‘Tasting The Tears’ is Progressive Metal masters Eldritch’s ninth studio album in their almost 20 year career. This time the whole band worked together as a team, writing 11 brand new tracks melting each member’s influences into one direction. The result is 100% Eldritch: powerful guitars, melodic tunes and technical instrumental parts perfectly blended into a classic Progressive album with Hard Rock influences, thrashy and dark at intervals but, most importantly, remarkable in its own, unique way.

This 1974 album was given a well-deserved boost when ECM reissued it in 2001. It's a solo performance with a twist: Towner plays not only 12-string and classical guitars, but also very competent piano. Only "Entry in a Diary" and "Mon Enfant" are unaccompanied guitar solos; the latter, a traditional melody, is also the sole non-original. On four of the remaining six tracks, Towner accompanies himself via overdubs, playing both guitar and piano for an effect vaguely reminiscent of Bill Evans' Conversations With Myself.

"I don't know what the next record will be," Josef Zawinul said in the summer of 1972, "but it'll be something else! We've been learning every night, and we're still growing."Indeed, Sweetnighter was something else. Zawinul began to assert greater control of band, steering it away from the collective improvisation that marked its live performances toward more structured compositions emphasizing funk and groove. This was exemplified by the album's two dominant tracks, "Boogie Woogie Waltz" and "125th Street Congress," as well as the album closer, "Non-Stop Home." Other tracks were reminiscent of Weather Report's previous albums, making Sweetnighter a transition from the band's first phase to what one might call its mature phase.

David Bowie has never been shy about acknowledging his influences, and since the boho decadence and sexual ambiguity of the Velvet Underground's music had a major impact on Bowie's work, it was only fitting that as Ziggy Stardust mania was reaching its peak, Bowie would offer Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went. Musically, Reed's work didn't have too much in common with the sonic bombast of the glam scene…

1958 geboren begann er, nach Abschluss seines Studiums 1985 als freier Musiker zu arbeiten. Er studierte Gesang in Berlin bei Elisabeth Umierski und Komposition bei Lieselotte Scharpf. Das Spiel der Sackpfeife erlernte er auf Lehrgängen im In- und Ausland. Später vervollständigte die Cister das Instrumentarium. … Seit Jahren ist er selbst ein gefragter Lehrer für diese Instrumente. Auftragsarbeiten und Engagements für ARD, SFB, WDR, Deutschlandradio, der Neuköllner Oper sowie für verschiedene Theaterproduktionen und eigene Konzertprogramme führten ihn durch die ganze Bundesrepublik und ins benachbarte Ausland. …

Black Top Records was a New Orleans, Louisiana based independent record label founded in 1981 by brothers Nauman S. Scott, III, and Hammond Scott. The label specialized in blues and R&B music. The first release was "Talk To You By Hand" by Anson Funderburgh & The Rockets. The artist roster included Earl King, Snooks Eaglin, Lee Rocker, Guitar Shorty, and Robert Ward. …

Released in October 1970, Damnation’s second album contains a series of excellent tracks that confirm this Cleveland band’s incredible creativity. The album also has great cover art, featuring the group in action, with bassist Ray Benich in front of a mastodontic amp. This album was not planned ahead of time, rather spontaneously created in studio (with the tracks being the result of long jam sessions). With this album the band succeeded in confirming their already well-defined style, and earning a place among the great bands of the seventies. Thanks to guitarist Jim Quinn who opened his personal archives to Akarma, this reissue also features 5 previously unreleased bonus tracks recorded in 1972 a the Grand Ballroom Theatre, giving listeners a taste of what this band could do live. DAMNATION (initially known as the DAMNATION OF ADAM BLESSING).

Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained their Music Director ever since, taking them regularly to major venues and festivals in Europe and the USA and building up an outstanding reputation for the expressive refinement and truth of his performances.

Another great recordings by Cuban pianist, composer, arranger and bandleader Dionisio Ramon Emilio Valdés (Cuba, 1918-2013), aka 'Bebo Valdés'. The album was recorded in New York in four sessions during March 2001, when Bebo was already 82 years old. This album earned the win in the 2003 Grammy Awards for Best Traditional Tropical Latin Album. Together with his piano Bebo is accompanied by Israel López 'Cachao' (bass) and fellow veteran Carlos 'Patato' Valdes with congas and percussion. Additionally, in three of the issues involved with alto sax and clarinet the instrumentalist Paquito D'Rivera, noted for his sophisticated solos.