Een driedubbele cd met het integrale werk voor cello en pianoforte van Ludwig Van Beethoven, dat is het resultaat van de intense muzikale samenwerking van celliste France Springuel en pianist Jan Vermeulen. De twee begonnen drie jaar geleden samen te musiceren en de muzikale klik die beiden toen voelden, deed hen besluiten om het repertoire voor cello en piano aan te pakken. Eerst waren er twee Schubertcd's, dan volgde Schumann, en nu is er dus Beethoven. De sonate voor cello en piano is in feite een uitvinding van Beethoven zelf.

Blues Hall of Fame inductee Walter Davis was a prolific and innovative artist who played an influential role in the creation of the pre-war Blues scene. On The Walter Davis Project a diverse collection of Blues Legends pay tribute to the man and his music, including Billy Boy Arnold, Jimmy McCracklin, Charlie Musselwhite, Christian Rannenberg and Keith Dunn, and Henry Townsend with Bob Corritore. The 17 track collection of Walter Davis' compositions include R&B Legend Jimmy McCracklin's final recordings as well as an interview with Mr. McCracklin, who was taught piano as a child by Walter Davis, by producer Christian Rannenberg, plus 2 tracks from Charlie Musselwhite and an unreleased track from 2002 by Henry Townsend with Living Blues Award winner Bob Corritore. 2012 Blues Hall of Fame member Billy Boy Arnold contributes 9 tracks. The Walter Davis Project album will be treasured by both Blues music lovers and collectors. "To me, Walter Davis's singing, piano playing and lyrics are really deep blues…about as deep as you can get. His lyrics are true blues poetry. His sound has such a deep deep feeling to it. It does what only deep blues can do: it touches your heart and comforts you in a poignant way." – Charlie Musselwhite

As a songwriter and performer, Willie Nelson has played a vital role in post-rock & roll country music. Although he didn't become a star until the mid-'70s, he spent the 1960s writing songs that became hits for stars like Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls"), and Billy Walker ("Funny How Time Slips Away"), as well as releasing a series of records on Liberty and RCA that earned him a small but devoted cult following. During the early '70s, Willie abandoned Nashville for his native Texas, setting up shop with the redneck hippies in Austin and taking control of his music on the landmark Shotgun Willie (1973) and Phases & Stages (1974). Nelson found a kindred spirit in Waylon Jennings and, together, they spearheaded the outlaw country movement that finally made him a star by 1975. Following the crossover success of that year's Red Headed Stranger and "Blue Eyes Crying in the Rain," Nelson became a genuine success, as recognizable in pop circles as he was to country audiences; in addition to recording, he also launched an acting career in the early '80s.

The Nobel Peace Prize-winning organization Amnesty International presented the legendary Human Rights Concerts between 1986 and 1998 to raise consciousness and funds for the worldwide struggle for human rights. Now they are "¡RELEASED!". For the first time on 2 CD's comes the performance highlights of these historic concerts.

Collection includes twelve studio albums, one EP, and also tree compilations: "Please" (1986); "Actually" (1987); "Introspective" (1988); "In Depth" EP (1988); "Behaviour" (1990); "Discography" (1991); "Very" (1993); "Bilingual" (1997); "Essential" (1998); "Nightlife" (1999); "Release" (2002); "PopArt" (2003); "Fundamental" (2006); "Yes" (2009); "Elysium" (2012); and "Electric" (2013).

Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

Winter Carols is the sixth studio album by the group Blackmore's Night, released in the United Kingdom on October, 2006, and in the United States on November 7, 2006. It is a Christmas themed album. While the selections "Winter (Basse Dance)" is credited to Ritchie Blackmore as composer, it is an adaptation of the second section of Joaquin Rodrigo's "Fantasía para un gentilhombre," which Rodrigo composed for classical guitar virtuoso Andres Segovia in 1954. On December 2006, Winter Carols entered at #7 on USA Billboard New Age Charts. The album won the New Age Reporter Lifestyle Music Award as the Best Holiday Album.

Embracing psychedelic pop (The Mirage, Jason Crest, Shy Limbs, Crocheted Doughnut Ring etc), the burgeoning progressive rock scene (T2, Czar, Fat Mattress) and acid folk (the likes of Simon Finn and Mark Fry), ‘Love, Poetry And Revolution’ draws on a number of catalogues, including Beacon (The Fut, Information, pre-Damned act Taiconderoga), the Vic Keary stable and various collector labels (Sunbeam, Acme, Tenth Planet/Wooden Hill) to give a fascinating, all-embracing overview of what was a tumultuous few years in British pop/rock history. Cherry Red’s dedicated UK psych imprint Grapefruit is proud to announce the re- press of the 3CD anthology Love, Poetry and Revolution: a journey through the British psychedelic and underground scenes 1966-1972.

