The Berlin Classics label's Greatest Works series recycles old recordings from eastern Germany, many of them dating back to the Communist era. This one, with several of the recordings from the early '90s, is among the more contemporary of the group. The two older recordings date from 1975 (the Dresden Staatskapelle's rendering of the Concerto in C major for flute, harp, and orchestra, K. 299) and 1973 (Annerose Schmidt and the Dresden Philharmonic under the durable Kurt Masur in the Piano Concerto No. 21 in C major, K. 467). These two are no worse sonically than the rest, which is not saying much, but consistency is a virtue in this case. The good news is that the traditions of Mozart playing were a jealously guarded joy within the dreary confinement of East German life, and the ensembles here embodied those traditions. The opening Eine kleine Nachtmusik, K. 525, from the Leipzig Radio Symphony Orchestra, is brisk, lively, and free of cuteness. There isn't a ponderous note to be found, in spite of the general tendency of large orchestras playing Mozart, especially in Germany. The flute-and-harp concerto manages, perhaps with the help of some engineering tweaks, to strike a balance among the instruments involved, and the Serenata Notturna in D major, K. 239, again with the Leipzig Radio Symphony under Max Pommer avoids the mechanical quality this work so often has. Only the colorless final Symphony No. 41 in C major, K. 551, with the Deutsche Kammerphilhamonie Neuss, is subpar. One might also question a list of Mozart "greatest works" that included the Serenata Notturna and the flute-and-harp concerto while omitting all the string quartets and all the vocal music, but this is a reasonable choice for a starter Mozart set. The booklet notes, basically a short Mozart biography, are in German and English. ~ James Manheim, All Music Guide.

If you are looking for the best Asian style music ever created, you have found it with Himekami. Every song is painstakingly crafted to deliver greatness to our ears. Pure sonic poetry.
This is simply one of the best new age albums ever made and it is deplorable that Himekami may never have the popular acclaim of Enya, because Yoshiaki Hoshi (the leader of Himekami) is even more brilliant at songs than her!!! Especially noteworthy are the tracks Tosa Dunes (heaven on earth, it sounds to me), Earthflame (mournful, but gentle and loving at the end), and Evening Poem (music to make you stop and think).
The music flows like the tide, the name "Moonwater " says it all. Each track invokes a different emotion and immage.The music is sharp,clear and clean.When you listen to this music you not only hear the music you see it as well.

Tenor saxophonist Stan Getz is heard accompanied on three separate occasions by large European ensembles (the Danish Radio Big Band and the orchestras of Ib Glindemann and Kurt Edelhagen) and he sounds consistently inspired. The first four numbers (highlighted by "Yesterdays" and "Old Folks") are from January 29, 1977, the versions of "Don't Get Around Much Anymore," "Cherokee" and "My Funny Valentine" are from December 7, 1958 (performed during the tenor's long period overseas) and the two mistitled songs date from October 23, 1971. Getz's beautiful tone, lyrical style and ability to swing at any tempo (along with the rarity of the performances) should make this CD of strong interest to his many fans.

"Kenny G Live" is the first and so far only live album released from the popular saxophonist. Recorded during his successful 1989 tour, "Live" displays Kenny G at his peak riding on the success of his then-previous two studio records, "Duotones" and "Silhouette". While those albums contained some fine music, the live versions displayed on this CD are an entirely different story. Kenny G and his five-piece band stretch the music out into extended improvisations and show off some great musical chops. Mr. G himself performs some excellent virtuoso sax work on "Songbird" and "Silhouette" (which features Kenny holding an A-natural on his soprano sax for nearly 30-seconds in the intro). Kenny's bandmates also show off their versatility especially in Vail Johnson's bass solo in "Midnight Motion" and Robert Damper's extended keyboard solo in "Songbird". Besides having its mellow moments, "Live" also includes some downright funky highlights including the aforementioned "Midnight Motion" as well as "I've Been Missin' You" and "Tribecca" which shows off Kenny's fine playing on the tenor sax as opposed to his usual soprano. Renowned pop singer Michael Bolton makes a guest appearance with a soulful rendition of "Don't Make Me Wait For Love" (originally sung by Lenny Williams on "Duotones") with his gutsy vocals giving the song a harder edge.
Apart from the live material, the album is bookended by two additional studio tracks. Both "Going Home" and "Uncle Al" are in the typical Kenny G ballad style with light melodies and soaring soprano sax work.
In the end, this is definitely a classic in the key of G.

