GarciaLive Volume 13 features the Jerry Garcia Band at the Poplar Creek Music Theatre outside Chicago on 9/16/89. Alongside the band (J. Kahn, D. Kemper, M. Seals, G. Jones and J. LaBranch) Clarence Clemons (Bruce Springsteen's E Street Band) sits in on sax. On the final night of their longest and arguably finest tour, the band played repertoire favorites - such as the Garcia/Hunter composition "Cats Under the Stars" - and infrequent jams like "Let's Spend the Night Together" and "Someday Baby."

With his carefully crafted concept album entitled Vox Humana cellist Isang Enders presents a study in sound and the portrayal of a musical network of contacts. For his third release on the Berlin Classics label he has painstakingly chosen French works from four centuries and approached each of them in a very individual manner, setting himself and his audience the challenge of not simply listening, but of perceiving.

The French cellist Matthieu Saglio made a name for himself throughout Europe as a member of the Trio NES. "El camino de los vientos" is his debut album as leader.

Ian Venables studied composition with Richard Arnell at Trinity College of Music, London and later with John Joubert, Andrew Downes and John Mayer at the Royal Birmingham Conservatoire. His works encompass many genres and he has added significantly to the canon of English art song.

Beethoven’s output for fortepiano and violoncello is fascinating because it covers every period of his career, from early to late, with references to Bach in op.69 and op.102 no.2 and an especially innovative and amazingly modern musical language.

Sometimes I feel like we’re just sleepwalking through our lives. We’re not really present.” Hazel English wants us to open our eyes. Through her shimmering, daydream-pop, the California based singer-songwriter is on a mission to rattle the cages of our very existence, asking us to dig deep and ask challenging questions of ourselves. Wake UP!, her debut album, is a call to arms: an attempt to “make people become more aware and mindful,” she says.

Settling officially into the Gospel Truth label, Reverend Maceo Woods and his Christian Tabernacle Concert Choir performed their first proprietary release on the label, “God Save Your People,” in 1972. The album’s opening selection picks up where Woods and the group’s previous LP left off, evangelizing to wayward souls with the cadence of “The Magnificient Sanctuary Band (Marching for the Man).” The group’s frequent male soloist Melvin Smothers sings an enthusiastic lead, encouraging all who can hear to drop everything and make a joyful noise about God’s grace. But the gleeful vocal is nearly overshadowed by the military-inspired taps of percussionist Billy Carson.

There’s something to be said for the raw emotions embroiled in teenage angst, the purity in youthful anger at the world, the despairing sort that lends itself well to the creation of furious art. But there’s something more to be said for growing into a world that gives you reasons to be angry, a more mature, resolute fury that demands precise creative execution in its expression.