The circumstances under which Mozart started to write uncompleted Singspiel Zaïde, some time in 1779 or 1780 in Salzburg, are not clear. It may have been in an effort to get a hearing at the new German Theater in Vienna, but by 1781 he realized that a serious opera of this kind was not suitable, given the Viennese preference for comedy. He then abandoned the project, and it was not staged until 1866 in an adaptation by Gollmick, with an Overture and closing section by Johann Anton Andrè. Further adaptations followed, but the version presented here consists only of the music Mozart wrote, adding up to about 80 percent of what the completed opera might have contained.

As ever, the conductor-less New York orchestra give lithe, impeccably groomed performances. Tempos tend to be swift, articulation exceptionally buoyant and precise, phrasing stylish and gracious. . . . [A]ll three minuets are beautifully judged, poised and light of foot . . . and the Andantes of the two D major symphonies are nicely done, too, with an awareness of deeper currents beneath the perky charm of No. 73. . . . [T]here's a lot of pleasure to be had from these nimble and elegantly crafted performances, cleanly recorded . . .

Gliding ambient serenity with hypnotic hand drumming. Max Corbacho's first CD drifts over the listener like soft sand and silk, weightless wafts and gossamer veils of synthetic tone rising and falling in delicate harmony. The tone is light and dreamy, floatational and airy - atmospheric rather than oceanic, skybound rather than subterranean. The percussive content is confined to the first four pieces - here gentle loops comprised of organic beats with an ethnic flavour roll round evenly, trance-inducing, repeating until a part of the fabric of the environment. As the album progresses the introspective nature of the music increases - the beautiful Erosion lulling and spacious leading into the final three beatless tracks. The shadows pull in somewhat toward the end, Vestiges opening with a twilight moodiness that seems to open into a clear night - the listener a solitary presence in a vast panorama.

After three strong-selling albums in a row, Black Oak Arkansas released Ain't Life Grand to a somewhat cool response. The successes of the past seemed to have afforded the group better recording accommodations, as this 1975 offering sounds vastly superior to anything that preceded it. The material isn't improved, but the performances are tighter, and the mixes are punchy and clear. James "Jim Dandy" Mangrum still dominates the proceedings with his snarling vocals; however, the singer's more annoying ticks are softened a little, making this a very listenable record. Highlights include a decent cover of the Beatles' "Taxman," the uplifting closer "Let Life Be Good to You," and "Keep On," with its pronounced Grateful Dead shading. Outside of their two near-classics, Raunch 'N' Roll Live, and High On the Hog, this just might be the best effort from Mangrum and Black Oak Arkansas.

In 1972, pre-heavy metal legend Neil Merryweather took the musicans from Mama Lion with the exception of Lynn Carey, entered the studio and laid down two albums, "Heavy Cruiser" and "Lucky Dog" under the name of Heavy Cruiser.
Artie Ripp (record producer) stopped the band from putting their names on the record cover because he didn’t want it to interfere with his main act, Mama Lion.
The same thing happened when Neil did more of his songs with the band and produced a second “Heavy Cruiser” album called “Lucky Dog” - band members’ names were left off the cover.

Formed in North Portland, Oregon during the summer of 1966. Brigade won the KLSN Radio Portland Teen Fair Battle Of The Bands on 9th June 1968 and received a 1954 custom purple Cadillac Hearse as a prize! By now they were a top local attraction and the same year they signed to the American Record Company and recorded a demo which received a lot of local airplay. They went on to record an album for the B&V (Band 'n' Vocal) label in 1970, but split up before it was released. Consequently it received little airplay and flopped. The band all went on to college or further education. Today the album is exceedingly rare, even the more recent vinyl reissue on Rockadelic, which was limited to just 350 copies, has already become hard to come by…

Marek Janowski, Music Director of the Suisse Romande Orchestra since 2004, has made an excellent recording for Pentatone with that orchestra–a coupling of symphonies of Franck and Chausson. With the Pittsburgh Symphony, he has recorded the four Brahms symphonies: Symphony No. 1, Symphonies 1 and 3, and Symphony No. 4. These Strauss performances were recorded live in Pittsburgh's Heinz Hall October/November 2008, produced and recorded by Job Maarse, who did a fine job.

Under the direction of Philip Cave, Magnificat embarks on a three-volume journey exploring the ingenuity of Orlandus Lassus. In this rich collection of Magnificats based on polyphonic models, Lassus – ‘The Alchemist’ – demonstrates an unsurpassed ability to reimagine existing material in the creation of his own works. This first volume of the series presents Lassus’s Magnificats based on madrigals, featuring models by Philippe Verdelot, Cipriano de Rore, and Alessandro Striggio among others. The second album will comprise Lassus’s canticles based on motets, and the third will conclude with those inspired by chansons. In celebrating Lassus as ‘The Alchemist’, Magnificat reveals the creative process and skill he employed in re-working the original music and illuminates a significant repertory that is underrepresented in contemporary liturgical or concert settings.

Orion the Hunter was a 1980s rock combo and offshoot of the popular band Boston. It featured former Boston members Barry Goudreau on guitars and Brad Delp on backing vocals, as well as future Boston lead vocalist Fran Cosmo. The band was originally known as simply "Orion", but the name was changed to "Orion the Hunter" in deference to pressure from Orion Pictures. The group's self-titled album in 1984 on Portrait/CBS Records, which yielded a hit single "So You Ran," featured the sky-high vocals which prompted Cosmo's entrance to Boston in the early 1990s. Orion the Hunter charted at #57 on Billboard's Top 200 Albums chart after its debut on May 9, 1984. "So You Ran" made the Top Ten on rock radio and was a mid-chart hit on mainstream pop radio. Orion the Hunter featured Bruce Smith on bass and ex-Heart drummer Michael DeRosier. The album also included Brad Delp, former lead singer of Boston, who co-wrote four songs and sang background vocals on numerous tracks. Delp's vocals are especially noticeable on the ballad "Joanne" which he co-wrote with lead singer Fran Cosmo.