Shadowfax. Nice name for a progressive rock band. Named after Gandalf's a horse in Tolkien's The Lord Of The Rings. They are often classified as new age, but their first album really wasn't, it was rather quite like a more rocking version of Oregon and had a mixture of hard and soft songs. And really their latter albums weren't completely although they lost some of their harder edge and devoted themselves to more mellow fair. Their first album, "Watercourse Way", was recorded in 1975 and released in 1976 on the ABC/Passport label. This album may not have been well know among progressive music fans, but with its spectacular cover art and well crafted music, it was a treasured item in the collections of those that knew them at the time.

Piet Blank and Jaspa Jones - the producers known worldwide. For two they have let out already many albums and tens magnificent singles, reliably having fixed in world history of dancing music. Their hits more than once appeared at tops of charts, and each new album stably got to number 50 of the best to Germany. The first release which has left in 2003 of an album "Relax: Edition One" to a descent has occupied 22 place in charts of Germany, and a chill-miss the version of track Pet Shop Boys "Love Comes Quickly" from this album became the present hit.

The second reunion album (and the sixth and final overall by the original lineup) sees WA return to conventional songs after 1987’s Nouveau Calls’ all instrumentals approach. It does not see them return to their classic style - like Nouveau Calls, HTH is a modern album, full of 80s adult contemporary sounds. However, it is much better than Nouveau Calls, like an update on Front Page News with its focus on light pop rock. HTH sports some great toe tappers such as Keeper Of The Light, with its Andy Powell guitar riff, shimmering production and hook-filled Martin Turner vocal. Witness To Wonder may be the softest of soft rock but gets away with it thanks to drummer Steve Upton’s atmospheric percussion and a gorgeous blend of chiming guitars and relaxing synths. There is an instrumental here in In The Case and it does sound like it could’ve been on Nouveau Calls but good work from Martin and Powell make it more charismatic…

An outstanding artiste on the Chicago musical scene, Carey, in addition to guiding his sons Lurrie, Steve and James towards the blues, did not fossilise his style into the urban one, but often enjoyed leaving the electric cage to perform acoustically in a duo. Although the results have been late in arriving, in spite of the occasional presence of famous musicians such as Louisiana Red, everything has changed after the issue of this CD. First of all the work is almost free of the usual standards, with the exception of ‘'Good Morning Little Schoolgirl’’ and ‘Stop Breaking Down’, and the parts between Bell and the guitarist/singer Spike Ravenswood (a linear and expressive partner, without instrumental egocentricities which are useless in the economy of work), are equally divided…

A bit more electric than you might guess from the "natural" in the title - but a great set of keyboards from the mighty Richard Tee - one of his few albums as a leader back in the day! The set's produced by Bob James, and has a groove that's not unlike some of James' own smoother fusion from the end of the 70s - a style that still has a fair bit of jazz in the mix, but which also shines with some warmer R&B touches as well. Players on the set include Tom Scott on saxes, Eric Gale on guitar, and Steve Gadd on drums - and some of the best numbers have a nicely stripped-down approach.

An exclusive 8-CD box set containing albums and rare recordings made by the Czech jazzrock legend Martin Kratochvíl! The box set includes albums not previously released on CD or unavailable for many years, as well as studio recordings with a hallmark of surprise from the repertoire of Martin Kratochvíl’s Jazz Q. The compilation has been put together by the band’s front man and supplemented by an interesting memoir of his colleague Tony Ackermann.
From the introductory “Pozorovatelna” (Observatory) to the concluding bonus “Co se na desky nevešlo” (Outtakes), the listener is presented with first-class pieces performed by superlative instrumentalists and vocalists. Besides the keyboard wizard Kratochvíl, you will hear Francl, Padrůněk, Vrbovec and Dugganová, and, as time went by, other of his permanent or occasional musical partners…

This was Heldon's last studio release, although the reissued Rhizosphere CD includes a 1982 Heldon concert recording with slightly different personnel. Stand By features the classic trio lineup of the brilliant Francois Auger on percussion, Patrick Gauthier on keyboards and Pinhas on guitars, keyboards and electronics, with some additional assistance from Didier Batard on bass, Didier Badez on sequencers and Klaus Blasquiz doing voices. The two long pieces on the CD are an interesting contrast. The title piece starts with some nasty distorted fuzz guitar from Pinhas over ponderous, menacing bass and drums. King Crimson at its most aggressive could be considered a model, but this track is also very close to the so-called "zheul" sound of Magma, another French prog-rock band of the period, which shared Pinhas' interest in science fiction motifs, among other things…

Ash Ra Tempel's second album featured the first of several personnel changes, Klaus Schulze having departed for other realms and replaced as a result by Wolfgang Muller. A few guest players surfaced here and there as well, with one John L. taking the lead vocals - another difference from the self-titled debut, which was entirely instrumental. The general principle of side-long efforts continued, though the first half was split into two related songs, "Light" and "Darkness." "Light" itself sounded halfway between the zoned-out exploration of "Traummaschine" and bluesy jamming, a weird if not totally discordant combination that still manages to sound more out there than most bands of the time. Gottsching's fried solo, in particular, is great, sending the rest of the song out to silence that leads into "Darkness"…

