The unpublished CD features the pianist Pierpaola Porqueddu in a tribute to the immortal art of Franz Joseph Haydn: 4 Piano Sonatas, n. 31 in A-flat major, No. 33 in C minor, No. 47 in B minor, no. 53 in E minor; Andante with Variations in F minor; Fantasy in C major.

Mode for Titan proves that the bass is a melodic and ambient force in its own right. Writing on — and exclusively for — the bass, Josh Werner explores new dimensions of composition and improvisation, effortlessly moving through varying sonic textures, all without a conventional rhythm section. Producer Bill Laswell helps steer seasoned composer and performer (and abstract painter) Werner through novel instrumental territory, including the sitar bass, seven-string bass and fretless bass. The wide array of influences on Mode for Titan reflects Werner's vast experience and diverse skill set, yet the music maintains an introspective focus and understated minimalist beauty. Laswell's production endows this sonic journey with a vast sense of space, painted in an array of colors as boundless as the producer's own palette.

Peter Green is an English blues rock singer-songwriter and guitarist. As a co-founder of Fleetwood Mac, he was inducted into the Rock and Roll Hall of Fame in 1998. Green's songs, such as "Albatross", "Black Magic Woman", "Oh Well", "The Green Manalishi (With the Two Prong Crown)" and "Man of the World", appeared on singles charts, and several have been adapted by a variety of musicians. Green was a major figure in the "second great epoch" of the British blues movement.

Over the course of two albums, bandleader/composer/arranger John Beasley has reimagined Thelonious Monk’s iconic compositions through his inventive, versatile MONK’estra­ – a big band able to deftly navigate the legend’s eccentricities from a variety of perspectives, from boisterous swing to raucous funk to Afro-Cuban explosiveness. MONK’estra, Vol. 1 and Vol. 2 each garnered a pair of GRAMMY® Award nominations, alongside widespread critical acclaim. Beasley veers off in new directions on his stunning third album in the series, MONK’estra Plays John Beasley. As the title implies, this time out the band shifts focus to its fearless leader’s own estimable compositions and piano playing, alongside a quartet of Monk classics and a tune apiece by Duke Ellington and Charlie Parker.

The album Dreamt Twice, Twice Dreamt follows Ingrid Laubrock's landmark orchestral album Contemporary Chaos Practices from 2018 (Intakt CD 314). Ingrid Laubrock presents on this double album five compositions in double version. On the first CD, the EOS Chamber Orchestra Cologne interprets Laubrock's compositions. The soloists are Cory Smythe (piano), Sam Pluta (electronics), Robert Landfermann (bass), Tom Rainey (drums) and Ingrid Laubrock (saxophone). On a second CD of the double album a filigree ensemble around the core trio of Ingrid Laubrock, Cory Smythe, Sam Pluta and the guests Adam Matlock, Josh Modney and Zeena Parkins play the same five compositions.

The core inspiration behind ARCHORA centres around the notion of a primordial energy and the idea of an omnipresent parallel realm – a world both familiar and strange, static and transforming, nowhere and everywhere at the same time. The piece revolves around the extremes on the spectrum between the Primordia and its resulting afterglow – and the conflict between these elements that are nevertheless fundamentally one and the same. The halo emerges from the Primordia but they have both lost perspective and the connection to one another, experiencing themselves individually as opposing forces rather than one and the same.

Etran de L’Aïr (or “stars of the Aïr region”) welcomes you to Agadez, the capital city of Saharan rock. Playing for over 25 years, Etran has emerged as stars of the local wedding circuit. Beloved for their dynamic repertoire of hypnotic solos and sun schlazed melodies, Etran stakes out a place for Agadez guitar music. Playing a sound that invokes the desert metropolis, “Agadez” celebrates the sounds of all the dynamism of a hometown wedding.

29-song set. Four songs from 2020’s Letter To You: “Ghosts,” “Letter To You,” “Last Man Standing” and “I’ll See You In My Dreams”. “Last Man Standing” features a new arrangement. “I’ll See You In My Dreams” is performed solo acoustic to end the show. One song from 2022’s Only the Strong Survive: “Nightshift” (written by Franne Golde, Dennis Lambert and Walter Orange, popularized by The Commodores). Concert stalwarts like “Because The Night,” “Dancing in the Dark,” and “Tenth Avenue Freeze-Out” are performed in tighter, shorter versions.

The band is billed here as "the Lovin' Spoonful Featuring Joe Butler." Just when everybody had written them off after Sebastian's departure, this flawed gem came out of left field. Butler's smooth voice had graced a few tracks on all of the past LPs, in addition to having a few of his own tunes included. He comes into his own here, but unfortunately, his three originals are the weakest songs on the LP, especially the ultra-hip sound collage "War Games." However, the great pop team of Bonner and Gordon came up with three strong tunes, including the hit "Me About You" (previously done by The Turtles) and the fine "(Till I) Run with You" (the title of the LP as written on the label), with John Stewart supplying the best track, the gorgeous "Never Going Back."

The Small Faces split from manager Don Arden to sign with Andrew Loog Oldham's Immediate label and, in retaliation, Decca and Arden rounded up the remaining recordings the group made for the label and released them as From the Beginning. Appearing just months before their Immediate debut - entitled The Small Faces, just like their first album for Decca - From the Beginning includes early version of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me," and it reprises songs that were on the 1966 Decca LP ("Sha La La La Lee," "What'cha Gonna Do About It"), moves that muddy an already confusing situation. And From the Beginning really doesn't play as a cohesive album by any stretch of the imagination, as it opens with a burst of burgeoning psychedelia then doubles back to the group's early R&B, flaws that matter less as years pass by because, on a track by track basis, there is a lot of wondrous material here…

Utilizing a jug band of fellow Austinites Danny Barnes (tenor guitar and banjo) and Mark Rubin (stand-up bass and Sousaphone – both of the Bad Livers) and harpist Gary Primich on some tracks, James sounds more mature here, evidenced by six originals (the John Hurt-esque "Talco Girl" is particularly nice) and one collaboration with bassist/songwriter Sarah Brown ("My Last Good Car") and effective rather than affected vocals. Stellar guitar throughout, with an added treat: James's blues mandolin on "Midnight Blues."

The only band to use the Beatles, Whitney Houston, Mission Impossible, Petula Clark, Doctor Who, ABBA, and the French national anthem as art statements. Circa 1987: Shag Times, one of the many deliberate cash-ins released in the wake of the Timelords, confirmed Bill Drummond and Jimi Cauty's supremacy over every last imitator and pop stunt plagiarist.

Onetime rivals for R&B supremacy, the two blues greats hit the road together in the Seventies, where they soon discovered how well their styles complemented one another while bantering with expert comic timing. "Nothing is planned tonight," King announces early in this hour-long set, and whether or not that was true there's a spontaneous but never sloppy spark. It's instructive and exciting to hear King's guitar supporting another vocalist, particularly a master such as Bland.