Dance Orchid

It's a matter of opinion as to whether Dixon's Aladdin output was his peak; many would give his Specialty sides (available on the Marshall Texas Is My Home compilation) the nod. Still, his late-'40s and early-'50s work for the label included some of his most popular and best tracks,…..

Named after the 18th-century dance-style movement ‘Badinerie’, this beautiful new album from flautist Julien Beaudiment and harpist Marie Pierre Langlamet offers a diverse span of repertoire, with a rich collection of works from across the centuries.

Chronological development of popular music from 1960 to 1997, the impact of social change on the text and style of music. Immerse yourself in a nostalgic trip, remember how it was different before. For the older generation it - a memory, a wonderful meeting with the youth and for the young - a unique opportunity to hear music that is virtually nowhere is not sound.

Particles presents the first ever box set anthology of Ireland's 1960s rock music scene. Only two long-out-of-print compilations have ever emerged to profile Ireland's rock roots, making this anthology doubly inviting. From the R&B/blues scene in Belfast to the late 1960s psychedelia of Dublin, People! Let's Freak Out reveals a wider account of the beat scene, and its transition into psychedelia and blues rock. While Ireland has never been given equal acclaim to that of its neighboring England, it nevertheless produced some of the most iconic and influential bands of the period. As Van Morrison and Them were leaving Belfast for London, a slew of new hopefuls arrived to establish their own niche under the nose of the dominant showband scene. Compiled here, are 125 original recordings featuring various groups from Eire and Northern Ireland, some of whom went on to huge success in the 1970s. From Ian Whitcomb to Eire Apparent, The Bye-Laws to the Belfast Gypsies and Gentry to Sugar Shack, People! Let's Freak Out is a fascinating account of Ireland's more obscure and vibrant music scene of the 1960s. Spanning five discs with rare and previously unreleased recording People! Let's Freak Out offers an excellent companion to similar anthologies such as Nuggets, Rubble, and Buried Alive.

On this fascinating new release, violinist Fedor Rudin and pianist Boris Kusnezow perform works by mid-20th-century Russian composers Edison Denisov, Dmitri Shostakovich and Sergei Prokofiev, including previously unpublished music. French-Russian violinist Fedor Rudin explores and pays tribute to his heritage via this rich collection of works, including his own arrangement of Denisov’s orchestration of Debussy’s ‘Prelude and Duo’, which comes from Debussy’s unfinished opera, Rodrigue et Chimène. Other gems include Denisov’s rarely-heard Three concert pieces for violin and piano (1958), and his previously unpublished Sonatina (1972), which marks a return to his melodic youth after the musically experimental interim years. Those years are represented here by Denisov’s dodecaphonic Sonata (1963). We also hear an unfinished Sonata by Shostakovich, Rachmaninoff’s arrangement of Mussorgsky’s ‘Hopak’ from his opera Sorochinsky Fair, and Prokofiev’s unusually theatrical Violin Sonata No. 1.

Super Deluxe Edition Of The Band’s 1972 Classic Includes Newly Remastered Original Album Plus 20 Previously Unreleased Studio And Live Recordings.

The Binelli-Ferman Duo and oboist Leanne Nicholls join City Chamber Orchestra of Hong Kong conducted by Germán Augusto Gutiérrez in this exhilarating compilation of tango arrangements by Daniel Binelli. Each work on this album holds a chapter in the evolution of the tango, from its waterfront roots in the night-time taverns of the Río de la Plata (Buenos Aires and Montevideo) to the concert halls of today.

As Yanni's first album of original material in five years - he revisited the past on 2014's Inspirato and recast Mexicanísimo as My Passion for Mexico in 2012 - Sensuous Chill doesn't feel rushed, nor does it feel lazy. At nearly 70 minutes, it does feel a little bit long but Yanni doesn't keep the 17 tracks treading water. Occasionally, he trades in placid surfaces, letting a slight Middle Eastern flair drift into view, but he often ratchets up the R&B beats while threading in spectral soul vocals straight out of Pink Floyd, letting things glide into a full song and then slide away back to a realm that can only be identified by the title's claim. If the production and aesthetic of the record feel slightly out of date - it feels like it could've been cut in the '90s - there's also a charm to its traditionalism: Yanni knows what he does well and he does it proudly here.