Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1984 and 1990 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

Nobody really expected the Berlin Wall to come down in 1989, and so suddenly. Roger Waters especially, because he had once made a promise never to perform The Wall again after the 1980 tour until the bricks fell in Berlin. But they did, and Waters had no intention to renege on his promise. The Wall became a star-studded megaconcert to benefit the Memorial Fund for Disaster Relief, with larger bricks, bigger inflatable puppets, and a larger audience than any of the original Pink Floyd shows. There was always a contradiction in performing such a personal work in a stadium setting, but here it becomes especially acute when opening up the vocal tasks to a variety of artists. Bryan Adams is actually an astute choice for the cock rock swagger of "Young Lust," but Cyndi Lauper ruins the spare funk of "Another Brick in the Wall, Pt. 2" with over-enthusiastic yelping.

The third release by Kim Simmonds and company, but the first to feature the most memorable lineup of the group: Simmonds, "Lonesome" Dave Peverett, Tony "Tone" Stevens, Roger Earl, and charismatic singer Chris Youlden. This one serves up a nice mixture of blues covers and originals, with the first side devoted to studio cuts and the second a live club date recording. Certainly the standout track, indeed a signature song by the band, is the tour de force "Train to Nowhere," with its patient, insistent buildup and pounding train-whistle climax. Additionally, David Anstey's detailed, imaginative sleeve art further boosts this a notch above most other British blues efforts.

“Unforeseen Blessings” is a powerful statement from The Leaders, a collective ensemble of highly respected jazz innovators coming together to explore modern post-bop and contemporary jazz language. Featuring prominent voices such as Lester Bowie, Arthur Blythe, Chico Freeman, Kirk Lightsey, Cecil McBee, and Don Moye, the album emphasizes collective improvisation, rich harmonic layering, and dynamic interplay between strong individual personalities. The compositions balance structured thematic material with open-ended sections that allow for expressive solo development and spontaneous group interaction. The trumpet and saxophone lines often engage in conversational exchanges, while the rhythm section provides both grounding and rhythmic elasticity. The album reflects the creative spirit of late 1980s jazz collectives, where experimentation and tradition coexist in a fluid musical dialogue. “Unforeseen Blessings” stands as a cohesive yet adventurous recording, highlighting the depth and versatility of its distinguished lineup.

“Piano” by George Shearing is an intimate solo recording that highlights the pianist’s refined touch, harmonic sophistication, and deep connection to the jazz tradition. Stripped of ensemble accompaniment, the album places full focus on Shearing’s expressive phrasing and distinctive block chord style, allowing each piece to unfold with clarity and elegance. The repertoire consists of well-known standards and original compositions, interpreted with a balance of technical precision and emotional warmth. Shearing navigates effortlessly between swinging passages and lyrical ballads, maintaining a cohesive and relaxed atmosphere throughout. His nuanced dynamics and subtle rhythmic variations demonstrate a lifetime of musical experience, resulting in performances that are both understated and deeply engaging. “Piano” stands as a testament to Shearing’s artistry in its purest form, offering a sophisticated and personal listening experience for fans of solo jazz piano.

Live It Up is the tenth album by Crosby, Stills & Nash, their fourth studio album in the trio configuration, released on Atlantic Records in 1990. It peaked at #57 on the Billboard 200 with current sales of 300,000. It is the first of their studio albums not to gain either a gold or platinum certification by the. It was issued in all formats at the time (compact disc, cassette tape, and vinyl record) and was later released for streaming on Spotify and both streaming and download on Qobuz.

“Flash” is a 1990 release by The Phil Woods Quintet + One, showcasing a dynamic blend of bop and hard bop with a modern edge. Led by the expressive alto saxophone of Phil Woods and complemented by Tom Harrell’s lyrical trumpet and flugelhorn work, the album delivers a series of sophisticated compositions and interpretations. The ensemble benefits from the addition of trombonist Hal Crook, enriching the harmonic depth and brass interplay. With strong contributions from Hal Galper on piano and a tight rhythm section, the album balances intricate arrangements with inspired improvisation, resulting in a vibrant and engaging jazz session.

