At the beginning of the 2000s, a new wave of music spilled into the cocktail bars and lounge music was born. The band DePhazz quickly became the insider tip darling of television and radio editors, who liked to put the band's retro-electronic sounds on heavy rotation among their lifestyle and news reports and thus enveloped the entire nation in an aesthetic carpet of sound. Through numerous samplers such as "Buddha Bar" or "Cafe del Mar", songs like The Mambo Craze reached the whole world.

The Unauthorised Live Recordings … The Beatles Live 1964 - 1965: Unknown concerts, at least 2 different concerts but probably more …

Jimi Hendrix's sonic assaults and attacks hypnotized, frightened, and amazed audiences in the late '60s. His studio recordings helped him attain his reputation, but his live works validated it. That's the case on the 13 songs from a 1968 Winterland concert that made their way onto CD in 1987. Whether he was doing short, biting songs like "Fire" or stretching out for sprawling blues statements like "Red House" and "Killing Floor," Jimi Hendrix turned the guitar into a battering ram, forcing everyone to notice and making every solo and note a memorable one.

Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1984 and 1990 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

This 2-CD set presents the legendary valve trombonist acting as co-leader with Zoot Sims on the January 1956 album "Tonite's Music Today" and as leader of three separate studio groups on the self-titled "Brookmeyer" from October of the same year. He's leader of the BB Quartet on "The Blues - Hot and Cold" from June 1960, and finally shares leadership on "Stan Getz/Bob Brookmeyer" from September 1961.

The Smithereens, Joe Cocker, Johnny Rivers, The Beach Boys, Ike & Tina Turner, Bobby McFerrin, Jan & Dean, Peggy Lee, The Persuasions and Dr. John in a Tower Records Tribute to The Beatles!

This 1979 effort finds B.B. interpreting a number of pop-blues tunes, many of them co-written by Will Jennings and co-producer Joe Sample, with King co-writing two of the songs aboard. Even with a large, contemporary backdrop (including a seven-piece horn section and female backup singers), there's still plenty of room for B.B.'s stinging guitar and stentorian vocals in the mix. Highlights include the gospel-tinged "Better Not Look Down," "Same Old Story (Same Old Song)," "Happy Birthday Blues," "The Beginning of the End" and the title track. As one of B.B.'s more pop-oriented offerings, this succeeds admirably.

This is a delightful recording from a conductor more closely allied than any other to Berlioz's music. With Berlioz the devil is always in the detail; he was an extraordinary orchestrator and capable of writing unidiomatically for instruments–especially the woodwinds–in order to get exactly the sound he wanted. Or rather, sounds, for the whole texture is made up of many layers. Davis understands this as if by instinct, and draws some beautiful playing from the instrumentalists without ever losing sight of the whole picture. It has been said that the French style of phrasing is all foreplay and no climax: the singers bring this teasing quality to their long, flowing lines but with a charmingly English home-counties blush too. Elsie Moris's light tone is a perfect match for Peter Pears' cool, silvery voice in this respect - and the choir too makes a good full sound without ever getting too heavy. The two discs also include some other gems from the pen of this most idiosyncratic of composers.

This is part of a series of illustrated biographies of musicians in an hardcover CD book (vinyl LP book in 2022). The 'Bob Dylan ' volume has 26 pages of illustrations by Pablo, with a preface by the French rock critic Philippe Manoeuvre. BDFolk 1961/1962. 2016 edition is more restrictive; the text by François Kahn is in French only, and there is only one CD inside: the First Album plus Mixed Up Confusion and 9 tracks of the 1961-1962 radio broadcasts.

Canadian trumpeter Lina Allemano and her signature acoustic quartet return with their latest album Pipe Dream. The Juno-nominated band’s seventh release includes the new four-part suite “Plague Diaries” and offers up a new chapter in the chamber-jazz quartet’s ongoing evolution. The band’s seamless improvisations and orchestral arrangements reflect a level of maturity that can only be achieved after 18 years as an ensemble. The quartet features Lina Allemano on trumpet, Brodie West on alto saxophone, Andrew Downing on double bass and Nick Fraser on drums.

Hugo Kaun is considered a modern late Romantic and was a German composer, conductor and music educator. His works were held in the highest esteem in Germany and America. In Chicago, Kaun studied with the German-American music theorist Bernhard Ziehn, with whom Wilhelm Middelschulte also received his training. Later, like Middelschulte, he taught at the conservatory there. Until 1901, he worked as a music teacher, conductor and composer in Milwaukee, Wisconsin and other places, and as founder and conductor of the Milwaukee Liederkranz and director of the festivals of the Northwest Sängerbund.

Ewelina Novicka came across Weinberg's traces while researching Shostakovich, and Laks was brought to her attention by pianist friend Milena Antoniewicz, with whom she recorded her own composition Kaddish in the version for violin and piano in 2011. The Polish-born violinist Ewelina Novicka was not only deeply touched by the fact that Laks and Weinberg had escaped the Shoah, but above all by the connection with the fate of her own family, which gave rise to her desire to place her artistic work in the service of the works of these two composers.