Nord Texas Wind

Johnny Copeland's tenure on Rounder Records was mostly productive. He made several albums that ranged from decent to very good, increased his audience and name recognition, and got better recording facilities and company support than at most times in his career. The 15 numbers on this anthology cover four Rounder sessions, and include competent renditions of familiar numbers. But what makes things special are the final three selections; these were part of Copeland's superb and unjustly underrated Bringin' It All Back Home album, recorded in Africa, which matched Texas shuffle licks with swaying, riveting African rhythms.

Fans of blues rock guitar and those of Dudley Taft and his chosen career path will love this album. Using the six string as his flag, Taft plants it and, once again, lays claim to his little part of the blues rock world. Nasty, filthy guitar work and superior tone; just what you’d expect from the bearded guitar wailer. His first release, Left For Dead (2010) had a desert southwest feel to the music and story line with just a little Seattle grunge, while Deep Deep Blue (2013) saw him start to explore more of the rock side of the blues. Screaming In The Wind is no exception to this progression for the Cincinnati-based guitarist. Dudley spent twenty years in Seattle and was in the thick of the grunge movement, so there is a touch of eclectic influence in his playing.

The year 1989 was awesome for Kathy Mattea. Her brand of country-pop music began to evolve toward folk and Celtic-oriented influences, which were actually encouraged by her label – changes like this in Nash Vegas are few and far between – and what's more, it all translated in terms of chart success and record sales. A strong and indeed the first completely realized project of her career, Willow in the Wind boasted three hits, "Burnin' Old Memories," "Where've You Been," and "Come from the Heart." The hard honky tonk/West Texas swing of "Burnin' Old Memories," with its slightly rocked-up tempo, is more than just catchy; it's infectious.

This collaboration between soul singer Frankie Lee and multi-instrumentalist bluesman Dan Treanor definitely utilizes some African elements, but the title might be an exaggeration. At heart it's very much a straightforward (and excellent) blues record. Of course, the blues does have its roots in African music, but they're not as widely explored as they might be. "African Wind" comes closest, with kalimba (and Lee doing his best Taj Mahal imitation), and "Cane Flute Soul" brings in fife and drum - again, originally from West Africa, but really more familiar from Mississippi hill country. "The Griot" pays tribute to the African historian storyteller and historian, but with very American style. That said, Treanor does use ngoni and khalam (although it's hard to hear the former)…

PRIMAVERA I the wind is the first collection in a momentous series encompassing 81 world premieres for solo cello. This digital album presents 14 new commissions by The Primavera Project for groundbreaking, multi-Grammy nominated cellist Matt Haimovitz. Each composer responds to Sandro Botticelli’s enigmatic painting, Primavera, and the prophetic large-scale triptych, Primavera 2020, by world-renowned contemporary artist Charline von Heyl.

95 Nuggets From The Lone Star State. The Lone Star State was home to a disproportionate number of fine garage, psych and punk bands in the 1960s. This stupendous boxed set gathers together no fewer than 95 of their greatest moments, culled from some of the rarest singles ever issued. Complete with a packed 32-page booklet (featuring discographies, rare pictures and background info) it's a truly essential purchase for all fans of snarling, snotty, sneering rock and roll. Digitally remastered using 42-bit technology.

John Philip Sousa (Washington DC, 1854-1932), American composer and bandleader, of Austro-Portuguese descent, was recognized mainly for their enormous and prestigious building of military and patriotic marches, which he composed 136. It was called the 'King of the March'. This album is the first of a 5 part series on the Naxos label dedicated to his music. It is interprets by the 'Royal Artillery Band' directed by Keith Brion, a musician expert in the music of Sousa.