Remastered from original analogue tapes by Rinaldo Donati at Maxine Studio, Milan. Recorded just a year before he died (June 1982), this superlative release is an essential purchase for all Art Pepper fans and collectors. Recorded live at the Estate Jazz Festival, Genova, Italy on July 6, 'Art of Art' features five selections, four original compositions by Pepper, plus the popular standard "Over The Rainbow" by Harld Arlen. Bebop and the blues are at the forefront of this session, superbly delivered by the leader and his all-star accompanists George Cables, David Williams, and Carl Burnett.

The Piano Concerto No. 1 in D minor, Op. 15, is a work for piano and orchestra completed by Johannes Brahms in 1858. The composer gave the work's public debut in Hanover, the following year. It was his first-performed orchestral work, and (in its third performance) his first orchestral work performed to audience approval.

As black popular music genres were adopted by white teenage audiences in the 1950s, there was a tendency for black music to revert to more authentic, basic styles. Towards the end of that decade, a new generation of black entrepreneurs sought to cash in on this trend by setting up innovative independent labels, which were to produce some of the best known names of twentieth century music such as Sam Cooke, Berry Gordy and Ray Charles. The growing civil rights movement, the rise of the 45rpm record and the electric guitar all played their part in the creation of a new sound. Part of the History of Soul series, the accompanying 32-page booklet sketches the historical background to a collection of exciting tracks from the 1950s and 60s.

Opus Dei, the band’s first album for Mute, was mixed by Rico Conning (Wire, Pere Ubu, Swans, William Orbit) and the band’s classic Laibachian interpretations of Opus’ ‘Live Is Life’ (here presented in English as ‘Opus Dei’ and in German as ‘Leben heisst Leben’) and Queen’s ‘One Vision’ (reworked as ‘Geburt Einer Nation’) soon saw them emerge from the shadows as they garnered support from the likes of MTV and ITV’s The Chart Show. This mainstream spotlight, coupled with memorable features in the music press, opened up opportunities for the Slovenian collective that included their first world tour. Performances from the tour from London’s Queen Elizabeth Hall, San Francisco, Berlin, Paris and “somewhere in Europe” make up the second CD of the expanded remastered edition.

Live at Long Beach is a live album by the British band Deep Purple featuring a recording of the MKIV line—up performing at the Long Beach Arena, California, USA, on February 27, 1976 as part of a tour in support of the album Come Taste the Band.

Rhythm & Blues was not recognised as a distinct musical genre until the late 1940s and these CDs from the middle of that decade reflect the musical taste of the black population of the United States as it moved away from country blues towards a commercial, dance-oriented fusion of jazz and blues that came to be known as jump blues.

The most beautiful country & western songs by The Osborne Brothers, Arthur Smith, Paul Warren & Lester Flatt's Nashville Grass and many more on one compilation!

The forgotten superheroes of 20th-century black music, the leather-lunged blues shouters, dominated the US nightclub stages and R&B charts for half-a-dozen years or so following World War II, before being side-lined by the bourgeoning rock n roll storm in the early 1950s. Still considered a force with which to be reckoned in the US music industry of the mid-fifties, and still at the height of their vocal prowess, many of the biggest stars were granted one or two final shots to save their flagging recording careers during rock n roll s heyday - their Last Shout.

Time Was, Wishbone Ash's two CD-live anthology, was assembled by the band and the labels Castle and Sanctuary. Consisting of two previously released live recordings, only half of this is even worth hearing. The first disc, Live: Time Line, sounds like a bunch of geezers on their last legs and features only guitarist Andy Powell and bassist Martin Turner from the original lineup. Poorly recorded, tiredly played and utterly boring, it sounds more like a corner bar Wishbone Ash tribute band than the real thing – which of course it's not. In fact, the only case that ever needs to be made for bands not reuniting is this one. Disc two, originally issued as King Will Come: Live, is prime Ash. Recorded in the U.S. and Canada from 1973 through '76, at the height of their powers, this date showcases a restless, hungry, fully adventurous unit with Powell, Turner, drummer Steve Upton, keyboardist Graham Maitland and guitarist Laurie Wisefield. While the recording itself isn't stellar it's far more than passable and will be a welcome addition to the catalog for punters who didn't get it the first time around. The title track, "Blowin; Free," "The Warrior," "Balled of the Beacon," "Doctor," and "Moonshine" are all here, as well as nine others. This set makes plain the reason they ordered the performances in reverse: if King Will Come: Live had been first, no one would have ever even played Live: Time Line. As it is, folks who encounter Live: Time Line first may feel so ripped off by its horror, they may never stumble upon the treasure that is King Will Come: Live.

Hannover is the final of five shows Pink Floyd played around West Germany in March 1970. Sigma is the first silver pressing and the second commercial release of this show. The first was released many years ago as Consequently (Ayanami-158), but with “Set The Controls For The Heart Of The Sun” placed before “Careful With That Axe, Eugene” which was the accepted order for a while.

Live at Ernst-Merck Halle, Hamburg, Germany 14th November 1970 Strictly limited 300 copies only

The 90 minute recording has twenty-one minutes from the November 27th, 1970 show in Hannover, thirty minutes from the November 14th show in Hamburg, and forty-one minutes from the Münster concert on February 24th, 1971.

Effervescent saxophonist Louis Jordan was one of the chief architects and prime progenitors of the R&B idiom. His pioneering use of jumping shuffle rhythms in a small combo context was copied far and wide during the 1940s. Jordan's sensational hit-laden run with Decca Records contained a raft of seminal performances, featuring inevitably infectious backing by his band, the Tympany Five, and Jordan's own searing alto sax and street corner jive-loaded sense of humor. Jordan was one of the first Black entertainers to sell appreciably in the pop sector; his Decca duet mates included Bing Crosby, Louis Armstrong, and Ella Fitzgerald. The son of a musician, Jordan spent time as a youth with the Rabbit Foot Minstrels and majored in music later on at Arkansas Baptist College. After moving with his family to Philadelphia in 1932, Jordan hooked up with pianist Clarence Williams. He joined the orchestra of drummer Chick Webb in 1936 and remained there until 1938. Having polished up his singing abilities with Webb's outfit, Jordan was ready to strike out on his own.

Jose Iturbi’s father built and tuned pianos as a hobby so the young José had access to an instrument from a very early age. He was one of four children and his sister Amparo (1899–1969) also had a career as a pianist. At the age of eleven Iturbi was studying piano at the Valencia Conservatory with Joaquín Malats, a friend of Albéniz. The Spanish composer heard Iturbi and gave him part of his new work Iberia to play. When Iturbi was fifteen, the people of his home-town collected money to send him to study at the Paris Conservatoire with Victor Staub.

During the early and mid-'70s, Wishbone Ash were among England's most popular hard rock acts. The band's sound was rooted in energetic hard rock, with a strong progressive rock influence in their extended compositions, inventive melodic sense, and the epic-scale soloing from their various guitarists (most notably Andy Powell, the group's sole constant member). Despite extensive personnel changes throughout their existence, Wishbone Ash maintained a distinct sound and a prolific longevity that earned them a lasting following. The group's most popular and best-regarded work came in the early '70s with their first four studio albums (1970's Wishbone Ash, 1971's Pilgrimage, 1972's Argus, and 1973's Wishbone Four), while they enjoyed a popular resurgence with 1987's all-instrumental Nouveau Calls, took a detour into electronic music with 1999's Trance Visionaries, and delivered a strong late-career effort with 2014's Blue Horizon.