Anyone who has followed Abbey Lincoln’s career with any regularity understands that she has followed a fiercely individual path and has paid the cost for those choices. Through the Years is a cross-licensed, three-disc retrospective expertly compiled and assembled by the artist and her longtime producer, Jean-Philippe Allard. Covering more than 50 years in her storied career, it establishes from the outset that Lincoln was always a true jazz singer and unique stylist. Though it contains no unreleased material, it does offer the first true picture of he range of expression. Her accompanists include former husband Max Roach, Benny Carter, Kenny Dorham, Charlie Haden, Sonny Rollins, Wynton Kelly, Benny Golson, J.J. Johnson, Art Farmer, Stan Getz, and Hank Jones, to name scant few…

At the edge of a great forest the "Wise Woman", the seer-healer of a community of ancient britons live a pagan life with the natural world. Deeply moody and mystical with solo Cello, Lute andatmospheric drums and subtle textures exceptionally crafted to depict a world that draws you in. Four long tracks that blend together as one wonderful experience including the sounds of nature.

Wir haben zwei (!) neue Alben im Kasten. "ALLES MUSS REPARIERT WERDEN" ist nicht nur unsere sechste HipHop-Platte, sondern auch unser längst überfälliges Punkrock-Debüt. Es handelt sich dabei nicht um ein schnödes Crossover-Experiment, sondern um das erste Hälfte-Rap-Hälfte-Punk-Doppelalbum der Musikgeschichte.

…Early though it may be, [the Organ Concerto] is a joyous work that reminds me of Haydn's organ concertos….[The `Emperor's Mass'] soars majestically and would surely have been effective in honoring the emperor. The St Florian Boys' Choir is well disciplined, but they do have that raw sound often found in Central European–as opposed to British–choir boys…

"Why present just Handel's Coronation Anthems for King George II when you can present the whole Coronation?" seems to be the proposition that underlies this two-disc set, entitled The Coronation of King George II, 1727. And, thrillingly performed by Robert King directing the King's Consort and the Choir of the King's Consort, there seems no good reason not to, and every good reason to, do just that. King, who has led many stirring recordings of Handel's oratorios in his time, turns in splendid performances of the four Coronation Anthems, along with superb performances of ceremonial choral music by Tallis, Purcell, Gibbons, Blow, Farmer, and Child.

French countertenor Philippe Jaroussky, whose honey-sweet voice perhaps remains the best introduction to the countertenor voice for the skeptical, attempts something new with the collection of gorgeous and generally underrated Vivaldi works. It might, therefore, not be perfectly appropriate as an introduction to Jaroussky, but it's a daring and altogether engrossing project. The collection is accurately billed as a group of sacred works for alto, which makes it a surprising attempt for : his voice corresponds most closely to a mezzo-soprano range, and he has in the past taken on full-scale operatic arias where his voice blooms into a colorful and attractive top. Here he deliberately forbids himself that part of his vocal repertoire, even in faster, more athletic pieces that would seem to permit it.

Esoteric Recordings are pleased to announce the release of a new 5CD remastered clamshell box set by the legendary American band Spirit. Formed in Los Angeles in 1967 from the remnants of The Red Roosters, Spirit was one of the great bands to emerge on the US West Coast in the Psychedelic era. Featuring the talents of 16 year old guitarist Randy California (who had played guitar with Jimi Hendrix in New York the previous year), his step-father drummer Ed Cassidy along with Jay Ferguson (vocals, percussion), John Locke (keyboards) and Mark Andes (bass), Spirit signed to producer Lou Adler’s newly established Ode Records label in late 1967. Their self-titled debut album appeared some months later and demonstrated the breadth and diversity of the band covering psychedelic, rock and jazz influences and featuring such legendary cuts as Fresh Garbage, Uncle Jack, Topanga Windows…

Blues has always been a music of comebacks, and Chick Willis is making strong, resurgent moves with this independently released album containing many of his original songs. Into his 53rd year playing music professionally, the guitarist and vocalist stays true to urban blues while making a contemporary pathway doused with soul and a little bit of a dirty-minded attitude. The music is horn-driven, fun for listening or dancing, and has all of the savvy and street smarts any veteran of this music should have. It seems his voice has not diminished one iota, while his songs suggest he's still enjoying life to the fullest. Of the six tracks written by Willis, the rocking shuffle "Houdini Blues" refers to "freakin'" things, but is more on track with a partner who tends to disappear, much to his chagrin…

John Lewis, a founding member of the Modern Jazz Quartet (and architect, with Gunther Schuller, of the "Third Stream" movement that attempted a fusion of classical music and jazz), has always been known for the delicacy and refinement of his playing and for the quality of his compositions. This solo album will only add to his reputation in both regards. That he's able to make "Sweet Georgia Brown" sound like a recital piece is testament to his sophistication (and perhaps his sense of humor); that his own "Two Degrees East, Three Degrees West" manages to evoke New Orleans and Ravel simultaneously speaks to the depth of his musicianship. "Django," perhaps Lewis' most famous composition, is given a stop-action tango treatment here, and his "At the Horse Show" is as graceful as a colt.

