Valery Gergiev directs the Kirov Opera and Ballet in this magnificent 1998 production of Borodin’s "Prince Igor", presented in a new Mariinsky Theatre performing edition and featuring Mikhail Fokine’s original choreography in the famous Polovtsian Dances. Its four acts tell of the struggle between the Russians and Polovtsian nomads, of Prince Igor’s capture and escape from his noble opponent, Khan Konchak, and of love between Igor’s son, Vladimir, and Konchak’s daughter, Konchakovna.

The Steve Howe Trio is an English jazz trio led by the famous guitarist from Yes and Asia, Steve Howe. It was formed in 2007 by Steve, his son Dylan Howe on drums and Ross Stanley on Hammond organ.

The all-star rhythm section for the former Miles Davis Quintet is represented here in a trio format.These guys came to play,and they pull out all the 'stops' for this session.Herbie presents some original tunes,and a great intepretation of 'Stella by Starlight'.The soloing is over the top.These three always play well together,and it is a real treat to here them in a trio setting.

An Italian travel diary. Paris, 1665: a young composer leaves the Saint-Michel district to embark on a journey to Rome. The journey promises to be a long one, its stopovers rich in encounters for Charpentier. On this new recording, Sébastien Daucé invites us on an imaginary recreation of that voyage of initiation, from Cremona (Merula) to Rome (Beretta), by way of Venice (Cavalli) and Bologna (Cazzati). A journey in space, but also in time, through the sources of inspiration of a composer whose future works were to recall the colours of Italy – as the magnificent Mass for four choirs testifies.

Like Roy Ayers, Patrice Rushen, George Benson, and George Duke, Tom Browne is a perfect example of a jazz musician who switched to R&B and was lambasted by jazz snobs for it. As jazz's hardcore saw it, the trumpeter was a sellout – a gifted Clifford Brown disciple who was shamelessly wasting his chops playing commercial music. But commercial music isn't necessarily inferior to jazz, and the fact is that much of Browne's soul/funk output was excellent.

Boombastic confirmed Shaggy's status as one of the most popular dancehall acts of the '90s, and for good reason – the record is an infectiously entertaining collection of deep, funky grooves that celebrates good times. Featuring the major hit title track, the album also sports a great guest appearance by Grand Puba on "Why You Treat Me So Bad," as well as a hot duet with singer Wayne Wonder on "Something Different." Despite a silly cover of "Day Oh," Boombastic keeps the funky reggae coming and is Shaggy's best album to date.

To celebrate the 20th anniversary of Shaggy’s diamond-selling album, Hot Shot, a brand-new album entitled Hot Shot 2020, featuring updated versions of the biggest hits and most beloved fan favorites across Shaggy’s catalog, along with a number of never-before-heard tracks.

The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare…

LaVerne and Abercrombie, longtime musical collaborators and friends, first met in 1968 in Boston while both were students at the Berklee College, and got their inspiration from Bill Evans and Jim Hall. Well schooled in the theory of jazz, both have been playing, teaching, and giving Masterclasses for students and audiences in Colleges and Universities worldwide for many years.

While Carl Philipp Emanuel Bach was above all else a dazzlingly accomplished harpsichordist, his considerable output for flute can easily be explained by the milieu in which he worked for nearly thirty years. The Berlin court of Frederick II was in fact governed by two flautists: the king himself, and his teacher and accredited and exclusive composer, the famous Johann Joachim Quantz. His five flute concertos were derived from a group of seven concertos for harpsichord written between 1747 and 1755. It is very likely that Emanuel Bach himself made all these transcriptions. The versions for flute nearly always date from the same year as the corresponding harpsichord concerto, which suggests virtually simultaneous conceptions. The three concertos selected for this recording have survived in versions for both flute and cello, now in the libraries of the Royal Conservatory in Brussels and the Royal College of Music in London.

"It's a pleasure to be here" says Stan Getz, surveying the Californian landscape from the open-air stage he's performing on. "It's different to the dives I play in." And it clearly inspired this famously uncompromising saxophonist in the performance that's captured on this DVD-Video.The first set is chiefly made up of material by pianist Jim McNeely. who writes with a fine melodic touch, and it sets the great cool saxophonist off into a series of beautifully-shaped improvisations that will repay many viewings and listenings. Stan`s quartet also includes a scintillating rhythm team is bassist Marc Johnson, who had come from working with Bill Evans in the pianist's last trio, and drummer Victor Lewis…

The original Borodin Quartet was founded in 1945 in the Soviet Union and this release marks the Quartet’s 70th anniversary. They enjoyed a close relationship with Shostakovich, and often worked with him as a new quartet was written (and they also recorded the cycle).Now, a new line-up, though still one that bears the characteristic Borodin sound (large, almost symphonic in scope and with a very distinctive way of phrasing), starts a new cycle with works from very different periods in Shostakovich’s music life [No. 1 from 1938, the ever-popular No. 8 from 1960 and No. 14 from 1972 (begun in Aldeburgh when the composer was staying there with Benjamin Britten)]. This album features the three key quartets, including the most popular (No. 8).

Duet includes a selection of Sting’s most beloved collaborations throughout his illustrious career.
Always known as a musical explorer, pioneering genre-bending sounds and collaborations, 17-time Grammy Award winner STING will release a new album, entitled Duets.From the melismatic longing of “Desert Rose” with Rai music singer Cheb Mami and sultry groove of “It’s Probably Me” with Eric Clapton to the uplifting 44/876 with Shaggy, which yielded his most recent and 17th GRAMMY award, Sting’s collaborations have become nothing short of cornerstones in the canon of popular music. To celebrate some of these joint-works, he has compiled a special collection to include some of his most beloved duets with collaborators such as Mary J. Blige, Herbie Hancock, Eric Clapton, Annie Lennox, Charles Aznavour, Mylène Farmer, Shaggy, Melody Gardot, Gashi and more. The Duets album will also include the brand new, never-before-released song, “September” with Italian icon Zucchero, produced by Sting himself and mixed by 4-time Grammy Award winner Robert Orton.All songs have been remastered by Gene Grimaldi at Oasis Mastering, Los Angeles, United States.

The downside to a success like Thriller is that it's nearly impossible to follow, but Michael Jackson approached Bad much the same way he approached Thriller – take the basic formula of the predecessor, expand it slightly, and move it outward. This meant that he moved deeper into hard rock, deeper into schmaltzy adult contemporary, deeper into hard dance – essentially taking each portion of Thriller to an extreme, while increasing the quotient of immaculate studiocraft. He wound up with a sleeker, slicker Thriller, which isn't a bad thing, but it's not a rousing success, either…

"The first time I heard Nitai, it was in a little cafe in downtown Tel Aviv, Nico, in my neighbourhood." Avishai Cohen literally fell for Nitai Hershkovits : barely 20 and despite a cheapo keyboard the youngster reminded him of Chick Corea and Danilo Perez, two illustrious peers the double bass player had been lucky enough to play with."Nitai just swings naturally, with gentle authority; I've rarely seen that with other young pianists. He has something ancient within, a spirit that shines right through the way he tackles standards. You have to know your classics inside out, and love them, to tease the wonder out of them : no point just going over the same old ground, you have to do your own take, make them part of you. Nitai brings a fresh touch, reminding me of Brad Melhdau, without actually making any comparison. He has the same intent of making each song his own.