The Concerto for Group and Orchestra is a concerto composed by Jon Lord, with lyrics written by Ian Gillan. It was first performed by Deep Purple and The Royal Philharmonic Orchestra conducted by Malcolm Arnold on 24 September 1969 and released on vinyl in December 1969. After the score was lost in 1970, it was performed again in 1999 with a recreated score. The 1969 performance was among the first combinations of rock music with a full orchestra, and paved the way for other rock/orchestra performances such as Procol Harum Live: In Concert with the Edmonton Symphony Orchestra (1972), Rick Wakeman's Journey to the Centre of the Earth (1974), Roger Waters' The Wall – Live in Berlin performance (1990), and Metallica's S&M concert (1999).

Bob Marley & The Wailers' Exodus Hybrid Stereo SACD release from Analogue Productions Mastered Direct To DSD by Ryan K. Smith at Sterling Sound from the original master tape Plays in all CD and SACD players By the time Bob Marley died, he was one of the world's first global superstars, famous and lauded from Europe through Africa and the Americas. Some even saw him as not just a reggae singer but as a folk hero, a sort of freedom fighter, and to this day his enduring image feels greater than the music he made, writes Pitchfork.

Bob Marley & The Wailers — Rastaman Vibration Hybrid Stereo SACD release from Analogue Productions Mastered Direct To DSD by Ryan K. Smith at Sterling Sound from the original master tape Plays in all CD and SACD players When Rastaman Vibration was first released in America in 1976 it did what some in the music industry considered nearly impossible at the time. It took Bob Marley into the Top Ten alongside disco records and corporate rock, points out Rolling Stone, which rates the album 4 stars.

Analogue Productions (Atlantic Series) Celebrating the 75th Anniversary of Atlantic Records! Willie Nelson's breakthrough solo album! Hybrid Stereo SACD Pressed at Quality Record Pressings Before Shotgun Willie, Willie Nelson had struggled to gain widespread recognition as a solo artist, despite having written many successful songs for other artists. Nelson's big break came when he signed with Atlantic Records in 1973. The pivotal moment in his career came after Atlantic Records executive Jerry Wexler, known for his work with artists like Ray Charles and Aretha Franklin, took an interest in Nelson's music. Wexler saw potential in Nelson's unique approach to country music and signed him to the label. With the creative freedom offered by Atlantic Records, Nelson was able to record Shotgun Willie with the artistic freedom he had long desired. The album's unconventional sound and honest lyrics resonated with both critics and fans. Shotgun Willie marked a new beginning for Willie Nelson's career, and it set the stage for his subsequent albums and his emergence as one of the most influential and iconic figures in the history of country music. The recording was one of the first albums of outlaw country - a new subgenre of country music and an alternative to the conservative restrictions of the Nashville sound, the dominant style in the genre at the time The album - the first to feature Nelson with long hair and a beard on the cover - gained him the interest of younger audiences. It peaked at No. 41 on Billboard's Top Country Albums and the songs 'Shotgun Willie' and 'Stay All Night (Stay A Little Longer)' peaked at Nos. 60 and 22 on Hot Country Songs respectively.

While Marin Marais is best known for his works for viola da gamba, he also composed for the flute; Michael Lynn's recent rediscovery of manuscripts containing pieces for flute and basso continuo as well as duets caught the attention of Francois Lazarevitch and Les Musiciens de Saint-Julien, who now present the first recordings of these works. "This virgin territory did not open up to me straight away, and only did so after an ongoing exploration that took me more than a year… What is fascinating is that these pieces by Marais are not like anything already known in the flute repertoire; the flute at this period, around 1700, was still a very recent instrument".

Fresh off their 2nd consecutive win for “Jazz Group of the Year” in the DownBeat Readers Poll, ARTEMIS returns with their third Blue Note album ARBORESQUE. Featuring a quintet line-up helmed by pianist and musical director Renee Rosnes, the band has been deemed “a femme fatale supergroup” by NPR Music with a stellar line-up of pre-eminent jazz musicians: trumpeter Ingrid Jensen, saxophonist Nicole Glover, bassist Noriko Ueda, and drummer Allison Miller. ARBORESQUE is a vibrant 8-song set that presents original compositions by each of the band members as well as arrangements of pieces by Wayne Shorter, Burt Bacharach, and Donald Brown.

