Throughout most of his professional life, Johann Sebastian Bach composed cantatas for use at church services: it is thought that he probably wrote at least 300 such works. Some 200 of these are still extant, of which the earliest hail from Bach's time as organist in Arnstadt (1703-07) and the last were composed only a year or two before his death in 1750. In 1995, when Masaaki Suzuki and his Bach Collegium Japan began the monumental journey of recording the cantatas, they decided to follow in Bach's footsteps.

In past incarnations of Bill Bruford's Earthworks, music often centered around the drummer's electronic sound sculptures using digital triggers and chordal drums. The approach yielded fine results, but Bruford up and changed everything when in 1995 he christened a new Earthworks. Ditching the technology in favor of a traditional jazz kit, his music began reaching back to cool, hard bop, and old-school fusion. In addition to now playing his kit in an unorthodox arrangement, Bruford moved the emphasis from nifty electronics to the kinetic energy generated by his impressive polyrhythmic work. On "Triplicity" his orchestration boasts a dizzying array of time changes, the tempo kept constant only by the hi-hat. It's an aural exercise (albeit a very enjoyable one) just keeping pace.

This 60th Anniversary 60-CD Deluxe Edition celebrates RCA Victor's signing of Elvis Presley-The King of rock 'n' roll.
Features all of the albums Elvis recorded and RCA released in his lifetime: studio, soundtrack, and live. It also includes compilations released that featured unreleased songs or songs new to the LP format.
The Album Collection represents album sales in the U.S. of 135 million! Collectively, Elvis has RIAA certified sales of singles, EPs and albums equaling 25x multi-platinum, 52x platinum and 92x gold awards given for U.S. sales alone! Estimated worldwide sales are in excess of one billion!

In 2014 Deutsche Grammophon celebrated the 20th anniversary of its flagship series, The Originals, with a limited edition collection featuring some of the labels greatest albums.
This second volume concludes the labels survey of its iconic series by presenting more legendary analogue albums. Including key recordings such as Beethovens Late Sonatas with Pollini, Berliozs Symphonie Fantastique with Markevitch, Brahmss Hungarian Dances with Karajan, Dvoraks New World with Fricsay, Chopin Preludes with Argerich…

This 31 CD box set is being released to celebrate what would have been her 100th birthday in December 2015. The set contains all the recital programmes of song, opera and operetta tha t she recorded for EMI between 1952 and 1974, and also included two live recitals.
All the recordings have been newly remasteredto the highest standards by various studios including Abbey Road.

Norwegian saxophonist Jan Garbarek took several intriguing stylistic turns early in his career, none more extreme than that shown on Triptykon. While he had always shown an affinity for the work of Albert Ayler and other free jazz musicians who came of age in the '60s, his prior albums retained a more straight-ahead rhythmic drive and more than a passing nod to experimental rock and fusion. Here, he jettisoned guitarist Terje Rypdal and replaced the sometimes overly delicate percussion work of Jon Christensen with the more earthy and heavy sounding Edward Vesala. The result is an expressionist trio drawing on both free improvisation and Scandinavian folk tunes, roaring, stumbling, and reeling, evoking an aural equivalent of Edvard Munch.

Distortland, the ninth studio LP from Portland, Oregon quartet the Dandy Warhols, continues the band's post-Odditorium maturation, taming a bit of their edge. As singer Courtney Taylor-Taylor acknowledges on "The Grow Up Song," "I've got to admit, I'm too old for this shit." With less sleaze and more reflection, the Dandies retain their wit with a wink, but aren't as sneering as on prior releases. While their most popular hits tend to veer toward the infectious pop side of the spectrum, most of their albums contain a hefty amount of trippy dreamscapes. Distortland isn't as in-your-face as the more muscular tracks on This Machine, nor is it as shiny as Welcome to the Monkey House. Without any immediate hits like "We Used to Be Friends" or "Bohemian Like You," the band seems to have left behind that commercial urge on Distortland, instead focusing on vibes and sensations.