In the late 1960s, when acid rock reigned and the British Invasion was still raging, Carlos Santana and his band introduced a Latin-based rock sound featuring an Afro-Cuban beat. Carlos Santana was a fourth-generation musician and the son of a violinist who played mariachi music. His father tried for many years to teach him violin, but at age eight, Santana discovered the guitar and started listening to the electric blues of B.B. King and John Lee Hooker and that was the end of it. During his long-lasting career, Carlos Santana’s name has become synonymous with some of the most important genres of music today - jazz, Latin, salsa, blues and rock.

For a long time, Anton Bruckner’s Sixth Symphony (together with his Second) was regarded as something of a “poor relation” in his immense symphonic oeuvre, even though the composer himself had moodily referred to it as his “boldest”. Over the decades, in view of its performance figures and recordings, this has changed significantly: The work has now secured itself a permanent place in the repertoire. The Sixth Symphony belongs to the creative process of the two preceding symphonies, the “Romantic” Fourth (1874/1880) and the Fifth (1875), and is now seen as an important preliminary stage in Bruckner’s last great upsurge that followed the composition of the “Te Deum” (the initial sketches of which date from 1881), and culminated in the sublime grandeur of his final symphonies, the Seventh, Eighth, and Ninth.

Sarah McKenzie is an Australian jazz pianist, composer, vocalist, and bandleader whose breezy technical style, songwriting acumen, and pronounced lyrical sense of swing have drawn comparisons to Blossom Dearie and Diana Krall.
This album speaks of the nostalgic and romanticised idea of Paris in the Rain, but is never cheesy. This combination of jazz standards and her original songs shows Sarah at her finest. There’s a great sense of ensemble playing and the band is cohesive and energetic at all times. Sarah is an artist who knows exactly where she comes from, where she is, and where she is going.

4CD set includes the following albums: Level Headed (1978) Cut Above The Rest (1979) Waters Edge (1980) Identity Crisis (1982) plus some bonus tracks.

Roger Waters may not have made an album of new material between 1992 and 2017, but he was very active during that quarter-century. He toured regularly, wrote an opera, reunited Pink Floyd for the 2005 charity concert Live 8, and revived The Wall several times, turning the self-absorbed rock opera into a political piece. Is This the Life We Really Want?, his fourth song cycle, picks up on this thread, functioning as barbed protest music for the age of Brexit and Trump. Waters doesn't disguise his bile – there's a lament for "The Last Refugee" and he spits out "picture a leader with no f****** brains," a clear broadside against Trump – but the album doesn't seethe with rage. With its deliberate tempos, wide soundscapes, operatic guitar solos, and swelling crescendos, it is recognizably a Waters album or, perhaps more accurately, a Floydian one.

And now, Studebaker John by himself with a baker’s dozen of original songs with Mr. Grimaldi playing solo acoustic guitar and his harp. It’s a change but it’s very interesting and well done. "Songs For None" has simple, original songs of truth about everyday life - from the kettle of guys like Mississippi Fred McDowell, Lightnin' Hopkins, Jukeboy Bonner and Big Joe WIlliams. If you want to visit a different side of this great artist then pick this CD up. It’s a cool album and John has written and performed some great new songs. It’s a little down and dark in theme but it’s worth a spin or two!

Fresh, new rhythmic earcatcher, made by the master. Velocity is the result of almost forty years of musical development by the Aachen musician. This album provides an EM with new and fresh impressions, which even arouses the attention of hardcore Schroeder fans who are already familiar with some of his extravagant excursions. It will be a delightful surprise. Velocity is very "electronic", experimental and quite varying. The 7 instrumental tracks of the 64-minute album are sequencer-based and, as usual, featured with Schroeder-typical exciting atmospheres and magnificent synthesizer solos.Robert has already pursued the new orientation "back to the roots" for a few years and has now come a long way closer to achieving this goal with Velocity.

The violinist Chiara Zanisi works with the finest early music ensembles, notably the Amsterdam Baroque Orchestra under Ton Koopman, with whom she has just finished a long tour performing the Six Brandenburg Concertos. She now devotes her first solo recording to Johann Sebastian Bach’s Six Sonatas for Harpsichord and Violin. Alongside her is Giulia Nuti, among the most brilliant harpsichordists and scholars in Italy, whose solo CD Les Sauvages: Harpsichords in pre-Revolutionary Paris (DHM) won a Diapason d’Or, among other awards. The kernel from which this project grew is their strongly shared idea that, in addition to great stylistic richness and invention, Bach’s music possesses an aura of magic and an almost divine form.