Like the weather itself, this band would assume a new shape with virtually every release - and this album, half recorded in the studio and half live in Tokyo, set the pattern of change. Exit Airto Moreira and Alphonse Mouzon; enter percussionist Dom Um Romao, drummer Eric Gravatt, and a slew of cameo guests like guitarist Ralph Towner, flutist Hubert Laws, and others. The studio tracks are more biting, more ethnically diverse in influence, and more laden with electronic effects and grandiose structural complexities than before. The live material (heard in full on the import Live in Tokyo) is even fiercer and showcases for the first time some of the tremendous drive WR was capable of, though it doesn't give you much of an idea of its stream of consciousness nature.

Eneide, a five-piece set from Padova, started off as Eneide Pop back in 1970. The boys, still in their teens, were signed by Trident after a successful supporting act for Van der Graaf Generator and an album was recorded and scheduled for release in 1972. For some reason, however, it never came out. The band kept the tapes and finally released it in LP format on their own label in '90 (in a very limited pressing, hence its current high price). The album consists of ten fairly short melodic pieces of typical 70's Italian prog, not overly complex but featuring a nice array of moods and some good interplay between the guitar, keyboard (mostly Hammond but also moog) and flute - although the highly dramatic vocals may require some getting used to.

This Älgarnas Trädgård album (their only studio recording until the newly discovered Delayed) has been one of the pinnacles of underground psychedelic rock - comparable to early Pink Floyd and other masters of freak-out excellence. Recorded in 1971, this CD issue adds a couple of bonus live tracks from 1972. The Elks utilized violins, rebec, cello, guitars, sitar, piano, zither, organ flutes, zinks, Jew's harps, tablas, percussion, Moog synthesizer, and VC-3 Putney synthesizers in their musical panoply. Though they used them in a way that had little to do with rock, it came out as psychedelic rock just the same. They put together combinations of instruments with influences ranging from Floyd to Bach to Terry Riley, the Third Ear Band, King Crimson, and Olivier Messiaen, just to name a few. They listened closely to one another and employed every effect they could get their hands on, finally resorting to drinking tea with sound effects…

This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax. Jarrett again turns his early rampant eclecticism loose - from earthy gospel-tinged soul-jazz to the freewheeling atonal avant-garde - yet this time he does it with an exuberance and expansiveness that puts his previous solo work in the shade…

A record that's got a bit of a shift in the classic Cactus lineup - as the group's still driven strongly by the work of Carmine Appice on drums and Tim Bogert on bass, but get guitar power from Werner Fritzschings, who's a pretty amazing player - next to some added keyboards from Duane Hitchings, and vocals from Peter French - a singer who's ballsy power might be even more in line with the group than their previous lead singer! The album's got an unusual approach in that side one was recorded live, side two in the studio - each with a nicely different flavor as a result.

Capability Brown had and still have a cult following in UK music history as a "progressive" band, ultimately based on an outstanding piece from their second album, Voice. But largely their range covered mainstream pop music, treated in an "arty", alternative fashion. The band was a six-piece in which everyone sang and played instruments. The line-up consisted of Tony Ferguson (guitar, bass), Dave Nevin (keyboards, guitar, bass), Kenny Rowe (bass, percussion), Grahame White (guitar, lute, balalaika, keyboards), Joe Williams (percussion) and Roger Willis (drums, keyboards).
Ferguson and Nevin wrote the majority of the band's material, and the band also excelled in covers of obscure material (Rare Bird's Beautiful Scarlet and Redman, Argent's Liar, Affinity's I Am And So Are You and Steely Dan's Midnight Cruiser).
Capability Brown's forte was vocalizing…

Simply one of the greatest live blues recordings ever. Hooker plays alone at Soledad, yet the real thrill is hearing him backed at Greenwich Village's Café Au-Go-Go in 1966 by Muddy Waters and his band, including pianist Otis Spann, unsung harmonica giant George Smith, Francis Clay on drums, and guitarists Sammy Lawhorn and Luther Johnson. All are at the height of their abilities, but it's Hooker who works like a hoodoo conjurer, making misery rain down in "Seven Days" and "When My First Wife Left Me." This August night's reading of "I'm Bad Like Jesse James" ranks among the most intimidating vocal performances ever taped. His guitar and baritone singing sink to rarely heard depths of the blues - that secret place in the music (known only to its absolute masters) where it becomes an elemental force.

