An unique and very interesting musical project, probably the first musical encounter between flamenco and rock music! In those days Joe Beck was a respected composer and rock guitarist, he had played in symphonic orchestras and performed with the top names in rock and jazz (from Tim Hardin to Steve Gadd). After making the album Middle Eastern Rock with Oud player John Berberian, Joe's producer Harvey Cowen suggested Joe to do the same with flamenco and rock. He succeeded to recruit flamenco guitar legend Sabicas (1912-1990), thanks to Sabicas' brother Diego because he wanted Sabicas to scout the musical boundaries. Now Joe decided to assemble the best New York musicians: drummer Donald McDonald (in The Satyrs he had jammed with Frank Zappa, Ritchie Havens and Jimi Hendrix), 20 year old bass player Tony Levin (introduced to jazz and rock by Steve Gadd, later he joined Peter Gabriel his band and King Crimson…

While Pollini's Schumann is not to everyone's taste – some find his virtuoso playing too cool and his bracing interpretations too intellectual – for those who revere Pollini, his Schumann is a tonic after nearly two centuries of sloppy and sentimental performance practice. Pollini's Davidsbündlertänze may not be as poetic as Arrau's and his Kreisleriana may not be as fantastic as Argerich's, but he finds meanings and significances in the works that no one ever has before. Pollini's Concert sans orchestre and Allegro in B minor are second to none in technical panache and interpretive aplomb. DG's piano sound is as real as playing the piano.

ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams – gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories – a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality – they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant.

Paul Ellis' Into The Liquid Unknown is as close to classic Berlin-school electronic music (i.e., Tangerine Dream and Klaus Schulze) as one can get without actually being from the Berlin school. The mechanical sounds of classic analog synthesizers and sequences pulsates on this recording from the beginning until the end. Fans of Steve Roach's early rhythmic- and sequencer-based work, such as Empetus and Now/Traveler, will verily enjoy Ellis' Into The Liquid Unknown. Ellis has crafted this recording into a long-running and cohesive work that drips of electronic music nostalgia, while at the same time creating a work that is truly representative of his own voice. This is a fine recording, and certainly a time-worthy disc for those who have a thirst for German electronic music that longs to be quenched.