When d’Albert appeared in 1881 at one of Hans Richter’s concerts in London he played his own Piano Concerto in A, but the work was never published and has not survived. However, from a review in The Musical Times of November 1881 we can reasonably deduce that the Concerto had the traditional three movements. The reviewer stated that it was ‘uncompromising in its pretensions to rank with the chief of its kind; largely developed, ambitious in style and character, and rigidly observant of classical form, while redundant in matter’.

Kaler's playing of these Romantic sweetly-tuned works is excellent.

The Noisemakers, Bruce Hornsby's regular backing band since 2002, aren't credited on 2019's Absolute Zero, which should be an indication that the album is a bit of a departure from the other records he's made during the 21st century. While the Noisemakers haven't avoided adventure, Absolute Zero feels as if it was made without any regard to boundaries, either in terms of style or approach. Such fearlessness is evident from the outset, when the record kicks off with a dexterous rhythm suitable for a vintage post-bop session, but it's too reductive to call Absolute Zero an odyssey into straight jazz.

Progressive rock group with heavy Zuehl influences from Toulouse, France. Played a small amount of shows throughout the late 70s with French artists like Xalph, Uppsala, Philippe Cauvin, Saga, Albert Marcoeur, Art Zoyd, Univers Zero, and Magma. Recorded a single demo in 1981 that wasn't officially released until 2018. Years active: 1977-1981.

3 CD con 45 brani della straordinaria carriera di Adriano e 3 inediti, scritti da Riccardo Cocciante e Pasquale Panella (Mai nella vita), Giuliano Sangiorgi (Io non ricordo (da quel giorno tu)) e da Adriano Celentano stesso (Ti fai del male). Troviamo anche un quarto CD tratto dai due clamorosi concerti all'Arena di Verona dello scorso ottobre, a 18 anni di distanza dall'ultima sua esibizione live, che hanno scatenato l'entusiasmo dei fan con ascolti record per la messa in onda televisiva, ottenendo 20 milioni di spettatori per le due serate. 3 CDs with 45 songs in the extraordinary career of Adriano and 3 unpublished, written by Riccardo Cocciante and Pasquale Panella (Mai nella vita), Giuliano Sangiorgi (Io non ricordo (da quel giorno tu)) and Adriano Celentano itself (Ti fai del male). We find also fourth CD taken from two high profile concerts at the Arena in Verona last October, 18 years after his last live performance, which triggered the enthusiasm of the fans with record audiences for broadcast television, getting 20 million viewers for the two evenings.

The Farm were never one of the great Madchester bands, writing only one truly memorable single ("All Together Now") and turning out a bunch of pleasant, nondescript baggy. The Best of the Farm collects all of the singles and highlights from the group's three albums. There aren't any hidden treasures here, but anyone nostalgic for the pleasures of loping beats, baggy clothes, neo-psychedelia and buckets of Ecstasy should be pleased with this collection.

The music of Béla Bartók has everything: the mysterious tension of a thriller, loving lyricism, warm string sounds, almost impossible techniques challenging any string player to rediscover his instrument, and exhilarating rhythms which could well be rooted in folk dance. With the first volume in a complete string quartet cycle, The Ragazze Quartet has declared itself Bartók Bound.

In 2000, reissue giant Collectables took Percy Faith's 1954 Kismet release on Columbia and combined it with the standard-laden Music From Hollywood on one convenient disc.
Percy Faith was one of the most popular easy listening recording artists of the 1950s and '60s. Not only did he have a number of hit albums and singles under his own name, but Faith was responsible for arranging hits by Tony Bennett, Doris Day, Johnny Mathis, and Burl Ives, among others, as the musical director for Columbia Records in the '50s.

The unexpected finding, in Trento, in the attic of the former German Ginnasio-Liceo, of a typical military trunk dating back to the First World War – which I had bought by pure chance in 1982 in an antique shop – makes it possible for us now to reconstruct a brilliant passage in the musical history of that city. The trunk contained some organ scores that had been written by Davide Urmacher (organist at the nearby church of San Pietro) and played by him, first on the fifteenth-century organ, then on the organ made in 1862 by Giovanni Battista De Lorenzi, from Vicenza. Together with other scores countersigned by members of the Dall’Armi family, owners of a shop near the Ginnasio in Via San Pietro, this treasure chest has yielded some invaluable organ scores that were in use in the city between the end of the eighteenth century and the first half of the nineteenth. This entire collection, together with others (both public and private) existing in Trentino, provides a complex, varied and wide-ranging picture of the organ music that was being played in that period over the entire territory, with a lively circulation of material. The organist Simone Vebber makes use of a historic nineteenth-century organ in the performance of the compositions in the classic theatrical styles of the time.

A number of diverse influences have helped shape the musical language of Malcolm Dedman (born in London in 1948 but resident in provincial South Africa since 2007), among them Bartók and Messiaen, his Bahá’í Faith and, more recently, his new South African homeland. Points of contact with other composers can be heard, too, not least Debussy, Ravel, Barber and Ginastera. These piano works embody a wide range of moods, from gentle introspection to energetic, dissonant vigour.

Taken from a couple of sessions taped during 1955-1956, Lady Sings the Blues, Vol. 4 finds Holiday in top form and backed by the sympathetic likes of tenor saxophonists Budd Johnson and Paul Quinichette, trumpeter Charlie Shavers, pianist Wynton Kelly, and guitarist Billy Bauer. And while these autumnal sides bear some of the frayed vocal moments often heard on Holiday's '50s Verve sides, the majority here still ranks with her best material. This is especially true of the cuts from a June 1956 date, which produced unparalleled versions of "No Good Man," "Some Other Spring," and "Lady Sings the Blues." See why many fans prefer the "worn out" Holiday heard here to the more chipper singer featured on those classic Columbia records from the '30s.