Bryan Lee: Live and Dangerous features the celebrated guitarist and his Blues Power Band performing a concert at the Montreal Spectrum, October 17, 2003.

When headbanger historians look back on the important heavy metal and hard rock bands that were active during the '70s, Mahogany Rush's name doesn't come up nearly as often as Led Zeppelin, Black Sabbath, Deep Purple, Kiss, Van Halen, Judas Priest, Blue Öyster Cult or Aerosmith – and that is regrettable because Frank Marino led one of the '70s' most exciting hard rock/metal outfits.

The Laura Anglade Quintet’s debut recording is entitled ‘I’ve Got Just About Everything’. “This record is a collective effort,” explains Anglade, “We are always setting new goals as a band and challenging and learning from each other. I think the key is a shared level of humility and desire to do this music justice. With the exception of Easy Way Out, this record is our take on lesser-known standards outlining the tradition. Branching out from the quintet’s combined influences, on top of the carefully thought out melodies, I truly believe that these tunes offer themes and experiences that are indeed timeless. Music creates a safe space for self-digging by freeing the listener to approach it without constraints.

The Cello Concerto no.1 was Villa-Lobos’s first major orchestral work. Filled with youthful energy and displaying an eclectic style, it is the sound of the composer finding his voice. Three decades later and with his reputation at its height, the inspired melodies and flowing style of the Fantasia sees Villa-Lobos giving free rein to his vivid imagination. Composed for the Brazilian cellist Aldo Parisot, the no less inventive and lushly scored Cello Concerto no.2 from 1953 suggests man’s solitude when facing the vastness of nature.

A complete performance of Domenico Scarlatti’s 555 keyboard sonatas would take over two days of continuous playing, and the majority are still little-known today. This 28th volume features a wide selection of these original, imaginative and colourful works. It includes spritely dances (K.7), an energetic triple-time romp (K.55) and a Spanish influenced evocation of flamenco (K.142) – among many other examples of Scarlatti’s seemingly limitless musical invention.