Tomorrow’s New Dream

With a lyricism and warmth to his sound that was without equal, Arthur Stewart Art Farmer will always be remembered as one of the finest trumpet and flugelhorn players in jazz. Continually evolving in style and approach throughout his career, his playing was noted for its distinctive phrasing, letting the beat run ahead of him rather in the manner of Billie Holiday's vocals". Farmer produced a number records that remain among the most defining of the jazz genre, and which often featured him performing alongside other legendary musicians, including Benny Golson, Gigi Gryce, Horace Silver, Jim Hall and Sonny Rollins. 1961 saw one of the most important shifts in Art Farmer s career. Having played primarily trumpet up until that point, Farmer switched to the softer tone of the flugelhorn, and for the rest of his life it would remain his instrument of choice.

Peter Erskine’s latest album, Joy Luck, showcases the drummer’s new trio, and a family connection. Peter’s nephew Damian Erskine joins his uncle for the first time on an album. Dubbed the Peter Erskine New Trio, the group also includes pianist Vardan Ovsepian. The album features original compositions by each of the trio’s members, and is a release the band describes as combining “the strength of experience with the vitality of youth”.

With 158 hits on 10 CDs, the 'Golden Age of Country' is the most comprehensive collection ever devoted to country music of the 1950s and '60s. We've brought together all the major C&W stars and their hits from the two most important decades in the genre's history. It's a dream collection for any fan of classic country music.

As the post-punk dust began to settle, a particular strand of artist began applying a knowingly distant, colder aesthetic to their work. While much of the scene began to be dominated by bigger budget, commercially minded former punk and new wave acts, a darker undercurrent did survive, often more interesting, more dangerous and sexier than anything that could be heard on Top Of The Pops at the time. The first generation of the darkwave movement consisted of bands that were equally influenced by the fractured drama of Depeche Mode, Siouxsie & the Banshees and The Cure as they were by the art damaged experimentation of Cabaret Voltaire, Wire and Throbbing Gristle, always rich in Gothic spirt, societal displacement, urban isolation and sexual energy.

As the post-punk dust began to settle, a particular strand of artist began applying a knowingly distant, colder aesthetic to their work. While much of the scene began to be dominated by bigger budget, commercially minded former punk and new wave acts, a darker undercurrent did survive, often more interesting, more dangerous and sexier than anything that could be heard on Top Of The Pops at the time. The first generation of the darkwave movement consisted of bands that were equally influenced by the fractured drama of Depeche Mode, Siouxsie & the Banshees and The Cure as they were by the art damaged experimentation of Cabaret Voltaire, Wire and Throbbing Gristle, always rich in Gothic spirt, societal displacement, urban isolation and sexual energy.