Jerry Garcia / David Grisman an album of folk music by Jerry Garcia and David Grisman. The album was nominated for a Grammy Award for Best Contemporary Folk Album.

Love's Forever Changes made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc's themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love's first two albums, and they make occasional appearances here on tunes like "A House Is Not a Motel" and "Live and Let Live," but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies.

Given that 'Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, and debuted at the Newport Jazz Festival the summer before to a thunderous reception.

On Smash, her debut on Concord Jazz, Patricia Barber reconfirms her unique position in modern music as a jazz triple-threat – imaginative pianist, dazzling vocalist and brilliant composer. Smash features a dozen new Barber originals that showcase her genius as a singer-songwriter. The album delves into familiar subjects including themes of love and loss. Barber’s chilling vocals and intellect outshine many if not all her contemporaries. Barber’s majestic craft lies in the compelling and empathetic words she sets to music. Barber reunites with long-time recording engineer Jim Anderson. The album is an audiophile dream.

Love was an American rock group of the late 1960s and early 1970s. They were led by singer/songwriter Arthur Lee who wrote most of the songs, although some of their best known songs were written by Bryan MacLean. One of the first racially diverse American pop bands, their music reflected different influences, combining elements of rock and roll, garage rock, folk and psychedelia. Da Capo is their second album.

They Only Come Out at Night is the third studio album by Edgar Winter and the first by the Edgar Winter Group. A commercial hit, the album reached the #3 slot on the Billboard 200 chart and also features two of the band's biggest songs: "Frankenstein" and "Free Ride". Musically, besides the country track "Round & Round", the album features a mixture of mostly blues rock and boogie woogie induced rock in a generally carefree and upbeat sound.

Mike Marshall is much like Mark O'Connor, a virtuoso on several string instruments, an innovative composer and arranger who refuses to be pigeonholed stylistically, and also an alum of David Grisman's band. Numerous Grisman alumni turn up on this release, including violinist Darol Anger, bassists Todd Phillips and Rob Wasserman, guitarist Tony Rice, and even Grisman himself, along with dobro player Jerry Douglas, Béla Fleck on banjo, violinist David Balikrishan (who would later co-found the Turtle Island String Quartet with Anger), and pianist Barbara Higbie. Marshall sticks primarily to mandolin on this mostly progressive bluegrass date, though he's also heard on mandola, mandocello, violin, and guitar.

Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically while following his increasingly prolific muse.

This one was named #1 Jazz Recording of 2002 by the Los Angeles Times. It contains some of the most refined Barber compositions on record to date including the haunting "Clues", the sultry "I Could Eat Your Words" and the beautiful and poetic "If I Were Blue". A great band too including Dave Douglas on trumpet and Joey Baron on drums.

This live recording has everything you'd expect from Patricia Barber's studio albums - and then a little more atmosphere. It is immediately noticeable that a musical homecoming takes place. The Chicago Girl comes back to the Club, where she has matured to a solid size among Jazz vocalists. Her style is elegant on the one hand and quite modern on the other. Modern Cool even and yet suitable for a Jazz Pub in Chicago.

This one introduced Barber's powerful quartet of the time featuring John McLean on guitar and Mark Walker on drums. This might be the classic Barber album in that it blends pop covers, jazz standards, and original material in a thoroughly unique and interesting way. That was not the norm in 1994 as it would be years later. This one also features Barber's first attempt at setting poetry to music with "Mourning Grace", a haunting Maya Angelou work.

Nightclub, vocalist/pianist Patricia Barber’s first of standards was a long time coming. From the very beginning of her brilliant 20-year career, devoted fans, including her own mother, had been begging Barber to dedicate a record to standards. Accompanied by an all-star cast of supporting musicians, Barber delivered an album Time called “devastating.” Highlights include her stunning version of "Yesterdays", the rarely recorded vocal version of "Invitation", and an achingly beautiful take on “"So In Love”" from the songbook of Barber’s songwriting idol, Cole Porter. A multiple Stereophile Record To Die For (R2D4) winner recorded by Jim Anderson, Nightclub is the American popular songbook given new life by one of the most expressive voices in contemporary music.

Patricia Barber's origins are commonly associated with 1994’s Café Blue and the follow-up, 1998’s Modern Cool. Both quickly established the singer/pianist as an immediate audiophile favorite whose rare combination of astute instrumental performance, daring originality, poet enterprise, intrepid vocals, and sculpted production announced her as an artist that both takes immense care in her music as well as in her sound. While largely unknown to many, 1992's diverse A Distortion of Love signaled the beginning of Barber's unfettered creativity.

Ry Cooder's development as a peerless musician capable of grasping virtually any style began with his time spent with Taj Mahal and Captain Beefheart, but for all intents and purposes reaches epic proportions on Boomer's Story. With two ambitious albeit uneven studio albums behind him, the California native plunged into roles that still define him today – that of sonic archeologist and cultural historian, shaping his 1972 Reprise effort with enlightened selections carved into the bedrock of America's folk, blues, and soul landscapes.

Ry Cooder's exceptional Paradise and Lunch takes a popular precept - music as the common denominator across all languages and styles - to extremes few artists have envisioned let alone fulfilled. Considered by many diehards to be the California native's finest hour, the 1974 set unfurls with rarified levels of joyousness, ingenuity, and sophistication. A prime contender for any Desert Island list and an album that repeatedly restores your faith in the inimitable effects experienced upon listening to special performances, Paradise and Lunch is an eternal "musicians' musician" record – an adventurous, ambitious, soulful leap down roads well-traveled and paths less known.