A selection of music from the Italian Baroque contained in manuscripts held in the library of the cathedral of Aosta in Italy. The number of works in this collection is small, but of very high quality, demonstrating the high artistic quality of musical life in the cathedral at that time. Some of the composers are unknown, but familiar names include Alessandro Scarlatti and Francesco Maria Benedetti.

Im Gegensatz zum berühmten späteren Amtsnachfolger J. S. Bach konnte Thomaskantor Sebastian Knüpfer vom politischen Arm ungehindert seinen musikalischen Fähigkeiten freien Lauf lassen. Das Ergebnis sind prächtige Psalm- und Choralkonzerte für den feierlichen Gottesdienst an der Thomaskirche.

"Denn er selbst, der Herr, wird mit einem Feldgeschrei und der Stimme des Erzengels und mit der Posaune Gottes hernieder kommen vom Himmel, und die Toten in Christo werden auferstehen zuerst". Dunkel und drohend lässt Telemann dazu den Donner grollen, den Zorn Gottes. Der Herr, der Richter naht. Es beginnt der Tag des Gerichts. Mit diesen Signalen hebt ein packendes musikalisches Geschehen an, das dem, der sich mit ihm auseinanderzusetzen gewillt ist, eine reiche, symbolgeladene Welt schönster, erfüllender, oft eigenwilliger künstlerischer Bewältigung von Wort und Ton eröffnet.

Kenny Wayne Shepherd arrived on the scene as a blues guitar hero at 18 to an overload of media hoopla and pressure. At 40, he has evolved from the blues-guitar-slinger ghetto and become a mature musician whose wide-angle vision embraces American roots music – blues, rock, country, and soul/R&B – as an inseparable whole. While it's true that most of his albums have charted, his last two, Goin’ Home and Lay It on Down, have done better than all the others, placing well inside the Top 40. The Traveler is a direct aesthetic follow-up to Lay It on Down. Co-produced once more with Marshall Altman, it utilizes the same band (including uber-drummer Chris Layton and singer Noah Hunt). Recorded in Los Angeles over ten days, it offers eight new originals and two excellent covers.

Over 50 years of rocking the blues, Savoy Brown, with leader Kim Simmonds at the helm, return with 'City Night', their 40th album. On the back of a number one Billboard blues hit in 2017, expectations are high for this new band offering. The album features Kim Simmonds on vocals and searing lead guitar and he is complemented with the most consistent lineup in the bands history, going strong for more than 10 years now. 'City Night' is comprised of 12 high energy blues rock songs to surely please the worldwide fan base. "Walking On Hot Stones", Payback Time" and "Don't Hang Me Out To Dry" will catch the attention of radio DJ's looking for the fresh new sound the Savoy Brown brings to roots music.

There's no doubt many heard Kim Wilde searching for the beat on "Kids in America," but know now that she finds it – thus, the rest of this sterling debut comes dangerously close in quality to that killer kickoff. The second cut, "Water on Glass," follows the sound from the wild streets to Wilde's brain, maintaining a high level of exuberant class. Weird staccato runs down the streets of "Our Town," while "Everything We Know" chills into an icy groove. Wilde only wants to be free in "Young Heroes," and by side two's single, "Chequered Love," she gives permission to touch her and do anything (surprising, considering her pro-pop dad and brother wrote the whole LP). Hard guitars and xylophones get physical, until horns and ska skip into "2-6-5-8-0"; by this point in the record, Wilde can pull off anything she wants, and ends up sounding like a No Doubt B-side. "You'll Never Be So Wrong" mellows the turgid tempo but not the precise passion, and she just plain gets upset in "Falling Out." From the womb to the end of "Tuning in Turning On," Kim Wilde is one excellent inaugural, one excellent chapter in the evolution of hi-NRG, and one excellent slab everyone should own.

This live recording captures a legendary performance by two iconic musicians, Herbie Hancock and Jaco Pastorius. Their collaboration at the Ivanhoe Theatre in 1977 is celebrated for its innovative blend of jazz and fusion, showcasing Hancock's pioneering keyboard techniques and Pastorius' unique bass guitar style. The concert is renowned for the artists' improvisational skills and musical synergy, making it a valuable and memorable piece for fans of jazz and fusion music.

A single (CD) from the 2024 studio album "=1". Two new Deep Purple songs + two unreleased live recordings. Hand-numbered and limited to 5,000 copies worldwide. Once again produced by the legendary Bob Ezrin - for the classic Deep Purple sound!

