The reissue of keyboardist Claude Bolling's recordings of the 1960s may prompt a positive reevaluation of his contributions. Bolling has been known, at least outside France, mostly for the flute-and-piano works he composed for Jean-Pierre Rampal; his recordings with Rampal hit a certain popular groove and stuck with the formula. They were undeniably appealing in a simple way, but they became fatally overexposed. Bolling's earlier recordings reveal more imagination in his treatment of the relationship between jazz and classical music. Take for example this 1965 album, recorded in Paris. It's one of the few successful jazz treatments of Mozart, who is notoriously resistant to jazz treatment. The difficulty comes as a result of Mozart's reliance on harmonic rhythm, or the speed of the rate of change of the harmonies in the music. This feature seems impossible to capture in jazz, which heavily relies on regular chord changes, but Bolling's solutions here, making use of a classic jazz sextet, are brilliantly imaginative.

Led by Trinidad-born singer/songwriter Romeo Stodart, London's Magic Numbers blend the melodic experimentation of artists like the Flaming Lips and David Axelrod with the sweet harmonies of '60s pop groups like the Lovin' Spoonful and the Mamas & the Papas. Stodart began making music with drummer Sean Gannon almost immediately upon moving to the U.K. from New York City in the early 2000s. They were eventually joined by Romeo's sister Michele on bass and Sean's sister Angela on percussion and melodica.

The 2015 compilation Guitar Shredding Heroes is a electrifying tribute to some of the most iconic and virtuosic guitarists in rock and metal history. Featuring legends like Slash, Dimebag Darrell, Mick Mars, George Lynch, Jeff Beck, Steve Morse, Jake E. Lee, and more, this collection is a dream come true for fans of blistering solos, intricate riffs, and the raw power of the electric guitar. Released as a celebration of fretboard mastery, it brings together a diverse array of tracks that showcase the unique styles and technical prowess of these rock guitar titans.

The Magic Numbers is the debut album from English pop rock band the Magic Numbers. It was nominated for a Mercury Music Prize in 2005. Songwriting duties were taken by Romeo Stodart as was much of the musical composition and arrangement. It incorporated the earlier single release of "Hymn for Her" as a hidden track. The album incorporates many folk elements within the main indie sound which resounds throughout. The album also reflects many elements of the writers' early childhood dreams, tales of their love life and desperation of youth. For example, "Love Me Like You", the best known single of the album, illustrates the difference of feeling in their love for each other.

The last of a series of showtune albums recorded by the trio of pianist Andre Previn, bassist Red Mitchell and drummer Shelly Manne finds the all-star group focusing on the music of West Side Story (Previn and Manne alternated leadership, and it was the drummer's good fortune to have the famous My Fair Lady album under his own name). This CD reissue has eight of the main themes from the famous musical, including "I Feel Pretty," "Maria" and "America." As usual, the melodies are treated respectfully yet swingingly, and Andre Previn in particular excels in this setting.

Howlin’ Wolf, John Lee Hooker, Willie Mabon, B.B. King, Dinah Washington, Big Joe Turner, Muddy Waters and many others.

Pianists Martha Argerich and Nelson Freire are stupendous virtuosos, and there's nothing in this recording of their 2009 Salzburg recital of staggeringly difficult works they cannot play. They know each other so well as old duo piano partners that their playing is stunning in its unity, but their distinctive individuality also comes across. What's most impressive about this recital is how completely Argerich and Freire have made this music their own. Brahms' Haydn Variations sound freer and fresher, more playful, and more profound than ever. Rachmaninov's Symphonic Dances are thrillingly rhapsodic, rapturous, and dramatic. Schubert's Grand Rondeau is more lyrical, intimate, and graceful than usual, and Ravel's La Valse more ecstatic and apocalyptically over-the-top frightening than in any comparable recordings, including Argerich's own earlier releases. Captured in wonderfully clear yet wholly present digital sound, the performances on this disc will be compulsory listening for anyone who loves music, any music.