A noteworthy fact: Marais, in his five books of Pièces de viole, published only two suites for two viols and continuo. Aside from the two suites for three viols (Book IV), all the other pieces are intended for the solo instrument with accompaniment of harpsichord, theorbo or a second viol in different combinations.

The record Pato (Dam) depicts the power of singing together: the happiness of belonging and being united, the comfort of liberation from difficult feelings, the delight of sharing joy, and empowerment even amid difficult challenges. Singing together makes you stop in the very moment to experience beauty. The songs on the record flow through moments of refuge, otherness and loneliness into being united with oneself, the other and nature. The process of making this record also underlines the power of singing: a major part of the practice work took place in the times of isolation on spring 2020, due to restrictions on singing together caused by the pandemic.

The second volume in this series continues to explore little-known examples of Auber’s elegant and refined operatic music. Julie was his first stage work, its fantasia-like beauty foreshadowing the operas, opéras-comiques and lyric dramas to come. Striking melodies and haunting episodes abound in these overtures and entr’actes, and there is restrained yet fragrant Iberian colour in the overture to Léocadie. The Violin Concerto is lightly scored and gentle, with a tarantella-like finale full of folk vitality.

An exceptional project from Manfred Schunke (vocals, electronic effects) and Klaus Schulze (drums) with Apama Chakravarti (on harmonium, tamboura, vocals), Ed Key (vocals, instruments). The concept is about Man creation and human, technological evolution throw ages. Musically the music alternates vibrant dronescapings, cosmic, electro-acoustic noises, esoteric doom like choirs and weird dreamy folk evocations. Their interlocking sound can be compared in some aspects to Organisation's embryonic electronic approach, Klaus Schulze first efforts in agitated drones and Popol Vuh / Deuter mystical sense of composition. Hermetic but monumental and now cult.

Solid Silver is the last Quicksilver album to fit into the group's original time line - although this was really a reunion rather than an actual continuation of their previous work, reestablishing however briefly the classic core lineup of Dino Valente, John Cipollina, David Freiberg, Greg Elmore, and Gary Duncan. And the results are impressive, even at times glorious and soaring, and not just on Valente's compositions, which fill six of the ten slots on the album. His work is as good as ever, and the haunting "Cowboy on the Run" was practically worth the price of the album. But it's Gary Duncan's "Gypsy Lights" that opens the album on a powerful yet lyrical (and memorable) note, and in more of a pop vein than listeners are accustomed to from this band; David Frieberg's "I Heard You Singing" isn't bad, either, and is a lot closer to the band's classic sound…

French music always sounded different from english or american pop music. Not only because of the language, but also because of it’s very unique sound. Blank & Jones have been travelling to france since the 1980s and always brought home some musical souvenirs. It started with names like Mylene Farmer, Niagara, Etienne Daho or Vanessa Paradis, later artists like Benjamin Biolay or Keren Ann followed. After their Paris trip in spring 2013, where they shot the music video for “Days Go By” with Coralie Clement, they decided to present these new Pop Sensations from France on Bonheur & Mélancolie. This exclusive collection brings you stars like Benjamin Biolay or Sébastien Tellier but also presents new talents like Éléphant, Rose, Berry, Loane or Vincent Delerm…

Originally released on Atlantic as Ella Loves Cole and then reissued on Pablo with two extra cuts from 1978, this set features the great Ella Fitzgerald (still in excellent form) backed by an orchestra arranged by Nelson Riddle performing an extensive set of Cole Porter songs. Fifteen years earlier Fitzgerald had had great success with her Cole Porter Songbook and this date, even with a few hokey arrangements, almost reaches the same level. Trumpeter Harry "Sweets" Edison and pianist Tommy Flanagan are among the supporting cast. Highlights include "I Get a Kick out of You," "I've Got You Under My Skin," "All of You," "My Heart Belongs to Daddy" and "Just One of Those Things."

This is the follow-up to 1981's much loved Rockin' You Eternally. While that effort had Ware engaged and willing to do rich and melodic work with no commercial consideration, Leon Ware more often than not seems to be overly concerned with making a big hit. Leon Ware was co-produced by Ware and the legendary Marty Paich. Although Paich had everyone from young Ella Fitzgerald to Boz Scaggs on his resumé, there wasn't much he could do with Ware. Paich also arranged the rhythm here, which is undoubtedly Ware's forte. That's not to say Leon Ware is a dismal failure – far from it. The first track "Slippin' Away" is Ware's best track here but it's reminiscent of a so-so track from Earth, Wind & Fire's Faces. In fact, Leon Ware employs some of the same players and writers from that effort…

Since 2017 FSOL have released what’s called Calendar albums, which are digitally delivered monthly tracks that form a twelve track album by the end of the year. This release picks the best tracks from the last 4 years and brings them together in a seamlessly mixed fifty minute journey - eleven songs from FSOL, Humanoid and Synthi-a.