Formed in 1972, this ethnic/kraut jazz quintet (Jochen Leuschner, Reinhard Karwatky, Gerd Bock-Ehrmann, Deiter Kramer, and Ludwig Braun) released their self titled album the same year in a relative discretion. This album made an exploration in long / space rock improvisations relied on jazz grooves and weird electro -acoustic sounds. The "ethnic", mystical elements are obvious notably due to the acoustic percussions rhythm sections. Compositions are mainly instrumental and improvised, brightly showing the technical capacities of the musicians. After several departures the band will be organised under a trio form, recording in 1973 the seminal "Time Machine". This album features astonishing manifestations of freaky fusion jazz exercises mixed with weird experimentations and mysticism. This album was recorded at Dieter Dierk's mythical studio…

Audience was a London-based group that recorded their first album in 69 and had their eponymous debut pulled from the stores a few months after its release, which makes the album a major collectible (CD versions were also hard to come by until a recent reissue). They got signed by Tony Stratton-Smith of the Charisma label (Genesis, Van der Graaf Generator, The Nice and a few others) but although not a purely progressive group, they bore a lot of characteristics of the masters. Among which , a profound (and somewhat derangesome) singer whose voice reminds you a bit of Peter Hammill, a great wind players able to switch to from flutes to saxes and oboe and a bassist.
Three more albums were released under the Charisma label , and Friend's Friend's Friend is easily their best although the much-better known House On The Hill is equal in quality, both featuring tight frenetic and high-energy rock but also virtuosity and inventiveness…

TD's purest expression of "space music," this double album ebbs and flows effortlessly from one tone cluster to another. Almost classical in construction, the music is structured so as to evolve in sections as one theme literally melts into the next. Florian Fricke (of Popol Vuh) played the big Moog on this album and the overall texture of the electronics is warm and shimmering.

After a scission of the avant-garde group "Kluster" due to the departure of Conrad Schnitzler, the two musicians Dieter Moebius and Hans Joachim Roedelius go to work in duet as "Cluster". The band's first years were clearly orientated to Krautrock and to experimental electronic music. Consequently, the production of the band started with massive, radical improvisations, constructed around electric organ works, electronic collages, guitar sound manipulations, feed back. The result is rather similar to Kluster's underground, conceptual music, very chaotic with lot of distortion and reverb. With its repetitive, hypnotic guitar patterns and embryonic electronic collages, the second album "II" can be seen as a classic in 70's German electronic underground. This high quality experimental electronic music will progressively lead the band to something far from the krautrock scene and extreme music…

Food For Thought is a cornerstone funk release by The JBs, the powerhouse ensemble closely associated with James Brown and responsible for some of the most influential grooves of the early 1970s. Originally issued in 1972 and later reissued in 1990, the album captures the raw precision, rhythmic discipline, and explosive horn arrangements that helped define classic funk music. Built on tight basslines, sharp drumming, and punchy brass interplay, the record delivers a sequence of concise yet highly effective instrumental and vocal-driven performances. Signature tracks such as “Pass The Peas,” “Gimme Some More,” and “The Grunt” became foundational examples of breakbeat-heavy funk later embraced by hip-hop producers and DJs. The musicianship is exceptional throughout, with standout contributions from Fred Wesley and Maceo Parker adding depth and firepower. Compact, direct, and endlessly grooving, Food For Thought remains an essential document of the golden age of funk and one of the definitive JBs recordings.

The Lost Album Featuring Watermelon Man is a historically significant release showcasing The J.B.'s in collaboration with trombonist Fred Wesley during the early 1970s, a pivotal era in the evolution of funk music. Originally recorded in 1972 but officially released in 2011 through Hip-O Select, the album captures the raw, tight groove-based sound that defined the James Brown musical universe. The sessions highlight the transition from traditional soul and jazz influences into the more rhythmically driven funk style that would later dominate the decade. The band delivers extended instrumental workouts, sharp horn arrangements, and deeply syncopated rhythms throughout. Tracks like “Watermelon Man” and “Get On The Good Foot” emphasize their signature groove-heavy approach, while covers such as “Use Me” and “Everybody Plays The Fool” are reinterpreted with a distinct funk edge. The bonus tracks further expand the session feel, offering additional raw and energetic performances. Overall, the album is a valuable archival release that documents the creative peak of one of funk’s most influential backing bands.

Album “Doris” by Brazilian singer Doris Monteiro represents a refined snapshot of early 1970s MPB and bossa nova-influenced popular music. Released originally in 1972 and reissued in 2004, the record reflects the smooth transition of Brazilian popular music into a more modern, arranged sound while still maintaining the rhythmic subtlety and harmonic richness associated with bossa nova. Doris Monteiro delivers expressive and controlled vocal performances across a selection of short, well-crafted songs, many of which emphasize lyrical storytelling and melodic simplicity. The arrangements are typically light and acoustic-leaning, often incorporating gentle percussion, nylon-string guitar textures, and soft orchestration. The album stands as a cohesive example of Brazilian popular music aesthetics during the post-bossa nova era.

During the last decade of his life, Bill Evans had developed such a devoted fan base that many of his performances were audience-recorded, particularly when he toured Europe. This previously unissued concert was recorded in Groningen, The Netherlands with the approval of the pianist's manager Helen Keane, but remained in private hands until its release four decades later. The music was well recorded and the tapes were properly stored, so there is no problem from aging. Evans' trio with bassist Eddie Gomez and drummer Marty Morell is in top form throughout this concert, while the repertoire will be familiar to the leader's fans. The pianist is in a reflective mood, especially on his introspective "Re: Person I Knew." Evans' former bassist Scott LaFaro had died tragically just days after the trio's historic Village Vanguard recordings, but LaFaro's driving "Gloria's Step" remained in Evans' repertoire for the rest of his life…