Morrissey has no qualms about catering to Smiths fans, opening the set with a faithful rendition of "How Soon Is Now?" Backed by a top-notch five-piece band that includes his longtime guitarist Boz Boorer, Moz runs through numerous album tracks and B-sides from QUARRY, along with Smiths classics and cover tunes. Morrissey's mid-tempo, reggae-tinged take on Patti Smith's "Redondo Beach" provides a nice change of pace in the energetic set, and later, a wonderfully dramatic version of the New York Dolls' "Subway Train" is paired in a medley with the rare track "Munich Air Disaster 1958." Throughout the concert, Moz is at his crooning best, proving that he can still work fans into a frenzy almost 20 years after his heyday with the Smiths.

The Shreveport, LA-based Ram label put out a cartload of rock, blues, and country records in the 1950s without ever establishing itself as a major indie. This 26-track compilation of, as the title promises, rockabilly and hillbilly sides from the decade is definitely for the "let's clean out the vault 'cause it's there'" kind of enthusiasts. That's not to say that it's terrible, just that it's a pretty unremarkable collection of minor leaguers, the biggest name – and she's hardly a big one – being Margaret Lewis. A couple of guys not primarily known for work under their own name make early appearances.

Johnny Hartman, known best for his 1963 collaboration with John Coltrane, is considered by many to be one of the most gifted jazz vocalists ever, yet his discography is surprisingly limited and he never gained the recognition he so justly deserved during his lifetime. This double CD edition contains a complete previously unreleased performance by Johnny Hartman backed by a trio - taped in 1976 from a radio broadcast in Boston. It is the first known recording of Hartman following his 1973 album “I've Been There” - the next entry in his discography being the October 1977 live set at the Sometime Club in Tokyo, with Roland Hanna and George Mraz - which is presented here as a 9-track bonus.

This release presents the complete album JAZZ A CONFRONTO, recorded by the Johnny Griffin Quartet in Rome during 1974, and included here for the first time on CD. As a bonus, has benn added " The Pasta Parade", a tune based on Gershwin's "Strike Up the Band", wich completes the original session. It Had only ariginally appeared on a compilation LP.

Alga Marghen proudly presents the first record ever produced by Ben Patterson: "This is not only my first CD, but also the first recordings of these works available to the general public." Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avant garde music classics, a crossover between John Cage's exploding influences and the experimental art atmosphere of the early 1960s in Europe.

From the king of juju came this release of 1983, making use of some extra synthesizer-type sounds, as the title vaguely suggests. The sound is the general form of the new juju held up by Sunny Ade. There are no big surprises here, but it's a good album nonetheless. The music is performed well, and written pretty well to boot. Add to that a veritable army of musicians, and the result is a nice run of Nigerian pop with a special dose of keyboard work. As a special treat, there's a half-hidden track between four and five showcasing some work on the talking drums (dundun).

After Art Pepper returned to the scene in 1975, it took him two years to get noticed outside of Los Angeles. His initial visit to Japan was a major turning point, and music from one of the very well-received concerts was released for the first time on this 1995 CD. Pepper performs four numbers – "Cherokee," ahis original "The Spirit Is Here," a passionate "Here's That Rainy Day" and a speedy workout on "Straight Life" – with a quintet comprised of Clare Fischer (who unfortunately sticks exclusively to electric piano), bassist Rob Fisher, drummer Peter Riso and percussionist Poncho Sanchez.

Singles and Rarities. Unreleased Tracks. Reversing the usual process by which groups break up and give way to solo careers, the Traveling Wilburys are a group made up of solo stars. The group was organized by former Beatle George Harrison, former Electric Light Orchestra leader Jeff Lynne, Bob Dylan, Tom Petty, and Roy Orbison, thus representing three generations of rock stars. In 1988, the five (who had known each other for years) came together to record a Harrison B-side single and ended up writing and recording an album on which they shared lead vocals.

