An Original Jackets treasury of analogue-era pianism by legendary and lesser-known names from the catalogues of American Decca and Westminster.

One of the first recordings that earned Ivan Moravec acclaim and secured him a position among the finest pianists of the 20th century was the album of the complete Chopin Nocturnes made in 1965 in New York (Steinway) and at Vienna's Konzerthaus (Bösendorfer) for the Connoisseur Society label. Many critics have branded this recording a benchmark and consider it the ultimate account of the Nocturnes; in the words of Henry Fogel (Fanfare): "This is playing that draws the listener deeply into the music-you are not drawn into Moravec's achievement, but Chopin's." Ivan Moravec presents the Nocturnes in an admirable scale of colours and dynamics (down to astonishingly tender, barely touched tones), with the music flowing so naturally that it seems as though there are no bars or individual notes.

Superb individual players yet perfectly integrated tonally. They are also thoroughly at home in Cherubini's sound-world. In short these modern-instrument performances could hardly be bettered.

This is an excellent “traditional” version of the Opus 10 Concertos. I Musici returned three times to that cycle, all for Philips. The first was in 1958 with Gastone Tassinari (who had already recorded the complete flute concertos for Vox in 1956 with an ensemble called “I Musici Virtuosi di Milano”, not the same as “I Musici”… ).

Rhino's 1993 collection The Very Best of Wilson Pickett remains the best single-disc anthology of the fiery soul singer's work, choosing 16 of his best tracks for Atlantic and presenting them in excellent remastered sound quality. Pickett never departed all that much from the rough, swaggering vocals that first made his name, but he was utterly electrifying within that style, setting the standard for Southern soul singers behind Otis Redding. All of Pickett's early signature hits – "In the Midnight Hour," "634-5789 (Soulsville, U.S.A.)," "Land of 1,000 Dances," "Mustang Sally," and "Funky Broadway" – lead off the disc in quick succession, capturing the emergence of Southern soul as a viable commercial style. But Pickett is just as charismatic on the rest of the material, nearly all of which made the R&B Top Ten and went under appreciated on the pop charts – he was just too much for white audiences to handle. Pickett did his best to shake up his formula – he cut a near-psychedelic soul tune, "Engine No. 9," with future Philly soul architects Kenny Gamble and Leon Huff; he helped bring Bobby Womack back into the music business by covering his "I'm in Love" and "I'm a Midnight Mover"; and he made some unpredictable cover choices in the Beatles' "Hey Jude," the Archies' bubblegum tune "Sugar Sugar," and Free's "Fire and Water."

The tuba is associated with numerous prejudices branding it as comical, clumsy and incapable of singing. Anyone who has heard Øystein Baadsvik play will know better, however, as witness reviews from his previous recordings: ‘Baadsvik's playing combines sweetness with strength, intensity with perception’ (International Record Review), he ‘conjures a wonderfully mellifluous baritonal tone from his instrument’ (MusicWeb International), and demonstrates ‘a lissome fluencysuggesting that anything a violin can do, a tuba can do too’ (Daily Telegraph).

One of Joe Bonamassa's primary influences was Eric Clapton, so the idea behind Royal Tea makes some sense: he spends the 2020 album saluting British blues. This may seem like a distinction without a difference, since Bonamassa has never shied away from Zeppelin nods on his albums, but Royal Tea does indeed sound different than his other studio albums. Working with his longtime producer Kevin Shirley, the guitarist conjures the spirit of the Jeff Beck Group and Free, relying on heavy, churning riffs but also opening up the jams so there are elastic, soulful accents that help give the record a bit of period authenticity.