Even for the Mosaic label, this limited-edition 12-CD box set is miraculous. Unlike most of their other efforts, this is not a "complete" set, although each of the 65 sessions covered is complete. A collection of mostly formerly rare sessions made for Capitol during its first 11 years, the music ranges from Dixieland in the Bob Crosby Bobcats manner to some swing-oriented big bands and a touch of bop. The quantity (245 selections) and the high quality are both remarkable. Included are exciting sessions by Paul Whiteman, Eddie Miller, Nappy Lamare, Ray Bauduc, Marvin Ash, Wingy Manone, Johnny Mercer, Scatman Crothers, Deane Kincaide, Armand Hug, Frankie Trumbauer (his last recordings), Pud Brown, Bud Freeman, Zutty Singleton, Bobby Hackett, Sid Catlett, Al Casey, the Capitol Jazzmen, Jack Teagarden, Anita O'Day, Ten Cats and a Mouse, the Benny Carter big band, Jess Stacy, Joe Sullivan, Mel Powell, the exciting and very underrated Cootie Williams Orchestra, Murray McEachern, Rex Stewart, Sonny Greer, Louie Bellson, Carl Kress, Kay Starr, Red Norvo and Stan Hasselgard. A remarkable and highly enjoyable set which contains many previously unreleased recordings.

Having taken the world by storm with a Number 1 album in 35 countries including being the FIRST UK SOLO ARTIST TO DEBUT ALBUM STRAIGHT TO #1 ON BILLBOARD 200. Leona Lewis is back with a brand new album on a brand new home. "I Am" is the sound of an artist coming of age; an upbeat and defiant assertion of Lewis' individuality, which demonstrates that striking, almost ethereal vocal range and a voice flooded with emotion. On title track "I Am" Leona sings powerfully about being "stronger without you" and on ballad "You Knew Me When" she insists, "I'm not the me I used to be". Whilst a lot is already being made of Leona's lyrical references and people are beginning to draw their own conclusions (not always right), these lyrics deal with Leona's many different experiences since starting her work on this project and over the last few years both personally and professionally.

A Monastic Trio is the first solo album by Alice Coltrane. Recorded in 1968, she intended it to be a tribute to her husband, John Coltrane, who had died the year before. The Allmusic review by Thom Jurek awarded the album 4 stars stating "Musically, the works here move from the deep bluesy modal structures that Alice Coltrane so loved in John's repertoire… All of these works, with their deep Eastern tinges in the intervals juxtaposed against Western blues phrasing, are wondrously droning and emotional exercises".

Dixon was the Rick Reuben of Chicago, the Quincy Jones of Chess, the George Martin of the post-war blues era and a damn fine musician to boot. His compositions are indescribably important to the history of modern music including 'Little Red Rooster', 'Hoochie Coochie Man', 'Spoonful', 'My Babe', the list goes on! Here we find him behind the mic and on the bass with fellow blues pianist legend Memphis Slim on his debut album 'Willie's Blues'.

Ry Cooder has always believed in the "mutuality in music," and this may be no more evident in his career than with his fifth album, Chicken Skin Music (a Hawaiian colloquialism, synonymous with goosebumps). Even more than usual, Cooder refuses to recognize borders – geographical or musical – presenting "Stand By Me" as a gospel song with a norteño arrangement, or giving the Jim Reeves country-pop classic, "He'll Have to Go," a bolero rhythm, featuring the interplay of Flaco Jimenez's accordion and Pat Rizzo's alto sax. Elsewhere, he teams with a pair of Hawaiian greats – steel guitarist and singer Gabby Pahinui and slack key guitar master Atta Isaacs – on the Hank Snow hit "Yellow Roses" and the beautiful instrumental "Chloe." If Cooder's approach to the music is stylistically diverse, his choice of material certainly follows suit. Bookended by a couple of Leadbelly compositions, Chicken Skin Music sports a collection of songs ranging from the aforementioned tracks to the charming old minstrel/medicine show number "I Got Mine" and the syncopated R&B of "Smack Dab in the Middle".

Stephen James "Steve" Howe is an English musician and songwriter. He is best known as the guitarist in the progressive rock group Yes. He has also been a member of the Syndicats, Bodast, Tomorrow, Asia, and GTR, as well as having released 19 solo albums as of 2010. Paul Sutin had already begun work on his first album Seraphim when he was introduced to Steve Howe. That introduction came via Terry Yallop. Together they released Seraphim, and then another album, entitled Voyagers (Sutin pre-recorded much of the album before Howe joined him in Switzerland.) Paul Sutin has also worked on some of Steve Howe's solo albums, including Skyline.

"After the widely noticed performance at the „Acht Brücken Festival 2016” at Cologne's Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of „Grandbrothers“), Daniel Brandt, Paul Frick (both of "Brandt Brauer Frick") and John Kameel Farah will be releasing their interpretation of Steve Reich’s "Six Pianos" as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich’s composition but still far more than just that – it is a modern approach to his idea behind it. "Keyboard Study #1" by Terry Riley is a worthy b-side opposed to Reich’s composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach’s assumption: "Especially Terry Riley’s and Steve Reich’s music are open doors for pianists socialized by pop music and their audience".