The name Young Guns seems ironically amiss until one learns that this recording dates from 1968-69 when organist Gene Ludwig was thirty years old, guitarist Pat Martino twenty-three and drummer Randy Gelispie somewhere in that neighborhood, long before he became fondly known as "Uncle G." The organ trio was in its heyday then, and this one was caught on tape during an exciting live date at Club 118 in Louisville, KY. How many other such performances have been lost forever owing to the absence of a tape recorder or the failure to turn it on is anyone's guess. But this one, thank goodness, has been preserved for present-day ears to appreciate.
Ludwig, an admirer of Jimmy Smith and forerunner of Joey DeFrancesco and other Hammond masters, sprays bluesy notes and ideas all over the landscape, while Martino, a lyrical machine, has the proper phrase for every occasion…

Mickey Jupp – known to his fans as ‘Juppy’ – was the singer, pianist and guitar player with the Sixties’ British rock band Legend. Based in Southend On Sea, Juppy had previously performed with the Orioles and was steeped in rock’n’roll tradition. When Legend broke up in 1972 the singer re-launched his career on the London circuit, where he attained semi-mythical status as a pioneer of UK pub rock. He was signed to the eclectic Stiff label, and ‘Juppanese’ was released in 1978 to great acclaim among aficionados. Here are a dozen rockin’ tracks, including the appropriately titled ‘Old Rock’n’Roller’, together with five bonus items, comprising A and B-sides and album tracks, all composed by the ‘Juppanese’ man himself.

Where the first Jethro Tull box five years earlier, 20 Years of Jethro Tull, mostly traded on radio broadcast performances and rarities, a few outtakes, and a remastered collection of key songs, 25th Anniversary Boxed Set benefits from a more thorough raid on the vaults that has yielded up one essential addition to any Jethro Tull collection. Disc two is the centerpiece of the set, containing an additional hour of the group's November 4, 1970 concert at Carnegie Hall in New York (two pieces were previously issued on Living in the Past). Preserved on a 16-track master tape, this benefit show for the drug rehabilitation program Phoenix House was the group's most prominent American gig up to that time. It's a good representation of what the band sounded like in its second incarnation, when they were still establishing themselves outside of England…

This CD from 2007 features 63 minutes of moody electronic music. On this release, 'Ramp is joined by Marcus Reuter (from Centrazoon) whose treatments derived from touch guitar improvisations possesses a haunting character on its own. Combined with 'Ramp's doombient style, this recording is a moody milestone. Textural sounds dominate this music. Already elongated into near-infinite structures, these harmonic flows are interweaved with each other to produce pastiches of eerie proportion. Scale is a key factor in this music, as melodies achieve immense scale, filling space with effortless ease, yet establishing a certain claustrophobic quality. Yeah, sounds like an oxymoron: actualizing compression through expansion, but that's what's going on here. Don't worry; there's a lot about quantum physics that defies comfortable understanding. Fortunately, lack of comprehension shouldn't impair your appreciation of music like this.

Scottish funk group Average White Band’s self-titled sophomore album dominated the charts after its 1974 release, with the hit track “Pick Up the Pieces” peaking at No. 1 on Billboard’s Hot 100. Available For The First Time In Nearly 50 Years. Transferred From The Original Half-Inch Four-Channel Masters. Blu-ray With 192/24 Resolution Hi-Res Stereo Mixes.

Christmas with Conniff is Ray Conniff's first holiday record, and it remains one of his very best efforts in that genre. His light, pretty, signature touch is perfectly suited to Christmas music, and he and his singers make such carols and holiday songs as "Frosty the Snowman," "Here Comes Santa Claus," "Jingle Bells," "Rudolph, the Red-Nosed Reindeer," "Santa Claus Is Coming to Town," and "Silver Bells" irresistible easy listening. Perfect background music for any holiday event.

This "Early Years" collection though concentrates on their time with U.K. Records and features every A and B side released by the band between 1972 and 1974. Five hit singles, two near missed and seven rarely heard B sides that all show 10cc at their creative best.

Vinyl LP pressing including digital download. The Paul Simon Songbook is the first solo studio album by Paul Simon. It was recorded in London and released in the UK in 1965 and was supposedly deleted in 1979 at Simon's request. Simon recorded the album at Levy's Recording Studio, 73 New Bond Street, London, over several dates in June 1965. Most of the songs required several takes. He only had one microphone for both his voice and his guitar. Paul Simon's musical career has spanned seven decades, with his fame and commercial success beginning as half of the duo Simon & Garfunkel, formed in 1964 with Art Garfunkel. The duo split up in 1970 at the height of their popularity and Simon began a successful solo career.

