Composer Nikolai Myaskovsky was one of the most prominent Russian/Soviet symphonists. He wrote twenty-seven symphonies and numerous orchestral works, which were his primary focus. Experts divide his career into two main periods — before and after the end of the 1920s. The second half of the 1920s was a turning point for Myaskovsky, when he was changing his approach to symphonism.

Although four centuries have passed since the death of Claudio Monteverdi (1567–1643), one may say that he remains one of the most fascinating figures in the history of modern music. He lived at a decisive moment in history: the period that witnessed both the decline of a cappella vocal polyphony and the birth of music drama. His art marks, in a sense, the beginning of a musical era to which our own time still belongs. His exceptional longevity allowed him to experience the flourishing of the madrigal, with Luca Marenzio and Carlo Gesualdo, as well as the earliest developments of opera: in Florence, in Rome, and later in Venice.

Bach was a central part of Sviatoslav Richter’s repertoire throughout his career. Some of his very earliest recordings, on Russian 78s, were music of Bach. Some of the latest additions to his repertoire, and his last studio recordings, were also Bach. Richter began to play some of the pieces from The Well-Tempered Clavier in public as early as 1943. He did not play the complete cycle until 1973, and apparently he performed it as a cycle only a dozen times. He devoted much of 1973 to this music.

Mountain played heavy Blues Rock, mainly influenced by the well-known band Cream. Woodstock was only their fourth gig but they played in front of 500,000 people. It was Saturday, August the 16th, 1969, the second day of Woodstock, and about 9:00 pm.

Somewhere Between Midnight and Silence is a studio album by Vivien Schmitt, recorded with The Dakota People.

Heavenly is an album by American pop singer Johnny Mathis that was released on August 10, 1959, by Columbia Records and marked his return to recording ballads with orchestral accompaniment. Along with the material that others had covered before are two new songs: the title track and "I'll Be Easy to Find".

Milestones is Davis's recording in a sextet configuration with John Coltrane, Paul Chambers, Cannonball Adderley, Philly Joe Jones and Red Garland. This 1958 masterpiece captured Davis's modalism that introduced on this album continues to influence the genre globally.

Neil Sedaka is an American singer, songwriter and pianist. Since his music career began in 1957, he has sold millions of records worldwide and has written or co-written over 500 songs for himself and other artists, collaborating mostly with lyricists Howard "Howie" Greenfield and Phil Cody.

This CD features piano trio was adopted and given its own voice by two of the most important Slavic composers of the 19th century: Pyotr Ilyich Tchaikovsky and Bedrich Smetana. These two trio recordings originally appeared on the American Vox label and were recorded in Los Angeles in the late 1940s. The Tchaikovsky Trio was one of the first recordings to be released on the newly developed medium of the LP record developed by Columbia in 1948. Both trio recordings feature the legendary violinist Louis Kaufman, who was the leading Hollywood studio violin soloist throughout the 1930s and early 1940s. He was featured in the luscious violin solos in such classic film scores as Gone with the Wind, Casablanca, Wuthering Heights and Modern Times. After the Second World War, following his career in the film industry, Kaufman resumed his concert activities as a violin soloist.

"On My Way" is the debut studio album by the folk-rock duo The Whiskey Brothers, released on April 14, 2026, under the label Nvak Collective. The album features 14 tracks, including their viral hit cover of Rusted Root's "Send Me On My Way". The Whiskey Brothers, a duo from Derbyshire, England, are known for their raw acoustic sound featuring guitars, a kick drum, and vocal harmonies. This album captures their high-energy contemporary folk style.

Review by William Ruhlmann Borboletta was the first new Santana band studio album in 11 months and the group's sixth overall. Once again, individual credits were listed for each song. The main problem was that the band seemed to be coasting; Carlos turned in the usual complement of high-pitched lead guitar work, and the percussionists pounded away, but the Santana sound had long since taken over from any individual composition, and the records were starting to sound alike. That, in turn, started to make them inessential; Borboletta spent less time on the charts than any previous Santana album.

The mark that the recording of Caravanserai and Love Devotion Surrender had left on Carlos Santana was monumental. The issue of Welcome, the band's fifth album and its first with the new lineup, was a very ambitious affair and was regarded by traditional fans of Santana with even more strangeness than its two predecessors. However, issued as it was at the end of 1973, after Miles had won a Grammy for Bitches Brew and after Weather Report, Return to Forever, and Seventh House had begun to win audiences from the restless pool of rock fans, Santana began to attract the attention of critics as well as jazz fans seeking something outside of the soul-jazz and free jazz realms for sustenance. The vibe that carried over from the previously mentioned two albums plus the addition of vocalist Leon Thomas to the fold added a bluesy, tougher edge to the sound showcased on Caravanserai. The band's hard root was comprised of Carlos, drummer Michael Shrieve, bassist Doug Rauch, and keyboard king Tom Coster. Add to this the percussion section of Armando Peraza and Chepito Areas as well as a second keyboard by Richard Kermode, and space was the place.

The Legendary Scott LaFaro is a highly regarded compilation showcasing the revolutionary bassist's brief but immense career (roughly 1958-1961), featuring his work with Bill Evans, Ornette Coleman, and others. It highlights his melodic, fluid, and high-register style, which redefined modern jazz bass, with recordings often hailed as "genius" and essential for jazz history.

The high talent and extraordinary versatility of Jo Basile is reaffirmed once more with this recording. Basile is an exceptionally gifted musician whose facility, artistry and imagination have placed him in the front rank of entertainers. He has played countless supper clubs and radio amd television shows throughout the United States and the continent and he toured several years with the famous French chanteuse. The coveted Grand Prix du Disque, the highest recording in France, was bestowed upon Basile in 1957. The accordion in the jazz context is most often employed as a novelty, but Basile's jazz while is light, is also quite serious and this album throws heretofore only hinted at facets of his great talent into relief. He is assisted in his pursuits by a very fine and emphatetic group of subordinates and the quality of the 10 songs he has chosen to play further inspires his gifts.

John Coltrane's "Live At The Half Note" on the Laserlight label is an excellent look at what is arguably jazz's greatest quartet - the "Classic Quartet" of Trane, McCoy Tyner, Jimmy Garrison and Elvin Jones - in an intimate club setting. It is during performances like these, where Coltrane had the ability to stretch out and play at length, improvising and creating on the spur of the moment, that he further developed his signature, searching style.