This album was recorded in Dallas, in the fall of '69 that also featured B.B. King, Sly & the Family Stone and Ten Years After.. By this time Johnny's popularity was such that he was no longer merely an opening act but a headliner and just a everyone expected, he stole the show. Not only that, we're lucky enough to have a really good quality recording surviving from that unforgettable show.

Spyro Gyra mostly sticks to their formula of danceable melodic music on this GRP release but there are a few temporary departures. The harmonica of the talented Howard Levy is used prominently on "Breakfast at Igor's," two different horn sections pop up on a few songs and there are a pair of throwaway pop vocals from Alex Ligertwood. However, longtime Spyro Gyra fans have little to fear for the solos of saxophonist Jay Beckenstein and vibraphonist Dave Samuels are predictably pleasant, the light funk rhythms push the ensembles and the band's sound remains distinctive, familiar and comfortable.

Strictly speaking, this isn't just a guitar tribute to the Beatles, although stringed instruments that are plucked, strummed, and otherwise manipulated are in abundance, representing styles and sounds that will recall Django Reinhardt at one moment and the Mahavishnu Orchestra at the next. Toots Thielemans adds some astonishingly tasteful harmonica (and whistling) to "Yesterday" and Thomas Dawson's organ is almost a lead instrument on "Come Together."

Live 1990 is a live album released by a reformed line-up of Canterbury scene band Hatfield and the North. This marked the band's first manifestation since its 1975 break-up. Original keyboard player Dave Stewart declined to take part and was replaced by French jazz pianist Sophia Domancich, at the time a member of drummer Pip Pyle's band Equip'Out. This line-up's activity was limited to this one appearance on Central TV's "Bedrock" series. In addition to a number of tracks from the band's classic repertoire, a large part of the concert was devoted to more recent material. This was to be Hatfield's swansong until the 2005-06 reformation.

Es ist schwer auszumachen, wer bei dieser Aufnahme mehr aufhorchen läßt, der Komponist oder sein Interpret.​ Mit einer verblüffenden Virtuosität, die weit mehr umfaßt als nur Klangbrillanz und wieselflinke Geläufigkeit, führt Dan Laurin einen Vivaldi vor, in dessen Ideenreichtum sich ungeahnte Tiefen auftun.​ Wie selten zuvor entfaltet sich hier das expressive Potential scheinbar harmloser Harmonien, und die Gestaltung der auf den ersten Blick einfachen Melodien wird zum leidenschaftlichen Wettstreit der vier Temperamente.​ Dabei schöpft der russisch-schwedische Blockflötist aus einem schier unendlichen Vorrat an Artikulationsnuancen, der es ihm ermöglicht, auf seinem Instrument so ziemlich alles darzustellen.​

A collection of Jobim's Brazilian songs on an Argentinean record production, but it is really the first song, Eu sei que vou te amar, that's worth the whole disc. Every once in awhile a writer, artist or composer creates a jewel, when everything worthwhile comes together and the total is a masterpiece, worth far more than the sum of its parts. The melody, the lyric, and Maysa's incomparable voice transcend a song about love lasting a lifetime and become love itself.

It is probably now or never. With classic older sets vying with a clutch of more recent recordings, there is currently as complete and interesting an array of recordings of Rossini's La Cenerentola as we are likely to get at any one time. Among recent versions, Chailly's new Decca set is self-evidently a powerful contender. Cecilia Bartoli is arguably the most personable and musically accomplished Cenerentola since Teresa Berganza recorded the role with Abbado in 1971; and there is a strong cast of supporting principals, among them Alessandro Corbelli who offers the best characterized Dandini since Bruscantini. (With the added advantage of being far more technically expert in fioriture passages than was his distinguished predecessor.)

Although the band Anathema has since gone down a much more atmospheric and melodic route with their music, it's important to note that the group began as one of the pioneers of death doom metal, a style of music similar in its melancholic feeling to what Anathema has done more recently, but much heavier and darker in the one it is executed. With a few demos and this debut 'Serenades', Anathema would be setting the groundwork for a style that has since become much more popular by the likes of bands like Swallow the Sun. Although 'Serenades' is a classic work for its development in that doom metal sound, it is an incredibly hit-or-miss ordeal throughout, and may be better appreciated for its place in history than as a listening experience of its own.

This CD offers 75 minutes of dynamic electronic music. Joining Boots on this release are: Klaus Hoffmann Hoock on guitar, Harold van der Heijden and Guido Negraszus on drums, and Eric van der Heijden.
Even the most discriminating audiophile will be captivated from the onset of this CD. Crystalline keyboards tremble with icy clarity, while majestic drums delineate powerfully engaging rhythms. Sparkling electronic embellishments cavort in a gloriously twilight sky, evoking strong promise for an optimistic sunrise. A thrilling drama permeates this song, reaching deep into the human soul to stir legendary courage and bring such emotions cascading to the surface of the audience's mind. The melodic music is wrought with sinewy disposition tempered with humanitarian sympathy, a masterful fusion of strength and compassion that will delight as equally as it mesmerizes…

This is the second disc to come from Paul McCreesh and his Gabrieli forces and it is already their second Gramophone Award. When I reviewed their Virgin Classics' recording of a reconstruction of a dogal coronation of 1595 (5/90) I admired their stylish blend of informed scholarship and sensitive musicianship allied to performances from musicians well-versed in the language of the period. Added to that the music was recorded with great immediacy in the acoustically impressive surroundings of Brinkburn Priory in Northumberland. For this reconstruction of a Vespers that could have be held in St Mark's, Venice McCreesh shows a real understanding of the placing and choreography of the participants in the musical aspects of the liturgy.

In the mid-1980s, the Swedish Dragon label came out with five LPs of music featuring the great Swedish baritonist Lars Gullin. The second volume, which has the earliest recordings in the batch, consists of performances that were either previously unreleased or quite obscure at the time. Gullin is heard in quartets and quintets, sometimes as a sideman, including a few very rare appearances on alto which, although worthy, show why he mostly stuck to baritone. The cool-toned bop, reminiscent but not derivative of Gerry Mulligan, should be of great interest to 1950s jazz collectors.

Heinichen's Dresden Concertos created quite a stir when they were first released a couple of years ago, and for good reason. This is vital, colorful music scored for a large and varied ensemble. Like most composers of his day, Heinichen spent the majority of his compositional talent in the service of vocal music, for either the opera house or church. These pieces represent his only surviving set of concertos, and anyone who enjoys, for example, Bach's Brandenburg Concertos or the orchestral works of Zelenka will certainly want to hear these as well. These performances are simply the last word in style and virtuosity.

In the Telemann mountains, much of the topography remains terra incognita because most of Telemann's music remains an undiscovered country. But whatever future generations of hardy musicologists may uncover, it is unlikely that Telemann's Nouveaux Quatuors en Six Suites published in Paris in 1738 will be displaced as among his output's highest peaks.

The Odeon Trio go for gold. Unlike either the Beaux Arts (Philips) or the Fontenay (Teldec), they use three CDs to include everything by Brahms that could possibly be called a piano trio, not forgetting the Op. 114 and Op. 40 wind trios, whose wind parts can well be rendered by strings. They decide, too, that the original 1853 version of the B major Trio is for them, rather than the revised version of 1889 which is more generally favoured.