In 2007 the Dutch harpsichordist Pieter-Jan Belder finished his recording of all the keyboard sonatas in sequential order for the label Brilliant Classics. Ditto Richard Lester, for the Nimbus label. The Naxos label is currently working on a project to record all of Scarlatti's sonatas on the piano, with each disc taken by a different pianist. The Italian Stradivarius label's Scarlatti sonata project, mostly recorded with harpsichordist Ottavio Dantone, currently stands at volume 10. According to an official at the label, there are talks to continue with the project

This all star jam session features Vince Converse, Nathaniel Peterson, Jon Paris and Clas Yngstrom, all playing the music of BB King, Freddie King, and Albert King! Four sensational blues guitarists jam to the music of the three kings - B.B. King, Albert King, and Freddie King - in this invigorating concert, recorded live in New York City. Included here are the songs "Hoochie Coochie Man", "Born Under A Bad Sign" and many others.

“Alice” is the soundtrack for the film with the same title by young Portuguese director Marco Martins. A winter film demanded a winter music, and that’s what composer and jazz pianist Bernardo Sassetti conceived – the music of a cloudy, raining Lisbon, with people walking fast in the streets, under their umbrellas, hurrying to arrive home safe and dry. A solitary, melancholic, colour deprived Lisbon, the one you can’t find in postcards and where you can be lost.
[…]
A very simple melody is repeated with subtle variations, and when it seems to go somewhere, the theme is introduced again and the composition returns to the point of departure. A clarinet (Rui Rosa) symbolizes the voice of Alice and a double bass (Yuri Daniel) represents the city as a constant menace. We hear the sounds of the traffic, voices, unidentified noises, the rain, and above all the breathing of Alice’s father in his quest. This is indeed cinematic music, full of inner images, just like a bad dream, and the best work Bernardo Sassetti ever wrote and recorded for the big screen. Highly recommended. (Source: cleanfeed-records.com)

Living Room Music was also the title of a 1940 Cage's composition, not to speaking of Satie's "Musique d'ameublement": Alvin variant was to invite at his Roma house, between december 2008 and june 2009, fellowship traveling musicists, let them freely create and then using each recording, sometimes with street sounds trespassing from the living room windows, as "raw matter" for a radio broadcasting composition commissioned by Berlin's Deutschlandradio Kultur, broadcasted on September 2009. This is the concert version, recorded on January 2010.

Blaine Reininger - Radio Moscow (1985)
Soundtrack | EAC AccurateRip / FLAC / LOG, CUE | 299 MB | Album art | MP3 320kbps / 44100Hz | 50:37 | 82 MB
Blaine Reininger - Radio Moscow (1985)

Radio Moscow is a film by Nicholas Triantafyllidis. Nicholas and Blaine are friends. Blaine appeared as an actor in this film. Blaine L. Reininger is one of the creative mainsprings behind the cult avant-garde band Tuxedomoon. As a solo artist he has produced some ten solo albums, including Broken Fingers (1982), Night Air (1984), Live in Brussels (1986), Instrumentals (1989) and Night Air #2 (2004). Elektra/Radio Moscow combines two haunting instrumental soundtracks written and arranged by Blaine. Elektra was commissioned for a version of the Sophocles play staged at the Athens Festival in Summer 2006 by director Angela Brusko. Radio Moscow is the score for the 1995 film of the same name by director Nicholas Triandafyllidis.

Wolfgang Rihm - Dis-Kontur, Sub-Kontur, Unbenannt IV
Avant-Garde | FLAC, separate files, no CUE, no LOG, booklet | 1CD | 299 MB
Label: col legno | Catalog Number: WWE 1CD 20093 | Published: 2006

The hammer strokes at the beginning of his Dis-Kontur (1974) bear only a fleeting resemblance to those in Gustav Mahler’s Sixth Symphony. But Rihm’s are of an entirely different cut altogether: after all, what we hear is not a “final rage”, but a violent outburst standing at the beginning of a long musical development. “I believe that it is important today to compose music that is totally lost to the world and only knows itself,” said Rihm about Dis-Kontur in 1975. “Only such music will be able to heal the art of composing where it was bruised by buzzwords.” It was already in his next composition, Sub-Kontur (1974/75), that Rihm took yet another step in the same direction. But while he did not level the hammer strokes of Dis-Kontur, Rihm did not allow his listener to meet them head-on either. Instead, he chose subtler means to express them. “Both pieces are big chunks chewing up symphonic topoi. In a way, Dis-Kontur is a symphonic march. Sub-Kontur is a kind of adagio that pushes upward from below, or so I thought back then.” In his Unbenannt IV (2002/03), a concerto for organ and orchestra of sorts, Rihm wanders about in search of the sonically and spatially varied relationships between the solo instrument and the orchestra groups. What he is looking for here is the “organic whole” (Rihm) constituted by orchestra and organ. A particularly gripping release in the series Musica Viva! – from col legno web site

Harry Lillis "Bing" Crosby (May 3, 1903 – October 14, 1977) was an American popular singer and actor whose career stretched over more than half a century from 1926 until his death. Crosby was the best-selling recording artist until well into the rock era, with over half a billion records in circulation.
wikipedia