This release brings together Robert Schumann’s complete production for violin and orchestra – three works from the period just before the composer was confined to the mental institution where he would die within two years. The only work here that was performed in Schumann’s lifetime was the Fantasy in C major, dedicated to the violin virtuoso Joseph Joachim.

Isle of Wight is a posthumous live album by Jimi Hendrix, released in November 1971. It documents Hendrix's performance at the 1970 Isle of Wight Festival on 31 August 1970, his last performance in England before his death less than three weeks later on September 18, 1970.

From mid October to late November 1982, TD toured in Europe performing 31 gigs at all in Austria, Hungary, Yugoslavia, the UK, Belgium, West and East Germany. The concert at the Dominion Theatre in London was released only a few weeks after on the record Logos Live. According to Johannes Schmoelling, this is one of his favourite albums. He considers "the live concept and the smooth transition between one idea and the next to be the key of the album's success." In 1995 Virgin re-released the album on CD in the so-called "Definitive Edition" series, featuring the original front cover artwork. For this release, the two compositions Logos, Part One and Logos, Part Two have been mixed together, forming the track Logos of some 45 minutes length.

Another overly polished effort that nevertheless packs a punch on many selections. Walker's songwriting is considerably less prominent, with only three self-penned tunes on the disc this time. Otis Blackwell's pulsating "On That Power Line" and the Don Gardner & Dee Dee Ford dustie "I Need Your Lovin'" receive spirited revivals, and there's an acoustic duet with James Cotton, "Going to Canada."

Vibraphonist Jay Hoggard has had a diverse recording career, playing everything from very free jazz to a couple of commercial efforts. In the 1990s he seemed to discover straight-ahead jazz, and this quintet session (with guitarist Kenny Burrell and pianist James Weidman) is mostly very much in that idiom. Hoggard is fine on standards such as "Stompin' at the Savoy" (a tribute to Lionel Hampton) and Monk's "Epistrophy," but it is on his originals (the soulful "Sweet Potato" and a fairly free "The Fountain") that Hoggard sounds most individual.

It may not be a definitive collection – after all, it bypasses all of her influential '60s recordings – but the Joan Baez installment of 20th Century Masters - The Millennium Collection is a good overview of her recordings for A&M, featuring such highlights as "Diamonds and Rust," "Fountain of Sorrow," "Hello in There," "Dida," "Jesse," "In the Quiet Morning," "Gracias a la Vida," "Forever Young," and a live version of "The Night They Drove Old Dixie Down." There may be some good songs missing, but this isn't a bad choice for budget-minded casual fans.

This Vanguard release is a heartwarmingly intimate look at Joan Baez during her most influential period (1960-1963). The album's 22 tracks are all live, performed before audiences held in silent and rapt attention in packed concert halls. The singer's trademark politically tinged folk songs are charmingly blended with a few pop interpretations like the Jerry Ragovoy early soul classic "She's a Trouble Maker" and a fun version of the Diamonds' "Little Darlin'," revealing a rarely seen lighthearted side of the activist.

This album draws tracks from Joan Baez's appearances at the 1963, 1964, and 1965 Newport Folk Festivals, a time period in which she was the very epicenter of the folk scene. With her clear, strong, and bell-like soprano, Baez brought together traditional-folk materials with some of the best songs of the then-emerging songwriters of the so-called folk revival (she was the introduction for many to the work of Bob Dylan, Phil Ochs, Richard Fariña, and others), projecting a thematic unity between the old and the new that was instrumental in the success of the 1960s folk boom.

I must say that this recording surely has something magic about it. But I wouldn't really go as far as the previous reviewer, to say it's sexual - it's far more than earthly pleasures - it's ethereal. You can just sit back in your sofa, close your eyes and feel that there's something more than just the music you hear in this recording. Sensitive, intensitive, and sensual, sometimes on the border to vulnerability, is the playing from especially Ms Mutter.

Atoll were a talented French ensemble who very much carried their own symphonic sound blending the finer aspects of fellow acts Ange, Pulsar and Mona Lisa. Their style is very theatrical in nature offering dynamic and melodic arrangements with some great song writing. Along the topics it is impossible to avoid the comparisons with Genesis, Yes and Mahavishnu Orchestra. The changes of members were another of the characteristics of this group who counted John Wetton among their members.
Recorded in 1974, "Musiciens-Magiciens" reveals itself as a great debut album.

Bright Sheng is a Chinese-American composer, pianist, music teacher and conductor born on December 6, 1955 in Shanghai, China. Before moving to the United States in 1982, he studied the piano at the age of four from his mother. He graduated from the Shanghai Conservatory and went on to continue his education at Queens College and Columbia University. In 1995, he became a part of the faculty at the University of Michigan. Sheng has since then earned many honors for his music and compositions.

This is a very unusual–and pleasurable–collection of 20th century works for assorted percussion for solo performer. The soloist in question here is Odd Borge Sagland and it's clear that he is thoroughly familiar with a wide range of instruments, particularly the marimba–and he also knows how to choose a program that will demonstrate his artistry while offering strong listener appeal. Rather than the predictably showy, gimmicky kinds of pieces we usually find on percussion recordings, each of these six works has a solid meditative character–no can banging here.