimenting with ways to expand their basic boogie rock template. Stonedhenge was the result, as producer Mike Vernon helped steer the band into a more jazz- and blues-oriented direction. That's especially evident in the swinging "Woman Trouble," but this set is generally more prone to broadening the sound without losing TYA's basic concept. It doesn't always gel – the four short pieces that feature each musician alone on their instrument is an interesting idea that ends up as a distraction – yet the album boasts some terrific performances by a group that was hitting its peak. Canned Heat, who TYA supported in America and who were also trying to push their own boogie envelope, were a big influence, born out by the very Heat-sounding "Hear Me Calling." Alvin Lee keeps his fleet fingers in check, preferring to work his style into a more organic fusion.

This is a very good CD played by an awesome German band . Musically is great and compositions are very catchy-all of them-. The sound is often heavy but never disturbing with good harmonic Jazz imports played mostly by the Keyboardist/Pianist- Mat Junior. I give very good credit to Alex Gunia (guitar) for his hot and passionate playing , interesting phrasing and the sound also is something researched. The rhythm section (Arnd Greise bass & Jost Nickel drums) does an excellent job by playing strong, steady and accurate with great moments during unison parts or different or more complicated time signature than 4/4. I think that the name "JazzGrunge" is very appropriate for the mix of heavy and jazzy sound provided. Plus you have some extra guests such Randy Brecker (trumpet) and Steve Smith (drums) in 2 different tracks which is valuable for the listener.

Ayers Rock were an Australian rock band which formed in August 1973. Ray Burton (guitar and vocals), Mark Kennedy (drums), and Duncan McGuire (bass), members of Leo de Castro and Friends, left to form the eponymous trio of Burton, McGuire & Kennedy. They added a guitarist, Jimmy Doyle, changed their name to Ayers Rock and invited Col Loughnan (saxophones and flutes) to join…

Esoteric Recordings are pleased to announce the release of a brand new 2CD deluxe anthology of the complete recordings by the legendary C.C.S. Formed in 1970, C.C.S. (Collective Consciousness Society) was the brainchild of musician and arranger John Cameron, guitarist Alexis Korner (the father of British Blues) and producer MIckie Most. The group was initially conceived as a recording band only, but following the success of their legendary cover version of Led Zeppelin’s "Whole Lotta Love” (used as the theme for "Top of the Pops” for many years) and "Tap Turns on the Water”, the band also undertook live work. C.C.S. featured the cream of jazz and blues talent such as flautist Harold McNair, bass players Herbie Flowers and Spike Heatley, sax players Tony Coe and Ron Ross, trumpet players Henry Lowther, Kenny Wheeler and Harold Beckett and drummers Barry Morgan and Tony Carr. Between 1970 and 1973 C.C.S. released three albums and seven singles for RAK Records, with one album and four singles all reaching the UK Top Forty.

Rare Earth is an American rock band affiliated with Motown's Rare Earth record label (named after the band), which prospered from 1970–1972. Although not the first white band signed to Motown, Rare Earth was the first big hit-making act signed by Motown that consisted only of white members…

Guitarist and composer Yuval Ron performs original tunes that transcend the boundaries of any specific musical genre. Inspired by a crossover of modern jazz-rock, progressive music, cinematic and orchestral music genres, it is all well blended into an own fresh and distinct musical direction, best described as Cinematic Prog or Jazz-Rock.