This is a great collaboration, a truly miraculous and deep set of songs, excellent disc by Jon Anderson (lead vocalist of the British progressive rock band Yes) and Vangelis (Greek electronic composer). For those of you who thought Vangelis was too musically complex, the this production by the one and only jon Anderson its your best introduction to Vangelis opus. This is a innocent, emotive, space filling and melodic album.

1999 release of a 1962 session in Rudy Van Gelder's studio, New Jersey. Line-up includes Donald Byrd (his playing on this session is especially good), Pepper Adams, Layson Jackson and Jimmy Cobb.

Live recording on highest acoustic level at the Kennedy Center in Washington DC. Features song material ranging from Brazil and Bill Evans to Carmen McRae and Peggy Lee. Roseanna Vitro is one of the most respected jazz singers around today. Her trio, compadres for many years, provides the best backing one can imagine.

Valerie Joyce is a Japanese-American jazz singer and pianist who has a very quiet and hushed sound, which is very calming and elegant. David Hazeltine's arrangements and piano playing is outstanding. Overall, wonderful renditions of Burt Bacharach tunes, recommended for jazz vocal listeners.

Originally released in 1988, Perfect Machine was the third installment in Herbie Hancock's electronic trilogy that began with Future Shock and followed with Sound System. Of the three, Perfect Machine is the most minimal and groove heavy, thanks mainly to the presence of bassist Bootsy Collins and Ohio Players vocalist Sugarfoot. In fact, Perfect Machine, more so than its two predecessors, could be thought of as Hancock's stab at making an updated version of his 1970's Headhunters success. With early techno and industrial shadings coming mainly from Bill Laswell's Kraftwerk-influenced production, the album may sound surprisingly up to date to electronic music fans.

Recorded in Los Angeles, produced by Harvey Mason, this album confirms once again the extension of Charito's talent. Her jazzy and groovy interpretation of some of the most remarkable songs of Michael Jackson's legacy, makes this a smoking-cool album that can be enjoyed by both jazz and Michael Jackson fans. Made with collaboration of great musicians such as Brian Bromberg, Harvey Mason, Jeff Babko, Nils Langren, to name a few.

This is very much a chamber jazz set. Mundell Lowe plays "Our Waltz" as an unaccompanied guitar solo and his trio with bassist Trigger Alpert and drummer Ed Shaughnessy is joined by either Al Klink or Phil Bodner on various woodwinds during seven of the 11 other selections. The bass clarinet, flute, oboe, and English horn are quite atmospheric, adding to the beauty of the ballads.

The newest CAB CD recorded live November 14, 2010 at SIR in Hollywood featuring bassist Bunny Brunel, guitarist Tony MacAlpine, drummer Virgil Donati and keyboardist Dennis Hamm. Explosive fusion captured on these ten new tracks composed by Bunny or Tony.

By 1979, David Byron and Gary Thain had left the classic line up, being replaced by John Lawton and Trevor Boulder respectively. Audiences however still demanded to hear a good proportion of material from the band's Byron era albums, hence we have Lawton singing songs such as "Easy livin'", "Look at yourself", and "July Morning". Original (non-remastered) single CD edition.

A brilliant collaboration from Ray Manzarek, co-founder and keyboardist of The Doors, and Roy Rogers, world renowned slide guitar master and Grammy winning producer. Translucent Blues is a hard driving, blues, rock and jazz inflected effort; a fresh, contemporary recording bristling with soul, intensity and creative energy. The album features songs with multi-layered arrangements, solid driving grooves and stylistic depth. They are energetic and strong - with music and lyric collaborations from Manzarek and Rogers, and lyric contributions from the likes of Warren Zevon and Jim Carroll.

James “Mr. Superharp” Cotton, over the course of a 66-year career, has earned his place as a world icon of blues harmonica. The years have ravaged James Cotton's once booming voice but his powerful harp playing hasn't lost a step, as one spin of Giant will confirm. His return to the Alligator label is a chugging contemporary blues album that allows "Mr. Superharp" plenty of room to blow (guitarist Slam Allen handles the vocals). The set is a mix of covers, including songs from by Muddy Waters, B.B. King, Ivory Joe Hunter, and others, plus four new Cotton originals.

A highly personal statement from Bobby Matos, who is New York born percussionist, composer and bandleader. With all but one song recorded at the Saville Theater, San Diego City College for a live concert on a radio, this is an excellent opportunity to experience some great Latin Jazz live without any edits or tricks so common on many studio produced sessions. Great tunes, passionate rhythms and beautiful melodies result in music that is as beautiful as the moon.

A Time And A Place is the definitive Emerson Lake & Palmer bootleg collection, bringing together 4 CDs of prime unreleased material from 1970 to 1998. These fully authorized, remastered live performances were taken from the best-possible soundboard recordings (discs 1 through 3) and audience tapes (disc 4). From the group's raw and unrestrained sound of the early 70s, their rearrangements of compositions by internationally renowned composers, to their timeless conceptual pieces such as Tarkus, Karn Evil 9 and Pirates, ELP have always been a band to push hard against musical boundaries.

Jimmy Witherspoon was one of the smoothest blues singers to come along in the late 1940s, and his earthy yet elegant style was versatile enough for him to "cross over" into jazz and even rock. "Blues, The Whole Blues...", his last studio recording, was picked by critic Frank-John Hadley as one of the 10 best albums of 1992.

This straightahead trio date led by drummer Brian Melvin is most notable for being electric bassist Jaco Pastorius's final recording, cut just a year before his premature death. With Melvin and pianist Jon Davis (whose style is most influenced by McCoy Tyner and Herbie Hancock), Pastorius was free to be very active in accompanying the piano solos and he gets to stretch out on nearly every tune.