John Aaron Lewis, 3 May 1920, LaGrange, Illinois, USA, d. 29 March 2001, New York City, New York, USA. A formally trained pianist from a very early age, Lewis studied music and anthropology at the University of New Mexico. first took an interest in jazz after meeting Kenny Clarke. In 1946, both men joined Dizzy Gillespie's big band with Lewis writing charts in addition to his rhythm section duties. In the late 40s and early 50s, Lewis continued his musical studies and also accompanied numerous important jazz artists including Charlie Parker, Miles Davis and Milt Jackson. His association with Jackson continued with their group taking the name, the Modern Jazz Quartet, in 1954. The MJQ stayed in existence until 1974 after which Lewis turned to teaching. In the late 80s the Modern Jazz Quartet re-formed and Lewis also worked with his own sextet and as musical director of the American Jazz Orchestra, a group especially dedicated to the performance of big band music and which played and recorded such important pieces as Benny Carter's "Central City Sketches". In the 80s Lewis was also musical director of the Monterey Jazz Festival, a role he gave up as his long-lived playing career continued to blossom.
Although he began his jazz career in bebop, a style that was always apparent in his playing, Lewis' classical training and extensive musical studies emerged in many of his compositions, which employed eighteenth and nineteenth century European musical forms. He also insisted on tuxedos for the MJQ's performances, and wherever possible performed in classical concert halls and recital rooms rather than clubs.

By the time the 71-year-old Stephane Grappelli made this live trio recording with guitarist Joe Pass and bassist Niels-Henning Orsted Pedersen, his legacy as the greatest of all jazz violinists was firmly in place. Granted, that made him first in a fairly short line of colleagues – other than Joe Venuti and Stuff Smith, who else was there to consider? (Jean-Luc Ponty doesn't count.) But it's hard to imagine another player, regardless of virtuosity, ever conveying the same sense of swing and simple joie de vivre that Grappelli does with virtually every note. Nor does it hurt that his accompanists on this album are among the finest in their fields; Orsted Pedersen plays with a solidity and rhythmic power that are enough to make you forget the absence of a drummer, while Pass slides effortlessly between unobtrusive chordal backup and bravura soloing. The program itself is practically a Grapelli greatest-hits collection – "It's Only a Paper Moon," "Crazy Rhythm," "How Deep Is the Ocean,"… etc. – which makes this disc a perfect introduction to his art for anyone looking for a good place to begin. Highly recommended.

…All told, the volatile Rubinstein/Reiner Brahmsian chemistry holds its own after more than half a century.
Jed Distler

Tetsu Inoue's Ambient Otaku is indeed a brilliant piece of electronica. As the years pass by, many of the ambient albums from the mid-nineties age and fall away into obscurity, but there is a genuinely timeless warmth and appeal in Inoue's venture, which will draw you back in time and time again.

Greatest Kiss is a compilation album of previously available material released by the American hard rock band Kiss. Along with You Wanted the Best, You Got the Best!!, this album was issued to coincide with the group's 1996–97 Alive/Worldwide Tour.