Not bad at all. Not exactly brilliant either, but this recorded free-form "freak-out" from 1967 (originally released on New York City's Audio Fidelity label) is not only not terrible, but surprisingly pretty OK for stretches, especially considering the typical quality of these types of had-to-be-there period curios that purport to blow your mind with an aural approximation of an acid trip. This one actually manages to be something approaching far out, man, even at its most half-baked. Whether How to Blow Your Mind and Have a Freakout Party was, in fact, created as a "head" LP by practicing heads (a certain David Dalton is listed as the Unfolding's presiding mastermind - no word in the liner notes if this is the same Dalton who was a pioneering rock scribe and founding editor of Rolling Stone), or as an exploitation of same by a faceless assemblage of session musicians is really anyone's guess…

This is the third album by Osamu Kitajima, one of Japan's most prolific artists from the ethno rock, world music and progressive department. You can certainly not divide all the mentioned stylistic aspects from each other for they were all incorporated in a homogenious sound and complex arrangements. It is the same with his other albums like „Benzaiten“ and or his fourth „Masterless Samurai“; traditional Japanese music meets Western jazzrock and progressive sounds to form a new style unheard by most people in Western countries at the time. Osamu Kitajima easily plays with elements of reggae and funk, fusion jazz and colorful pop while staying true to his Japanese roots with bits and pieces of traditional melodies and the use of old Asiatic instruments…

For 50 years, The White Album has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn. The Beatles have now released a suite of lavishly presented White Album packages, including an expanded 3CD package. The album's 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell and features the new stereo album mix on 2CDs, adding a third CD of the Esher Demos. This is the first time The BEATLES (‘White Album’) has been remixed and presented with an additional disc demo recordings. To create the new stereo audio mixes for ‘The White Album,’ Giles Martin and Sam Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. This 3CD ‘White Album’ release includes Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes.

It is obviously not the sentimental aspect of Rachmaninov's music that has attracted Zoltan Kocsis to record all of the piano concertos for Philips. His view of the composer is more involved with making an impact through spine-tingling virtuosity, balanced by moments of poetic insight.

It is obviously not the sentimental aspect of Rachmaninov's music that has attracted Zoltan Kocsis to record all of the piano concertos for Philips. His view of the composer is more involved with making an impact through spine-tingling virtuosity, balanced by moments of poetic insight.

Under the direction of violin virtuoso Midori Seiler, this album presents a very lively musical portrait of the Köthener Hofkapelle, now revived as Köthener BachCollectiv. With exceptional virtuosos and composers, Bach went to the limits of what was then playable and experimented with instruments, scorings, sounds and musical forms; New reconstructions of Bach Concertos BWV 1056R & 1064R by Midori Seiler - Musical treasures and world premiere recordings by A. R. Stricker (Sonata D major), J. Spieß (Concerto E minor) and G. Linike (Suite D major)

The working trio of pianist Walton, bassist David Williams, and drummer Billy Higgins is not only bulletproof but in lockstep with Walton's extraordinary musical talents. This set, done at Yoshi's Nitespot in Oakland, CA for radio broadcast over KJAZ-FM, is a perfect example of the Walton trio's brilliance. Of the seven pieces, four are Walton's and comprise his better writings. "Bremond's Blues," an underrated composition in the Walton repertoire, starts and ends by quoting "Giant Steps" and paraphrasing "Sweet & Lovely" in the middle, and spreads buttery melodicism throughout. "N.P.S." is a Walton classic, with Higgins' tango-to-light-swing rhythm accenting a bluesy melody. "Fiesta Espanol" is quicker, brighter, and quite familiar to fans, with Higgins digging in on his lengthy drum solo, while "Ironclad" features an elongated intro and coda, stating the chiming staccato melody in two spurts over 14 minutes…