Djam Karet is an all instrumental progressive rock, proto-jam band. As evidenced by their sizable catalog of recordings, whose varied sounds and compositions owe to early prog bands such as King Crimson, Soft Machine, and Pink Floyd, and jam rockers the Grateful Dead, they also hold several traits in common with peer explorers Porcupine Tree and Ozric Tentacles. Founded in 1984 in the Los Angeles area, the group's "trademark" sound is characterized by a shapeshifting meld of blistering guitar solos, ambient and atmospheric sonic passages, organic and electronic drums, and prodigious use of old-school prog rock keyboards alongside postmodern sampling technologies.

The most comprehensive collection of music by Luigi Boccherini ever issued, 52 CDs brimming with charm, elegance, wit and catching melodies!

In 1975 Mick Spurr closed down Holyground (temporarily as it turned out) to start a new studio venture in Doncaster. In the last few midsummer weeks he suggested to Steve Channing that some of his songs, plus some Mike and Steve would write later on, should be recorded. Mike asked the members of 'Lazy Days' to join in giving (as he thought before the recording sessions) a line up of Steve on vocal / acoustic guitar; Dave Wilson on electric guitar; Alan Robinson on bass; and John Shepard on drums. None of the band had met Steve on the first day of recording, and to Mike's surprise Lazy Days turned up with a Hammond organ player, Mick Spurr, who also added an early Moog synth to the line-up. The results, even on the first day, were magic - a lively set of songs driven by Steve's vocals and skills on guitar, and backed by a tight and fluid group. The songs, often blued based, were lovely…

Although Dupree seldom paused at any one label for very long, the piano pounder did hang around at Cincinnati-based King Records from 1951 to 1955 - long enough to wax the 20 sides comprising this set and a few more that regrettably aren't aboard. By this time, Dupree was a seasoned R&B artist, storming through "Let the Doorbell Ring" and "Mail Order Woman" and emphasizing his speech impediment on "Harelip Blues" (one of those not-for-the-politically correct numbers). Most of these tracks were done in New York; sidemen include guitarist Mickey Baker and saxist Willis Jackson.

As a sort of follow-up to Art Pepper's matchup with Miles Davis' trio in the 1957 classic Art Pepper Meets the Rhythm Section, Pepper utilizes Davis' sidemen on this 1960 near-classic. In addition to pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, trumpeter Conte Candoli makes the group a quintet on four of the eight numbers. This time around, rather than emphasizing standards, Pepper performs just three ("Softly, As in a Morning Sunrise," Thelonious Monk's "Rhythm-A-Ning," and "The Way You Look Tonight") and includes three originals of his own: "Diane," "Bijou the Poodle," and "Gettin' Together." The music is all very straight-ahead and bop-oriented, but as usual, Pepper brings something very personal and unique to his playing; he sounds like no one else.

The return of the definitive Krautrock band, Amon Düül II, who proudly present their first CD & vinyl release in nearly 20 years, a bold new album of extra trippy, progressive, spacey, Düüliriousness! This special project features founding members John Weinzierl (guitar), Chris Karrer (guitar, violin) and Renate Knaup (vocals) plus longtime members Lothar Meid (bass) and Daniel Fischelscher (drums), With one of the most fanatical followings in all of rock music as well as a world renowned reputation as perhaps the most influential experimental band, this release is sure to get the music community talking.

Universal is the tenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 2 September 1996 by Virgin Records. Frontman Andy McCluskey opted for a more organic, acoustic sound on the record, which spawned the singles "Walking on the Milky Way" (a UK no. 17 hit) and "Universal". The media's resistance to OMD, who were rendered unfashionable by the prevalence of indie rock and Britpop, prompted McCluskey to dissolve the group. Universal would remain their final album for over a decade until the band's reunion.

Mozart, the innovator, wrote for organ only out of necessity or for commission. The three most interesting pieces on this Accord CD are the two Fantasies (K608 & K594) (12:55 & 10:50)and the Andante (K616) (6:25) that he wrote for an organ that was built into a clock in the waxwork museum owned by Count Deym, alias Muller. Though that organ was limited both in tone & pitch, Mozart wrote for it some of his finest music, in 1790 and 1791, near the end of his life. The other nine works on this CD, recorded in France in 1991, are Sonates "all'epistola" which he wrote while employed as court organist in Salsburg between 1772 and 1780. Ranging from 3 to 5-1/2 minutes in length, they are church sonatas, written for two violins, cello, contrabasse, and organ.

Maurizio Pollini, "the pre-eminent Chopinist of his generation" (Fanfare), continues his revelatory and chronological re-exploration of the Polish master's late works. This album contains the pianist's latest thoughts on Opp. 55-58 (1843/4), including the B minor Sonata and Berceuse.