Joseph Marx was an Austrian composer with Italian grandparents. He spent a lot of his youth staying in Italy and was inspired by the beautiful idyllic surroundings. Nature and its seasonal cycle continued to be an inspiration in his music. A selection of these seasonal inspired pieces is present on this disc, including the recording premiere of Feste im Herbst, a monumental work of great maturity which was inspired by his favourite season Autumn and was the composers last work.

‘Goerne’s way with phrasing is quite admirable. He does not carve, he sculpts. One listens to Schubert’s phrases as one would stroke polished marble. Never an intonation for the sake of effect, never a superfluous accent’ (Sylvain Fort, Diapason). After the first volume of the Matthias Goerne Schubert Edition, this double album speaks of death, of the ‘Wanderer’, and of the relationship between Schubert and his poets . . . For this occasion the singer has called on two travelling companions who have left a lasting artistic impression on the world of the lied.

Igor Stravinsky is not a composer who is usually associated with symphonic form. Five of his compositions bear that name, however, even though they have little in common. The first major work Stravinsky composed entirely in the United States, the Symphony in Three Movements seems to pick up where the Rite of Spring left off with its rhythmic ostinatos and shock effects. It can be interpreted as the composer’s response to the Second World War, which was ravaging Europe at the time of its composition, and its striking and triumphant conclusion appears to echo of what the composer must have felt. The Symphonies of Wind Instruments, a short, compact work, was a tribute to Stravinsky’s friend and colleague Claude Debussy.

The second of three Allison albums issued on Motown's Gordy subsidiary in the 1970s, Luther's Blues captures the guitarist's uncovered-wire sound in its full glory. The crescendo ending of "Let's Have a Little Talk," one of five Allison originals here, is more than another standard variation on crowd-pleasing clichés. It's an apocalyptic, blues-wailing roar, with Allison's pleading vocal at its core. Berry Gordy turns up in the composer credits for one tune, "Someday Pretty Baby," which, along with "Part Time Love," trawls the company's early raw-edged back catalog. Even the funk-flavored "K.T."–an attempted hit single?–fits the mood. The three bonus tracks on this exemplary remaster nearly double the original LP's length, with a raw version of Freddy King's "San-Ho-Zay" glowing alongside an alternate version of Allison's "Bloomington Closing" and a lengthy medley from the 1973 Ann Arbor Blues Festival.

Before Steve Young became one of the founding fathers of country-rock with his 1969 album Rock Salt and Nails, he was a member of Stone Country, a short-lived pop group that fused country and rock in a very different way. Stone Country's sole album, released in the spring of 1968, is a polished but intriguing mixture of sunshine pop, progressive country, blue-eyed soul, and folk-rock, all wrapped up in a slick package created with the best of L.A. studio craftsmanship (producer Rick Jarrard and arranger George Tipton, who both worked on the album, were also helping Harry Nilsson create his sublime early albums at the same time). Stone Country goes in too many directions at once for its own good, but it's clear that this was a band packed with talent and full of great musical ideas; the opener, "Love Psalm," is a delightful bit of psychedelic pop punctuated with some solid bluegrass picking…

In a promotional DVD accompanying this release Jean-Guihen Queyras cites the abundance of excellent Bach Cello Suites cycles on the market as one reason he waited until 2007 to commit his interpretations to disc. Queyras needn't have worried, for his playing is never less than beautiful, eloquent, and thoroughly world-class. It fuses the most apparent characteristics distinguishing certain memorable editions: Schiff's shapely melodic parsing, Pergamenschikov's infectious feeling for the dance, Bylsma's period-performance innovations, and Tortelier's purity of tone.

My World marked an attempt to somewhat "modernize" Ray Charles by incorporating elements of hip-hop and New Jack swing into his trademark sound. As a result, the record has aged poorly; the highlights are the songs done in Charles' usual inimitable style, including a reading of Leon Russell's "A Song for You" and a soulful rendition of Paul Simon's "Still Crazy After All These Years."

When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing – he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides "Annie," side one of this album includes several other White originals. The best of these are "Willie and Laura Mae Jones," a song about race relations with an arrangement similar to "Ballad of Billie Joe," and "Soul Francisco," a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff.

The Amsterdam String Trio's chamber jazz album Winter Theme was recorded at Villa-Medici Giulini Studios in Briosco, Italy in November 1999 and released in 2000 by the Munich-based record label Winter & Winter. Its 16 pieces range from protracted tonal washes to spontaneous interactive essays. Each realization blends the advanced creative sensibilities of three master improvisers. Classically trained composer and violist Maurice Horsthuis and bassist Ernst Glerum are longstanding associates of Han Bennink, Misha Mengelberg, and the Instant Composers Pool Orchestra. Composer and cellist Ernst Reijseger, who has collaborated extensively with filmmaker Werner Herzog, brings his own special magic to every project that involves him, and has recorded with the group Groove Lélé for Winter & Winter…

"Tempi Dispari" is a magical live album from 1974 by the Atomic System variation of The New Trolls, led by guitarist Vittorio De Scalzi after three members left to form what would end up being Ibis. De Scalzi is joined by future Nova keyboards player Renato Rosset, who influences this variation in a more jazzy oriented way than any other New Trolls incarnation. The band play here two side-long suites with side 1 really exploring the Jazz theme and side 2 including a theme from "Concerto Grosso 1" of excellent and innovative music with very heavy Miles Davis-like jazz prog rock influences.

Deep Forest awash in the Pacific. There is certainly the flavour of that region, with Polynesian chanting and rhythms. However, unlike their other releases, Pacifique is a soundtrack to a movie rather than a stand-alone album.
For Pacifique, they've collected percussion samples and vocals from Samoan and other island cultures. The raw components are fairly good. The sampled voices on Pacifique form a nice melodic and rhythmic counterpoint to underlying percussion. La Legende (Part 2) provides similarly well blended vocals with a solid, if unextraordinary, rhythm and melodic line. And Huaine Reggae is a nice upbeat piece to close the album.

This (mostly) live album from a pair of Iranian sisters is an absolute melodic feast. Sampling the range of music – from the classical modes of "Saghi Nameh" to the opening lush Kurdish theme of "Mina" – is a joy, and nowhere more than on "Dorna," where their voices shine, largely unaccompanied, on a more contemporary piece that manages to sound timeless. There are some fascinating little diversions, as when the lullaby "Gole Laleh" morphs into the spiritual "She's Got the Whole World in Her Hands" (note the gender change!) sung softly by guitarist Knut Reiersrud, who also brings a lot to this CD instrumentally. Apart from the lovingly sinuous voices, what impresses most is the rich, loving variety of sensual and exotic melodies filling the disc. It's close to a sensory overload – but stops short, just at the perfect point.