This CD's 15 newly recorded tracks includes a 20-page commemorative booklet with The Journey of Mr. Guitar by Robert K Oermann, liner notes by award winning journalist Holly Gleason, rare photos and extensive session notes by Grammy winning producer Carl Jackson. Few artists have been as influential in multiple music industry roles and reached across genre as smoothly as the charming Chet Atkins, the original C.G.P. (Certified Guitar Player).

How Does That Grab You? was the second studio album by the great Nancy Sinatra, originally released in 1966. Produced by Lee Hazlewood, with whom she would go on to collaborate closely, it was a sultry pop masterpiece featuring the hits ‘Bang Bang (My Baby Shot Me Down)’, the Hazlewood duet ‘Sand’ and ‘How Does That Grab You, Darlin’?’.

Rock music royalty gather together to recreate one of the most important and influential albums in history, King Crimson’s 1969 masterpiece In The Court Of The Crimson King! Features performances by King Crimson members Mel Collins and Jakko M. Jakszyk as well as Todd Rundgren, Megadeth’s Chris Poland, Deep Purple’s Ian Paice, Rainbow’s Joe Lynn Turner, Dream Theater’s James LaBrie, Cactus’s Carmine Appice and more! From the first note of “21st Century Schizoid Man” to the epic conclusion of “The Court Of The Crimson King,” you’ll be transfixed by how each song is interpreted and celebrated by this incredible group of musicians!

Glen Campbell Duets: Ghost On The Canvas Sessions reimagines Glen’s critically acclaimed 2011 farewell album with some of the biggest icons in music. The project is the first of its kind, an album recreated completely as duets posthumously, blending Glen’s original vocals with the talents of artists like Elton John, Sting, Eric Church, Carole King, Eric Clapton, Dolly Parton, Brian Wilson and more to create an artful body of work that celebrates the Rhinestone Cowboy’s final ride.

UB45 celebrates 45 years of UB40, featuring seven new tracks plus fresh recordings of some of the band’s most loved hits. Robin Campbell says: “We’re so proud of the new album. We wanted to record UB45 to celebrate 45 years of our music. When you play songs over so many years, the arrangements and vocals evolve and change. These updated versions of our hits are still close to the originals, but now reflect how we perform them today and they sound better than ever.”

South Korean pianist Yunchan Lim caused a great sensation in 2022 when he performed Rachmaninoff's famously difficult Third Piano Concerto and Liszt's complete Transcendental Études to win gold at the Van Cliburn International Piano Competition as an 18-year-old. On his first recording for Decca, Chopin: Études, Opp. 10 & 25, Lim's astounding piano mastery easily copes with the technical difficulties presented by the études, but less so in interpreting them. Most apparent is his overuse of the damper pedal: exacerbated by his consistently blazing tempos, it causes a lack of clarity in fast passages, concealing his effortless playing of them.

Blood, Sweat & Tears didn't get around to cutting an official live album until they were well past their prime years - in this case, 1975, long after every original member (and even most of their first-generation successors) except for drummer Bobby Colomby (a true founding member, going back to the Al Kooper lineup) and vocalist David Clayton-Thomas, was gone. But, as Clayton-Thomas was back for the accompanying album, New City, and was with the group on this tour, one supposes that Columbia Records decided to take advantage of its good fortune by taping several shows. For his part, the singer is more mannered and pretentious than ever on most of this album, his singing powerful enough but his instincts pushing him more toward loud, ultimately over-the-top soul strutting, lacking any hint of subtlety…

The British guitarist, singer, and songwriter Billy Morrison, primarily known as Billy Idol's rhythm guitar player for the past 15 years alongside lead guitarist Steve Stevens, and for his previous role as bassist in The Cult–has assembled an electrifying 12 songs including guest performances by Ozzy Osbourne, Billy Idol, DMC, Al Jourgensen, Steve Vai, Steve Stevens, Linda Perry, Tommy Clufetos, John5, and more.

Silent, Listening is a major addition to ECM’s distinguished line of solo piano recordings, featuring one of the outstanding improvising pianists and jazz masters of our time: Fred Hersch. The album features seven original creations and a handful of well-chosen standards, including Billy Strayhorn’s “Star-Crossed Lovers”, Sigmund Romberg’s “Softly, As In A Morning Sunrise”, Alec Wilder’s “Winter Of My Discontent” and Russ Freeman’s “The Wind”, all played with the focus, sensitivity and gracefulness for which Hersch is renowned. Developed with producer Manfred Eicher in the responsive acoustics of the Lugano studio, the album was recorded in May 2023.