[quoteIn 1966, producer Alan Bates spearheaded a series of avant-garde jazz releases for the Fontana label (both Dutch and UK imprints), now prized by collectors not only for the fact that they document crucial years in the music (1962-66), but for their beautiful and unique color lithography by Dutch pop artist and lithographer Marte Röling. Röling's covers are fanciful renditions of the artists' heads, filled with whimsical cutaways showing the machinations of the jazzman's mind (Tchicai's, on Mohawk, includes group protests and a saxophone; Marion brown has numerals and valves).[/quote]

Everyone would agree that the Sonics reached their peak on their 1964-65 recordings for Etiquette. This 29-track compilation has everything they recorded for the label, extended not just to everything from their singles and two albums, but also with an alternate take of "The Witch" and live recordings of "Psycho" and "The Witch." Consequently, it's the best Sonics release on the market, though you should be warned: it's not wall-to-wall greatness. After the first half-dozen or so songs, you might well be ready to buy into their legend as one of the great (and certainly rawest) '60s garage bands, as those tracks include their toughest elementary riff-fueled pounders: "The Witch," "Psycho," "Boss Hoss," "He's Waitin'," and "Strychnine."

Along with other bebop sides Navarro did for Capitol and Blue Note, these Savoy cuts are part of the trumpeter's essential recordings. And being mindful of his early demise in 1950, it's amazing to realize that the Memorial album is one of several incredible sessions Navarro was able to produce in just over a two-year period during the late '40s. Teaming up with frequent musical partner Tadd Dameron, Navarro reels off fluid solos on both the outstanding Dameron original "The Tadd Walk" and a second impressive swinger "Be Bop Carroll."

Jazz fans of a certain age who remember McCoy Tyner’s great 1973 album Enlightenment may have wondered what became of Azar Lawrence. He dropped off jazz radar for most of three decades, but he is back. The Seeker is his fifth record since 2007. He also plays in drummer-composer Franklin Kiermyer’s quartet on Further. Lawrence has been compared to John Coltrane his whole working life, but he is not a replica. He plays Coltrane’s instruments but not his licks and patterns. Even Lawrence’s sound is a variant. On soprano saxophone he is somewhat more rounded, and has slightly more vibrato on tenor. What he shares with Coltrane is an intensity of passion that overwhelms everything in its path.

Petr Eben is one of the leading composers of our time. After the recordings with Faust / Mutationes and Job, this recording forms the third part of a complete recording of his previous organ compositions. The works of Sunday music and Laude are among the most popular organ pieces in Eben. For the organ competition of the "Prague Spring Festival" he composed the two choral fantasies, which are characterized by virtuoso gestures. The work A Festive Voluntary - Variations on Good King Wenceslas was created in 1986 as a commission for the re-inauguration of the organ at Chichester Cathedral. Gunther Rost plays the Schuke organ of the Neubaukirche Würzburg. SACD multi-channel A CD of the highest quality level!

Ram Records was the creation of the late Mira Smith. A multi-talented musician, studio engineer and songwriter, Mira made many fine recordings both of blues and hillbilly artists. Most of them came from her home town of Shreveport, Louisiana but, occasionally, she would record musicians and singers from places further afield. Many of the performances she recorded have remained unissued until today, not because of any deficiency in the recordings or performances, many of which are very fine indeed, simply because Mira worked on an indie label shoestring and had insufficient capital to promote more than a handful of singles a year. An awful lot of good music just stayed in the vaults.

This LP contains valuable performances by the early Jazz Messengers that sat unissued until decades later. Four selections feature the band when drummer Art Blakey and pianist Horace Silver were co-leaders; trumpeter Donald Byrd, Hank Mobley on tenor and bassist Doug Watkins were also in that quintet. Two numbers from June 1956 find Blakey as sole leader of The Messengers for the first time, heading an otherwise unrecorded unit with Byrd and multi-instrumentalist Ira Sullivan.