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The Heinrich Schütz Complete Recording with the Dresdner Kammerchor under Hans-Christoph Rademann has set new artistic and editorial standards. Now the third of three box sets is being released. It encompasses Volumes 15 to 20 of the Complete Recording. A worthy conclusion to this award-winning series.

This set forms exactly the period in which Santana was most influenced by jazzrock, starting whith the supreme coherent Caravanserai,then joining John McLaughlin on Love Devotion Surrender, followed by Welcome, in fact the best of the set, although less coherent in the sense of being an album: the tracks are very different in style, but are all very good!…

By sheer size alone, Universal’s 2011 Deluxe Edition of the Kinks' debut album trumps any previous reissue of the album, weighing in at a whopping 56 tracks spread over the course of two CDs. This includes the album in both its stereo and mono mixes, both sides of the “Long Tall Sally,” “You Still Want Me,” and “All Day and All of the Night” singles, the tracks from the Kinksize Session EP, the demo of “I Don’t Need You Anymore,” a couple of alternate takes and mixes, and a clutch of BBC sessions punctuated by interviews with Ray Davies. Although the album proper is slowed down by a little filler, the wealth of bonus material improves the overall experience: many of the single and EP tracks are better than what’s on the LP, the live sessions smoke, and the remastering kicks hard, all factors in making this the best edition ever of the Kinks' debut.

Being his first solo-tour, Francis presents his wonderfully characteristic voice to London at St. Luke’s. This live show features songs from his album "One Step At A Time", and includes not only Status Quo classics like ‘Caroline’, ‘My Little Heartbreaker’, and ‘Don’t Waste My Time’ but also hissolo songs like "Crazy For You", "One Step At A Time" and "Sleeping On The Job". Showing his true talent, and being one of the best rockers of our time, he truly demonstrates not only his brilliant song-writing talents, but also his wonderful way with his music and performance skills. “I never stop writing songs and melodies but there have been many tracks over the years that just weren’t right for Quo. These songs have been gathering dust in my mind for too long and now seems the right time to let them out into the world. It’s a big step for me – I love these songs so much it hurts!” ~ Francis Rossi

Jorge Federico Osorio, “an imaginative interpreter with a powerful technique (The New York Times), deftly pairs Brahms’s final solo piano works with those by Schubert for an inventive program of richly satisfying works that capture the essence of each composer’s towering individuality.

‘Samson de la nuit’ was the affectionate epithet given to this pianist who seemed never to sleep and who was almost as famous for spending his early morning hours in Parisian jazz clubs as he was for playing Ravel’s Gaspard de la nuit. Like the Biblical Samson, Samson François wore his hair long – it often hung in front of his eyes as he played – and like the character Scarbo in Gaspard, he could be mischievous and evasive. A man of contrasts, he was in many ways the epitome of what one thought a romantic pianist should be – confident, dashing, poetic, moody, passionate, tender and temperamental. Today, more than 40 years after his premature death, a new generation of listeners has come to appreciate the qualities that made him one of the great pianists of the 20th century.