Nat King Cole's flawless vocals combined with ever so sweet orchestrations and choral backings, provide a collection of standard Christmas carols, hymns and songs that gloriously captures the spirit of the season. Without fireworks, improvisations, catchy rhythms, or unusual variations, Cole sings songs full of love in his relaxed and unpretentious style. The orchestra and chorus under the direction of Ralph Carmichael are used to highlight Cole's vocal interpretations, instead of making their own statements, and the use of bells, bell lyre, flutes, and harp add depth to the background while adding emphasis to the lyrics. The title track, beautifully sung to an accompaniment of piano and strings, has always been Cole's biggest Christmas hit, it has remained a perinnial and is possibly his most widely heard record.

This brilliantly devised CD from Gerard McChrystal is a deeply personal album; at times mystical, the music is always beautiful and captivating. Indeed 'Aria' has similar qualities to Jan Gabarek's 'Officium' (which sold 1.4 million copies) and will appeal to this fan-base. Featuring soprano and alto saxophone with a colourful array of different ensemble accompaniments — string orchestra, choir, guitar, piano, solo, string quartet and electronics. Baroque music blends seamlessly with contemporary; Handel resolves into Michael Nyman, Debussy's Syrinx morphs into Ravel's Piece en forme de habanera. All the tracks lead to the next by key or by starting and ending on the same note. Other works include Philip Glass Façades, Faure Les Berceaux, Bozza Aria, as well as original works by Billy Cowie, Karen Tanaka, Andy Scott and Michael McGlynn (from the vocal group Anúna who featured in Riverdance). Accompanying Gerard on this album are some of the UK's finest classical musicians including the Smith Quartet and the No. 1 best-selling classical artist, guitarist Craig Ogden. Gerard McChrystal is a multi-award winning saxophonist who has performed as a soloist in over 30 countries with many of the World's leading orchestras and ensembles.

In all the busy excitement of the holiday season, it’s important to take a moment to breathe and be fully present. The compilation album Winter Calm features peaceful and contemplative classical music with a holiday theme. The album consists of a collection of tracks from contemporary classical musicians such as Peter Gregson, Sophie Kauer, Raphaël Feuillâtre, Michael A. Muller and more.

The brainchild of Kevin Dodson, a former architect of the cult progressive rock band Madrigal, The Madrigal Project seeks to breathe new life into the progressive rock genre with ambitious songwriting, high production values and a stellar lineup of all-star musicians. The debut album '11th Hour' features an impressive roster of guest musicians, each bringing their unique individual talents to the project. The music on ‘11th Hour’ is inspired by legends like Gentle Giant, Peter Hammill, Jethro Tull, Yes, Genesis, Peter Gabriel and combines progressive rock’s classic elements with modern sensibilities. Kevin Dodson’s songwriting, drumming, and vocals are central to the album’s dynamic and unique sound.

Giuseppe Giordani was an important Italian composer best known for his operas, oratorios, and sacred music. Among his greatest successes was his 1787 oratorio La distruzione di Gerusalemme, believed to be the first sacred drama presented in a theater. It drew enthusiastic praise from the local press and positive commentary from such notables as Goethe, who was present at the Naples premiere. Giordani was born into a well-to-do family in Naples on December 19, 1751. He exhibited musical talent early on and enrolled at the Santa Maria di Loreto Conservatory in Naples, where he studied under Antonio Sacchini, Fedele Fenaroli, and Gennaro Manna. The loss of his father in 1770 – when Giuseppe was 18 – apparently did not derail his education, for he would secure an important post, that of secondary maestro di cappella at the Tesoro di San Gennaro, in Naples, in 1774.

Since the earliest recordings of Biber’s Rosenkranz or Mystery Sonatas made during the 1960s, there has been ever-growing interest in these beautiful pieces and a wealth of recordings. In the dedication to his patron, Max Gandolph, Prince-Archbishop of Salzburg, Biber explained that the subject of each Sonata is a section from the Catholic devotion known as the Rosary. He arranged the 15 Sonatas, scored for violin and continuo, into equal groups of Joyful, Sorrowful and Glorious Mysteries, and concluded the cycle with an unaccompanied Passacaglia which provokes a meditative coda to the 15 central events in Christian history. This piece and the opening sonata of the set are alone in not requiring scordatura – that is, retuning of the violin strings which enables composers to achieve unconventional sounds as well as facilitating some fingerings.

While this cannot be a first-choice recording of the Bach Overtures (Suites), it's certainly a worthy addition to any collector's Bach shelf. Citing numerous examples of recent research, including conductor Siegbert Rampe's own, along with articles by Dirst, Rifkin, and Wolff, Rampe and his excellent period-instrument ensemble Nova Stravaganza strive to show what may have been the original forms of these four famous works. That means we get to hear suites Nos. 3 and 4 without trumpets and timpani; suite No. 2 played in A minor instead of the usual B minor–and with a solo violin rather than flute; and suite No. 1 as "a simple septet"–two oboes, two solo violins, solo viola, bassoon, and harpsichord (reinforced "in accordance with period practice" by 16' violone).