"Essere O Non Essere" (To Be Or Not To Be) is the second fantastic release from Italy's Il Volo (The Flight). In the same spirit as their debut album, "Essere…" delivers intriquite instrumentation with the highest calibre musicians. "Essere…" is a little quieter that their first album and offers some scrumptious acoustic guitar / symphonic keyboard interplay. Il Volo blend elements of PFM and Le Orme with the magic of Banco creating some very addictive songs. What makes this album such magic is the carefully tinted delicate guitar/bass/drum interplay in combination with heavy symphonic analog keyboards.

Sarah Vaughan's recordings during the last phase of her magnificent career weren't always up to her usual standards, but this late-'70s set focusing on Brazilian music was a superb exception. Vaughan sounded as delightful and glorious as ever doing songs by legendary composers Antonio Carlos Jobim and Milton Nascimento and newer voices like Dorival Caymmi, Oscar Castro Neves and Eumir Deodato, among many others. The backing and rhythms weren't Americanized pap, but an accurate reflection of contemporary Brazil's sounds at the time. The CD adds two bonus tracks that weren't on the original, giving listeners the full results of what proved to be one of the great Sarah Vaughan's final studio triumphs.

Two piano icons celebrate their shared love of Italian opera.

Goodbye To Language is the perfect joining of the dots, through the world-changing experiments of Daniel’s early days with Brian Eno, to his flights through the most rarefied atmospheres of the mainstream of music. Constructed entirely from the sounds of the pedal steel guitar, Daniel on the pedal steel and his mate Rocco Deluca on the lap steel with compositional rigour that recalls the 20th century dreamscapes of Ravel and Debussy, with a sense of sonic futurism and yet also with the naturalness that can only come from someone rooted in centuries of grassroots music.

Jazz Hands is Bob James' third outing for evosound, following in the wake of 2018's Espresso and 2022's Feel Like Makin' LIVE. Produced by the pianist with his manager Sonny Abelardo, the ten-track album was mostly recorded during the months of the Covid pandemic and featured James in a number of different musical settings. It also features a stellar cameo from the ex-Gnarls Barkley singer CeeLo Green on the sensuous title track and includes production input from the legendary hip-hop turntablist DJ Jazzy Jeff, who rose to fame as half of the hit-making '80s/'90s rap duo, DJ Jazzy Jeff And The Fresh Prince, early samplers of James' music. Blending cool jazz tropes with funky dance floor grooves, blues-tinged ballads, cinematic mood pieces, and sensuous slow jams, Jazz Hands is the Missouri pianist's most eclectic album of his long career. Simultaneously classic and contemporary, it's Bob James at his majestic, ground-breaking, and timeless best.

Paul McCartney retreated from the spotlight of the Beatles by recording his first solo album at his home studio, performing nearly all of the instruments himself. Appropriately, McCartney has an endearingly ragged, homemade quality that makes even its filler - and there is quite a bit of filler - rather ingratiating. Only a handful of songs rank as full-fledged McCartney classics, but those songs - the light folk-pop of "That Would Be Something," the sweet, gentle "Every Night," the ramshackle Beatles leftover "Teddy Boy," and the staggering "Maybe I'm Amazed" (not coincidentally the only rocker on the album) - are full of all the easy melodic charm that is McCartney's trademark. The rest of the album is charmingly slight, especially if it is read as a way to bring Paul back to earth after the heights of the Beatles. At the time the throwaway nature of much of the material was a shock, but it has become charming in retrospect.

Violinist Théotime Langlois de Swarte and lutist Thomas Dunford illuminate aspects of the elusive amalgamation that is the 17th-century English notion of melancholy. The inconsolable 'Mad Lover' of the album title is reimagined as a character from the reign of Charles II. This tale is told through music from the pen of such violin virtuosos as the prodigiously gifted Nicola Matteis. Heightened by the exuberance and abandon common to those musicians transplanted from Italy, the beguiling nuances of this language of yearning and loss continue to echo in the popular music of our time.

Despite having musical legends like Bono, Peter Gabriel, Jim Kerr and various members of The Band as their biggest fans, the music of The Call had always somehow stayed undervalued. The more reason to release this extensive overview on which, for the very first time, songs from all their studio albums come together on the first two discs. The third disc is filled with rare live recordings, collectable b-sides and songs from front man Michael Been’s solo efforts. The Call Collected has been compiled in close cooperation with the band and Michael’s son.

Welcome Oblivion is an album release by How To Destroy Angels. It is the band's first full-length release and their third release in all. It was released by Columbia Records on March 5th, 2013. It is labeled as Sigil 4. Rob Sheridan describes the album's concept as "anxiety of information overload as humanity and technology converge and presenting technological singularity and post-humanism as both a terrifying and transformative moment for mankind and nature."

Galician piper Carlos Núñez is one of the world’s main exponents of Celtic music, a genre that he defends and has studied at great depth. For 30 years he has collaborated with The Chieftains (Ireland), Alan Stivell (Brittany), Capercaillie, Phil Cunningham, Julie Fowlis (Scotland)… but also Jackson Browne, Ry Cooder (USA), Milton Nascimento (Brazil), Gustavo Santaolalla (Argentina), Ryuichi Sakamoto (Japan), Jordi Savall (Catalonia), Bryn Terfel (Wales), or even Julio Iglesias.

Both tracks start off with slow waves of ethereal sounds. During the 50 minute track, "Time - Cage," much evolution occurs. The slow melodic opening becomes a darker atmosphere. In the darker part, which takes up the majority of the song, low drones provide a foundation while wisps of air and (for a lack of a better term) spacey computer sounds flow by. There is a quiet percussion line with a cricket-sounding element that adds a sleepy characteristic. Eventually lighter or higher pitched background elements return providing a more ethereal sound late in the song. This gives way a short while later with the song ending with nothing but echoed electronic sounds surrounded in thick reverb. In every part of the song (the background drones, subtle percussion, foreground melodies and noises) there is constant, slow change…