Jazz Sampler from Mobile Fidelity Sound Lab. Established in 1977 by Brad Miller, MFSL specializes in remastering major-label music for the "audiophile" market. CD releases began in 1984.

Fans of muscular progressive rock will love Solar Fire, a concept album loosely designed around cosmology. The album opens with the majestic "Father of Night, Father of Day," which has the drive and complexity of a prime King Crimson track. As unlikely as it may seem, the track was controversial in Mann's native South Africa because of the "Father of black, father of white" line, implying that apartheid might not extend to infinite space. The album moves on to the progressive rock/jazz fusion of "In the Beginning, Darkness," a swinging, even funky track that benefits from soulful vocals by Doreen Chanter and Irene Chanter of the Grove Singers.

Small Faces were an English rock band from East London. The group was founded in 1965 by members Steve Marriott, Ronnie Lane, Kenney Jones, and Jimmy Winston. The band is remembered as one of the most acclaimed and influential mod groups of the 1960s with memorable hit songs such as "Itchycoo Park", "Lazy Sunday", "All or Nothing", and "Tin Soldier", as well as their concept album Ogdens' Nut Gone Flake. They later evolved into one of the UK's most successful psychedelic bands until 1969.

Para Além da Saudade is the third studio album bu Portuguese Fado singer Ana Moura. It was released in 2007 and published by World Village and Universal. Contains 15 tracks, with the opening theme, "Os Búzios," it became Ana Moura's most commercial single to date. The album met with favourable reviews. Rascunho gave the album a favourable review and said: "Leafing through the pages of the small book that accompanies this third record of original, never fail to jump out at you names like Faust, Amélia Muge, Patxi Andeon or Tim Reies - the latter surely the most unsuspecting strangers, but also not sounding that the oddness of names.

Pianist Khatia Buniatishvili was signed to the Sony Classical label in her early 20s after a series of major competition prizes and began a top-level international career. She has said that some of her interpretations are influenced by Georgian folk music. Buniatishvili's international renown comes in large part from her recordings. She was signed to the Sony Classical label and released her debut album, Khatia Buniatishvili Plays Franz Liszt, in 2011. Her 2012 release, Chopin, won the Echo Klassik Young Artists' Award. Buniatishvili has remained on Sony's roster, recording mostly core virtuoso 19th and early 20th century repertory. In 2020, she released the recital Labyrinth, featuring an eclectic program ranging from Bach to Philip Glass and Serge Gainsbourg.

The Main Event: Live At The Maple Leaf captures Rebirth Brass Band in a raw, high-energy live performance recorded in New Orleans. Released in 2004, the album reflects the band’s deep roots in the city’s brass band tradition, blending jazz, funk, R&B, and street parade energy into a continuous, rhythm-driven experience. The recording emphasizes live interaction, crowd participation, and the unmistakable second-line groove that defines the New Orleans sound. While the band is often compared to more polished acts in the genre, this release highlights a more direct, unfiltered club atmosphere where spontaneity and rhythmic drive take priority over studio refinement. Extended jams such as the multi-part “The Main Event” showcase long-form improvisation, shifting grooves, and chant-driven audience engagement. Overall, the album serves as a document of authentic New Orleans live culture, capturing the intensity of a packed venue rather than a polished studio interpretation.

Earthquake At The Avalon is a live album by Larry Corryell, released in 2009, capturing the guitarist in an intense fusion-oriented performance setting. The recording highlights Corryell’s signature blend of jazz improvisation and rock energy, showcasing his fluid guitar phrasing and dynamic stage interaction. The set moves through extended compositions that emphasize groove, improvisation, and expressive interplay between musicians. With contributions from a strong ensemble including drums, bass, trumpet, and additional guitars and keyboards, the album delivers a rich and layered live sound. Tracks unfold with a mix of atmospheric passages and high-energy fusion sections, reflecting Corryell’s long-standing influence in jazz-rock development. Earthquake At The Avalon stands as a powerful live document, illustrating both technical mastery and spontaneous creativity in a concert environment.

Motherland Pulse is the debut leader recording by Steve Coleman, originally recorded in 1985 and later reissued in 2001, marking the beginning of his groundbreaking M-Base musical concept. The album presents an early exploration of Coleman's complex rhythmic language, combining jazz improvisation with funk-influenced grooves and post-bop harmonic structures. Featuring a highly accomplished ensemble including Geri Allen on piano, Lonnie Plaxico on bass, and Marvin “Smitty” Smith on drums, the record showcases tight interplay and forward-thinking compositions. Guest appearances by Cassandra Wilson and Graham Haynes further enrich the sonic palette, adding vocal and brass textures to the ensemble’s intricate framework. Unlike more densely layered later works, this recording maintains a relatively open arrangement style, allowing each instrument space to interact dynamically. Motherland Pulse stands as an important early statement in modern jazz evolution, highlighting Coleman’s innovative approach to rhythm, structure, and collective improvisation.

The Return Of Space Raiders is a 2008 synth-pop release by Space Project, built around a single theme track expanded through multiple remixes by different electronic producers. The album embraces a retro-futuristic aesthetic, combining analog-inspired synthesizers, arpeggiated sequences, and space-themed atmospheres reminiscent of classic 80s electronic music. Each remix interprets the core composition in a distinct style, ranging from cinematic ambient textures to more club-oriented dance arrangements. The Original Version establishes the melodic foundation, while contributions from remixers such as Staffan Öhman and Marco Rochowski push the track into varied electronic territories with extended structures and layered sound design. The result is a cohesive remix album that emphasizes mood, atmosphere, and rhythmic progression. The Return Of Space Raiders appeals to fans of space-themed synth music, trance-influenced electronica, and modern interpretations of retro electronic soundscapes.

Zombie was the most popular and impacting record that Fela Kuti & Africa 70 would record – it ignited the nation to follow Fela's lead and antagonize the military zombies that had the population by the throat. Fela is direct and humorous in his attack as he barks out commands to the soldiers like: "Attention! Double up! Fall In! Fall out! Fall down! Get ready!" Meanwhile, his choir responds with "Zombie!" in between each statement. Since the groove was so absolutely contagious, it took the nation by storm: People in the street would put on a blank stare and walk with hands affront proclaiming "Zombie!" whenever they would see soldiers. If "Zombie" caught the attention of the populous it also cought the attention of the authority figures – this would cause devastating personal and professional effects as the Nigerian government came down on him with absolute brute force not long after the release of this record. Also included are "Monkey Banana," a laid-back groove that showcases drummer Tony Allen's mastery of the Afro-beat, and "Everything Scatter," a standard mid-tempo romp. Both songs are forgetful in relation to "Zombie," but this is still an essential disc to own for the title track alone.

Although it lacked a hit single to match "Poetry Man," Phoebe Snow's second album was another folk-pop-jazz confection that effectively showcased her one-of-a-kind voice in musical settings featuring the cream of New York's session musicians, and produced by Phil Ramone. It was a classy job on which Snow contributed seven originals and displayed her versatility on covers ranging from Motown to Gershwin.