The ten selections on this CD display Bob James' many musical facets. "Lotus Leaves" is a fluid number, featuring Bob in the company of Nathan East and Max Risenhoover. "Under Me" is a jaunty number featuring Luther Vandross and Lisa Fischer. The title song showcases sax phenom Andy Snitzer. Some serious funk here! The enigmatic "Kissing Cross" features guitarist Fareed Haque and longtime collaborator Ron Carter on bass. The big hit here is "Storm Warning" featuring Bob's daughter Hilary on lead vocals. Next follows the lusty "Animal Dreams". "We go "Back To Bali" next with Bob and Haque once again. Michael Brecker lends a hand on the bouncy "Into The Light", one of my personal favorites. The mood quiets down a bit on "Serenissima", a piece which resembles a melody by Tchaikovsky in its beginning. Closing is the bright "Awaken Us To The Blue". RESTLESS is the perfect alternative to the hum-drum of smooth jazz.
Jazz fusion keyboard player Bob James took time out from his collaboration with jazz supergroup Fourplay members Lee Ritenour, Nathan East and Harvey Mason to release his first solo album in five years. Many ears only know James as the author of "Angela," more commonly known as the theme song from the classic TV sitcom "Taxi." While that composition is a classic in its own right, there are plenty more sides to this man's talents. RESTLESS does tend to offer up some radio-friendly, more commercial moments for the likes of jazz fusion "the wave" radio stations, but this album is still a well done, very pleasurable listening experience.

This CD is deep, and Eliza's interpretations have left my head spinning for years now. But the music itself, the cryptic & multi-layered lyrics, the incredible voice, all lead to this being a first rate CD that I know you will want to hear over & over. Texas at its best. One of the things I love about Eliza's music is the storytelling. She is raw and tender, angry and spiritual, sensuous and androgynous all at once.
Don't miss this unparalleled CD.
It's a folk album, but it's a smooth-listening one. More 'singer/songwriter' than folk because the sound is so modern.
Her voice is pretty and watery -- becoming husky every now and then. The lyrics range from love to the environment -- all the things you'd expect from modern folk. But it's the way she sings and creates the musical arrangements that really makes them special.
Shadows and Footsteps is likely to be your favorite song on the record, initially. This is one of those albums whose first song is sort of a nice, sweet one to get you started but it's the second song that holds all the power. It's a powerhouse vocal number that drips with expression. Then immediately, the album moves to something more up-tempo to lighten the tone. But the intensity lives on.
Eliza Gilkyson is an artist to 'meet' - musically speaking. And this album is a good place to meet her, if folk is your favorite.

Tenor saxophonist Kirk Whalum really isn't a jazz musician. He's a pop instrumentalist and a good one, much in the style of David Sanborn. Whether leading his own instrumental sessions or playing behind such singers as Whitney Houston, Luther Vandross, and Barbra Streisand, Whalum has a sure instinct for melody and a sense of dramatic restraint unknown to a sentimentalist such as Kenny G. On "In This Life," Whalum allows vocals to dominate (eight of 12 tracks) as he pays tribute to his native state of Tennessee and its special blend of Memphis soul and Nashville country. The result is an excellent justification for the much maligned genres of "quiet storm" and "adult contemporary" music. --Geoffrey Himes
Of all of Kirk's CDs this is my favorite from beginning to end. This CD is the essence of soul-filled contemporary/popular jazz music without being overproduced or busy. The production values are supurb! Both the music and the lyrics speak to the essence of life in a way that truly give honor to life. The breadth of Kirk's sax is wonderfully matched with Mike Reid's vocals and Matt Rollings piano. The respective "duos" with Larrry Carlton and Dwight Sills could not have been played any better. A pristine collection of songs!
This album is probably Kirk's best. This is more adult contemporary jazz than traditional with just a hint of Tennessee thrown in. The big clincher for "In This Life" is the performance of Mike Reid. Mike doesn't have the best or most pure voice in the world, but is a great SINGER and a talented songwriter. Reid really does grown on you as you listen to the CD more and more. "I Turn To You" is a standout, you can tell this man has hurt before. The instrumental cuts on this album are also exceptional, particularly "Peaceful Hideaway". Turn the lights down and put this album on.