Since 1987, the Manchester Craftsmen’s Guild has been bringing many high caliber jazz performers to the Pittsburgh area to perform live, in front of enthusiastic audiences. Those who have graced the stage at Manchester Hall have included McCoy Tyner, Shirley Horne and Dave McKenna, to name just a very few.

Fantastic singing by the Finnish ensemble, who display a remarkable ability to convey the 'polyphony' - the sounding together of 'many tunes'. For their focus is very much on ensuring each voice is phrasing & singing their 'tune', with the lovely harmonies a result rather than their main target. It's good to hear an ensemble singing this way, all too often we hear the same 'vertical' (harmonic) approach that is the basis of the last 200+ years of concentration on tune+harmony, rather than a truly 'horizontal' focus on the lines of the music.

We possess many works by Jean Richafort, but very little biographical information on the composer. In the 16th century he was the object of veneration and admiration. The great Ronsard himself spoke of him in the most enthusiastic terms, and most of his contemporaries - Mouton, Morales, Gombert, Palestrina - based Masses on his music.

Although Karin Krog was born in Oslo and grew up in a country where Norwegian is the primary language, she is a shining example of how effectively a Scandinavian vocalist can sing English-language jazz. Raindrops, Raindrops, a best-of CD that spans 1966-1985, paints a consistently attractive picture of Krog's artistry. Assembled by a German label called Crippled Dick Hot Wax, this collection shows Krog to be an adventurous, risk-taking improviser who brings an intriguing variety of influences to the table - Sheila Jordan, Betty Carter, and Jeanne Lee have affected her work, but so have less abstract vocalists like Billie Holiday and Dinah Washington. Krog favors an inside/outside approach (usually more inside than outside), and the Norwegian improviser is as convincing on Herbie Hancock's "Maiden Voyage" as she is on Michel Legrand's "I'll Wait for You" and Thelonious Monk's "'Round Midnight"…

Byrd's music for the Anglican Church has been performed regularly in services for some 400 years. Perennial favourites recorded here include the Magnificat and Nunc dimittis from the Great Service and the anthems O Lord, make thy servant Elizabeth and Sing joyfully unto God.

Formed by Phish drummer Jon Fishman as a kind of all-star experiment from local players in Burlington, Pork Tornado delivers a mismatched set of solo noodles, tight rhythm jams, spacy synth pads, saloon laments - songs set in styles that have nothing much in common other than the spirit of the musicians as they hopscotch from genre to genre. Their authenticity on country cuts like "Home Is Where You Are" and "Blue Skies" makes it almost impossible to believe that the same guys are responsible for the funk track "Kiss My Black Ass," which they execute with a street energy, crisp backbeat, virtuoso stuttering bass, and collage mentality that reach back to James Brown and War for inspiration. There are enigmatic moments as well, which range from Dan Archer's somewhat stiff solo guitar fragment "Fellini" to a few seconds of Fishman goofing around on the keys in "Organ"…

A gifted vocalist whose instrument is both strong and sensual, British jazz singer Malia was born into a family of mixed African and English heritage in the small East African country of Malawi, which borders Mozambique, Tanzania, and Zambia. Malia had limited exposure to music growing up - her neighborhood could only tune in two radio stations (one in the native language of Chewa; the other in English), and her father's record collection was dominated by the Beatles. That changed when political unrest forced her family to flee Malawi and relocate to London when Malia was 14 years old. She took great interest in the rich musical landscape that surrounded her, immersing herself in the dance-oriented new wave sounds dominating the English music scene. The music of Sarah Vaughan and Billie Holiday soon attracted her and transformed her worldview, as she was introduced to influential Black artists for the first time…

Demon are often the subject of hot debate whenever the New Wave of British Heavy Metal is discussed: are they or aren't they supposed to be cited alongside the likes of Iron Maiden, Saxon and Def Leppard, as a rejuvenating force in the evolution of heavy metal? After all, their debut album, Night of the Demon, had shown that the Staffordshire quintet were far more indebted to Britain's heavyweights of melodic hard rock, like UFO and Thin Lizzy, than full-fledged heavy metal titans Black Sabbath or Judas Priest. But, then again, so were Def Leppard! And, in any case, this debate would not find easy answers in Demon's second long player, 1982's The Unexpected Guest.

Deluxe 2-CD Book edition of this legendary album! Hotfoil finished sleeve, 64 pages with artwork, lyrics, unseen pictures, liner notes, and a special interview.
Agalloch's 'The Mantle' isn't just a great and influential album; it's a transformative journey, one that showed the band breaking away from their early direction in favor of its intricate blend of atmospheric metal mixed with an unheard amount of folk, and post-rock canvas. Originally released in 2002, and met with surprise and mixed emotions, it continues to captivate listeners with its atmospheric depth and emotional resonance decades later. One could say, there is no other album like this, none other whose artwork and imagery are so intertwined, every image resonates so well with the music, it feels almost impeccable, as if pictures could tell the songs by themselves…

The playing and leadership are exceptional in every quarter. Petter Sundkvist never misses a trick when it comes to coaxing the right color at the appropriate moment and unerringly shaping the melodic contours of Kraus's scores. The performances brim with energy and commitment that would undoubtedly elude others who might attempt to tread here. Commended by energy, elegance, and charm, and crowned by a clear and bright aural perspective, this recording and its precursors are "must haves" for any lover of the Classical era.

…There's no such thing as having too many recordings of Alessandro Scarlatti cantatas. Presented here are five cantatas for soprano on the theme of the pain of love, three for basso continuo only, one with b.c. and flute, and one with b.c., violin and flute. Two harpsichord improvisations and an adagio from a toccata of 1723 act as sinfonias of sorts for three of the works - only one has its own original introductory sonata.

In love as in music, let pleasure be your guide…
Thus was born Sex Lounge and the desire to unite for the first time the most enticing Lounge and Downtempo selection ever dedicated to love and sensuality.
Sensual and sexual, it is the subtle and perfect mingling of these musical inspirations that guarantee the tenderness of this erogenous and erotic journey in which what lies ahead belongs to you and you alone… or not so alone…