This is an exquisite recording for all those who like Arvo Pärt's compositions.

The opening number is by the quintet - with Hadley Caliman and the rhythm section of Billy Childs, Larry Klein and Carl Burnett Then for most of disc one, guest Leon Thomas takes over the spotlight, mostly just accompanied by the rhythm section. On some songs, Caliman and/or Hubbard join in. On disc two, we get to hear the quintet again.

The third live recording from this trio featuring three jazz legends, Kenny Barron, on piano; Ron Carter, bass; and Billy Cobham, drums, recorded live in Osaka, Japan on August 19, 2003. The group perform "I Mean You," and "Round Midnight" by Monk, "Tour De Force" by Dizzy Gillespie, "Stella By Starlight" by Victor Young, and four other tracks including original material by Ron Carter and Kenny Baron.

When Stan Getz visited Paris to witness the French Open tennis matches, he would hang out at the Blue Note nightclub to hear how the locals did it, being told their jazz scene was not up to snuff. In London, he would pick up the European band he heard in Paris for an engagement at Ronnie Scott's. Because of his stature, Getz was able to grab the very best musicians the continent could provide, in this case the brilliant Belgian guitarist René Thomas, organist Eddy Louiss from Martinique, and French classical and jazz drummer Bernard Lubat. Bringing no charts of his own, Getz was happy to play the music of his bandmates, choosing virtually no standards, and fitting in beautifully with nary a hint of brandishing his famed ego to the proceedings. This original two-fer LP has been reissued on a double CD, a whopping 88 minutes of highlights over a three day span during an unprecedented three week engagement from this club date at the legendary venue owned the British fellow tenor saxophonist Scott. Perhaps there are some recordings with this combo featuring Scott sitting in with Getz, but that will have to wait for another recording. This one is excellently documented by Beatles producer George Martin, as every instrument is cleanly articulated and heard in pure, balanced form. Getz sounds comfortable and relaxed from the outset on one of five compositions brought by Louiss on "Dum! Dum," a light and breezy but mysterious tune with an implied bossa nova beat, while the title track is a blues shuffle road song, slightly funky, and a good test in regards to the dynamism of the quartet. Louiss, as gifted a jazz organist as any, digs in with splendid two fisted chords on his popping, fairly bluesy "Song for Martine," a tune just for fun that slips back into bossa. While Thomas is most outstanding on his incredible solos, he has room to contribute his "Ballad for Leo," not at all a ballad as the stabbing tones of the organist fire up everybody in a 6/8 framework.

Musique née aux États-Unis et issue des traditions musicales des Africains vendus comme esclaves aux Amériques à partir du XVIe siècle. Sous l'influence des traditions profanes et religieuses que les colons, pour la plupart anglo-saxons et français, imposèrent à la communauté noire, la musique afro-américaine utilise le vocabulaire et les structures de la musique européenne tout en perpétuant les pratiques musicales africaines.

Blues is a vocal and instrumental form of music based on the use of the blues chord progressions and the blue notes. Though several blues forms exist, the 12-bar blues chord progressions are the most frequently encountered. Blue notes are sung or played at a slightly lower pitch than that of the major scale for expressive purposes. Blues emerged as an accessible form of self-expression in African-American communities of the United States from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads.[1] The use of blue notes and the prominence of call-and-response patterns in the music and lyrics are indicative of African influences. The blues influenced later American and Western popular music, as it became the roots of jazz, rhythm and blues, bluegrass and rock and roll. In the 1960s and 1970s, blues was popularized in a hybrid form called blues rock.

Baroque music describes a period or style of European classical music approximately extending from 1600 to 1750.[1] This era is said to begin in music after the Renaissance and was followed by the Classical music era. The original meaning of "baroque" was "misshapen pearl", a strikingly fitting characterization of the architecture of this period; later, the name came to be applied also to its music. Baroque music forms a major portion of the classical music canon, being widely studied, performed, and listened to. It is associated with composers such as Claudio Monteverdi, Antonio Vivaldi, George Frideric Handel, Arcangelo Corelli, and Johann Sebastian Bach. The baroque period saw the development of functional tonality. During the period composers and performers used more elaborate musical ornamentation; made changes in musical notation, and developed new instrumental playing techniques. Baroque music expanded the size, range and complexity of instrumental performance, and also established opera as a musical genre. Many musical terms and concepts from this era are still in use today.

"Gard du Nord is simply the best known unknown Dutch band".

First released in 2004 as a private CD-R run then later re-released formally in 2006, the softly spooked-out acid folk of The Pirate's Gospel is a captivating debut from Alela Diane, whose enthusiasm and ability for a then-extremely-fresh learner on guitar is quite something. Recorded by her father, who also helps perform on many tracks along with other friends and family members, the disc showcases Alela Diane's knack for gentle, immediate melodies and her fine voice, possessed of a hint of twang that suggests a combination of Dusty Springfield and Kristin Hersh, with a rich maturity beyond her years. The high and lonesome catch on songs like "Foreign Tongue" and "Clickity Clack" is quite something, while the interplay of vocals and guitar on the latter is particularly beautiful. Like her contemporary Larkin Grimm, she brings older forms of music to life with vivid performances, sometimes striking imagery, and a love for surprising little touches, such as the line "And a choir of little children sing along" from "Pieces of String," which is, indeed, sung by two young kids. The title track may just be the standout among them all with its low, moody backing vocals and an appropriate hint of sea shanty atmosphere in the chorus, while guest banjo from Matt Gottschalk adds a further tinge of mysteriousness. It's important to note that the 2006 version of the album differs greatly from the private release — the sequencing is somewhat altered, while a number of tracks are dropped, and a separate one, "Can You Blame the Sky?," is added. Both versions of the album are excellent but the earlier CD-R release is worth seeking out if one enjoys the later edition, especially for such fine songs as "Gypsy Eyes" and "Heavy Walls." - Review by Ned Raggett