John Coltrane's debut for the Impulse label was a bit unusual, for the great tenor and his quartet were joined by a medium-sized backup group on Eric Dolphy arrangements of "Africa," "Greensleeves," and "Blues Minor." "Africa" in particular is quite memorable although Coltrane would not pursue any further recordings in this direction in the future, making this a change of pace in his discography.

In 1975, the Italian progressive rock band Banco del Mutuo Soccorso released its first English LP after three Italian ones. Following the example of fellow progsters Premiata Forneria Marconi, they shortened their name to Banco and re-packaged a handful of tracks from their previous records with English vocals to put together an introductory package for the English-speaking world. But unlike PFM's Photos of Ghosts, Banco contained two new pieces, and the old ones had been completely re-recorded, some even re-written.

Hans Zimmer's score for Edward Zwick's samurai epic The Last Samurai mixes his own densely composed style with Japanese instruments and melodies, resulting in a brooding, atmospheric collection of music. Shakuhachi and other flutes, koto, and taiko drums make their presence known throughout the score, most effectively on compositions like "A Way of Life," which begins as a reflective duet for flute and strings before swelling into an ominous but majestic melody. "Spectres in the Fog" is another compelling mix of beauty and violence, starting with a delicate koto melody and rolling drums before crashing percussion and sawing strings turn the mood from bittersweet to battle-ready. These drums of war and battle cries increase as the score unfolds, making tracks such as "Safe Passage," "Ronin," and "Red Warrior" nearly as tense and striking outside of the film's context as they are in it…

This is one of many small-group jam sessions organized by Norman Granz to feature pianist Count Basie. This time around the proceedings (utilizing a sextet) have plenty of solo space for trumpeter Willie Cook, altoist Eddie "Cleanhead" Vinson (who also takes a vocal) and guitairist Joe Pass. As usual, when Basie had his way, the emphasis is on the blues and the music always swings.

The third long-player from San Francisco psychedelic icons Quicksilver Messenger Service (QMS) is a direct contrast from their previous discs. Shady Grove (1969) is comprised mostly of shorter and self-contained pieces as opposed to the long and extended jams that were so prevalent on their self-titled debut (1967) and Happy Trails (1969). Ironically, the one stretched-out instrumental is courtesy of their latest acquisition - Brit recording session guru Nicky Hopkins (keyboards). Another possible reason for the shift in style as well as personnel is the conspicuous absence of Gary Duncan (guitar) - who is rumored to have been a "guest" of Bay Area law enforcement at the time. The band incorporate a number of different styles on the album. Kicking off the disc is an up-tempo rocking version of the traditional Appalachian folk song "Shady Grove"…

Buckwheat Zydeco can be counted on for a joyous, upbeat zydeco party groove and his albums are remarkably consistent in that regard. This set draws tracks from his mid-'80s albums for Rounder Records, including sides from 1983's Turning Point, 1985's Waitin' for My Ya Ya, and 1987's Buckwheat's Zydeco Party, and makes a nice sampler and introduction to what was arguably Buckwheat Zydeco's most commercially viable and inspired period. The title track, "Let the Good Times Roll," "Hot Tamale Baby," and a nice version of Fats Domino's "Walkin' to New Orleans" are among the highlights.