The career of Nancy Wilson has been compiled many times and in many ways, but never like this. Focusing in-depth on her Capitol recordings during the 15 years of her prime, this three-disc set is a wonderful collection for those who appreciate Wilson's ability to combine Broadway power and finesse with jazz rhythm (and a certain degree of improvisation). While the complete record of her '60s and '70s work would require at least a dozen discs she recorded more than 30 original albums between 1960 and 1976 alone the compilers chose these 71 performances with care. They show her excelling in any format, whether small-group or big-band or strings; singing America's greatest show tunes or pop songs of the day; and thriving whether in the controlled confines of a studio or the freewheeling atmosphere of the Cocoanut Grove. (The latter was the place where her 1964 appearances earned her a nationwide profile, and several performances from her accompanying 1965 album finally appear on CD here.) She also worked with superior musicians, including George Shearing, Cannonball Adderley, Billy May, Oliver Nelson, and Gerald Wilson, among others. While some of Wilson's best peers (Sarah Vaughan, Dinah Washington, Nina Simone) could have been expected to deliver as much excellent material during relatively short periods of their careers, The Very Best of Nancy Wilson: The Capitol Recordings 1960-1976 should stand as a revelation to fans of the pop and soul end of vocal jazz.

Diva Nancy Wilson was among contemporary music's most stylish and sultry vocalists; while often crossing over into the pop and R&B markets – and even hosting her own television variety program – she remained best known as a jazz performer, renowned for her work alongside figures including Cannonball Adderley and George Shearing. Born February 20, 1937, in Chillicothe, Ohio, Wilson first attracted notice performing the club circuit in nearby Columbus; she quickly earned a growing reputation among jazz players and fans, and she was recording regularly by the late '50s, eventually signing to Capitol and issuing LPs including 1959's Like in Love and Nancy Wilson with Billy May's Orchestra. Her dates with Shearing, including 1960's The Swingin's Mutual, solidified her standing as a talent on the rise, and her subsequent work with Adderley – arguably her finest recordings – further cemented her growing fame and reputation. In the years to follow, however, Wilson often moved away from jazz, much to the chagrin of purists; she made numerous albums, many of them properly categorized as pop and R&B outings, and toured extensively, appearing with everyone from Nat King Cole and Sarah Vaughan to Ruth Brown and LaVern Baker.

The live album Live in Europe/Stage Struck captures Rory Gallagher at his finest, as he tears his way through many of his very best songs. Though the performance quality is a little uneven, there are gems scattered throughout the record, including smoking versions of "Messin' with the Kid" and "Laundromat."

Whereas Rush's first two releases, their self-titled debut and Fly by Night, helped create a buzz among hard rock fans worldwide, the more progressive third release, Caress of Steel, confused many of their supporters. Rush knew it was now or never with their fourth release, and they delivered just in time – 1976's 2112 proved to be their much sought-after commercial breakthrough and remains one of their most popular albums. Instead of choosing between prog rock and heavy rock, both styles are merged together to create an interesting and original approach.

London’s Black Cat Bones were one of those bands from the late '60s that served as an incubator for its various members’ later rock incarnations, in this case the bands Free, Foghat, and Bad Company, all of whom drew members from Black Cat Bones. As an intact band, they only released a single album, Barbed Wire Sandwich, on Decca Records in 1969, and then splintered into the future. The album itself is a collection of rather generic period British blues pieces, a bit reminiscent of Cream in sound, although that doesn’t hinder cuts like “Chauffer” and the best track here, “Please Tell Me Baby,” from taking off into some interesting territory.

Live at the El Mocambo is a live video by Stevie Ray Vaughan and Double Trouble. The film was recorded at El Mocambo club in Toronto, Ontario on July 20, 1983, during the band's Texas Flood Tour. It was also released as a DVD on December 21, 1999, with interviews from drummer Chris Layton and bassist Tommy Shannon. The performance was later released in 2014 on the album The Complete Epic Recordings Collection (Live) with two bonus tracks, Howlin Wolf's "You'll Be Mine" and Vaughan's own "Rude Mood".

