Canadian composers have managed, at least to some degree, to avoid the dichotomy between "high" and "low" art that causes so much animosity on the American new music scene; advocates of "popular" classical composers such as Glass and Adams, and of "serious" classical composers like Babbitt and Carter, tend to be divided by distrust, if not downright contempt for each other's aesthetic. Québécois composer André Hamel is one of a substantial group of Canadian composers who draws freely and productively on a variety of traditions, without embarrassment or apology. His À Huit for eight saxophones is remarkable in that it sounds like it was created almost entirely with computer-generated sonorities and not by live performers.

Following Paul Rodgers' unsuccessful project titled Peace and Andy Fraser's ill-fated Toby, Free rebuilt themselves and released Free at Last in the summer of 1972. The band went right back to what they knew best, with Rodgers baring his blues-rock soul to Kossof's moody electric guitar. Tracks like "Sail On," "Soldier Boy," and "Travelling Man" come out on top as some of the band's most emotive material, proving that their breakup in 1971 had no real effect on their chemistry. "Little Bit of Love" was released as a single in the U.K., peaking at number 13, while the album itself broke the Top Ten there, stalling at number 69 in the U.S. The band's mixture of laid-back blues and gritty, bare-boned rock & roll is as poignant and as expressive as it was on Tons of Sobs or Fire and Water, even though Paul Kossof's problems with drugs were beginning to be more and more evident…

This is another truly gem from the SWF broadcast vaults recorded in 1972. Minus Two, founded in early 1971 in Mannheim (hometown of Nine Days Wonder) by organ player Günter Kühlwein and drummer Walter Helbig (also played with Nine Days Wonder and Aera) played a powerful progressive music sound sometimes with a certain sense of drama, melted classical influences with blues-rock and slightly jazzy hints. Early "Hardin & York playing" comes to mind, but Minus Two always showed their own imagination of progressive rock. All titles are self-penned and prove the musicians high level abilities playing their instruments and there are only organ and drums. Believe us, you dont miss any other instruments! This is a very complete sound by perfect trained musicians…

An outstanding comeback effort by Chicago harp pioneer Snooky Pryor, whose timeless sound meshed well with a Windy City trio led by producer/guitarist Steve Freund for this set. Mostly Pryor's own stuff - "Why You Want to Do Me like That," "That's the Way To Do It," "Cheatin' and Lyin'" - with his fat-toned harp weathering the decades quite nicely.

Recorded at a video taping in the Wiltern Theatre in Los Angeles as part of the Jazzvisions series, this was Jobim's live act shortly after he resumed touring in the mid-'80s. At the time, Jobim struck an avuncular, almost casually anti-show-business presence seated before a grand piano, presiding over a large ensemble composed of friends and family, singing in his endearingly rough, now-threadbare voice. Some of the performances here are little more than pro-forma run-throughs of standard Jobim oldies but things perk up when Jobim digs into some lesser-known compositions like his "Song of the Jet" and son Paulo's catchy "Samba do Soho." In any case, the material is always superb and the cool-voiced, always in-pitch Brazilian singer Gal Costa turns up on a few numbers.

This release from 2010 offers 64 minutes of dynamic electronic music.Morpheusz is: Ron Boots (on synthesizers), Frank Dorittke (on guitar and synthesizers), Eric van der Heijden (on synthesizers), and Harold van der Heijden (on drums and percussion).
Dramatic electronics are infused by vibrant guitars and nimble drums, producing tuneage of gripping impact and enduring stature.While atmospheric texturals are present, the majority of the electronics embody more substantial roles in this music. Lavish cycles are established and set running, while auxiliary threads caper around those patterns, enhancing them with sinuous results…

Since coming together in 1982, Norwegian pop trio a-ha have established a personal and artistic chemistry that can accommodate three strong personalities. There was a long hiatus after 1993's Memorial Beach and a formal reunion for 2000's Minor Earth Major Sky, followed by two more studio outings. They split again in 2010 to pursue solo careers, but reunited for 2015's Cast in Steel. In 2021, the documentary a-ha: The Movie toured global film festivals. The band's 11th studio album, True North, and its accompanying documentary film appear during their 40th anniversary year. The trio recorded and filmed over three weeks in a studio some 55 miles above the Arctic Circle in Bodø, with the Norwegian Arctic Philharmonic Orchestra conducted by Anders Eljas. Filming was done by Stian Andersen. Half of these 12 tracks were composed by guitarist Pal Waaktaar-Savoy, with the other half by keyboardist Magne Furuholmen. Each man produced his own work.

The second part of Patrice Chéreau's epoch-making Bayreuth "Ring" is a radical re-imaging of "Die Walküre", unprecedented in its psychological penetration. "This Wagnerian drama", says Chéreau, "which is at once classical theatre and domestic comedy, enables us to interpret the myths in terms that are both anecdotical and sublime … With Wagner one is dealing with a drama tuned virtually white-hot by the music." "Nothing ever seen before on television has given a better insight into Wagner's genius." (The New York Times)