In 1999, a year after recording the splendid reunion album Not Two, Not One, Paul Bley’s highly innovative trio with Gary Peacock and Paul Motian took to the road with concerts on both sides of the Atlantic. When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley’s “Mazatlan”, brimming over with energy, Gary Peacock’s evergreen “Moor”, Gershwin’s tender “I Loves You Porgy” and much more. All played with the subtlety of master improvisers, recasting the music in every moment.

2017 edition in a gatefold mini LP sleeve, featuring the new 2016 master with more sympathetic EQ and minimal dynamic compression, as used for the Delerium Years vinyl box set. It includes the original full length vinyl mix of Phase IV.

The Lost Album From Ronnie Scott's is an unreleased live recording of jazz icon Charles Mingus from Ronnie Scott's jazz club in London captured in August 1972. It features alto saxophonist Charles McPherson, tenor saxophonist Bobby Jones, trumpeter Jon Faddis, pianist John Foster, and drummer Roy Brooks.

The Who's defining, breakthrough concept album - a full-blown rock opera about a deaf, dumb and blind boy that launched the band to international superstardom, written almost entirely by Pete Townshend is now available as a new Limited Edition Super Deluxe version that that includes 4 audio discs, an 80 page hardback book and a poster.
The audio features the original album re-mastered along with a wealth of previously unheard material in the form of 20 demos from Pete Townshend's archive and also a full live performance of Tommy from 1969 taken from tapes that infamously Townshend asked the band's sound engineer to burn. 18 of the previously unheard and thought to be long lost live tracks are taken from a live show at the Capital Theatre, Ottowa, Canada on October the 15th 1969…

"Borderland" is the first Amorphis album produced in collaboration with Danish producer Jacob Hansen. Before that, we had made three amazing records at Jens Bogren’s studio. During the planning phase of the project, we strongly felt that it was time to explore something new and see what working with a different producer might bring to the table.
Amorphis has a very distinctive sound and our own way of making music. Having six strong personalities in the band naturally brings its own challenges to the production process, especially for the producer. Jacob was chosen for a couple of key reasons: he has worked with an impressively diverse range of artists, and he’s an incredibly calm, creative, and idea-driven producer…

Forrest Gump (1994) is one of the most successful films ever made, winning Tom Hanks his second successive Best Actor Oscar (he won the previous year for Philadelphia) as well as claiming the Best Picture Oscar and many other awards and nominations, including several for music. A unique fable of American life from the 1950s to the 80s, the film blends comedy, drama, war, romance and groundbreaking special effects into a social and political portrait of the passing years, all seen through the eyes of the intellectually challenged but immensely likeable Forrest Gump. The soundtrack is a double album featuring 31 classic pop tunes plus a suite from Alan Silvestri's rich orchestral music, represented more completely on the companion score album.

Around the time that she was participating in Dave Brubeck's Real Ambassadors, singer Carmen McRae appeared at Basin Street East with the backing of Brubeck's trio (no Paul Desmond on this set). The resulting live album finds McRae mostly interpreting the lyrics of Iola Brubeck; all dozen songs except Desmond's "Take Five" are Dave Brubeck originals. This interesting set finds McRae's voice in prime form, and her vocal versions of such songs as "In Your Own Sweet Way," "Ode to a Cowboy," "It's a Raggy Waltz" And "Travellin' Blues" are definitive.

Anarchy by name and by nature. The ever more complicated convolutions wracking the never stable Gong mothership through the mid-'70s had, by 1977, settled down sufficiently to at least allow listeners to discern which version of the band they most enjoyed listening to - the increasingly jazz-inflected lineup helmed by Pierre Moerlen or the free-form mad machine led by founder Daevid Allen. Floating Anarchy, as you might expect, is the latter.
Though it is difficult to see how flying teapots, pothead pixies, and the witch Yoni's pussy ever made their way into the realms of the British new wave, Allen had, in fact, been soundly embraced by the punk congnoscenti - his Here and Now project toured heavily, frequently playing alongside the youthful Fall, while links between the collective mentalities of Gong and the Crass crew were never hard to discern…

Inside the Taj Mahal is an absolute classic on which most experts agree. It (the new age) truly started here. Paul Horn is, by extension, the father of new age music. Armed with a flute, a tape recorder, a chanter, and a 28-second sustained echo, Horn created one of the most beautiful and significant albums of all time - regardless of genre or style. There have been many discs of solo flute and processed overtones since this one. None have been on the same cutting edge.

Maria Muldaur has been taken by Bob Dylan's music from the very start. They were on the coffeehouse circuit in New York in the early '60s, and she's had occasion to sing his praises from the stage and in Martin Scorsese's film No Direction Home. And while other artists from Joan Baez to Judy Collins have cut entire albums of Dylan's tunes, none of them feels quite like this one. Muldaur, a fine blues and jazz singer, has taken the songs form Dylan's romantic canon and has fashioned them in her own image without losing their original bite, wonder, and humor. Accompanied by her road band and a slew of guests that include Amos Garrett, Danny Caron, and Suzy Thompson, she has created a dreamy, languid, memorable song cycle.

After the incredible success of their "Doctorin' the Tardis" single in 1988 (better known as that theme from Dr. Who), Drummond and Cauty had plenty of money to hire talented musicians (instead of merely sampling them, as on their early recordings). The White Room is the result, an album bursting with hit singles that nevertheless flows as well as any concept album. Often overlooked as a classic from the acid house era (mostly because of the KLF's retirement one year later), The White Room represents the commercial and artistic peak of late-'80s acid-house. Japanese edition includes 3 bonus tracks.

Soul singer Barbara Massey and jazz guitarist Ernie Calabria paired up for this rare 1971 album. With Calabria having worked with Nina Simone and Harry Belafonte, among others, and Massey having sung backup for artists including Jimi Hendrix, Cat Stevens, and Herbie Hancock, the pairing was an inspired one and resulted in this superb soul-jazz outing. Massey has a dry yet passionate and evocative vocal quality that often brings to mind Grace Slick. Fittingly, the duo takes on Jefferson Airplane's "Somebody to Love," turning the Summer of Love anthem into a steamy and hypnotic soul-funk jam. Elsewhere, the duo touches upon such varying styles as folk, Latin, and psychedelic rock with cuts like "For You" and "Do You Know?," bringing to mind such similarly inclined acts as the Free Design and Bill Withers. Anyone who has even a passing interest in this kind of '70s cross-genre aesthetic will certainly want to seek out Prelude To…