Recordings (Norway, ca. 1920-1999): NRK-Norwegian National Radio and Television.

Clifford Jordan was actually supposed to perform at Paradiso on September 10, 1969, but at that time the stage was facing problems and closed for a month. He diverts to VARA studio 7 in Hilversum with pianist Cees Slinger, bassist Ruud Jacobs, drummer Han Bennink and percussionist Steve Boston. Three of the four pieces Jordan puts on the lectern he recorded in early 1969 for the Strata-East label under the album title In the world.

When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, Kathy McCord was released in 1970. Although the label would go on to establish a fine reputation in jazz, “Kathy McCord” was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusion of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as ‘I’m Leaving Home’.

When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, Kathy McCord was released in 1970. Although the label would go on to establish a fine reputation in jazz, “Kathy McCord” was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusion of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as ‘I’m Leaving Home’.

Two CDs. First-ever complete anthology of hugely collectable early 70s Italian psych/folk/prog band. Heavily influenced by early Jefferson Airplane with lead female vocals and English language lyrics. Fronted by Grace Slick-influenced singer Silvana Aliotta, Circus 2000 formed in Turin, north Italy in late 1969 in an attempt to emulate their British and American psychedelic heroes. They made their vinyl debut a year later with a self-titled album featuring such superb, quasi-mystical songs as 'Magic Bean', 'The Lord, He Has No Hands' and the dramatic 'I Am The Witch'. But the band struggled to find an audience, their guitar-led, song-based nature and English language vocals leaving them out of step with the complex, keyboard-based Italian progressive scene flourishing all around them. After developing a more improvisational, underground-friendly sound on the thriving Italian festival circuit, they returned with a second album, 'An Escape From A Box'. Now regarded by European psychedelic collectors as their masterpiece, this five-track album welded their original Jefferson Airplane leanings with expansive Pink Floyd-esque arrangements that peaked on Side Two with the epic 'Need' and the spooked, climactic closer 'When The Sun Refuses To Shine'. Unable to make a commercial impact, the band broke up shortly afterwards, and it would be a couple of decades before Circus 2000's music began to receive the attention that it deserved.

Urban Jazz Grooves - Smooth Sounds For The City.

FLEETWOOD MAC comes with Dolby Atmos, 5.1, and Stereo mixes. Recently certified 9X Platinum, the band's first album to include Stevie Nicks and Lindsey Buckingham includes the hits “Landslide," "Say You Love Me," "Rhiannon" & More.

The Hobbit is a 1977 American animated musical television special created by Rankin/Bass and animated by Topcraft. The film is an adaptation of the 1937 book of the same name by J. R. R. Tolkien; it was first broadcast on NBC in the United States on Sunday, November 27, 1977. The teleplay won a Peabody Award; the film received a Christopher Award. The New York Times found the film "curiously eclectic", but felt that whatever its failings, it warranted attention. The Tolkien scholar Douglas A. Anderson called the adaptation "execrable"; the author Baird Searles called it an "abomination" and an attempt that had "failed miserably", regretting the quality of the animation and of the soundtrack, and the omission of key plot points.

Each Mosaic project falls into at least one of three categories. Some sets we know will be significant because of the demand for a hard-to-find jazz artist or the unique scope of a Mosaic box. Some sets we bring out because, popular or not, the music must be heard. And sometimes… we just love it. Want it. Have to have it. Which brings us to The Complete Dial Masters. As the saying goes, check all the boxes. As most jazz fans know, among the most important records to hear in your life are Charlie Parker's Dial Sessions, recorded between 1946 and 1947. They are classics with Dizzy Gillespie, Miles Davis, Howard McGee, Wardell Gray, J. J. Johnson, Duke Jordan, Teddy Edwards, Teddy Wilson, Errol Garner, Tommy Potter, Max Roach and others. But Dial was way more than Parker. It was a microcosm of the explosive changes happening at a moment in time. And we have everything. Every master, every important alternate, and many intriguing false starts, on nine CDs. The set was only previously collected in Japan 20 years ago. Now it's available worldwide at last, if you hurry.

