When guitarist Robin Nolan formed the Robin Nolan trio in London in 1992, its focus was European gypsy swing à la Django Reinhardt. But the group (which relocated to Amsterdam) later opted for a change of direction, embracing acoustic post-bop with strong world music leanings. No one will mistake Mediterranean Blues, a collection of the Nolan trio's late-'90s work, for swing recordings of the 1930s and 1940s. Though Nolan's lyrical playing still contains elements of Reinhardt, this is very much a post-bop CD. The title Mediterranean Blues doesn't tell you just how eclectic Nolan is. Yes, Mediterranean music is an influence; some of Nolan's pieces contain elements of Greek music. But this album also finds him combining jazz with everything from Middle Eastern to Latin music…

Esoteric Recordings are pleased to announce a newly remastered and expanded edition of the classic album by Progressive Rock trio Spontaneous Combustion. Formed in 1971, the band was originally known as Transient Sand and was managed by local promoter John House, a friend of Greg Lake of Emerson, Lake & Palmer. Through this association Lake offered to produce the band, now known as Spontaneous Combustion. With Lake’s interest confirmed a recording contract was arranged with Harvest in the closing months of 1971. "Triad” was the band’s second album, released in October 1972 and over the coming years has become a sought after Prog Rock classic. This Esoteric Recordings reissue includes three bonus tracks from the band’s singles of the period, two of which are previously unreleased on CD…

A blend of cosmic and spacey music and recorded exclusively with analogue synthesizers. An album that you can't miss if you love the way of composing and playing synthesizers by Michel Huygen. This album was a huge success worldwide. This album was released in 1982 , after the release of the Neuronium album Chromium Echoes. New digital master prepared by Michel Huygen at his private studio (Barselona) in March 1990.

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…

Chicago Ain't Nothin' But A Blues Band (Delmark) was originally released on vinyl in 1972, and collected recordings made by Rev. H. H. Harrington for his Atomic-H label. In addition to recording gospel groups, the good Reverend also brought his share of blues ensembles into his West Side Chicago studio, and that's what is found here. 14 of the 23 cuts on the CD were not released on the original album, so it's hard to call this one a re-issue. And there's some great, raw urban blues to be found here. One of the stars in the Atomic-H stable was Rev. Harrington's nephew, Eddy Clearwater, who is still touring and recording. He contributes six of the disc's songs, most notably the Chuck Berry-ish "Hillbilly Blues" and an uptempo novelty tune "Neckbones Everyday"…

Recorded late at night in his Oakland, California, home, it was Brubeck's first full solo-piano recording and also his first all-original record, and it illustrates his marvelously elegant fusion of classical and cocktail conceptions. Brubeck understands blues and swing, but he uses these elements as tools for effect, not as default settings. Brubeck instead offers a fuller palette of emotions and ideas - playful, sober, stern, happy, pensive, cerebral. While "In Your Own Sweet Way" and "The Duke" have become standards, the album includes obscure gems such as the minisuite "Two-Part Contention," with its many tempo, mood, and stylistic turns, and the discreetly swinging "Walkin' Line," although he lapses into melodrama with "Weep No More"…

Released in 1974, Einsjäger & Siebenjäger (Earth & Sky) is a further rock entrenchment for Popol Vuh. Florian Fricke's piano is more percussively present with its runs and large chord voicings rippling throughout each composition. In addition, Daniel Fichelscher's electric guitar picks up where Conny Veit's left off, taking the bluesy space rock solo style into new territory by incorporating Eastern scales into the main body of his blues phrasing. There are five short compositions on the first side, which merely prepare the listener for the mind-blowing title cut, which takes up the entirety of side two. Here, in addition to the swirling organic percussion and pianism of Fricke and the loping, often singing guitar lines that repeat hypnotically with rock & roll tension, the vocals of the amazing Djong Yun become the catalyst for the other musicians to spiral off into extended improvisations…

As the title suggests, Japanese music explorer Osamu Kitajima takes the listener beyond the known on a musical voyage into new territory where his compositions are a synthesis of Western electronics and ambient dance rhythms, tempered by the wisdom of ancient Japanese traditions. "Beyond The Circle" is music that is as energizing as it is spiritual and melodic.