It took almost a hundred years for Charles Koechlin’s First Symphony to receive a recording worthy of its stature, and over a year for conductor Ariane Matiakh to prepare the performance materials. After her highly praised recording of Koechlin’s Seven Stars Symphony (C5449), this album is another welcome foray into the largely unexplored symphonic world of a fascinating composer, a sort of French chameleon who felt comfortable anywhere between Bachian counterpoint and the heights of French impressionism. The earlier Au loin, Poème symphonique and 3 Mélodies (orchestrated posthumously) complete the scintillating programme.

Simple Minds release 'Live in the City of Diamonds', a live album of all their hits which was recorded in Amsterdam's Ziggo Dome in 2024.

Pierre Monteux A major figure during the golden age of American orchestral music, conductor Pierre Monteux had an exceptionally long career that began in the 19th century, encompassed the premiere of Stravinsky's Le Sacre du printemps, which he conducted, and extended into the 1960s. He fundamentally shaped several American orchestras in the French style. Monteux had a large recording catalog stretching back well into the 78 rpm era. Many of his recordings appeared in reissues well after his death; a 1955 recording with the Boston Symphony Orchestra featuring works by Berlioz, Brahms, Chausson, Debussy, Franck, and d'Indy appeared in a digital form on the ICA label in 2018.Of nonreligious Jewish background, Monteux was born in Paris on April 4, 1875.

Putain De Best Of! Le nouveau Best Of de Renaud. 3 CD : 60 chansons originales de 1975 à aujourd’hui. Inclus : Mistral Gagnant, Manhattan-Kaboul en duo avec Axelle Red, Hexagone, Marche à l’ombre, Dans mon H.L.M, Laisse béton, Morgane de toi, Les bobos, Toujours debout, Les Animals…

My Morning Jacket A cheval entre indie-rock et country alternative, My Morning Jacket, formation américaine originaire du Kentucky, mêle sonorités rurales americana aux assauts d'une guitare et d'une batterie parfois teintés de textures héritées du mouvement Shoegazing. Avec sa voix plaintive à la Neil Young et armé d'un solide sens poétique, Jim James mène le groupe qui commence à générer un buzz dès son second effort, At Dawn avant de s'imposer à un public plus large avec It Still Moves en 2003 et de livrer l'un des disques les plus remarqués de la décennie avec Z en 2005, et son single "Off the Record".

Soundboard. Back insert says "Live In Houston U.S.A. 1977."

Recorded At – ZKM. Disc 1, tracks 1 to 10 and disc 2, tracks 1 to 6: recorded live at The ZKM, Karlsruhe, 18.10.97.

Terry Riley’s name will always be associated with his breakthrough work In C, but his influence on modern music has stretched far beyond minimalism. Both of the works on this recording reveal Riley’s spirit of exploration and his close collaboration with remarkable musicians. Commissioned by the Nashville Symphony, The Palmian Chord Ryddle is a kind of musical autobiography in which electric violin pioneer Tracy Silverman’s “one-man string quartet” sets the pace for the sparse, translucent orchestration. At the Royal Majestic is another recent example of Riley’s work with a symphony orchestra and a virtuosic soloist, in this case organist Todd Wilson. Its title refers to “the mighty Wurlitzer housed in grand movie palaces,” and the music draws on a wide variety of genres including gospel, ragtime, Baroque chorales, and boogie.

This 1987 best-of compiles the work from A&M efforts that marked a stylistic change from her Vanguard years, yet a pretty consistent level of success. Relying on the work of other artists seemed to be more hit and miss during the A&M era. In Baez's interpretations of songs like Bob Dylan's "Simple Twist of Fate" and "Forever Young" and John Lennon's "Imagine," her pitch-perfect tone might strike some as unemotional, but her singing is engrossing nonetheless. Not surprisingly, Baez sounds the best here with the tracks that deviate from weighty issues. "Gracias a la Vida" (sung in Spanish) and the haunting "Di Da" (with Joni Mitchell) have her giving off more charm and emotion than usual. "Children and All That Jazz," from her best-selling 1975 album Diamonds & Rust, has a gorgeous, heavily produced '70s L.A. pop/rock style that suited her voice. Unlike many greatest-hit sets, Classics, Vol. 8 also offers strong live performances, including "The Night They Drove Old Dixie Down" and the CD closing "Amazing Grace." Classics, Vol. 8 has the strength of a regular release effort and more than captures the time frame and the artist it's spotlighting.