Miren (A Longing) is a 2007 album by Ravish Momin's Trio Tarana. The company that released this is Clean Feed.

On the Corner is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded in June and July 1972, and released later that year by Columbia Records. The album continued Davis' exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman. Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet.

Superlim is lim´s second album (their first one was released on db-productions in 2002). This album was recorded in December 2004 and mixed, edited and produced by David Carlsson and lim in 2006. lim´s music is (still) based on rhytmic ideas, but the sound of the group has evolved into a more acoustic and suggestive one.

The eponymous first track on Testaments sets the tone for the album. The frenetic energy of his earlier albums (notably Repent, More Live, and Consecration) is still here, but the songs slowly build to the crescendos. "Parables" includes some of his best piano playing. But Gayle saves the best for the CD's last cut, "Jericho." The three-minute piece is breathtaking, as Gayle plays saxophone and piano simultaneously in front of a live audience, while drummer Michael Wimberly's banging cymbals are outdone by Gayle's crashing piano chords. Unfortunately, the first and last tracks on Testaments bookend not-so-memorable in-between material.

Vision I portrays canonically overlaid sax parts played at breakneck speed before moving into a relaxed bluesy groove, then turns to blistering multi-horn solos. The dirge-like For Dolphy, with the plaintive vocal cries of the altos, was dedicated to the great alto saxophonist Eric Dolphy. The med swing and skewed bluesy feel of For H.G. features the tenor out front. Tryptichon is a challenging angular composition in 3 parts with free improvisation moving from slow to up-tempo and back. With its Dolphyesque melody, Music For Jule is a frenetic excursion with an oblique reference to Monk. For Koller, Ballad For Marlies evokes the essence of a ballad. A Different Theme comprises three phrases played in different times – perfect food for the soloists. Vision II is a free-form ballad with Rittenbacher doubling piano and Koller’s expressive sax solo.

The Peach Orchard is a double CD released in 1998 by William Parker and a group of musicians he calls In Order To Survive. These musicians include Susie Ibarra, Rob Brown, and Cooper-Moore, with help from Assif Tsahar. This comes through courtesy of Aum Fidelity.

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles – this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors – it all merges together, pointing toward the dense soundscapes of Miles' later '60s work.

For No One In Particular is a 2003 free jazz album by Billy Martin, Grant Calvin Weston and DJ Logic. Martin is 1/3 of jazz trio Medeski, Martin & Wood, Weston is known for his work with James Blood Ulmer and has done collaborations with Martin, and DJ Logic was a member of Eye & I before becoming an unofficial 4th member of Medeski, Martin & Wood when they were signed to Blue Note. This album combines jazz with free form turntablism.

Medeski, Martin & Wood drummer Billy Martin released an album on his Amulet label in 2004 called The Turntable Sessions Volume 1. It is a combination of free jazz, electronics, and turntablism with help from DJ Olive and Scotty Hard, plus help from Ikue Mori and Martin's mates John Medeski and Chris Wood.

Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes – but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground – such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece – this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines.

For this ECM project, John Surman (who plays soprano, baritone, clarinet, bass clarinet and piano) and conductor John Warren wrote a full set of original music for Surman's reeds, a seven-piece brass section and a rhythm section to interpret. This episodic set has its share of sound explorations but also contains swinging sections and an impressive amount of excitement. The colorful solos (mostly by Surman) and the unpredictable writing make this a highly recommended disc. (AMG)

Fully 35 years after Open, to Love, Paul Bley's seminal solo piano recording for ECM (which stands as a watermark both in his own career and in the history of the label – i.e., unconsciously aiding Manfred Eicher in establishing its "sound"), the pianist returns to the label for another go at it on Solo in Mondsee. Recorded in Mondsee, Austria, in 2001, and not issued until Bley's 75th year, these numbered "Mondsee Variations" were played on a Bösendorfer Imperial grand piano, an instrument that is, like its player, in a class of its own. Bley moves through ten improvisations lasting between two and just under nine minutes each.

The great American musical invention of the 20th century, jazz is an ever-youthful, still evolving music of beauty, sensitivity, and brilliance that has produced (and been produced by) an extraordinary progression of talented artists. JAZZ: The Smithsonian Anthology traces the turning points in its history through its legendary innovators among them Armstrong, Ellington, Basie, Parker, Gillespie, Davis, Hancock, Corea, Marsalis and notable styles, from early ragtime to
international modernism and every major movement in between.

This five-CD box of studio material was originally released in Japan on the tiny Atlas label. Until now it has never been available in the United States. Impeccably recorded between 1979 and 1982, the year Art Pepper's horn was silenced – at least as a mortal – these sides were the brainchild of Yasuyuki Ishihara.

Dark to Themselves is a continuous 61-plus-minute performance by pianist Cecil Taylor and his 1976 quintet (which also includes such fiery players as trumpeter Raphe Malik, his longtime altoist Jimmy Lyons, tenor saxophonist David S. Ware, and drummer Marc Edwards). There is a quick theme along with brief transitions that form the composition "Streams and Chorus of Seed," but the bulk of the passionate performance is taken up by spontaneous and intense solos. Listeners with very open ears, and longtime fans of Taylor's, can consider this explosive performance essential.