Un Di Battista dal multiforme ingegno, parafrasando Omero, in veste di leader, sassofonista sia soprano che contralto e compositore di quasi tutti i brani di "Trouble Shootin'". Brani influenzati dai giganti del passato (Cannonball e il Duca su tutti), com'e giusto che sia, ma mai scontati o al sapor di "gia sentito". La creativita del sassofonista romano si fa sentire sin dalla prima traccia, "I Will Love You", per poi esplodere in pezzi come "Under Her Spell" (intesa perfetta tra sax e tromba) e "Alexanderplatz Blues", in onore di uno dei locali piu cari a Stefano. Solo tre le cover, omaggi a Bobby Timmons, Kenny Burrell e Horace Silver, cover (tanto per restare in sintonia col resto del disco) decisamente interessanti.

The Met's production, staged by Adams' long-time collaborator Peter Sellars, stars James Maddalena as Richard Nixon, a role he created at the opera's world premiere in 1987 and has since performed at international leading opera houses, including the English National Opera, Netherlands Opera, and Brooklyn Academy of Music. Nixon in China was recorded and broadcast live in movie theatres around the world as part of The Met: Live in HD on February 12, 2011 - 10 days after the opera received its Met premiere.

Formed by original Steel Pulse member Mykaell S. Riley (aka Michael Riley), the Reggae Philharmonic was a noble and bizarre experiment that crossed reggae rhythms with orchestral themes, despite the fact that Riley can neither read nor write music. The idea was to employ the most talented black classical musicians, with Riley adding vocals on top of these arrangements to surprisingly good effect.

Virtuosos proven and deemed, not to this directory that these two heavyweights gathered here. With this album, Stefano Di Battista and Sylvain Luc revisit the film music by sharing their inspiration generated from their homes by the original versions. On some songs, the subjects expressed are clearly identifiable in others, they are suggested by bit, a few notes that can recognize a work in seconds. And the magic happens. Sylvain and Stefano had fun like kids who are forbidden nothing, they took pleasure is sincere and palpable, it reflects on all of the album which is also found Daniele Sorrentino on bass and bass and Pierre-Francois Dufour on drums and cello.

Sixth studio album from Malta's death metal outfit & biggest metal export, Beheaded. Forged from the darkest depths, "Only Death Can Save You" breathes violence and marches fearlessly down its death metal path. Summoning the visceral classic and the caustic edge of later death metal, the new punishing album spreads its aural horror with razor sharp precision. To explain the title & concept of the new album, the band commented: "With 'Only Death Can Save You' our intent was to artistically delve into the deepest, darkest corners of the human psyche and follow a creative path into the obscure frame of mind a person has when facing death, which, is the ultimate most terrifying experience and yet the only ‘salvation’ from life. This is a concept reflected in the lyrics and also captured in the album’s artwork".

Stefano Scodanibbio (1956-2012) was a musician active on many fronts. As an innovative virtuoso bassist and a pioneer of extended technique for his instrument he collaborated with composers including Luigi Nono, Iannis Xenakis, John Cage, Brian Ferneyhough and Terry Riley, inspiring each of them to new works. With Riley, with Markus Stockhausen and with others, he gave concerts of improvised music. He founded the Rassegna di Nuova Musica Festival in Macerata, his Italian hometown, and directed it for more than 30 years. He taught master classes from Darmstadt to Stanford. And as a composer his works for strings, for contrabass in particular were heard around the world: they were challenging pieces which – as Irvine Arditi wryly notes – avoided “traditional avant-garde trends”.

Those familiar with the dense, percussive style that pianist McCoy Tyner has cultivated since the 1970s onwards may be surprised by what they hear on Inception. Like Reaching Fourth and Nights of Ballads and Blues, this album gives listeners the chance to hear what a very young Tyner sounded like outside the confines of the classic John Coltrane quartet of the early '60s; it reveals a lyrical approach to jazz piano that seems a far cry from Tyner's mature style. The choice of material is fairly evenly split between modal pieces like "Inception" and more harmonically involved tunes like "Speak Low," and the pianist's treatment of both demonstrates the extent to which his early work was rooted in bebop…