Three of the five musicians on this quintet date (flügelhornist Art Farmer, altoist Frank Morgan, and pianist Lou Levy) had played on Central Avenue in Los Angeles of the late '40s. Not all of the eight songs that they perform with bassist Eric Von Essen and drummer Albert "Tootie" Heath are from the era ("Blue Minor" and "Cool Struttin'" were written by Sonny Clark several years later), but the outing is very much in the bop style of the period. Their live set is highlighted by spirited versions of "Star Eyes," "Farmer's Market," "I Remember You," and "Donna Lee." This CD is filled with high-quality bebop that is easily recommended to straight-ahead jazz fans.

Five centuries, seven languages, and six singers with 35 years of remarkable experience inform this rare collection of choral music. In the world-renowned King's Singers resplendent voices, ancient and modern choral music comes to life with all the blazing immediacy and timeliness of the gospel of the nativity. With 25 pieces of music–ranging from familiar works such as "Coventry Carol" to the obscure Tchaikovsky piece "The Crown of Roses"–the King's Singers move through this hallowed and festive set with the vocal mastery that only three-and-a-half decades of accomplished work together is capable of creating. A number of contemporary carols written in the last century by composers such as John McCabe, Philip Lawson, John Rutter, and others are balanced by pieces by Bach and a host of traditional works. Lawson's "You Are the New Day," performed with a string quartet, stands out as one of the more notable performances. Like most of their music throughout Christmas, it reminds listeners that the art of music often interprets divine aspects gladly realized here on Earth.

Coming off his Grammy-nominated 2013 album, The World According to Andy Bey, vocalist/pianist Andy Bey delivers the equally compelling 2014 release Pages from an Imaginary Life. As with its predecessor, Pages finds the jazz iconoclast returning to his roots with a set of American Popular Song standards done in a ruminative, stripped-down style. This is Bey, alone at the piano, delving deeply into the harmony, melody, and lyrics of each song. But don't let the spare setting fool you. Bey is a master of interpretation. In his seventies at the time of recording, and having performed over the years in a variety of settings from leading his own swinging vocal trio, to working with hard bop pioneer Horace Silver, to exploring the avant-garde with Archie Shepp, Bey has aged into a jazz oracle who doesn't so much perform songs as conjure them from somewhere in the mystical ether of his psyche.

Dubbed the "Prince of Pops" by the Chicago Tribune nearly 30 years ago, Erich Kunzel – one of the most successful classical crossover artists of all time – has recorded over 70 albums for Telarc; one of the most popular of those is 1990s Christmas with the Pops. The warm and wonderful Christmastime Is Here, named for the Vince Guaraldi classic from A Charlie Brown Christmas that's given a spirited reworking here, is something of a sequel to that collection. With the exception of a punchy Dixieland arrangement of "Jingle Bell Rock," Kunzel and the orchestra – working with the Indiana University School of Music Singing Hoosiers, under the direction of Dr. Michael Schwartzkopf – play most of the classics here very straightforwardly. That is to say, charming, elegant and engaging, just not overly innovative. Telarc's true stroke of genius is having some of its top jazz vocalists perform on lush but smartly restrained arrangements of various classics – like Tierney Sutton on "I'll Be Home for Christmas" and John Pizzarelli on "Silver Bells." The disc also showcases two of the label's newest artists, Ann Hampton Callaway (a haunting "I Wonder as I Wander") and Tony DeSare (doing Mel Tormé proud on a dreamy version of "The Christmas Song"). This is 2006's premier holiday disc for lovers of jazz, pop and classical music.

In 1709, the music-loving Landgraf Ernst Ludwig from Darmstadt had discovered Christoph Graupner as a harpsichordist at the Hamburg Opera in 1709 and had hired him on the spot. The Landgraf had made a real stroke of luck with Graupner, because he was not only an outstanding musician but also a perfect organizer of the courtly musical life and especially for the church music which had to be performed weekly. Over the years, more than 1,400 works of sacred music and more than 250 concertos and orchestral works have gathered from his pen and paper. L'arpa festante and Rien Voskuilen have put together an exquisite selection with orchestral music from this repertoire for the present release: two concertos for oboes and trumpets and two Overtures for transverse flute in the French style, probably all from the first half of the 1730's.

Frescobaldi must be accounted one of the most important keyboard composers of the first half of the 17th century. He was born in Ferrara, where the musical tastes of the ruling duke, Alfonso II d’Este, attracted musicians of great distinction. Moving to Rome at the beginning of the new century, he was under the patronage of Guido Bentivoglio, who took him in 1607 to Brussels, an important centre of keyboard music in the northern European tradition. In 1608 he became organist at St Peter’s in Rome, where he remained until his death (with a brief absence for promised employment in Mantua in 1615 and a subsequent period of six years spent serving the Medici in Florence).

When Ritchie Blackmore departed Deep Purple in the mid-'70s and formed Rainbow (which featured Ronnie James Dio), his replacement was Tommy Bolin. To be sure, Blackmore was a darn tough act to follow, but Bolin proved himself to be a fine guitarist in his own right on Come Taste the Band, his first album with Deep Purple. But unfortunately, Bolin didn't have exceptional material to work with - decent and likable, but hardly exceptional. While sweaty yet melodic cuts like "Dealer," "Lady Luck," and "You Keep on Moving" are far from bad, nothing here is in a class with "Smoke on the Water" or "Highway Star." Deep Purple's more hardcore devotees will want this album, though it's far from the best representation of their '70s work.

In many respects, you could call Hound Dog Taylor a cult artist. Respected by bluesmen and critics alike, he built a small, devoted following across America simply by constently touring. There were no hits and very few covers of hs songs, but his rowdy concerts and incendiary records on Alligator convinced any who heard him. In the process, he put Alligator Records on the blues map, so it only makes sense that the label return the favor with Hound Dog Taylor: A Tribute, one of the few blues tributes that really works. Taylor's wild, careening slide guitar became one of more influential sounds in contemporary blues, as evidenced by this quality-packed record…

Many great jazz artists have recorded, with great success, a live album at the Olympia in Paris while they visited or lived on Paris. Among these greats is Rhoda Scott. Her vast discography on Barclay is more or less still in the master tapes vaults but the "Live At The Olympia" CD, reissued on the Jazz In Paris CD program, is very good pick in the vaults. Supporting Scott playing the Hammond B3, the trio are Joe Thomas on flute/tenor saxophone and Cees Kranenburg on drums. Scott has always had great nose for mixing musical genres and tunes on her records, and "Live At The Olympia" is no exception . The trio treats the standards Bluesette", "I Hear Music", "Wade In The Water", "Equinox" and "People" with great musical inventiveness and interplay - they really tells us a new story on known themes.