One of the most refreshing things about Finnish metallers Children of Bodom is that they never cease to provoke their fans by doing exactly what they want to do when they want to do it. They take great pleasure in thwarting expectations at every turn. Ironically, this makes their (many) hardcore fans even more devoted. Holiday at Lake Bodom: 15 Years of Wasted Youth, a CD/DVD compilation that ranges from their debut offering in 1997 straight on through to 2011, contains 20 tracks from virtually every period in their existence. It's sure to piss off almost everyone for what's been excluded, though no one can argue that what's here is essential, with the possible exception of the previously unissued cover version of Rick Springfield's "Jessie's Girl"…

The focus is on Jimmy Rowles's piano throughout this relaxed and well-rounded reissue of an Andex session. Rowles is joined by trumpeter Lee Katzman, valve trombonist Bob Envoldsen, Bill Holman on tenor, altoist Herb Geller, bassist Monty Budwig and drummer Mel Lewis for renditions of nine superior standards, all of which have references to seasons, weather or the sun in their titles. Highlights include "With the Wind and the Rain in Your Hair," "When the Sun Comes Out," "Some Other Spring" and Rowles's spontaneous vocal (his first on record) on "Too Hot for Words."

Expanded release for the debut album by Noel Redding's band with eight bonus tracks. Recorded in 1969, Fat Mattress was the eponymous debut album by the band formed by Jimi Hendrix Experience bass guitarist Noel Redding. The album evoked the influences of the time, touching upon styles pioneered by groups such as Traffic (whose member Chris Wood guested on the record). A superb piece of psychedelic rock in it's own right, Fat Mattress failed to get the attention it deserved at the time of release (despite a tour as support act to the Hendrix Experience) but has subsequently been hailed as a classic of the era. This Esoteric reissue has eight bonus tracks comprising non-album singles, mono mixes, studio out-takes and an unreleased solo single by Fat Mattress’ Jim Leverton.

In addition to his regular music this CD contains over 70 minutes of perfectly produced, absolute astonishing ambient music of the finest quality. Ron's overwhelming soundscapes are intwined with whale sounds and a broad variety of enviRONmentals which all make for a journey, listeners won't easily forget.

The full-blown rock opera about a deaf, dumb, and blind boy that launched the band to international superstardom, written almost entirely by Pete Townshend. Hailed as a breakthrough upon its release, its critical standing has diminished somewhat in the ensuing decades because of the occasional pretensions of the concept and because of the insubstantial nature of some of the songs that functioned as little more than devices to advance the rather sketchy plot. Nonetheless, the double album has many excellent songs, including "I'm Free," "Pinball Wizard," "Sensation," "Christmas," "We're Not Gonna Take It," and the dramatic ten-minute instrumental "Underture." Though the album was slightly flawed, Townshend's ability to construct a lengthy conceptual narrative brought new possibilities to rock music…

In his younger days, Billy Boy Arnold was captivated by the recordings of Big Bill Broonzy. He even met the pre-war generation bluesmaster and asked him if he would play on his recording session (what Big Bill denied).
The 15 songs that Billy Boy selected for this CD, in collaboration with producer and guitarist Eric Noden, were ones that Big Bill recorded between the late 1930s and the early 1950s. Even though they represent only a small fraction of the several hundred songs Big Bill wrote over his thirty-year career, they showcase his versatility as a songwriter.
The talented musicians who have chosen to pay tribute to Big Bill have accomplished this successfully by playing in the spirit of his work rather than trying to reproduce it precisely as it was recorded…

Sony's Bar Lounge Classics: Late Night Mix Edition is a triple-disc set of 47 chill-out cuts from a variety of European acts. Its stylish mood music with a hint of sophistication delivered by the likes of Blank & Jones, Leftfield, Jet Tricks, Blue Wave, Bliss, Stardelay…