I first met Dave when he came to Barcelona in 1982 to teach in some workshops in the third jazz seminar organized by the Taller de Musics (3er Seminario de Jazz Taller De Musics). I was an attendee at the workshops and at 17 years old I was still a beginner in the jazz language while Dave was already a veteran of Art Blakey’s Jazz Messengers. Dave’s playing was beautiful: lyrical, intense, funny at times, and firmly rooted in the blues and bebop (I would say that at moments it could remind you of Dexter Gordon).

This album is both a conclusion and a beginning. It was recorded during my first year in New York City and the music reflects that. It’s been a long time in the making and I’m very glad to finally put the final product out there. I hope that themusic will do its job in translating the rest of the thoughts behind it.

Festen is a Parisian alternative jazz band that has been around for 10 years now.

On the ninth solo album from the French-based British musician behind Third Eye Foundation, it is near impossible not to draw comparisons to the late great bard Leonard Cohen. Elliott's accomplished Spanish infused guitar craft further adds to the resemblance. Although it remains rooted in darkness, Elliott's approach to folk is also rich with a sense of warmth folk, embellished with gorgeous classical arrangements of composer David Chalmin, Gaspar Claus' cello, and Jeff Hallam's bass.

The early 1970s was a tough time for established ballad singers, but Johnny Mathis, who was younger than his peers and Columbia Records labelmates like Tony Bennett and Andy Williams, weathered the lean times better than most. Some of the reasons why are suggested in this 1973 album. It wasn't a big seller by any means, but this enjoyable, contemporary-sounding set made the charts. Basically, all Mathis did was turn on the radio and cut a bunch of soft rock and easy listening hits of the time the title song, a chart-topper for Roberta Flack, Bread's "Aubrey," Perry Como's "And I Love You So," the Stylistics' "Break Up to Make Up," Gladys Knight & the Pips' "Neither One of Us (Wants to Be the First to Say Goodbye)," Skylark's "Wildflower," Stevie Wonder's "You Are the Sunshine of My Life," the Carpenters' "Sing," and Diana Ross' "Good Morning Heartache."

The first time I heard eddie play, I was touched by his musicality and confidence, as time passed he shared a wider range of feelings, a passion to explore and understand, vulnerability, desire, intellectual curiosity and love and respect for his fellow artists, mentors and friends. These characteristics are well represented here, through his carefully constructed compositions and choise of musicians, of which I am lucky to be part of.

For acclaimed pianist Vittorio Forte, Carl Philipp Emanuel Bach is a visionary who expanded the legacy of his father, J.S. Bach, offering his successors a blueprint for broadening music’s horizons. C.P.E. Bach’s music combines elements of J.S. Bach’s structural brilliance, Classical refinement, and Romantic emotional breadth, opening a door to a new musical era without turning its back on tradition. A “farewell” (Abschied) that does not deny the past, but rather draws deeply on this heritage.

Cha Cha de Amor is an album consisting of the last tracks recorded by Dean Martin for Capitol Records, released in 1962.

"After the Gold Rush" is the third studio album by Canadian musician Neil Young. Released in September 1970 on Reprise Records, it was one of the four high-profile albums released by each member of folk rock collective Crosby, Stills, Nash & Young in the wake of their chart-topping 1970 album "Déjà Vu". "After the Gold Rush" consisted mainly of country folk music, along with the rocking "Southern Man". Songs were inspired by the Dean Stockwell-Herb Berman screenplay "After the Gold Rush".

The Rascals should probably be considered one of the best white rock bands recording in the rhythm and blues idiom. TIME PEACE offers an opportunity to review in retrospect just exactly what the Rascals have contributed to rock music. Arguably the greatest greatest-hits album of the '60s. A White-soul classic.

Jazz vocalist Carmen McRae's 1975 Blue Note studio album. McRae was considered one of the most influential jazz singers in the 20th century. She was recognized for her musical phrasing, singing behind the beat, and her memorable song interpretations. I Am Music features covers of "I Have the Feeling I've Been Here Before", "Faraway Forever" and "I Never Lied to You".

Just barely 20 at the time, pianist George Duke made his recording debut with a straight-ahead quartet also including the obscure bass trumpeter David Simmons, bassist John Heard and drummer George Walker. This was one of Duke's very few all-standards sets, and he proved to be a fine hard bop/soul-jazz pianist; unfortunately, that phase would not last long. Highlights include "The Night Has a Thousand Eyes", "Jeannine" and "Secret Love." But by the time the pianist recorded his second date as a leader three years later, this particular George Duke would be history.

Thelonious Monk and Sonny Rollins is a compilation album by jazz pianist and composer Thelonious Monk and saxophonist Sonny Rollins released in 1956 by Prestige Records.

Head East (also known as The Roadsign Album) is the fourth studio album by the American hard rock band Head East.

The Soviet Space Dog Project is being manned by Andy Bloyce, a Londoner who has been listening to Klaus Schulze and Tangerine Dream for over 40 years. It's nearly time for a sit-down.