The Michael Schenker Group - Hard rock band based in Germany. Existed from 1979 until 1985, revived 1996. The only consistent member is Michael Schenker and the band could also be seen as his solo project.
Do not confuse with McAuley Schenker Group. Both bands use the abbreviation MSG, but are considered different bands.

While there can be no doubt that the late great Grover Washington, Jr. released his most commercially successful recordings for Columbia and Elektra, there is also no doubt that, critically and creatively, Washington's most visionary material, the stuff that virtually created the template for the smooth jazz generations that came after, were on the Kudu imprint and produced by Creed Taylor. Washington was a monster saxophonist on tenor as well as soprano, and a true stylist. Before coming to Motown and Kudu he had apprenticed with a number of soul-jazz masters, including Charles Earland and Johnny "Hammond" Smith. The material here focuses on the seminal eight years Washington recorded for Motown and Kudu, beginning with his early renditions of standards like "I Loves You, Porgy," from George Gershwin's Porgy and Bess…

As the title suggests, Joshua Redman explores new rhythmic territory on Freedom in the Groove. Abandoning the traditional hard bop that has dominated his past recordings, Redman attempts to work himself into hip-hop and urban dance rhythms, which results in an occasionally intriguing but often frustrating album. Occasionally, the fusions work, with Redman contributing sympathetic, graceful licks to the gently insistent rhythms. Too often, the record sounds forced and stilted, which is unfortunate, since jazz/hip-hop fusion need a musician of Redman's caliber to make it credible in the jazz world.

Only 22 at the time of this CD, Nicholas Payton had already quickly developed into a major trumpeter. Possessing a fat tone that is sometimes reminiscent of Freddie Hubbard, by the mid-'90s Payton had become New Orleans' latest significant contribution to jazz. On his second Verve release, Payton interprets and modernizes ten songs associated with his hometown and/or Louis Armstrong. Fortunately, Payton generally retains the flavor and joy of the original versions, even while he transforms much of the music into hard bop. To cite a few examples, "Whoopin' Blues" has parade rhythms, send-offs worthy of Lionel Hampton, and boppish solos, "Way Down Yonder in New Orleans" is taken as a slow and lightly swinging ballad, and "I Gotta Right to Sing the Blues" is turned into a jazz waltz…

Frédérick Haas possède une connaissance approfondie de la facture des instruments, et des secrets de leurs réglages. C’est cela qui lui permet ce dialogue si intime avec l’instrument. Car le clavecin de Haas est tout sauf métallique. Sous ses doigts d’une précision jamais répétitive, l’écriture ciselée et fort ornementée de D’Anglebert résonne avec l’amplitude de l’orchestre lullyste, tandis que le claveciniste nous submerge de couleur. Peut-on vraiment croire que l’intégralité du programme a été enregistré sur ce clavecin Henri Hemsch de 1751 tant l’artiste parvient à tirer de sonorités différentes de cet assemblage savant? A la manière d’un peintre, Haas sculpte chaque pièce comme un petit chef-d’œuvre.

To Our Children's Children's Children is the fifth album by The Moody Blues, released in November 1969. It was the first album released on the group's newly formed Threshold record label, which was named after the band's previous album from the same year, On the Threshold of a Dream…

With Mundo Civilizado, downtown denizen Arto Lindsay is probably the first person to successfully integrate the sounds of techno and drum'n'bass into an already established pop music style. Others, notably David Bowie, have tried to do something similar, but although Bowie's attempt in particular was more successful than most critics give him credit for, it never sounded as natural and seamless as Lindsay's. That the former king of skronk guitar was able to achieve such a fusion while singing in Portuguese is even more impressive. Highlights include the funky female worship of "Q Samba" and the scattered herky-jerk of "Complicity" (which features the deathless couplet "Complicity, unconscious wit/Borders without borders under eyebrows"). His taste in covers is a bit more suspect – he brings as little to Prince's material as you'd expect, but is surprisingly more adept with Al Green's "Simply Beautiful." Overall, this one's a solid winner, if not quite a classic.

The avant-garde tenor and bass clarinetist David Murray had an opportunity to sit in with the Grateful Dead in 1993 and was quite impressed. With Jerry Garcia's death, Murray was inspired to put together this tribute album but often it sounds as if two bands were playing at once without closely listening to each other. Murray and the horns (which include veteran altoist James Spaulding, the very impressive high-note acrobatics of trumpeter Hugh Ragin, either James Zoller or Omar Kabir on second trumpet and the adventurous trombonist Craig Harris) romp through some rowdy and very emotional ensembles while organist Robert Irving III. (a Miles Davis alumnus) leads the rhythm section through groovin' R&B riffs that seem to ignore the lead voices…

This 14-track collection brings together some of the more notable entries from the soundtracks of the Quentin Tarantino films Reservoir Dogs, Pulp Fiction, Natural Born Killers and True Romance, with a running commentary through this disc from the director himself. The featured songs include "Misirlou' by Dick Dale, "A Little Bitty Tear" by Burl Ives, "Stuck in the Middle with You" by Stealer's Wheel, "You Never Can Tell" by Chuck Berry, "Sweet Jane" by the Cowboy Junkies, "Dark Night" by the Blasters, "Foolish Heart" by the Mavericks, "Girl, You'll Be a Woman Soon" by Urge Overkill and "Graceland" by Charlie Sexton.

Any doubts as to the continuing relevance of Sonic Youth upon their jump to major-label status were quickly laid to rest by Goo, their follow-up to the monumental Daydream Nation…

This incredibly light, fun, and surprisingly hip three-CD collection featured by Ella Fitzgerald, Peggy Lee, Billie Holiday, Sarah Vaughan, Django Reinhardt, Chet Baker, Dave Brubeck, Miles Davis, Thelonious Monk, Lee Morgan and many more.

A pivotal album for the Red Hot Chili Peppers, 1989's Mother's Milk turned the tide and transformed the band from underground funk-rocking rappers to mainstream bad boys with seemingly very little effort. Mother's Milk brought them to MTV, scored them a deal with Warner Bros., and let both frontman Anthony Kiedis and the ubiquitous Flea get back into a good groove following the death of co-founding member Hillel Slovak…

As a designer of sound units and amplifiers in the '70s, this German artist (real name is Jurgen Krehan) made a natural progression into composing for electronic instruments at the end of the decade when he formed the avant-garde duo Tycoon with Rudolf Lager. In the mid-'80s, he struck out on his own and released a number of recordings on the German Sky label, in addition to composing soundtracks for film and television. His style combines primarily lush environmental soundscapes with the delicate percussive textures of bamboo, gongs, and windchimes.

Land of Dreams (1996). Debut album of the Danish trio Eventyr, who has devloped its own style of sensitive music that blends gentle tones with soft rhythms. The music invites you to a journey into your own fantasy world, and also provides a harmonious backdrop for other activities…