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This fine album was sadly lost in the shuffle when it was released the same year as another Nancy Wilson album, The Swingin's Mutual!, her highly successful collaboration with the George Shearing Quintet. This is a shame, because Something Wonderful is one of Wilson's best albums, and her tastiest, with famed big-band arranger Billy May. Only 23 years old at the time, Wilson had a commanding blues- and soul-drenched jazz voice that was fully formed at the time of this recording, and unlike so many young singers, she was already committed to communicating lyrics rather than just showing off her vocal chops. This is beautifully illustrated in the narrative gem "Guess Who I Saw Today," which justly went on to become one of Wilson's signature tunes…

Electronic music of former Double Fantasy guitar/keyboard member Charly McLion. McLion has been active in music since the 60's, inspired by artists such as Pink Floyd, Amon Duul II, and Caravan, he's played everything from blues and rock and to folk and film soundtrack music. The back cover of The Nature of the Universe calls the album's music "interstellar, but not overdrive" and this is an apt description. Much of this album is reminiscent of the mellower, instrumental parts of latter day Pink Floyd. Even McLion's guitar has a Gilmour-esque ring to it; its sustained notes are smooth, melodic, and flowing…

This fine album was sadly lost in the shuffle when it was released the same year as another Nancy Wilson album, The Swingin's Mutual!, her highly successful collaboration with the George Shearing Quintet. This is a shame, because Something Wonderful is one of Wilson's best albums, and her tastiest, with famed big-band arranger Billy May. Only 23 years old at the time, Wilson had a commanding blues- and soul-drenched jazz voice that was fully formed at the time of this recording, and unlike so many young singers, she was already committed to communicating lyrics rather than just showing off her vocal chops. This is beautifully illustrated in the narrative gem "Guess Who I Saw Today," which justly went on to become one of Wilson's signature tunes…

Trying to make sense of Duke Ellington's massive catalog is one of the more daunting tasks facing jazz lovers. His early output alone includes scores of songs, often with several different versions and a variety of record labels to consider. For completists, the Classics label offers a chronological route covering the mid-'20s through the mid-'40s (without a lot in the way of alternate takes). And while not as strong in content as roundups on Bluebird or Columbia, these discs offer one the thrilling opportunity of witnessing Ellington go from novelty jungle material to sophisticated early swing and on into the annals of jazz legend with those stellar early-'40s sides…

This fine album was sadly lost in the shuffle when it was released the same year as another Nancy Wilson album, The Swingin's Mutual!, her highly successful collaboration with the George Shearing Quintet. This is a shame, because Something Wonderful is one of Wilson's best albums, and her tastiest, with famed big-band arranger Billy May. Only 23 years old at the time, Wilson had a commanding blues- and soul-drenched jazz voice that was fully formed at the time of this recording, and unlike so many young singers, she was already committed to communicating lyrics rather than just showing off her vocal chops. This is beautifully illustrated in the narrative gem "Guess Who I Saw Today," which justly went on to become one of Wilson's signature tunes…

This fine album was sadly lost in the shuffle when it was released the same year as another Nancy Wilson album, The Swingin's Mutual!, her highly successful collaboration with the George Shearing Quintet. This is a shame, because Something Wonderful is one of Wilson's best albums, and her tastiest, with famed big-band arranger Billy May. Only 23 years old at the time, Wilson had a commanding blues- and soul-drenched jazz voice that was fully formed at the time of this recording, and unlike so many young singers, she was already committed to communicating lyrics rather than just showing off her vocal chops. This is beautifully illustrated in the narrative gem "Guess Who I Saw Today," which justly went on to become one of Wilson's signature tunes…

Supermax was a project of Austrian musician and producer, Kurt Hauenstein, best known for "Lovemachine", a 1977 German #4 single, that peaked at #6 in Switzerland, #9 in Austria and #96 in US. The members of the band were Kurt Hauenstein, Hans Ochs (guitar), Ken Taylor (bass guitar), Lothar Krell (keyboards), Peter Koch (drums) and the singers Cee Cee Cobb and Jean Graham. Later, Bernadet Onore Eben and Jessica Hauenstein, the daughter of Kurt Hauenstein, joined the group as backing vocal singers. In 1981, Supermax toured as the first mixed-race band through South Africa. Despite warnings and death threats, Supermax finished the tour, but this made some countries refuse permits for entry, and consequently the group was black-listed by some political organizations.

The portrait of John Bull on the cover of this two-CD U.S. release gives an idea for the uninitiated of what to expect from the composer's music: it's intense, single-minded, and even a bit demonic (although the hourglass topped with a skull with a bone in its mouth is apparently an alchemical symbol). Bull was, in the words of an unidentified writer quoted by harpsichordist Mahan Esfahani, "the Liszt of the virginals." The most immediately apparent feature of his music is extreme virtuosity, on display especially in the mind-boggling set of variations entitled Walsingham (CD 1, track 8) and in the galliards of the pavan-galliard pairs. But the opposite pole in Bull's style exerts just as strong a pull: he is fascinated by strict polyphony by what would be called harmonic progressions, and by the close study of the implications contained within small musical units. As spectacular in their way as the keyboard fireworks are, the three separate settings of a tune called Why Ask You? on CD 2 are marvelous explorations of compressed musical gestures.

Lynne Dawson is the star of this show. In Act 2, where Ginevra finds herself inexplicably rejected and condemned by everyone, Dawson brings real depth of tone and feeling to her E minor lament, 'Il mio crudel martoro'; in the final act she shines in the desolate miniature 'Io ti bacio' and brings much fire to the outburst 'Sì, morro'. But she never transgresses the canons of Baroque style. Von Otter, too, has much marvellous music – the aria 'Scherza infida' is one of Handel's greatest expressions of grief – and she sings it beautifully, but she isn't really at one with his idiom and seems to lack a natural feeling for the amplitude of Handel's lines. Yet there's much to enjoy here too, the beauty of the actual sound, the immaculate control, the many telling and musicianly touches of phrasing.