Limited edition, quadruple LP in lidded box with download coupon and large double sided poster. Featuring two extended mixes and four bonus tracks, two of which are exclusive to this format. Initial preorders from Matador shipped with a packaged pin set.

This edition contains all of the quintet recordings from Art Pepper & Blue Mitchell's Dec. 27, 1976 studio session accompanied by the Dolo Cocker Trio, as well as the complete quintet material from the studio date of the previously day, featuring the same lineup with Harold Land instead of Pepper. Includes 8-page booklet.

A man with as much experience as he has ingenuity, Randall Bramblett has been a singer-songwriter, a session musician, and a hired gun for legends such as Gregg Allman and Steve Winwod. Bramblett’s latest release from his more than thirty years in the business, Devil Music, delivers the expected level of virtuosity, and surprises with a deep-fried, novel twist of Southern darkness. “Dead in the Water,” the album’s lead single is equally fulfilled through evocative lyrics, well-timed and managed effects, and instrumental superiority; a narrative of nowhere, the track is populated by dead-end characters and lowly living; fitting, for a track that Bramblett claims is inspired by William S. Burroughs. While immersing itself in the wonderfully weird, infinitely spiraling darkness of whimsy that exemplifies some of Tom Waits’ best work, “Dead in the Water” sees a guest appearance by storied axeman Mark Knopfler.

1972 Japan tour box set with obi. Subtitled as "とある狂人の東方見聞録"(Far east memoirs of a certain lunatic). Tracking information is based on the included song sheet.

Record Store Day 2024. Cut From The Original Analog Master Tapes. By Kevin Gray. All Analog Process (AAA). High Quality Black Vinyl Release. Limited edition of 1500 Exclusive for RSD 2024. SRC was born out of a smashing up of two of Detroit’s brightest bands, The Fugitives and The Chosen Few (which also featured future Stooge Ron Asheton). The new band gained a fanatic local following, eventually capturing the attention of Capitol Records. On this record, the band shifts effortlessly from mountaintop introspection to wild distorted crescendos creating one of the most melodically heavy LPs ever made, an over-the-top psychedelic fuzz guitar masterpiece. When it was released in the US in 1968, the LP created fan and critical excitement. Still, it was in the UK where the cultdom made its most significant impact, with John Peel playing the hell out of it on his radio show and even Genesis’ Peter Gabriel claiming that this first SRC album was one of his favorites, saying he “wore the record out” (and you can absolutely hear SRC’s melodies buried inside Gabriel’s musical DNA!). This Record Store Day 2024 release was cut from the analog master tapes by Kevin Gray, in an All Analog Process (AAA).

Bojan Gorišek is the leading Slovenian pianist in the field of contemporary music, perhaps best known for recording the complete piano opus (10 CDs) of Erik Satie for the Blaricum Music Group of the Netherlands and the English label LTM Recordings. Those recordings, rated among the best ever made, represent the most complete review of Satie’s piano compositions to date. He has recorded over 30 CDs to date, including four CDs by George Crumb, the piano sonata Concord by Charles Ives and two CDs by Philip Glass for the Blaricum Music Group (Audiophile Classics series). He has also recorded the complete piano opuses of a number of Slovenian composers. Most recently, he has received high regard for his interpretations of Arvo Pärt and Philip Glass.

Rock icon Lindsey Buckingham and popular country group Little Big Town shared the stage for the 22nd episode of CMT's Crossroads. The show was taped in front of an invitation-only audience in NASHVILLE on THURSDAY, OCTOBER 5, 2006 and premiered on CMT SATURDAY, DECEMBER 2, 2006. In this 2006 concert, Lindsey Buckingham collaborates with the younger band Little Big Town, exploring connections between Little Big Town’s country-rock styles and the musical moods and ideas that Buckingham has been exploring throughout his long career.

