Memory Almost Full is the 21st studio album by Paul McCartney, released in the United Kingdom on 4 June 2007 and in the United States a day later. The album was the first release on Starbucks' Hear Music label. It produced by David Kahne and recorded at Abbey Road Studios, Henson Recording Studios, AIR Studios, Hog Hill Mill Studios and RAK Studios between October 2003 and February 2007.

After hitting a creative peak in the early '90s, Los Lobos settled into a decade-long groove that was perhaps a little too comfortable. The band's twelfth studio CD, The Ride, tries to shake things up a bit, and mostly succeeds by pairing the group with a string of collaborators similar to Carlos Santana's Supernatural. Only instead of the young hit-makers that propelled Santana's comeback, The Ride matches Los Lobos with early influences (Bobby Womack, Little Willie G) and long-time friends (Dave Alvin, Elvis Costello).

Featuring many rare and previously hard to find gems alongside such accomplished blues stars as Buddy Guy, Otis Rush, Ike Turner, Memphis Slim and Sunnyland Slim. Also includes outtakes and many Alternative versions. Collected here is some of the finest blues ever recorded presented on this 2 CD set.

2009 two CD release. Cobra Records was founded in 1956 by Eli Toscano, a record shop owner in Chicago. He sensibly left all the creative decisions to his in-house producer and writer Willie Dixon, who had just left Chess Records. Dixon then signed the three best second generation performers of Chicago Blues: Buddy Guy, Otis Rush and Magic Sam. He wrote them some great songs and encouraged them to develop the single note guitar leads that distinguished their style.

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Bona's The Ten Shades of Blues continues in the same vein. There are references to India, Africa, and good ol' down home Americana, all interpreted with Bona's natural flair and effervescent smile. As on most of his other solo work, the multitalented Bona is everywhere and plays almost everything. The album opens with "Take One," a choral masterpiece—except all of the voices are Bona's. "Shiva Mantra" follows, and here Bona is credited with lead and background vocals, bass, keyboards, guitars and percussion. Somehow, on this track, Bona manages to be at the forefront of the background, keeping the music grounded in jazz and African traditions while being overtly Indian. It's Indian religious music—with a kickin' bass line.

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Apparently this is John's 57th studio album and while there is nothing here that compares to his best 60s releases this is a great-sounding, consistent set of material produced by Mayall himself. The band consists of guitarist Rocky Athas, bassist Greg Rzab, drummer Jay Davenport and Tom Canning on keyboards - with Mayall playing harmonica, organ and guitar.

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This CD is some classic Chicago blues, presented in a way only James "Superharp" Cotton could. Any Cotton album naturally has high expectations, seeing how Cotton played with Muddy Waters for a number of years before pursuing his long and successful solo career, but this album is up there with Cotton's best studio effort, "100% Cotton".

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Gary Moore is acknowledged as one of the finest musicians that the British Isles has ever produced. In a career that dates back to the 1960s, there are few musical genres that he has not turned his adroit musical hand to, and has graced the line-ups ever several notable rock bands, Thin Lizzy, Colosseum II and Skid Row to name but three.

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Thanks to the long shadow cast by the group's blockbuster Rumours, this 1987 effort was inevitably regarded as something of a letdown. That's too bad, since it's an underrated set that contains plenty of inventively catchy tunes, with a quirky sonic edge that gives the songs added sonic and emotional depth. Lindsey Buckingham's eccentric, vaguely menacing "Big Love" is a standout, as is Christine McVie's brightly bittersweet "Little Lies," along with such dark-horse winners as "Seven Wonders," "Caroline," "Mystified," and Stevie Nicks's typically mystical "Welcome to the Room ... Sara." --Scott Schinder

