Recorded "live" at the Paris Olympia, Live in Paris offers listeners Diana Krall's understanding of the musical techniques of composition, piano, and vocal improvisation on 12 songs from the Great American Songbooks of Cole Porter,Harold Arlen, George and Ira Gershwin, and contemporary artists Joni Mitchell and Billy Joel. Accompanied by the award-winning Anthony Wilson on guitar, John Pisano on acoustic guitar, John Clayton on bass, Jeff Hamilton on drums, and Paulinho Da Costa on percussion as well as the Orchestra Symphonies European on "Let's Fall in Love" and "I've Got You Under My Skin," the lovely vocalist heightens your listening pleasures with distinctive phrasings and tangible pathways to inside the creative imagination by getting inside harmony, the changes, and melodic structures.

It's an open secret that Sting's interest in songwriting waned after 2003's Sacred Love, an undistinguished collection of mature pop that passed with barely a ripple despite winning a Grammy for its Mary J. Blige duet "Whenever I Say Your Name." Sting spent the next decade wandering – writing classical albums for lute, recording the frostiest Christmas album in memory, rearranging his old hits for symphony, then finally, inevitably, reuniting the Police – before finding inspiration within the confines of a musical. The Last Ship tells the tale of a British shipyard in the '80s, one laid low by changing times, so there's naturally an elegiac undertow to Sting's originals, a sensibility underscored by his decision to ground nearly all these songs in the folk of the British Isles.

The song "Keep on Tryin'" from Head Over Heels kicks off this two-fer of Poco albums (released in 1975 and 1976) and is a reasonable metaphor for the band's continued desire to break into the mainstream and enlarge what had been an appreciative but somewhat minor cult following. The quartet also relocated from the Epic label which had been home since their 1970 debut, to ABC (later MCA). With the business change came a burst of creativity, as the strong voices and songwriting skills of the Tim Schmit-Rusty Young-Paul Cotton creative nucleus dovetailed for a terrific set, shifting to a slightly more pop vein, while remaining firmly ensconced in the country, folk, and even bluegrass roots of their previous output. A cover of the rare Becker/Fagen composition "Dallas" (available only as a single before Steely Dan's full-length debut but not included on it) is an inspired choice. Paul Cotton blossomed as a songwriter with "Let Me Turn Back to You," a warm-up of sorts for "Heart of the Night," the track that three years later would ultimately provide the crossover hit they were searching for.

The massive popularity of Grieg’s Piano Concerto contributed significantly to his renown, marking a high point in his early period. This is a truly Romantic concerto with parallels to Schumann in its emphasis on melodic lines. The overture In Autumn has an air of Mendelssohn in its sense of drama combined with a ‘union of merry and serious elements’ that characterise the season. The Two Lyric Pieces and the Old Norwegian Melody with Variations provide an attractive mosaic of Norwegian mood pictures. The Elite Recordings for Vox by legendary producers Marc Aubort and Joanna Nickrenz are considered by audiophiles to be amongst the finest sounding examples of orchestral recordings.

This album features two compositions by Jean Sibelius from different moments in the Finnish musician’s life. The Impromptu Op.5 for string ensemble is an early work from 1894, in which Sibelius uses some thematic materials from his solo piano impromptus Nos. 5 and 6 from the Op.5 set. The Romance in C Op.42 (1903) was composed during a difficult phase in the composer’s life caused by excessive alcohol consumption, which prompted him to leave Helsinki and move with his wife near to Lake Tuusula, where he could dedicate himself to composition far from the temptations of the Finnish capital. The piece is divided into short sections in which the melodic ideas arise from fragments of the octatonic, or diminished, scale of alternating whole and half steps supported by dissonant harmonies that add further tonal instability.

Nikolay Rimsky-Korsakov’s Scheherazade is one of the most popular suites in the entire orchestral canon. The work’s imperishable melodies and sonorities were an influence on Stravinsky and have been referred to by innumerable cinema composers ever since. The musical narrative draws on The Arabian Nights, appealing to the imagination with its haunting beauty and enchantingly exotic atmosphere. The entire world of Bedrich Smetana’s beloved opera The Bartered Bride is captured in the Overture, the rousing nature of its dances a further celebration of Czech national resurgence in the 19th century. The Elite Recordings for Vox by legendary producers Marc Aubort and Joanna Nickrenz are considered by audiophiles to be amongst the finest sounding examples of orchestral recordings.

David Crosby's debut solo album was the second release in a trilogy of albums (the others being Paul Kantner's Blows Against the Empire and Mickey Hart's Rolling Thunder) involving the indefinite aggregation of Bay Area friends and musical peers that informally christened itself the Planet Earth Rock and Roll Orchestra. Everyone from the members of the Grateful Dead and Jefferson Airplane to Crosby's mates in CSNY, Neil Young and Graham Nash, dropped by the studio to make significant contributions to the proceedings. (Jerry Garcia, Phil Lesh, and Bill Kreutzman, primarily, act as the ad hoc studio band, with other notables adding bits of flavor to other individual tracks.)

Carl Seemann's Complete Deutsche Grammophon Recordings box set features recordings with Fritz Lehmann, Berliner Philharmoniker, NDR Sinfonieorchester, Hans Schmidt-Isserstedt, Bamberger Symphoniker, Mnchner Philharmoniker, Ferdinand Leitner and many more. Highlights include his celebrated Mozart records on 11 CDs and his famous Beethoven and Brahms duo recordings with violinist Wolfgang Schneider.

A famous French horn virtuoso in his days, the shadowy figure known only as ‘Mr Charles the Hungarian’ was an eccentric opportunist who travelled to Dublin in March 1742. A natural entrepreneur, he capitalized on the ‘Handelmania’ surrounding Handel’s residence in the city at the time, and produced a concert at the Smock Alley Theatre which consisted mainly of Handel’s music. This album recreates the programme and the bohemian atmosphere of the event, showcasing solos for various instruments, some of which had never been heard in Ireland before.

Frith plays the Sonata, and the balance of the program, with clarity and strength, and follows the dramatic contours with vaulting confidence.

A fascinating collection, Best of the Early Years essentially takes the first two 10cc albums in their entirety, replaces four Sheet Music cuts with as many period B-sides, and then jumbles everything up into a running order that works almost as well as the original LPs. It is unlikely whether any true fan would ever consider the instrumental "Hot Sun Rock," or the workaday "4% of Something" and "Bee in My Bonnet" as fitting replacements for the likes of "Hotel," "Baron Samedi," "The Sacro-Iliac" or "Oh! Effendi" (the absent songs). But the presence of "Waterfall" reminds us that not all of the band's best ideas made it onto LP and, while it's difficult to understand why anybody would prefer a collection like this to, say, the Complete UK Recordings package, which takes a fully comprehensive look at the same period, still the budget price is difficult to argue with.