Michael Coe Americans

This album chooses 20th century American music to send its message for a reason. Twentieth century American popular music is one of the greatest artistic gifts ever given to the world – and barely anyone talks about it when discussing America. In contrast, Michael Stephenson and Alexander Claffy have made an album that leads with that message. It revels in it – and it does so at a critical moment. Right now, when we're asking ourselves quite painfully, who are we, and who do we want to be as Americans, the music on this album matters because it reminds us of who we are. It helps answer: what do we have to give? And it dares us: can we give the best of ourselves – our hearts, our joy, our genius – to the world? Can we even recognize that part of ourselves?

Classic Michael Jackson is a compilation album by American singer Michael Jackson. It was released as part of the The Universal Masters Collection's series. It features Jackson's early solo recordings from 1971 until 1975, including the hit records "Got to Be There", "Ben", and "Rockin' Robin".

Departure from the Northern Wasteland, a classic of the progressive electronic genre, contains four pieces that are almost perfect in their realization of the sequencer as a compositional tool. Hoenig took the concept of repetitive music further than most anyone in his homeland and claimed his inspiration was drawn from American minimalist composers Philip Glass, Steve Reich, and Terry Riley. The title track is a sublime 20-minute journey through ever-changing melodic and rhythmic phase relationships, creating the vivid sensation of a train ride through misty Northern European landscapes. "Hanging Garden Transfer" then speeds things up a little and is therefore less ideally suited for falling asleep (or waking you up). "Voices of Where" makes the picture of Path Finder on the desolate planet of Mars, appear before the mind’s eye, searching for any proof of life: not a single beat, just wonderful dreamscapes…

Acclaimed violinist and prolific recording artist Philippe Graffin scored a major coup when he unearthed the Violin Concerto of Samuel Coleridge-Taylor, the Afro-English composer whose star has waned since the height of his fame at the turn of the last century, but has rapidly risen again on the strength of this world-premiere recording.