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With the pop sense of Lindsey Buckingham and Stevie Nicks now leading the band, Fleetwood Mac moved completely away from blues and created this homage to love, Southern California-style. Each songwriter makes his or her presence known: Nicks for her dreamy, mystical reveries ("Dreams," "Gold Dust Woman:); Christine McVie for her ultra-catchy slogans ("Don't Stop"); and Buckingham for his deceptively simple pop songs ("Second Hand News," "Go Your Own Way"). "The Chain," written collectively, is the Mac at their most dramatic. But it's the ensemble playing, the elastic rhythms, and lush harmonies that transform the material into classic FM fare. --Rob O'Connor

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Since the inception of his Golden Beams Productions imprint, Jack DeJohnette has been busy releasing music ranging from the meditational Music in the Key of Ohm (Golden Beams, 2005) and world music-inflected Music from the Hearts of the Masters (Golden Beams, 2005) to the more decidedly improvisational The Elephant Sleeps But Still Remembers (Golden Beams, 2006). A freedom of spirit infuses all his releases, but it's been over a decade since the veteran drummer has released an album as a leader that fits squarely into the jazz category.

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This is quite frankly an astonishing film. One that fills your entire array of senses and sensitivities, and the praise from Argentine reviewers here is 100 percent justified. Ricardo Darín turns in another majestic performance as a Buenos Aires court employee who is fiercely affected by the rape and murder of a young girl in 1974, a tragedy that dominates his life. Overlapping this theme is the powerfully sensual but never physical relationship between Darín and his superior, the investigating judge played by the superb Soledad Villamil. The connection between the two is electric. It's a pity this film cannot easily transcend the language barrier, if it was an English-language film of the same quality it would already be hailed as a masterpiece. The blending of tragedy, love, violence and humour is brilliant, and the comedy dialogue fantastic. One scene where Ricardo Darín is balled out for having searched an old lady's house is priceless in terms of comic timing and delivery. A wonderful performance also from Guillermo Francella as the court clerk with a drinking problem, in fact the secondary acting is all first-class. The camera-work is impressive, especially the swoop down into the football stadium and the closeups, and the script is also superb. Argentina has nominated the film as its candidate for best foreign film at the Oscar's, it deserves to walk it.

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This single CD reissues all of the music from two LPs titled Soul Summit and Soul Summit, Vol. 2. The latter session is one of the lesser known of the many collaborations of tenors Gene Ammons and Sonny Stitt, who are joined by organist Jack McDuff and drummer Charlie Persip. Their six performances are primarily riff tunes with "When You Wish upon a Star" taken at a medium pace and "Out in the Cold Again" the lone ballad. The second half of this CD features Ammons on two songs ("Love I've Found You" and a swinging "Too Marvelous for Words") with a big band arranged by Oliver Nelson, jamming "Ballad for Baby" with a quintet, sitting out of "Scram" (which stars McDuff and the tenor of Harold Vick) and backing singer Etta Jones on three numbers, of which, "Cool, Cool Daddy" is the most memorable. Overall, this is an interesting and consistently swinging set that adds to the large quantity of recordings that the great Ammons did during the early '60s. ~ Scott Yanow, All Music Guide

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Concord Jazz is proud to announce the release of QUARTET LIVE!, a revisited edition of the classic Gary Burton Quartet. The album features three original members and jazz legends Burton, Pat Metheny and Steve Swallow along with one new member, and perhaps one of the most prominent drummers of his generation, Antonio Sanchez. The 11-song album was recorded live at Yoshi's Jazz Club in Oakland and will be available on May 26, 2009.

Delightful new project, assembled by Tunisian oud master Brahem with producer Manfred Eicher. Combination of bass clarinet with oud suggests a link to Anouar’s “Thimar” trio, but this East/West line-up often feels closer to the more traditionally-inclined sounds of “Barzakh” or “Conte de l’Incroyable Amour”. Klaus Gesing, from Norma Winstone’s Trio, and Björn Meyer, from Nik Bärtsch’s Ronin, are both players with an affinity for musical sources beyond jazz, and they interact persuasively inside Brahem’s music. A dance of dark, warm sounds, urged onward by the darbouka and frame drum of Lebanese percussionist Khaled Yassine. The album is dedicated to the memory of Palestinian poet Mahmoud Darwish.