Though its modern-day connotation means something quite the opposite in terms of flattery, the Knickerbockers in their heyday were the ultimate bar band. With a stripped-down lineup of guitar, bass, drums, and tenor saxophone and all four members singing, their repertoire truly "covered the waterfront." Their harmonies were gorgeous, fuller and sharper than your average self-contained band, and their collective ear for mimicry was unparalleled. When they recorded a deadly accurate Beatle sound-alike original, "Lies," for the tiny Challenge label, it started zooming up the charts, and the band seemed poised for multi-talented stardom. Alas, it was not to be, but certainly not for lack of talent. This definitive 36-track two-disc set documents - if not the best the group had to offer - at the very least, the best they were allowed to commit to magnetic tape…

For his first album for the Concord jazz imprint, vibraphonist Gary Burton goes back: back to some of the most enduring compositions in the jazz lexicon, constructing the program on Departure completely from jazz standards, except for "Tossed Salads and Scrambled Eggs" (the theme from the television show Frasier). Along with guitarist John Scofield, drummer Peter Erskine, pianist Fred Hersch, and bassist John Patitucci, Burton also returns here to the quicksilver, porcelain sound of the George Shearing quintet, Burton's first job after graduating from the Berklee College of Music.

The Greatest Hits Volume III album includes hits from 1983 to 1997. Two previously unreleased studio tracks are included, "To Make You Feel My Love" and "Hey Girl", while the third new track, "Light as the Breeze", was originally recorded for a Leonard Cohen tribute album known as Tower of Song in 1995. All three tracks are newly recorded covers (a rare occurrence in his catalogue). Chronologically, Greatest Hits Volume III overlaps slightly with Volume II, as the first two tracks, "Keeping the Faith" and "An Innocent Man", first appeared on his album An Innocent Man.

100% Cotton (The Complete Jerry Cotton Edition) is a comprehensive collection of Peter Thomas’s dynamic and stylish compositions created for the German Jerry Cotton film series. Blending jazz-funk grooves, cinematic score elements, and easy listening sophistication, the album showcases Thomas’s ability to craft vibrant, mood-driven soundscapes that perfectly complement crime and detective narratives. The music ranges from punchy, brass-driven themes and groovy basslines to atmospheric interludes and suspenseful cues, reflecting the evolving tone of the films. Across its extensive tracklist, the collection highlights recurring motifs, variations, and suites that demonstrate Thomas’s compositional versatility and attention to detail. The inclusion of multiple suite segments and outtakes provides deeper insight into the creative process behind the soundtracks. Overall, this release stands as both a nostalgic tribute to classic European crime cinema and an essential archive of 60s-inspired jazz-infused film scoring.

The Rocky Horror Collection is an extensive multi-disc anthology celebrating the культ phenomenon of The Rocky Horror Picture Show and its theatrical origins. This release compiles the original soundtrack recordings, stage performances, audience participation sessions, and sing-along versions, offering a complete immersion into one of the most iconic musical experiences in pop culture history. The collection captures the theatrical energy, campy humor, and genre-blending style that mixes rock, glam, pop, and musical theater influences. Performances by Tim Curry and the original cast remain central highlights, delivering unforgettable renditions filled with charisma and dramatic flair. Beyond the core soundtrack, the inclusion of live recordings and audience interaction tracks reflects the cult following and participatory tradition associated with the show. This comprehensive set serves both as a nostalgic tribute and a definitive archive for fans of the Rocky Horror universe.

The Shaham siblings play Dvorak's Sonatina, wonderful music with great tones recorded with great clarity! The piano sound is remarkably clear and sharp sounding and no introduction needs to be said about the incredible violin tone displayed here. DG really did an amazing production on this recording. The violin is played with incredible warmth and awesome phrasing, every heartfelt note is carefully shaped by a master craftsman: Gil Shaham shows yet again his ability to speak with every note. The piano is played with a great sense of dynamics and effortless technique while never being obtrusive. Orli shows great maturity in how she handles and shapes the music with her great hands.

“Land Of Sunshine” by Robin Cook is a vibrant and upbeat album that captures the essence of late 1990s Eurodance while infusing it with tropical and reggae-inspired elements. Known for blending catchy melodies with dancefloor-friendly beats, Robin Cook delivers a collection that is both energetic and accessible. The album features a mix of original tracks and reinterpretations of well-known songs, including “Kalimba De Luna” and “Caravan Of Love,” reimagined with a modern Euro house twist. Tracks like “Cuba” and “Reggae In The Night” highlight the album’s sunny, carefree atmosphere, driven by rhythmic grooves and bright synth arrangements. The inclusion of remixes and a megamix adds variety and reinforces the album’s club-oriented appeal. With its fusion of Eurodance rhythms and laid-back reggae vibes, “Land Of Sunshine” stands as a nostalgic snapshot of the era’s feel-good dance music scene.