Madrid-based pianist Daniel Garcia carries within him a deep sense of the history that has made him. This is not least because he was born and grew up in Salamanca, a city steeped in history, with several important archaeological sites. In the centuries ever since the middle ages, student priests have walked in their flowing robes along the Calle Compañia, a street in the centre of the city shadowed by tall baroque buildings. The city was also one of the main stopovers on the Vía de la Plata (‘the silver way’), a Roman route from North to South of the Iberian peninsula.

Nicolas Masson’s acquaintance with his fellow quartet travelers Colin Vallon, Patrice Moret and Lionel Friedli goes back roughly two decades – in this time the players have developed an intimate musical bond, expressed purely and beautifully on Renaissance, the group’s second recording for ECM after 2018’s Travelers. Comprised exclusively of originals by the Swiss saxophonist and one collective improvisation, the album’s spotlight shifts between contrasting moods and shapes, capturing the venturesome leader stretching his compositional muscle in evocative interplay with his colleagues. The band is in a searching spirit on rubato exercises like the expressive “Tremolo” or the ambient “Tumbleweeds”, mathematical on the more cerebral cuts like “Renaissance”, but always operate with a lyrical disposition at heart, as heard elsewhere on the record and with a particularly gripping melodiousness on “Anemona”. The album was recorded at Studios La Buissonne in Southern France.

"The Makings Of: A Curtis Mayfield Collection" is a 2025 compilation album that celebrates the legacy of Curtis Mayfield, spanning his work with The Impressions and his solo career, including iconic tracks from the Superfly soundtrack.
This 21-track anthology, released by Rhino Entertainment on October 10, 2025, offers a panoramic view of Mayfield’s contributions to soul, funk, gospel, and socially conscious R&B.

Formed under the midnight sun in Lofoten in 2005, the Engegard Quartet has rapidly become one of Norway's most sought after ensembles. Completing their Mozart String Quartets recording project, this final volume features Mozart's Viennese Quartets K.168-173. Previous volumes have been very well received by the critics: "Three major key quartets in succession might seem on paper to be too much of a good thing, but listening to the Norwegian Engegard Quartet's 'Haydn' quartets is a rich, satisfying experience." The Arts Desk on LWC1219. "…..the Engegards bring an easy grace and bustling energy to the music that feels appropriate." BBC Music Magazine on LWC1349. "Elegant, understated yet sparkling playing of Mozart's 'Haydn' quartets." The Strad on LWC1219.

A Japanese-only compilation of four previously released EPs; comes in a large jewel case (fatbox) with OBI. Almost all artwork text is in Japanese, save for Arabic numbering and English printing of lyrics along with production/publishing credits.

2CD set. Sprawling 25-track live performance, recorded in Sydney in November 1987 on his "Glass Spider" tour. Cameo by Peter Frampton.

Live at Ernst-Merck Halle, Hamburg, Germany 14th November 1970 Strictly limited 300 copies only

In October 1974, shortly after the release of their seventh studio album From The Mars Hotel, the Grateful Dead unexpectedly ceased touring. The hiatus would ultimately last roughly 18 months, as the band decamped to Bob Weir’s home studio in Mill Valley, California to begin work on a new record. These sessions saw the return of percussionist Mickey Hart, who hadn’t appeared on a Dead studio LP since 1970’s American Beauty.

Freddie Hubbard is featured during a 1991 Warsaw concert just a few weeks after the death of Miles Davis, though by this point in his career the trumpeter's chops are not consistently up to par. Joined by pianist Ronnie Mathews, tenor saxophonist Don Braden, bassist Jeff Chambers, and drummer Ralph Penland, the ambitious program kicks off with a furious-paced take of Cedar Walton's "Bolivia," though the high notes give the leader some trouble and he quickly abandons them. Likewise, Hubbard's solo introduction to "God Bless the Child" is erratic and the rather pedestrian attempt at Miles Davis' landmark composition "All Blues" is frankly dull, as it doesn't take enough chances. The final track, "Dear John," is Hubbard's reworking of the chord changes to John Coltrane's "Giant Steps," but his intonation problems make it difficult to enjoy.