After a strong showing in the early '70s, Skin Alley drastically changed their lineup (and shifted their musical gears a bit) for their final two albums, 1972's Two Quid Deal and 1973's Skintight. There was still a strong prog rock base to their songwriting, but their folk and rock tendencies came to the fore on these two records more than ever before. Their deft instrumental technique screamed "prog," but never overshadowed the songs with unnecessary noodling or overt showings of musical dexterity. And that's the thing - there are "songs" here. With most of the tunes clocking in under the four-minute mark, there's no room for overindulgence. The arrangements are concise and even the instrumental numbers show a deliberately sophisticated restraint…

So much excitement and anticipation brewed among fans and critics alike soon after the members of A-ha, whom called it a day (or two) in 2010, announced almost five years later that they would reunite albeit only for one album and a world tour. True to their words, A-ha eventually unleashed their most-awaited new album on September 4th. Entitled "Cast in Steel", it is the tenth studio full-length of the Norwegian trio.
"Cast in Steel" is yet another well-planned, well-written, and well-arranged masterpiece. It is steeped in melancholic poetry; cast in Pop, New Wave, and Classical sensibilities; and painted with catchy choruses and memorable melodies…

TRIPLE CD SET OF RARE JOHNNY CASH LIVE RECORDINGS As iconic a performer and composer as any who have emerged since the mid-1950s, Johnny Cash continues to delight and attract fans old and new, more than 15 years since the great man s sad passing in 2003. This triple disc set celebrates the live musical performances of Johnny Cash, when this formidable superstar was always at his most potent. Kicking off on Disc One with a couple of shows Cash played in 1958 and 1959, along with his Tennessee Two, for Country Style USA and Guest Star USA, public radio shows promoting applications to join the US army, and the purchase of US government bonds, respectively. Disc Two features another show of huge interest, this time from 1970, when Johnny Cash and his wife June Carter, performed in front of President Nixon and his aides at the White House. Including all the inter-song chat, plus a lengthy intro from the President, this rarely heard performance is another Cash oddity that fans will be hungry to hear. Disc Three concludes this sterling set with a show Johnny played at the University of Texas in Austin, in December 1994. Taking place a few months after the release of Cash s 81st studio album, the Rick Rubin produced masterpiece, and the record which put Cash back in the spotlight after some years in the wilderness, American Recordings, this majestic performance completes this compilation in style.

Jazz for When You're Alone as released by Savoy Jazz in 2003 is basically an expanded version of the Jazz for When You're Alone disc released by 32 Jazz in 1999. Instead of one disc, there are now two, which increases the total number of tracks from 11 to 17. The new tracks are drawn from the same source as those on the original release, the catalog of the Muse label from the '70s, '80s, and '90s. Jazz giants like Houston Person, Willis Jackson, Donald Byrd, and Kenny Burrell all contribute tracks and brush shoulders with jazz middleweights like Wallace Roney, Vincent Herring, and Carol Welsman. As the title suggests, the songs are relaxed and the mood is mellow and reflective. Although the songs date from well-beyond jazz's peak years, the performances are uniformly solid and the disc is a nice, low-priced collection of mood music.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records!
1992 multi-platinum album from the Stone Temple Pilots, a cornerstone of 1990s alt rock! Includes "Sex Type Thing" and "Wicked Garden" 180-gram 45 RPM double LP Mastered by Ryan K. Smith from the original master tape Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jackets by Stoughton Printing.

This gargantuan 35-disc set of Alfred Brendel's complete Vox, Turnabout, and Vanguard recordings released in late 2008, concurrent with his retirement from concert life, will be mandatory listening for anyone who reveres the Austrian virtuoso. When these recordings were made between 1955 and 1975, Brendel was at the start of his international career, and his performances here have a fire, energy, and a drama that his later recordings sometimes lack. Brendel devotees, however, may also find his performances lack the intellectual rigor of his middle period recordings and the poetic depths of his later recordings. Compare his demonic account of Mozart's Twentieth Concerto here, for instance, with his more elegant later account. The difference is clear.