Bill Frisell, the supreme textualist and restless searcher for new contexts, has gone supersize. Employing two classical ensembles, the 60-piece Brussels Philharmonic and the 11-piece Umbria Jazz Orchestra, Frisell and famed composer/arranger Michael Gibbs, a longtime mentor and friend of the guitarist, have programmed an entire set with each group. Gibbs, who began scoring for films and simultaneously leading jazz groups in the early 1970s, is an equal partner in this beautifully recorded project. The Brussels Philharmonic set opens with the short and uneasy "Nocturne Vulgaire," in which strings and brass nervously shift before Frisell and his drummer Rudy Royston and bassist Thomas Morgan enter. They pluck a few notes before an abrupt transition to more familiar territory, a version of Billy Strayhorn's "Lush Life." Frisell slowly works his elongated way in Strayhorn's jazz standard, switching between notes and chords, backed by a lush swarm of strings. Verging on joyous easy listening, Gibbs' "Sweet Rain" rolls along with Frisell and the strings trading leads. In the Brussels closer, Stephen Foster's unerringly divine "Beautiful Dreamer," Frisell—who's always been a sucker for a great tune—picks out the melody as the band confects an opulent background.

Jazz critic Will Friedwald has stated that Julie London's records were so popular in the 1950s mainly because she looked so drop-dead gorgeous on the album covers. The marketing hook behind Calendar Girl may just be the main example for those critical of London's musical career, since its sleeve has made it a prized collector's item. The famous wraparound cover depicts cheesecake shots of London posed for every month of the year, while original issues of the album included a more-than-suggestive insert photo of the singer stretched out in bed. While Friedwald's correct about London's physical beauty, he's wrong in suggesting that the vocalist didn't have the talent to go along with her looks. Like Chet Baker, Julie London had an extremely limited vocal range but she did the most with what she had, possessing a special knack for torch songs that cast her in the role of a woman constantly being destroyed by love in general and by men in particular…

Recorded at the Grote Kerk in Den Bosch as part of Zorn's 70th birthday celebration at November Music in Den Bosch, this exciting performance pays tribute to one of Zorn's seminal influences–the 15th century painter Hieronymus Bosch.
Performing on two different organs simultaneously, running from one to the other, this is one of the most bizarre installments in the entire Hermetic Organ series. The CD begins with a rare private performance of Zorn alone in the church exploring and stretching the organ's capabilities. For the evening performance, A Pilgrimage Through Hell, Zorn's dear friend and colleague of over thirty years John Medeski joins as his organ assistant, and the two of them literally pull out all the stops!

Cloud Nothings Announce New Album Final Summer. The Cleveland band’s new album arrives April 19 on Pure Noise.

Fifth album from the UK Grammy Award-Winning electronic artist, Tourist (aka William Phillips). The project will come as a delightful surprise after the deeply emotional album ‘Inside Out’ last year. Embarking on US and UK/EU tour in 2024. Album Narrative by Tourist: With this next album, my sole objective has been to write something that “whisks you away”. Where my previous music was often rooted in personal experiences, “Memory Morning” is written from a place of pure escapism. I think it’s the result of “Inside Out” being so deeply tied to personal events that I wanted to write from a completely different perspective. I’ve joked that “Memory Morning” is my least personal, but most artistic album yet. I want to disorient people in the nicest way possible. I want it in-still nostalgia in people for something that may or may not have happened. I like the idea of music being a place for people to “visit”, and this new album - along with all of this new work is rooted in that concept. That feeling of being all consumed by something and losing time is at the heart of “Memory Morning”.

Pure emotion translates to any arena. Dayseeker graft raw feeling to fluid soundscapes, revolving in an unpredictable orbit around hard rock, electronic, pop, and indie. This time around, the musicians fearlessly strip everything back and deliver ten acoustic tracks, reimagining nine staples from their catalog and serving up a stirring cover. Replica features collaborations with Beartooth's Caleb Shomo and Holding Absence's Lucas Woodland. With this new album, Dayseeker prove that they are one of Post-Hardcore's versatile and shining lights and a leading band in the genre. Produced, mixed and mastered by Daniel Braunstein (Spiritbox, Emotional Oranges, Silent Planet).