This series of CDs by Tactus and Modo Antiquo represents the first complete recording of the cantatas of Antonio Vivaldi. Up until now, these works have appeared only sporadically on record, yet they constitute quite an important body of works in Vivaldi’s total production. Dedicated exclusively to female voices, the cantatas have here been divided according to the classifications used in the Ryom catalogue: cantatas for soprano and continuo, cantatas for contralto and continuo, cantatas for soprano and instruments, cantatas for contralto and instruments. Modo Antiquo has approached this first complete recording of the cantatas by Vivaldi with full respect for the original texts and the performance practices of the period.

“One More Mile: Chess Collectibles Volume 1” is a comprehensive two-disc anthology showcasing Muddy Waters’ essential recordings for Chess Records, capturing the evolution of Chicago blues at its most influential stage. This collection highlights Waters’ commanding vocal presence and distinctive slide guitar style, which helped define the electric blues sound of the mid-20th century. Spanning early raw recordings to more developed studio productions, the set illustrates his transition from traditional Delta blues roots to the amplified urban blues that shaped rock and modern blues music. The accompanying musicians, many of whom were key figures in the Chess Records era, provide tight, rhythmically driven support that enhances Waters’ expressive delivery. Tracks such as “Hoochie Coochie Man” and “Rollin’ Stone” exemplify his powerful storytelling and rhythmic innovation. This compilation serves both as an archival document and a definitive listening experience, reflecting Muddy Waters’ enduring legacy as a foundational figure in blues history.

“Light And Shadows” by Casiopea is a polished and energetic jazz fusion album that highlights the band’s signature precision, melodic strength, and rhythmic sophistication. Released during a mature phase of their career, the album reflects a balance between technical brilliance and accessible composition. Issei Noro’s expressive guitar lines intertwine seamlessly with Minoru Mukaiya’s rich keyboard textures, while Yoshihiro Naruse and Akira Jimbo provide a tight and dynamic rhythmic foundation. The inclusion of guest drummer Harvey Mason adds further depth and variation to the rhythmic palette. The album moves fluidly between upbeat, groove-driven tracks and more reflective, melodic pieces, creating a cohesive and engaging listening experience. With its clean production and strong musical identity, “Light And Shadows” stands as a solid example of late 1990s jazz fusion, appealing to fans of instrumental virtuosity and well-crafted contemporary jazz compositions.

“Just Add Water” by Virgil Donati is a raw and electrifying fusion album that captures the essence of spontaneous musical creation. Recorded in a single session with no rehearsals or overdubs, the album features Donati alongside bassist Ricc Fierabracci and guitarist Scott Henderson, resulting in a highly organic and unpredictable performance. The trio explores complex rhythmic structures, intricate interplay, and dynamic shifts, showcasing exceptional technical skill and deep musical intuition. Each track unfolds as a natural extension of the moment, blending jazz improvisation with the intensity and edge of jazz rock fusion. Donati’s drumming is both powerful and precise, driving the music forward while leaving space for expressive contributions from the bass and guitar. The result is a bold and unfiltered listening experience that highlights the trio’s chemistry and creativity. “Just Add Water” stands as a compelling document of pure improvisational energy and musical virtuosity.

Cesária Évora was a Cape Verdean popular singer. Nicknamed the "Barefoot Diva" for performing without shoes, she was also known as the "Queen of Morna". A native of the island nation of Cape Verde, Cesária Évora was known as the country's foremost practitioner of the morna, which is strongly associated with the islands and combines West African percussion with Portuguese fados, Brazilian modhinas, and British sea shanties. Évora began singing morna at age 16 after meeting an attractive young guitarist. Her talent soon had her performing all over the islands, and in the late '60s two of her radio tapes were released as albums in the Netherlands and Portugal, respectively.

At 73, with hundreds of albums and countless sessions to his credit, Chet Atkins still had another great recording in him – this splendid duo session with the young Australian guitarist/composer Tommy Emmanuel. Here, Atkins leaves all of the smooth jazz experiments from the previous decade and a half behind him, choosing superior material for their acoustic guitars, with the rhythm section laying down swinging country-pie tracks underneath. Emmanuel's fingerpicking style isn't quite as tied to the rhythm as Atkins'; it's a little sharper in attack, fleeter in technique and a bit flashier in temperament, yet remarkably well-matched to that of the east Tennessee master, almost an alter ego. Indeed Atkins' tune "Tip Toe Through the Bluegrass" plays the two styles off each other quite revealingly.

This truly international ensemble drawn from Japan, Germany and the USA discloses a Newly Planted Thuringian Pleasure Garden virtually unknown on disc. Johann Rudolf Able (1625-73) worked at St Blasius Church in Muhlhausen (a predecessor there of JS Bach), but his stylistic lineage is clearly from Venice and Gabrieli, via Schiitz. Into his ‘garden’ Ahle ‘transplanted… new spiritual musical plants with three to ten and more parts’. The selection here uses four lucid voices, a cornetto and four trombones, a pair of violins and continue organ.