Secret Rooms are unique internal states, emotionally complex spaces in consciousness, each expressing its individual identity and ambience. We pass from room to room; we are the thread that weaves the light and color in a continuing process of integration. With 1990's Secret Rooms, Kevin Braheny not only built the synthesizers he plays on the album, but the 3D binaural recording technology used to record it as well. This unity of technology and artistic passion informs the album with an innovative spirit, evident on the rhythmic "Shadowcatcher" and "Til You Get There," featuring ethno-percussionist Leonice Shineman. Other pieces, such as "Saturn Ballet," return to Braheny's classic, melodic electronic stylings. Synths, saxophone, piano and creative percussion give Secret Rooms a fluid, innovative sound that defines Braheny's talents as a composer, performer and engineer.

“The Big Idea” is a 1990 album by Dave Stewart and Barbara Gaskin that blends art rock with soft rock influences and thoughtful reinterpretations of well-known songs. The album features a mix of covers and original material, including notable renditions like “Subterranean Homesick Blues” and “The Crying Game,” reimagined with the duo’s distinctive style. Stewart’s layered production and multi-instrumental arrangements combine with Gaskin’s expressive vocals to create a polished, atmospheric sound. The result is a sophisticated and eclectic record that highlights their creative synergy and reinterpretative approach to modern and classic songs.

“That Was Then, This Is Now” is a 1990 release by Japanese-American trumpeter Tiger Okoshi, known for his vibrant blend of jazz fusion, hard bop, and contemporary jazz elements. The album showcases Okoshi’s expressive trumpet and flugelhorn playing, combining lyrical melodies with energetic improvisation and modern production textures.
The compositions, all written by Okoshi, move through a variety of moods—from introspective and atmospheric pieces to more rhythmically driven, fusion-oriented tracks. The presence of electric instruments, synthesizers, and a dynamic rhythm section gives the album a distinctly modern sound while still rooted in jazz tradition. Okoshi’s distinctive voice on the trumpet is at the forefront, delivering both technical precision and emotional depth throughout the album.
“That Was Then, This Is Now” reflects a transitional and forward-looking approach, bridging classic jazz sensibilities with the evolving sounds of the 1990s fusion scene.

“Overseas Special” by Monty Alexander is a refined jazz recording that captures the elegance and spontaneity of a classic piano trio setting, enhanced by masterful guitar work. Released in 1990, the album features Alexander’s signature blend of bop, swing, and lyrical improvisation. His expressive piano style is both technically accomplished and emotionally engaging, bringing fresh interpretations to well-known standards while also presenting original compositions. Supported by the legendary Ray Brown on bass and Herb Ellis on guitar, the trio creates a warm and dynamic interplay that highlights each musician’s strengths. The album moves seamlessly between upbeat, swinging passages and more reflective, melodic moments, offering a balanced and immersive listening experience. “Overseas Special” stands as a testament to Monty Alexander’s artistry and his ability to merge virtuosity with accessibility in a timeless jazz context.

“Greatest Hits” by Gladys Knight And The Pips is a timeless collection that highlights the enduring legacy of one of soul music’s most iconic vocal groups. Released in 1990, this compilation brings together some of their most celebrated and emotionally powerful recordings, showcasing the rich, expressive voice of Gladys Knight alongside the smooth harmonies of The Pips. The album captures the essence of classic soul and funk, blending heartfelt storytelling with lush arrangements and unforgettable melodies. Each track reflects themes of love, heartbreak, resilience, and triumph, delivered with sincerity and vocal excellence. From upbeat grooves to deeply emotional ballads, the collection offers a well-balanced overview of the group’s musical impact and influence. It stands as an essential listening experience for fans of classic soul, offering both nostalgic value and a testament to the group’s lasting artistry and cultural significance.

Tokyo Rose is a vibrant and boundary-pushing jazz album by Toshinori Kondo & IMA, released in 1990, blending jazz, funk, and free jazz into a high-energy and experimental sound. The album showcases Kondo’s electric trumpet and vocal work at the forefront, delivering a raw and expressive performance that moves fluidly between structured grooves and free-form improvisation. The inclusion of electric instruments and modern production techniques gives the album a distinctly contemporary edge for its time. Tracks such as “China Demonstration,” “F1 Republic,” and “No More Border Line” highlight the group’s ability to fuse aggressive rhythms with avant-garde textures, while “Purple Haze” offers a reinterpretation with a unique, electrified jazz-funk twist. The ensemble, featuring electric guitar, bass, keyboards, drums, and occasional scratches by DJ Takada, creates a dense and layered sonic environment that constantly evolves. Guest contributions, including electric violin on “Timeless Man,” add further depth and variety. Tokyo Rose stands as a bold and innovative statement, reflecting Kondo’s fearless approach to blending genres and expanding the possibilities of modern jazz expression.