The various bands led by harmonica player and singer George "Mojo" Buford hark back to the classic Chicago blues sounds of the early '60s. Among harmonica players, Buford has the distinction of being the only musician to have played with various bands led by the late Muddy Waters in the 1950s, '60s, '70s, and '80s. (Waters died in April 1981.) Buford left Mississippi for Memphis in his teens and honed his chops around Memphis before heading to Chicago in 1952. He began playing with Waters in Chicago in the late '50s, but by 1962 Buford relocated to Minneapolis, where he recorded several obscure albums for the Vernon and Folk-Art labels. He rejoined Waters' band in 1967 for a full year and then toured with him again in the early '70s, after harmonica player Jerry Portnoy left to form the Legendary Blues Band…

Esoteric Recordings are pleased to announce the long overdue release of the re-mastered edition of the classic 1976 album 'Softs' by the celebrated Jazz and Rock group Soft Machine. The album was the band s second for EMI s Harvest label and featured a line-up of Mike Ratledge (keyboards), Karl Jenkins (Oboe, Piano, Soprano Sax), John Marshall (Drums), Roy Babbington (Bass) and new member John Etheridge (Guitar), along with Saxophonist Alan Wakeman. An accessible collection featuring John Etheridge s considerable guitar playing talents and would also be the final album to feature founder member Mike Ratledge. Unavailable on CD for nearly 15 years, this reissue has been re-mastered from the original tapes and fully restores the original artwork.

For this studio set, Anita O'Day performs with the Lou Levy trio and guests Ernie Watts on reeds, percussionist Paulinho Da Costa and either Laurindo Almeida or Joe Diorio on guitar. She mostly sticks to fresher material, some of it of more recent vintage than usual. High points include "Lost in the Stars," "You're My Everything," "Them There Eyes," "Limehouse Blues" and several bossa nova pieces. This LP, although not essential, is worth picking up.

One of the first hits compilations assembled of Jimi Hendrix's catalog, Smash Hits remains one of the best, since it keeps its focus narrow and never tries to extend its reach. Basically, this album contains the songs everybody knows from Hendrix, drawing heavily from Are You Experienced?, plus adding the non-LP "Red House," "51st Anniversary," and "Highway Chile." Those non-LP selections may still make this worth seeking out, even if they've appeared on subsequent hits collections, but the main strength of Smash Hits is that it contains the best-known big-name songs in one place. Maybe not enough to make the collection essential, but still enough to make it a representative, accurate sampler.

Shadowlands contains just five tracks over 2 CDs, and as we've come to expect from Schulze, look for plenty of mind expanding explorations into space and loads of calming tranquility. The near 57 minute "The Rhodes Violin" offers up soothing, at times fluttering synth washes, brief spoken word vocals, and a myriad of ethnic Middle Eastern instruments. The epic title track opts for more menace, and will remind some of the early Tangerine Dream material, complete with ominous synth & Mellotron sounds plus those Middle Eastern influences. You'll even find some intriguing space rock mixed with programmed dance rhythms on the intriguing "In Between". With well over 2 hours of material on Shadowlands, there's a lot too digest, and unless you are a real fan of electronic/ambient/space rock…

Sweet Child, released in 1968, at the peak of Pentangle's career, is probably the most representative of their work. A sprawling two-record set, half recorded in the studio and half live at the Royal Festival Hall, showcases just how versatile Pentangle was in their unique brand of English folk, jazz, Celtic, blues, and pop styles. Some of the live covers are easily their finest performances. Furry Lewis' "Turn Your Money Green," sung by the delightful Jacqui McShee, swings sweetly, buttressed of course by John Renbourn and Bert Jansch's guitar tapestry. Charlie Mingus' "Haitian Flight Song" features a great solo by bassist Danny Thompson, who was easily one of the finest musicians to grace the instrument. The studio tracks are uniformly excellent as well, especially "The Time Has Come," which turns waltz time inside out. McShee, Renbourn, and Jansch all turn in career performances on this track. But these examples merely scratch the surface of Pentangle's peak. In all, Sweet Child is an awesome and delightful collection, and probably their finest hour.