With our upcoming release, listeners can expect an exciting and unique musical experience that showcases a truly global collaboration. This album has been crafted by musicians from across the world, including Mike Stark in Sweden, Thilo Herrmann (ex-Running Wild, ex-Grave Digger) in Germany, Diana Boncheva in South Korea, EV Martel in Brazil, Gus Acosta and Emiliano Wachs in Argentina, along with contributions from many other talented artists in various countries. This worldwide effort brings a rich diversity of influences and styles to the project but always keeping our north into the Feanor sound we are known for.
The album artwork, created by Andreas Marshall - an artist renowned for his work with iconic bands like Running Wild and Blind Guardian - adds an impressive visual element to the project.

Duke Ellington Songbook Vol. 1 (1980). Sarah Vaughan interprets ten Duke Ellington-associated songs on the first of two sets. Vaughan is accompanied by a variety of jazz all-stars, including trumpeter Waymon Reed, trombonist J.J. Johnson, and the tenors of Frank Foster, Frank Wess, and Zoot Sims. Bill Byers contributed the arrangements for the larger band performances. The emphasis is on ballads, with the highlights including "I'm Just a Lucky So and So," "I Didn't Know About You," "All Too Soon," and "Lush Life." Vaughan's voice is in typically wondrous form throughout.
Duke Ellington Songbook Vol. 2 (1980). The second of two Pablo CDs featuring Sarah Vaughan interpreting Duke Ellington-associated material shows that the veteran singer never did decline. With assistance from trumpeter Waymon Reed, flutist Frank Wess, Eddie "Cleanhead" Vinson on alto and a surprise vocal…

Battlement (1979). "Battlement" is a legendary record featuring unfamous German musicians, working and playing with a sense of perfection in the wake of Genesis. The vocals, sung by Frenchman Frédéric Joos turn out to be (Very) close to Peter Gabriel's. Neuschwanstein creates music with the same complexity, intensity and power as their famous elders used to do. The songs are totally original and innovative though, with some King Crimson-esque skid. A pure jewel!
Alice In Wonderland [Recorded 1976]. "Alice In Wonderland" is a 40 minutes-long piece of work, obviously based on the famous book by Lewis Carroll. It confirms Neuschwanstein's significant importance in German rock history: the band succeeded, from the beginning, in creating a fluid and refined music, intense and suggestive, typical of the creative enthusiasm of the early Seventies…

Fabio Orsi is an electronic musician from Taranto (Southern Italy) specialising in atmospheric drone. He is a talented composer recently revealed in a series of publications received by an enthusiastic chorus of critical approval. In his compositions the languages of popular tradition meet the avantgarde approach, creating an original and charm mix.
"Find Electronica" (2007) is a wonderful album full of fine lyrics, structured as a long drone/ambient suite divided in two portions which are the frames of the articulated central track. A strictly personal exercise on the "Weird Folk" theme, hypnotic and seductive. The "found" electronica meets the sonorities made by the six chords, projecting enchanted landscapes on a vibrant horizon, with an intimate sensibility. Abstract and emotional, deep and dreamy…

A spin-off of Procol Harum, Freedom was formed by guitarist Ray Royer and drummer Bobby Harrison. Both of them were in Procol Harum's lineup at the outset for their debut "A Whiter Shade of Pale" single, but were ousted almost immediately when Procol singer, Gary Brooker, enlisted his former bandmates from the Paramounts, Robin Trower and Barry Wilson, as replacements.
Freedom's final outing in 1972, Is More Than a Word, is a study in contrasts. It still rocks hard as all get out, á la Humble Pie, but it also points in an interesting direction in places: toward more textured and acoustic-flavored material that echoes country music, thanks to an electric violin - uncredited - on the opening track "Together"…

Bernard Allison's inaugural effort bristled with the urgency and blues-rock guitar chops that distinguished his late father, Luther Allison. The pair played together for much of the '80s before Bernard recorded this album with his father's musicians – including keyboardist Michel Carras, who pulls down some good barrelhouse piano parts. The mood is feisty and assertive, especially on "B.A.'s Knockin' at Your Door" and "Low Down and Dirty," which poses the gleeful question, "And you think I'd change my style?" Of course not; fans knew exactly what they were getting, such as the Hendrix-flecked string-bending that drives "Help." (Bernard even dabbles on drums and keyboards.) Other highlights include the title track's party blues, complete with sassy horns; "Baby Child," a hilarious recounting of how Bernard began his career; and "Travlin'," a slower, yet frank look at the road's ups and downs…

Massimo Faraò is a wonderful Italian pianist who has played and recorded with Red Holloway, Albert "Tootie" Heath, Tony Scott, Franco Ambrosetti, Nat Adderley, Jeff Tain Watts, Jack DeJohnette and Chris Potter, among others. Farao's passionate style and stoic romanticism are very attractive along with the rich harmonies he creates.