Fatback was always well aware of where the future lay. Keeping their eyes and their funk firmly on the pulse of R&B, Fatback (aka Fatback Band) took their audiences on a two-decade journey of perpetual evolution, wrapping their roots in psychedelic R&B, pop, soul, disco, and on into hip-hop, as that genre was formulated as well. By 1983, the musical pulse was firmly in the hands of the new wave – both in soul and pop. Michael Jackson, Prince, and Cameo ruled the R&B roost, while a thousand bubblegum wannabes beat at the door behind them. Fatback absorbed all this excitement, and once again proved that they could match anyone. Is This the Future? is eminently danceable, light funk infused with synthesizers and '80s bass to create a vital brew. Fatback recorded one of the first rap records in 1979, and they repeat the form here.

The Metropolitan Opera give this live performance of Rossini's work based on the poem by Sir Walter Scott. Michele Mariotti conducts the Metropolitan Opera Orchestra and Chorus with Joyce DiDonato as Elena, the lady of the lake, who loves the heroic Malcolm (Daniela Barcellona). However, King James V (Juan Diego Flórez) arrives in the Highlands and sets his sights on Elena while her father Douglas (Oren Gradus), who is rebelling against the King's rule, promises his daughter to clan chief Rodrigo (John Osborn).

Carroll Thompson is a British lovers rock singer, best known as the “Queen of Lovers Rock”.

"Secret" is a wonderful album to the novice Anna Maria Jopek fan. Most, if not all songs are sung in English, she does several covers on this album such as "Cherry Tree", "Thousand Years" and "Moondance". Certainly this album has led me to purchase other's of her's sung in her native Polish. I have to say the nature of the language makes no difference, Anna Maria is fabulous in Polish, even though I don't understand a word she's singing, her emotions shine through regardless.

Although this is Isaac Hayes' third long-player, he had long been a staple of the Memphis R&B scene – primarily within the Stax coterie – where his multiple talents included instrumentalist, arranger, and composer of some of the most beloved soul music of the '60s. Along with his primary collaborator, David Porter, Hayes was responsible for well over 200 sides – including the genre-defining "When Something Is Wrong With My Baby," "Soul Man," "B-A-B-Y," "Hold On, I'm Comin'," and "I Had a Dream." As a solo artist however, Hayes redefined the role of the long-player with his inimitably smooth narrative style of covering classic pop and R&B tracks, many of which would spiral well over ten minutes.

Neither extravagantly experimental nor conservative, The Golden Striker presents a befittingly mature, somewhat brooding collection of tunes. Working within a guitar trio format with pianist Mulgrew Miller and guitarist Russell Malone, Carter offers nine tracks which include four of his own compositions, as well as one each by his band-mates. In order to emulate a "club" atmosphere, Carter, Miller and Malone recorded with little rehearsal, and with two exceptions layed down each tune on first takes. Executed with a refined attention to detail, the album as a whole presents solid musicianship and the blending of three well-matched yet distinct voices. Malone’s guitar sings soft, astute lines that play gracefully against Carter’s resonate, warm bass and Miller’s often almost classically melodic approach. With the unfortunate exception of missteps, "The Golden Striker" and "A Quick Sketch," all the album’s selections offer subtle readings of quite difficult arrangements.

The 10th recording of renowned drummer Les DeMerle for Origin Records, "Hot Night In Venice" captures the fire, excitement and bristling energy Les has been bringing to world stages for over 50 years. And a show it is, as his longtime quartet offers up tight arrangements of jazz classics and serious in-the-pocket blues, but most of all, the band is groovin' hard, havin' fun and swingin' big time. Bonnie Eisele's sensitive, sassy vocals highlight the set, creating an ambiance that adds to the feeling of being at the club enjoying the set. From his ground-breaking Transfusion band of the late '60s, taking over Buddy Rich's seat with the Harry James Orchestra for 12 years, or his tours with the Manhattan Transfer and Wayne Newton, Les DeMerle has always been about elevating the band, bringing a visceral, unbridled dynamism to the stage. "Eisele and DeMerle are a hot combination. Her powerful voice and natural feel for rhythm come across in an explosive stage performance. His energy is absolutely contagious."

With her recorded projects ranging from post-bop arrangements of Israeli songs from youth to commissioned new works for classical saxophone, Idit Shner has been a tireless advocate for 'making things happen' since receiving her DMA from the University of North Texas 15 years ago. On the faculty of the University of Oregon in Eugene, Idit continues to inspire others while using the city's central jazz gathering spot, The Jazz Station, to workshop ideas and perform regularly with her quartet. Recorded in June, 2019, Live at the Jazz Station captures the joy and exuberance heard each night there, with a high-energy group of friends exploring a favorite standard or their own compositions. From pianist/organist Torrey Newhart's hard-swinging, B-3 led "Shake it 'Til You Hear it Sizzle," to bassist Garrett Baxter's haunting ballad, "Present," or drummer Ken Mastrogiovanni's loose and swinging closer, "Artificial Flavors," Shner lights a fire, making the idea of presenting a live album more than just a good idea. "…confident and assured. (Shner's) bringing a welcome liveliness to post-bop jazz…"

Giuseppe Cambini has had a bad press for almost two centuries: Mozart told tales of his jealousy and intrigue, and the sheer size of his output – at least 600 instrumental works, a dozen operas, and more – has prompted further suspicion (there is nothing worse than being facile). He composed almost as many string quintets as Boccherini (with whom he played as a young man) and even more quartets, and he wrote nearly 100 works in the fashionable Parisian form of the time, the symphonie concertante.

Guitarist-composer Antonio Forcione has a new album out this month entitled Sketches of Africa. It is his first for five years and reflects inspiration drawn from visits to Africa and collaborations with local musicians. In support of the album he has just completed a four night residency at the Pizza Express in Dean Street, and will also be back there, for a five-night residency from December 7th-11th. The live band features Forcione on nylon and steel string guitars, Adriano Adewale on percussion, Matheus Nova on acoustic bass guitar and Jenny Adejayan on cello. Nova plays world music with a healthy injection of funk, while Adewale produces a grooving mix of hand percussion thuds and rattles together with conventional drum and cymbal sounds.

Released the same year as PLACES, 1987's DAYBREAK has less of the eclecticism of the former outing, but still captures banjo player Bela Fleck merging his bluegrass roots with forays into other genres (fusions he would perfect with his '90s outfit the Flecktones). The lead-off track, "Texas Barbeque," shows Fleck can still pick his way masterfully through the bluegrass idiom, but the following cut, a version of Chick Corea's romantic, pulsing composition "Spain" (with banjo and mandolin taking the lead lines), proves Fleck is no straight-laced traditionalist. Likewise, the Celtic-flavored "Growling Old Man and the Grumbling Old Woman," the Fats Waller rag "How Can You Face Me Now," and the sweeping ballad "The Natural Bridge Suite" have Fleck moving all over the musical map with grace and ease.

Internet collaboration album project & third album release within a year. Recorded, mixed during the 2020-21 coronavirus pandemic. Instrumental crossover jazz, jazz-fusion.