Chicago Urban Blues 1923-1945 is a concentrated anthology of historic recordings by individuals with ties to communities all across the southern United States. This collection includes well chosen examples by pianists Meade "Lux" Lewis, Bob Robinson (of Hokum Boys fame), Roosevelt Sykes, Clarence "Pinetop" Smith, and Jimmy Yancey, who played on one of only two recordings known to have been made by vocalist Faber Smith. Amos Easton, also known as Bumble Bee Slim, was backed on the ivories by Myrtle Jenkins, who also made records with Priscilla Stewart, Mary Mack, and the State Street Swingers. There's enough female energy in here to settle anybody's business. You hear Ida Cox accompanied by pianist Lovie Austin; Bertha "Chippie" Hill by Richard M. Jones, and Hannah May, who might have been Victoria Spivey's sister Elton Spivey, with Georgia Tom Dorsey and Tampa Red. Lil Johnson sings "My Stove's in Good Condition" backed by pianist Black Bob and guitarist Big Bill Broonzy. "Squat It" comes from a large body of works generated by the team of Memphis Minnie and Kansas Joe McCoy. Sippie Wallace sings the "Bedroom Blues," and her little brother Hersal Thomas performs his own "Suitcase Blues," which became a staple of the piano blues repertoire and received its best reinterpretation on a 1939 Blue Note recording by Albert Ammons.

Famous as its title has become through Carl Orff's work of the same name, the original Carmina burana—a German manuscript collection of mostly secular songs, probably compiled in the early thirteenth century—is all but unknown to modern listeners. That it should be so is hardly surprising, since many of the pieces in the manuscript pose formidable editorial problems (inasmuch as they can be deciphered at all), and since virtually nothing is known about the manner in which they would have been performed and accompanied, nor about the circumstances under which they would have been heard.

This 1960 recording of the Great C Minor Mass is here released under the Deutsche Grammophon Originals umbrella, and is thoroughly deserving of the accolade. This is an account of the work which is completely uninfluenced by authentic practice–if you're already curling your lip, then please stop here–but which establishes its own terms of performance with such assurance that it's almost impossible to resist. The forces (both orchestral and choral) are large but by no means unwieldy, and directed with infectious and spirited enthusiasm by Fricsay. The effect is one of solidity and grandeur, but without any hint of pomposity: indeed, the jubilant choruses of the Gloria have an almost childlike glee about them.

These distinguished, if not perfect, recordings made in 1984. They should be amongst everyone’s preferred renditions. They are brisk but not tense, dramatic and even playful when need be. Occasionally, but only at rare moments, such as the beginning of the “Prague” Symphony, I would like something a little fiercer. Mostly Marriner is right on, as in the transition between the darkish introduction to the first movement of the Symphony No. 39 and its exuberant main theme.

Way back in 1991, Brazilian-born pianist Eliane Elias opened Illusions, her debut solo album, with a tune called "Choro." It offered a swinging distillation of the musical form that has been at the heart of her life-long study of samba. Since then, she's revisited her musical heritage over and over again, wedding modern jazz to post-1960 Brazilian jazz and MPB. In the process, she's developed an instantly identifiable sound as a pianist. Dance of Time follows 2015's fine Made in Brasil, a set that relied most heavily on bossa nova.

Jovin Webb dazzled millions of viewers on American Idol with his bayou mystique, his humility, and his distinctive gravelly vocals. Now, the Baton Rouge, Louisiana-based artist steps forward with his debut album, Drifter, produced by multi-Grammy winner Tom Hambridge (Buddy Guy, Susan Tedeschi, Kingfish). The 12-song collection is a vibrant mix of growling low-down blues, Jovin’s wailing harmonica, heartfelt soul ballads, and rowdy, Little Richards-style rock n’ roll.
After hearing Jovin for the first time, R&B superstar Lionel Richie gushed: “This is what barbecue sauce sounds like.” Best-selling country music star Luke Bryan added: “I could sit and drink a lot of bourbon listening to that voice”…

Magellan's Impending Ascension is a truly great progressive rock work. Following the same formula as the previous Hour of Restoration, Impending Ascension features better, more consistent songwriting and a harder-edged sound. "Estadium Nacional" and "Waterfront Weirdos," both 11-minutes long, get the album off to a great start. They both feature timing and melody changes that have to be heard to be appreciated. Combined with the new, harder-edged sound, it's clear that Magellan has found its niche with this album.

Vega were one of several Andalusian and Spanish bands who flourished in the mid- to late seventies by making music that blended flamenco, folk and jazz at times with English progressive tendencies, often resulting in a colorful and rich fusion sound. Acts like Triana, Cai, Mezquita and Azahar would establish themselves as the preeminent players on these scenes, along with the more contemporary counterparts like Los Canarios and Alameda. In this vein Vega combined Andalusian instrumentation (and sometimes traditional arrangements) with a less well-defined progressive bent, emphasizing instead a heavy flamenco influence and the showcased guitar work of band leader Tómas Vega. The group released three albums in three years, each accompanied by one single. The first two are heavily imbued with flamenco-driven fusion compositions.