There are projects on which the artistic director of a record label straightaway asks himself a few questions. For example, when it comes to recording Beethoven’s three ‘greatest hit’ sonatas, recorded a multitude of times by the leading pianists. However, a forte-pianist of the calibre of Alexei Lubimov already constitutes one good reason to implement the project, as does the choice of the facsimile of an Erard piano (1802, copy made by Christopher Clarke) of which the original was within Beethoven’s reach.

Smokin' Joe Kubek and Bnois King first hooked up in 1987, and their musical association has lasted nearly 20 years. Their albums are dependable affairs that stick close to good old barroom Texas blues, and if they seldom deviate from that, well, that's fine, because they do it as well as anyone this side of Stevie Ray Vaughan. Road Dog's Life is the pair's second album for Delta Groove Music, who they signed with in 2012, and it follows the unplugged Close to the Bone, marking a return to plain old electric Texas blues. That's what you get here, plain and simple, with ten originals and an impressive pair of covers, the Rolling Stones' "Play with Fire" and the Beatles' "Don't Bother Me," both among the albums highlights. The sound, recorded by Prince's long-time engineer David Z, is warm, full, and makes intelligent use of stereo separation to give everything a broad, powerful kick. There's nothing new here – Kubek and King aren't trying to expand Texas blues as much as they simply revel in it – which is a good thing, since they do it so well.

Though not as relentlessly funky as his classic Blue Note debut Two Headed Freap, On the Avenue remains the most accomplished record of Ronnie Foster's career, proving commercial aspirations and accoutrements can indeed co-exist alongside traditional jazz sensibilities. Produced by George Benson and featuring the great Phil Upchurch on guitar and Marvin Chapell on drums, On the Avenue favors more mellow, nuanced grooves over the blistering funk of previous Foster outings. The velvety opener "Serenade to a Rock" and the title cut both draw heavily on Stevie Wonder's classic mid-'70s recordings, with a lithe cover of the Innervisions track "Golden Lady" further underlining the influence. Foster also expands his palette to include Afro-Cuban sounds ("Big Farm Boy Goes to a Latin City") and even assumes vocal duties for the first time on LP with "To See a Smile." Best of all is his rendition of Freddie Hubbard's "First Light"; arguably Foster's purest and most potent performance to date.

Love broadened their scope into psychedelia on their sophomore effort, Arthur Lee's achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock "Seven & Seven Is" (their only hit single), the manic jazz tempos of "Stephanie Knows Who", and the enchanting "She Comes in Colors", perhaps Lee's best composition (and reportedly the inspiration for the Rolling Stones' "She's a Rainbow"). It's only half a great album, though; the seventh and final track, "Revelation", is a tedious 19-minute jam that keeps Da Capo from attaining truly classic status.

This 2 CD set looks at the beginnings of country rock in the late 60s and follows it through the heady days of the 70s. Includes tracks both classic and rare from a stunning array of artists, including Gram Parsons, the Byrds, Emmylou Harris, Bob Dylan, David Crosby, Michael Nesmith and many more.

This Septem verba a Christo in cruce moriente proloata (The Seven Words of the Dying Christ on the Cross) was rediscovered nearly a century ago, and scholars down through the years have reached differing conclusions as to whether or not the work was really by Giovanni Battista Pergolesi, as one manuscript claimed. More and more copies surfaced, and finally the discovery by musicologist Reinhard Fehling of a new set of parts at an Austrian monastery in 2009 showed that the work was at the very least popular over a good part of Europe, and the forces represented here gave the work its modern-day premiere performance and first recording.

James Blunt may never live down the success of his first single, "You're Beautiful." It made him a star in 2004 yet it also pegged him as the kind of sad-sack singer/songwriter beloved of doctors' offices the world over, which may be enough to sustain a living but not a career. Blunt is savvy enough to realize this and he started to broaden and enliven his craft fairly quickly, abandoning the slow-footed ballads of Back to Bedlam for a richly textured pop that eventually gained some semblance of color by the time Some Kind of Trouble rolled around in 2010. Three years later, Moon Landing arrived and although its title suggest some kind of spectral scope, it's not quite as lively as its predecessor, preferring the exquisitely textured adult contemporary pop of Dido, but giving those intricately produced ballads insistent melodies and rhythms. Sometimes, Blunt's phrasing can lapse into solipsistic moans – this is especially true when the electronics are stripped away and the tempos slow – but when everything is relatively sprightly, the feel is surprisingly appealing, even though Blunt can't help but piggyback on styles that are a guaranteed rocket to the Top 40.