Corazón is Carlos Santana's first album for a major label since 2002's Shaman. It marks his reunion with executive producer Clive Davis, who masterminded 1999's multi-platinum Supernatural. Billed by RCA as his "first Latin album," Corazón is the studio counterpart to the guitarist's HBO Latino concert special that featured his band performing with a host of Latin music superstars in his native Mexico. The singing was (as it is here) mostly in Spanish. For the most part, Santana actually sounds hungry again. His studio band is filled with killers, including drummer Dennis Chambers, timbalero Karl Perazza, and conguero Raul Rekow. Opener "Saideira" features his trademark tone in a passionate, stinging, gritty exchange with vocalist Samuel Rosa, from the Brazilian rock and reggae band Skank. Jittering, insistent horns and layers of percussion push both men to escalate the battle. Juanes lends his soulful croon to first single "La Flaca." It's got an anthemic hook with layers of backing vocals framing Santana's tight and tasty solos.

Silk Baroque presents a musical encounter between Wu Wei and Holland Baroque, performing a programme that ranges from Baroque greats such as Bach, Vivaldi, Telemann and Rameau to Chinese traditional tunes, all tied together by the musicians’ openness to improvisation, experimentation and cultural exchange. Wu Wei plays the sheng, an extraordinary ancient Chinese mouth organ, which looks like a bundle of bamboo reeds cased in a metal bowl. It is a miracle of harmony, melody and rhythmic possibilities, and Wu Wei’s abilities fully bring out the sheng’s beauty: whispering, charming, and compelling. Age-old traditions come together in performances that sound fresh and contemporary. Silk Baroque carries listeners into a lively, enticing and fascinating sound world.

How ‘bout another film? After Rollin', here’s Truffaz again with Clap!, the second installment in his cinema stories, repeating the miracle of substituting his own images for those conjured up by the original soundtracks. Or, as director Bruno Nuyten puts it: “Beyond the memories of the films that are mentioned, Erik Truffaz’s interpretation opens the imagination to other films that have never been made”. Nicely put.

Wolfgang Amadeus Mozart a composé dix-sept sonates d'église (sonate da chiesa) entre 1772 et 1780. Il s'agit de pièces brèves en un seul mouvement conçues pour être interprétées durant la célébration de la messe entre l'épître et l'évangile (d'où le nom qu'on leur attribue parfois : sonates de l'épître). Trois des sonates sont écrites pour un effectif plus orchestral, qui comprend des hautbois, cors, trompettes et timbales, alors que les autres sont écrites pour orgue et cordes (sans les altos). Dans huit des sonates, l'orgue a une partie de solo obbligato (K 224/241a, 225/241b, 244, 245, 263, 328/317c, 329/317a et 336/336d), alors que dans les neuf autres, l'orgue joue uniquement la basse continue.

Recentemente si è rivalutata l”importanza di Alessandro anche come vero fondatore dell”importante «scuola tastieristica napoletana», della grande tradizione di una città, Napoli, «considerata come la capitale dell”armonia, la sorgente da cui si sono irradiati, in ogni altra parte d”Europa, il genio, il gusto e la cultura» (CHARLES BURNEY, The Present State of Music in France and Italy, London 1771).

Named one of Rolling Stone s 100 Greatest Guitarists of All Time, Robbie Robertson sets to release, How To Become Clairvoyant, his fifth solo album and his first record in more than 10 years. Guitar virtuosos Eric Clapton (who co-wrote three tracks with Robertson), Tom Morello and Robert Randolph guest on the album, which Robertson co-produced with Marius de Vries. How To Become Clairvoyant also features Steve Winwood and Trent Reznor as well as vocalists Angela McCluskey, Rocco Deluca, Dana Glover and Taylor Goldsmith of Dawes. Bassist Pino Palladino and drummer Ian Thomas lay down the groove throughout.

Having apparently resolved their Family Cracks, the members of Samla Mammas Manna's '70s quartet - guitarist Coste Apetrea, drummer Hans Bruniusson, keyboardist Lars Hollmer, and bassist Lars Krantz - reunited during the '90s, after well over a decade apart, to play gigs scattered around the globe. In the fall of 1998 they recorded at Hollmer's Chickenhouse studio, and interspersed that material with excerpts from live concerts in Sweden and Norway between 1993 and 1998. The result was 1999's Kaka, a new showcase for the band also heard on the '70s albums Måltid (1974), Klossa Knapitatet (1975), and Gregory Fitzpatrick collaboration Snorungarnas Symfoni (1976). Kaka is actually a fine introduction to the Samlas, nicely balancing their serious musicality and unbridled lunacy. Revisiting material from the band's '70s era with much-improved sound quality, the studio-recorded tunes dominate the proceedings…

As an Australian, guitar virtuoso Tommy Emmanuel doesn't seem to be much bothered about musical categories. Is his music jazz, folk, bluegrass, new age? Depending on the track, it can be any one. Like his mentor, Chet Atkins, Emmanuel is simply a guitar player, and on Little by Little, a two-CD set, he sticks mostly to acoustic guitar, playing mostly originals, tunes that he has used in concert but not recorded before. He is also mostly solo, although the double-disc length allows him room to share space with guests including singers Pam Rose (on her co-composition "Haba Na Hava") and Anthony Snape (on the folk-rock "Willie's Shades"). Among the covers are two versions of "Moon River," one with a bass countermelody, the other with an Emmanuel vocal, Carole King's "Tapestry," Atkins' "Mountains of Illinois," and "The Tennessee Waltz." Emmanuel plays fast runs, slows down for delicate passages, and adds harmonics on tunes that evoke players including Will Ackerman and John Fahey. He also likes folk-pop; "Papa George" needs only a James Taylor vocal to fit into that category. But Little by Little is a tour de force by a musician who usually leaves categories behind.

Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 - after Coltrane and Cannonball Adderley had left the band - Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto," Evans' arrangement provided an orchestra and jazz band - Paul Chambers, Jimmy Cobb, and Elvin Jones - the opportunity to record a classical work as it was…

Blue Note Records has announced an April 26 release of Sonny Rollins A Night at the Village Vanguard: The Complete Masters, a special Tone Poet Vinyl Edition of the legendary saxophonist’s tour-de-force live trio album. The expanded 3-LP set, which can be ordered now on the Blue Note Store, marks the first time Rollins’ complete recorded performances at the Village Vanguard on November 3, 1957 will be made available in a single vinyl package. The collection is also available as a 2-CD set and on all digital formats.

Unforgettable 70's Hitsdisplays a variety of stylistic content of the material, that is, will be, and perhaps will be, just a discovery. As well as an addition to your collection and archives. And undoubtedly the acquisition of a definitely

Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's signatures are here – mystical folk-tinged ballads, overt sexual come-ons crooned over sleazy, bopping boogies, loopy nonsense poetry, and a mastery of the three-minute pop song form. The main difference is that the trippy mix of Electric Warrior is replaced by a fuller, more immediate-sounding production. Bolan's guitar has a harder bite, the backing choruses are more up-front, and the arrangements are thicker-sounding, even introducing a string section on some cuts (both ballads and rockers).