Rewind back to Gateshead in 2008 - the producer Smoove is round his friend and keyboard player - Mike Porter's house. Together they are working on tracks for his project and all of a sudden they hear a heavenly voice from the neighbour. Transfixed by the vocals that are caressing their ears they go and investigate to find a youthful John Turrell doing his thing at a practice with a local band he played with when he wasn't teaching carpentry at the local college. Together they woo him with their Geordie charms and the initial line up of 'Smoove & Turrell' is born. The group instantly gel and soon after have penned the killer track 'I Can't Give You Up'…

Lonnie Liston Smith entered the 1980s with Love Is the Answer, which is quite similar to previous Columbia efforts like Exotic Mysteries and Song for the Children. Jazz's hard-liners continued to call Smith a sellout; as they saw it, a musician who was talented enough to have been employed by the likes of Pharoah Sanders, Betty Carter, and Rahsaan Roland Kirk had no business becoming more commercial and catering to the quiet storm audience. But while Love Is the Answer isn't as challenging as Smith's work with Kirk and Sanders and isn't in a class with such Flying Dutchman gems as Astral Traveling and Expansions, it isn't a bad album either.

Another fine Webster release on Verve that sees the tenor great once again backed by the deluxe Oscar Peterson Trio. In keeping with the high standard of their Soulville collaboration of two years prior, Webster and the trio – Peterson is joined by bassist Ray Brown and drummer Ed Thigpen – use this 1959 date to conduct a clinic in ballad playing. And while Soulville certainly ranks as one of the tenor saxophonist's best discs, the Ben Webster Meets Oscar Peterson set gets even higher marks for its almost transcendent marriage of after-hours elegance and effortless mid-tempo swing – none of Webster's boogie-woogie piano work to break up the mood here.

1980's Eastern Wind sports a quicker pace that demonstrates that de Burgh can sing songs outside of ballads. It was this album that helped him gain worldwide recognition, thanks in part to it's huge success in the Scandinavian countries (especially Norway). Although the album does include some slower love songs, the overall appeal of Eastern Wind contains some musical jaunts as opposed to his usual collection of tranquil pieces. The lovely "Sailor" is fine proof that de Burgh can contour his voice at will.

In the context of Alessandro Scarlatti’s immense musical production, the recorder repertory certainly plays an important role, the fruit of an interest spanning all the career of the composer which has this instrument as protagonist, both in his many instrumental works and in larger orchestral groups of serenades and musical dramas and in a large production of cantatas with obligatory instruments. This CD proposes cantatas with the soprano voice requiring one or two recorders, besides two sonatas for recorder and basso continuo. It is a homogeneous musical corpus, not by chance almost all contained in two manuscripts preserved in that extraordinary mine of Italian music which is the Santini collection, preserved in the Diözesanbibliothek of Münster, with the exception of the cantata Ardo è ver per te d‚amore, a manuscript copy of which is in the library of the Conservatorio San Pietro a Majella in Naples.

They consider themselves the oldest tribe of ancient Greece. Their territory is a place from the eternal Golden Age, where peaceful shepherds, unhindered by hard work, can pursue their pleasures and passions. A blissful, perfect country life: Arcadia, the ideal place for ancient mythology, for nymphs and shepherds, heroes and gods. It needn’t worry us that Arcadia was transported from its original location in the heart of the Peloponnese to Sicily in classical Latin literature.

These two popular concertos have for many years been coupled on LP and CD, and ever since their initial release in 1971, the performances on this CD have been consistently rated as outstanding. This recording is one of a few to have achieved true classic status, of the stature (amongbrconcerto recordings) of Jacqueline du Pre's Elgar Cello Concerto, and Michelangeli's Ravel G major and Rachmaninov Fourth Piano Concertos.brThe young Stephen Bishop (now known as Stephen Kovacevich) was at the height of his considerable powers, and these performances of two of the best-loved piano concertos have hardly been equalled ever since they were made almost 50 years ago.

Pièces d'orgue consistantes en deux Messes, l'une à l'usage ordinaire des Paroisses, pour les Festes solemnelles, l'autre propre pour les Convents de religieux et religieuses : la parution de ces deux messes, assortie d'un certificat par lequel Delalande attestait les avoir trouvées « fort belles et dignes d'être données en public », signe dès 1690 l'entrée de Couperin dans le cercle des musiciens ayant vocation à être reconnus.

13 tracks of the Best of Bond from the James Bond movies! Includes classic detective spy music like'James Bond Theme' [from Dr. No] with the John Barry & His Orchestra, 'Goldfinger' by Shirley Bassey , 'Nobody Does It Better' [From The Spy Who Loved Me] by Carly Simon, 'For Your Eyes Only ' by Sheena Easton, 'We Have All the Time in the World' [From on Her Majesty's Secret …] by Louis Armstrong, 'Live and Let Die' by Paul McCartney & Wings, 'All Time High' [From Octopussy] by Rita Coolidge, Lulu, 'From Russia With Love' by Matt Monro, 'Thunderball' by Tom Jones and more surprises!