One of Italy's best-loved artists, Adriano Celentano has been equally successful in film and music. Whether singing Elvis Presley-inspired rock, as he did as a member of the Rock Boys in 1957, or romantic balladry, Celentano found a dedicated market for his music…

"Classical Barbra" is a studio album by Barbra Streisand, released in February 1976 but recorded in 1973. The album consists of songs by classical European composers and includes tracks sung in English, French, Occitan, German, Italian and Latin. The music is performed by the Columbia Symphony Orchestra, conducted by Claus Ogerman. Leonard Bernstein wrote of the album, "Barbra Streisand's natural ability to make music takes her over to the classical field with extraordinary ease. It's clear that she loves these songs. In her sensitive, straightforward, and enormously appealing performance, she has given us a very special musical experience." The album has been certified Gold in the United States for sales of 500,000 on May 5, 1999.

The 1970 s brought us the most diverse decade of music with Disco, Funk, Soul,Rock, Pop, Electronic and experimental music If the 60 s was the decade that gave birth to modern pop music then it was the 70 s that had it all- from bubblegum to disco to hard rock…

Hamiet Bluiett - Blueblack (2001) {Justin Time JUST158-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 331 Mb | MP3 @320 -> 128 Mb
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© 2001 Justin Time | JUST158-2
Jazz / Post Bop / Avant-Garde Jazz / Baritone Saxophone

The Bluiett Baritone Saxophone Group strikes again. Four baritone saxes make for quite a wall of low-register sound, and every quartet member but Bluiett – Patience Higgins, James Carter, and Alex Harding – doubles on bass clarinet. In Carter's case, make that contra-bass clarinet, an instrument that can cause the room to shake. Since the horns have the bass function covered, all that's needed are drums; hence the presence of trapsman Lee Person and percussionist Kahil El'Zabar.

Hubert Laws - Afro-Classic (1970) {Mosaic Contemporary MSC 5002 rel 2007}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 188 Mb | MP3 @320 -> 88 Mb
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© 1970, 2007 Mosaic Contemporary / CTI | MSC 5002
Jazz / Crossover Jazz / Jazz-Pop / Flute

Issued in 1970 as his second album for Creed Taylor's CTI label, Hubert Laws' Afro-Classic is a classic for the manner in which Laws, with brilliant assistance from arranger Don Sebesky, melded the jazz and classical worlds – not to mention pop – into a seamless whole. Laws was the first artist signed to Taylor's imprint. His debut for the label, Crying Song, won critical notice, but it was Afro-Classic that established a new role for the flute in contemporary jazz. Herbie Mann may have been the first, but Laws explored jazz and all the sound worlds that informed it – especially in the electric domain – with the kind of grace and innovative vision that made him a mainstay.

When Graham Nash left The Hollies in 1968, the close-harmony vocals were completed by Terry Sylvester, his replacement in the group. The Hollies chapter two was born and resulted in several hits in the late sixties and the seventies. This album contains 20 fantastic songs, most of them written by Allan Clarke, Terry Sylvester and Tony Hicks and taken from their albums released from 1969 onwards. The biggest hit for The Hollies is written by Albert Hammond and Mike Hazelwood. The magic of The Air That I Breathe was created by the voices of Clarke, Sylvester and Hicks make this song an alltime classic. Today many people are still asking for classic Hollies' songs such as My Island and Love Is The Thing and for them and all the people who love that great Hollies' sound is this CD, compiled to make a difference to the greatest hits compilations around the world.

Art Pepper - The Way It Was (1960) {Contemporary OJCCD 389-2 rel 1992}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 307 Mb | MP3 @320 -> 124 Mb
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© 1960, 1992 Contemporary / OJC | OJCCD 389-2
Jazz / Cool / Bop / Saxophone

Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. This collection is better than most. The first four titles team together Pepper with tenor saxophonist Warne Marsh, pianist Ronnie Ball, bassist Ben Tucker, and drummer Gary Frommer for generally intriguing explorations of four standards. One can feel the influence of Lennie Tristano (with Pepper in Lee Konitz's place), although Pepper had his own sound and a more hard-swinging style.