Prolific saxophonist, composer, and arranger David Murray has made a number of tribute recordings during his career to jazz luminaries such as Albert Ayler and Don Pullen, among others. Nat King Cole may seem an unlikely choice initially, and it might never have happened if Murray had not been recording at Cuba's Studio Egrem and saw a photograph of Cole with Armando Romeu from a pre-revolution session. Cole recorded a pair of Latin-inspired records, Cole Español and More Cole Español, in 1958 and 1962 respectively - one in Spanish and one in Portuguese (the singer spoke neither but learned standards and folk songs phonetically). The audiences these albums were directed at were already Cole fans, and while they weren't very good, they thought them amusing and flattering. Murray draws from these records here…

All Rights Removed finds Airbag standing proud as a successor to the prog rock sound first played by the mighty Floyd so many years ago! Album number two carries on in an extremely similar vein, with latter day Floyd being a reference point across the six songs on All Rights Removed, although this time the melancholic moments of early Porcupine Tree, the straight laced Rock/Prog of The Pineapple Thief and even the odd hint of Talk Talk offer a little more deviation. Assured yet sprawling, the six songs on this album are not afraid to make a confident stab into epic territory, although there's always a thinly veiled commercial edge lurking beneath the Gilmouresque guitar slides and the moody keyboardian Rick Wrightisms.

It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either. The main difference, I think, is the actual sound. From DG we get a closer, riper sonority, with Zimerman's piano much more forwardly placed. Both orchestra and piano are more distanced on the RCA recording, especially Ax's piano. This, together with Ax's lighter, more translucent semiquaver figuration (and sometimes his greater willingness to stand back and merely accompany—as in certain episodes in the F minor Concerto's finale) often conjures up visions of Chopin himself at the keyboard, and we know he was often criticized for insufficiently strong projection.

American Baroque flutist Mary Oleskiewicz has established herself as a specialist in the music of Johann Joachim Quantz, not only performing it but discovering a cross-section of pieces that were hidden in various libraries. Quantz's name is ubiquitous in discussions of German musical life in the middle of the 18th century, but his actual music, almost all of it for flute, was virtually unknown until Oleskiewicz came along. The four concertos heard here are pleasant examples of the galant style, with mostly major-key slow movements that highlight the gentle sound of Oleskiewicz's wooden Baroque flutes.