Digitally remastered edition of this 1971 release. Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid-1960s Reich set about dismantling the very orthodoxy that he had been trained in. Four Organs is the ultimate minimalist composition. Performed by Reich, Phillip Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibsons stoically-steady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound - stretching the tones to create (in Reichs words) slow-motion music. Inspired by Reichs early training on drums, Phase Patterns treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs / Phase Patterns is one of the most highly regarded avant-garde recordings in the past 50 years. This CD release features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.

In September of 1961 Al Jardine, Brian Wilson, Carl Wilson, Dennis Wilson, and Mike Love stepped up to a microphone together for the fi rst time at the home of Hite and Dorinda Morgan to demo The Beach Boys’ first three songs. Between that September date and March 1962, before signing a seven-year contract with Capitol Records on May 24, 1962, they committed nine songs to tape under the direction of Hite and Dorinda Morgan. Some iconic, others obscure—“Surfin’,” “Luau,” "Lavender,” “Surfin’ Safari,” “Surfer Girl,” “Judy,” “Beach Boy Stomp” (aka “Karate”), “Barbie,” and “What Is A Young Girl Made Of”— Every complete take, false start, master take, and every second of studio banter during these historic recordings is gathered on this landmark collection, Becoming The Beach Boys: The Complete Hite & Dorinda Morgan Sessions. From the liner notes by Jim Murphy, author of Becoming The Beach Boys, 1961-1963: “Appropriately enough, “Surfin’,” The Beach Boys’ first effort, released in late November 1961, had its origin near the ocean.

Am 14. Januar 1966 befand sich New York, unter einer Schneedecke, fest im Griff von Minus-Temperaturen. Doch als Elisabeth Schwarzkopf die Columbia-Studios betrat, um mit Glenn Gould Lieder von Richard Strauss aufzunehmen, war es nicht etwa nur mollig warm, es muss eine Bullenhitze geherrscht haben. Der dauerfröstelnde Kanadier Gould hatte die Thermostate aufdrehen lassen – und daran sollte sich zum Leidwesen der Stimmbänder der Schwarzkopf nichts ändern. So hört man die Sopranistin immer wieder mal kräftig durchkeuchen, mit den Worten „I´m full of Schleim!“

35 tracks including 4 acoustic bonus songs.

Aris Christofellis was born on February 5, 1960 in Athens. Very early, he began to play the piano and to sing opera arias. In 1979 he moved to France. After having studied piano with Francis Clidat he concentrated on singing and developed his unique voice, incredible technique and range with Fofi Sarandopoulo. His debut was in 1984 in Bordeaux.

The infallible Gesualdo Six trademarks of consummate musicianship and scholarly integrity are much in evidence here. 'Queen of Hearts' addresses and reflects on queens spiritual (the Virgin Mary) and temporal (Mary Tudor and Anne Boleyn, among others) in a programme of music largely of the sixteenth century, but spiced with two short works from the twenty-first.

The album "Central Park’s Mosaic of Reservoir, Lake, Paths and Gardens" is a remarkable convergence of two kindred musical spirits -trumpeter and composer Wadada Leo Smith and newly minted NEA Jazz Master pianist and organist Amina Claudine Myers. This extraordinary collaboration marks the master musicians’ first recorded collaboration, resulting in one of the most anticipated releases of the year. The album is a testament to the enduring power of artistic connection and the evolution of musical mastery.

Through an inimitable voice that the New York Times touts as, “a smooth, dark alto possessed of qualities you might associate with barrel-aged bourbon or butter-soft leather,” acclaimed vocalist and songwriter Lizz Wright sings with a soaring reflection of the cultural fabric of America. Wright is one of the great modern American singers with an illustrious 20-year career transcending social divides with her focus on love and a deep sense of humanity.

In a sideways step from the music he is most commonly associated with, award-winning and internationally acclaimed pianist, drummer and composer Gary Husband reveals the more contemplative and lyrical side of his far-reaching musical expression in his latest release Songs of Love & Solace. Here he explores in a solo piano setting the poignancy and beauty of a collection of love songs and themes that have powerfully resonated within his affection since childhood. Consisting predominantly of his own highly individual arrangements, the album presents Gary’s deeply thoughtful interpretations of an eclectic selection of tunes ranging from familiar jazz standards and popular hits, to a Brazilian classic and a Husband original - all delivered with great sensitivity, virtuosity and outstanding harmonic invention.

This 4CD collection collates 8 of the finest albums revered soprano saxophonist Steve Lacy recorded as either leader or co-leader. A pioneer and originator of experimental jazz, Lacy is widely credited as bringing the soprano sax back into the mainstay after a period of neglect. This new set serves to highlight the great man's importance, acting as an ideal starting point for those unacquainted or a welcome reminder to those already versed.

This funk album is a spinoff from the legendary P-Funk collective. Released in 1988 and produced by George Clinton and Bootsy Collins, it features contributions from several key P-Funk members, including Lige Curry (lead vocals and bass) and Andre Foxxe Williams (vocals and guitar). The album blends funk and New Jack Swing styles with a heavy use of drum machines and synthesizers, characteristic of Clinton's productions during this period.

Frank Sinatra's "I Get a Kick Out of You" is a notable song from his repertoire that has been included in various compilations and releases over the years. The 1990 edition you mentioned is likely a reissue or collection emphasizing Sinatra's vocal jazz and swing mastery, showcasing his interpretations of standards from the Great American Songbook. The song itself, penned by Cole Porter, exemplifies Sinatra's charm and expressive phrasing that made him a legend in traditional pop and vocal jazz.

The album "On the Sunny Side of the Street" by Frank Sinatra, released in 1993, is a compilation that highlights Sinatra's timeless contributions to jazz, swing, and traditional pop. The title track, "On the Sunny Side of the Street," is one of the standout pieces, originally composed by Jimmy McHugh and Dorothy Fields, and showcases Sinatra's masterful interpretation of standards.

Frank Sinatra's Swing Along With Me is a studio album released in 1961 under Reprise Records. The album is also known as Sinatra Swings and features a collection of big band and jazz standards with lush orchestral arrangements. This album marked one of Sinatra's earliest projects with arranger Billy May, delivering a vibrant swing feel across its tracks.

Nothing said new or modern or futuristic quite like a synthesiser in the 70s and 80s. If you were shooting an advert and you wanted your product or your company to appear forward-thinking and ahead of the game, then you would want something electronic, something out of the ordinary. When TV producers and advertising directors started searching for music that sounded like “Tubular Bells” – and then Tomita, and later Jean Michel Jarre – music libraries such De Wolfe, Bruton, Parry and Chappell had to have the tracks readily available. Compiled by Bob Stanley, “Tomorrow’s Fashions” varies from advertising jingles and TV themes to space exploration and gorgeous, beatless ambience. Though it’s 40-to-50 years old there’s a real freshness to this music. Older jazz players Brian Bennett, John Cameron, Alan Hawkshaw and others seized the chance to operate a synth; younger pups including John Saunders and Monica Beale were simply intrigued by the new technology being wheeled into the studios. There’s a tangible sense of adventure.