The first album by the Jazz Crusaders (which started an extensive series for Pacific Jazz) introduced the colorful quintet. With trombonist Wayne Henderson and tenor saxophonist Wilton Felder giving the ensembles a unique sound, the group (also featuring regular members pianist Joe Sample and drummer Stix Hooper along with guests Jimmy Bond on bass and guitarist Roy Gaines) managed to strike a balance between creative hard bop and accessible soul-jazz. In addition to their version of "Theme From Exodus" (hoping to jump on the bandwagon created by Eddie Harris' hit rendition), the Jazz Crusaders perform originals by Felder, Henderson, and Sample ("Freedom Sound").

Here you have three absolutely breathtaking jazz performers locked into a studio for a day or so. From this combination of guitar, standup bass, and acoustic drum kit, you've got nine tracks of sheer jazz joy – three guys just blowing for the hell of it, recorded on the fly. There's a strong sense here that engineer Rob Eaton probably tried to get everybody properly set up and balanced before the session started and just gave up when everybody started playing. It's a delight to hear, because everything has gone into the performance, which is spontaneous and graceful – no going back for the next take here. Pat Metheny's playing is definitely modernistic, highly fluid, almost liquid lightning – no effects boxes here, though (he does play Synclavier on the last track, "Three Flights Up," but it's great anyway). Roy Haynes, likewise, should be heard by anybody wanting to get behind the traps: this man has a sense of humor, and he's a blur of motion. Dave Holland, on bass, is no slouch either, keeping pace with Metheny's guitar lines, and balancing up against Haynes' drums. Together, these guys are incredible.

From the sweet to the salacious to the poignant, Maria Muldaur's eponymous, strong debut features savvy studio vets, talented guests, strong tunes, and Muldaur's lissome pipes. The outstanding players include Ry Cooder, David Grisman, Clarence White, and Mac Rebennack, better known as Dr. John. A tasteful guitar solo by the underrated Amos Garrett elevates the charming surprise hit single "Midnight at the Oasis." Although she later gravitated to jazz and gospel, Muldaur's first outing is heavy on songs derived from country and blues. A rousing "Work Song," borrowed from Kate & Anna McGarrigle, is only one of several highlights.

Soul Suspects, Johnny Curtis, Kenny Young, Willie Hobbs etc in a rare tracks compilation from Sun Label Group.

The Norwegian six-member a cappella group, Nordic Voices here presents the extraordinary polyphonic music of Tomas Luis de Victoria, a Spanish composer whose music has continued to move people for more than 400 years, crossing geographical, cultural, and even religious barriers. This surround-sound recording comes ten years after a "warm, consistent and moving" (BBC Music) album of Lamentations, which featured pieces by sixteenth-century composers, including Four Lessons by Victoria.

In his debut solo recording for Linn, Richard Egarr charts the extraordinary breadth of invention at play in works by William Byrd. Richard Egarr’s impressive career, both as a solo keyboardist and conductor (notably with the Academy of Ancient Music), has cemented his reputation as one of the UK’s most compelling musicians.

Herreweghe’s Bruckner symphony cycle with the period instruments of his Orchestre des Champs-Elysees reaches the tremendous Fifth, a pivotal work in the composer’s development. As usual it’s a sober account, and nicely tailored, though the conductor’s knack for shaving away the sharp edges can be a mixed blessing.

Bob Dylan live at Universal Amphitheatre, Los Angeles, USA, 3rd June 1978.

Bruce Springsteen & The E Street Band live at Los Angeles Memorial Coliseum, 21st September 1988.

Once considered a remote backwater, Seattle, Washington, and its underground music scene, existed in a state of seclusion. It was a city isolated both geographically from the rest of the country and commercially from the entertainment industry machinations of the major cultural hubs. With technological advancements making the world a smaller place, a huge influx of corporate money changing the demographics of the city itself, and staggering population growth – not to mention the sudden explosion of worldwide interest in Seattle’s musical exports in the early 1990s – the place is not quite the distant territory it once was. Yet, the Emerald City’s subterranean musical petri dish has remained largely a scene unto itself, comprised of devoted DIY practitioners building their community and creating their noise in obscurity.

The trio America (vocalists/guitarists Dewey Bunnell, Gerry Beckley, and Dan Peek) approximated the 1970s California pop folk sound so well that when their first single "A Horse With No Name" appeared on the radio waves in the fall of 1972, many listeners assumed it was a song by Neil Young. Ironically, "Horse" knocked Young's own "Heart of Gold" out of the Number One slot that year and jump-started America's career as a sort of lighter and less-filling version of Crosby, Stills Nash & Young. All three members of the group were competent and accessible songwriters, and their easy harmonies brought America several big hits throughout the '70s, including two produced by Beatles-producer George Martin, "Tin Man" and "Lonely People." Peek left at the end of the decade, leaving America as a duo, and they managed one more radio hit, "You Can Do Magic" in 1982. All of these are included on this collection, along with "Ventura Highway," "Muskrat Love," "Sister Golden Hair" and key album tracks.