For the first time anywhere, the Complete Commodore & Decca Eddie Condon & Bud Freeman Sessions. A substantial set - eight CDs containing 199 tracks in all. The set spans the years 1938, when Chicago-style jazz first took root in New York, through 1950. These sessions were recorded in New York City at the Brunswick Studios on 1776 Broadway; the Decca Studios on 50 West 57th Street; Liederkranz Hall at 111 E. 58th Street; Reeves Sound Studios on 304 E. 44th Street; WOR Studios on 1440 Broadway; and at the World Broadcasting System, 711 5th Avenue. It's the most extensive collection you will find showcasing this style, from two of its leading proponents – music that became known as Nicksieland Jazz after Nick's Tavern in Greenwich Village, the popular haunt that was home to this music from the time these tracks were recorded. In the interests of being as complete as humanly possible, Mosaics searched out every available LP and 78 from collector sources to augment what exists in the record label vaults, then painstakingly and lovingly transferred them using state-of-the-art 24-bit digital technology. We can confidently assure you, you've never heard them sound this good.

The definitive version of Funkadelic’s groundbreaking 1970 debut, remastered from original master tapes and restored to its full cosmic glory. Funkadelic’s self-titled debut was a radical collision of psychedelic rock, gospel, blues, and soul — a chaotic, genre-defying statement that redefined the possibilities of Black music. Where Motown aimed for polish and crossover appeal, Funkadelic dove headfirst into distortion, improvisation, and spiritual ambiguity, offering a sound as gritty and unpredictable as the era itself. Backed by a ferocious young band, the album rejected convention in favor of raw groove and existential noise. As part of Org Music’s Westbound Records reissue series, this edition restores the album’s full impact across multiple formats. The deluxe double LP, mastered direct from tape at 45RPM by Dave Gardner, offers the most impressive listening experience to date. Gardner and restoration specialist Catherine Vericolli archived and restored the original master tapes at 54 Sound Studios in Ferndale, Michigan, with assistance from in-house engineer Nick King. A single LP edition, cut from high-resolution tape transfers, is also available, alongside CD, cassette, and digital formats. A sonic revolution in its time and lasting influence ever since, Funkadelic remains a groundbreaking testament to music without rules and freedom without limits

The definitive version of Funkadelic’s groundbreaking 1970 debut, remastered from original master tapes and restored to its full cosmic glory. Funkadelic’s self-titled debut was a radical collision of psychedelic rock, gospel, blues, and soul — a chaotic, genre-defying statement that redefined the possibilities of Black music. Where Motown aimed for polish and crossover appeal, Funkadelic dove headfirst into distortion, improvisation, and spiritual ambiguity, offering a sound as gritty and unpredictable as the era itself. Backed by a ferocious young band, the album rejected convention in favor of raw groove and existential noise. As part of Org Music’s Westbound Records reissue series, this edition restores the album’s full impact across multiple formats. The deluxe double LP, mastered direct from tape at 45RPM by Dave Gardner, offers the most impressive listening experience to date. Gardner and restoration specialist Catherine Vericolli archived and restored the original master tapes at 54 Sound Studios in Ferndale, Michigan, with assistance from in-house engineer Nick King. A single LP edition, cut from high-resolution tape transfers, is also available, alongside CD, cassette, and digital formats. A sonic revolution in its time and lasting influence ever since, Funkadelic remains a groundbreaking testament to music without rules and freedom without limits

A lavish package celebrating the myriad bumps, bruises, and highlights of the Stranglers' earliest and best, the boastfully titled Old Testament is a four-CD set (five, in some editions) that spans the group's first six albums (up to 1981's La Folie), also including a number of non-LP singles and B-sides. (Physical editions of the box also contain an exhaustive – if blindly…er, boastful – 112-page book, which makes the package all the more attractive for longtime fans who have long since hunter-gathered the rarities.) It would be a major gamble to make this your first Stranglers purchase, especially due to the 1997 release of The Hit Men, which runs through the band's stylistically varied singles and doesn't indulge too much in the Stranglers' lengthy deterioration phase(s). They were productive from 1977-1981, discounting the number of album tracks that really shouldn't have seen the light of day. Make no mistake, nearly every good thing they did can be found within these four discs, save for the odd later hit like 1984's soft rock gem "Skin Deep." The 80-plus songs on The Old Testament definitely prove the Stranglers to be worthy of a box set.

Released by the EMI-licensed Petrol imprint as part of the Seriously Good Music series, this 12-track collection of modern Gypsy music is as intoxicating as it is devilish. From the traditional sounds of Esma Redzepova ("Abre Ramce") to the dub-heavy pulse of Balkan Beat Box ("Bulgarian Chicks"), this is one of the best entries in the series and a worthy introduction for anyone looking to get a grip on one of the world's most playful, sensual, spooky, and dramatic genres. –James Christopher Monger

This massive soundtrack collection brings together music from multiple films in the Fast & Furious franchise, showcasing the high-energy, adrenaline-pumping vibe that defines the series.