Sodom returns with "The Arsonist", their first full-length album since 2020. It’s not only the complex production process that testifies to the band’s exceptional creative spirit, but also their diverse songwriting, which saw all four Sodom musicians - Tom Angelripper (vocals, bass), Frank Blackfire (guitar), York Segatz (guitar) and Toni Merkel (drums) - involved in the development of the material on "The Arsonist". The mastering was done by the famous sound engineer Eroc and the cover artwork with its martial design was penned by the exceptional Polish artist Zbigniew M. Bielak (Ghost, Mayhem, among others).

British jazz composer, pianist, songwriter, Mike Taylor died tragically young, leaving just two albums as well as co-writes with Ginger Baker for Cream’s Wheels Of Fire album to his name.
In 1973, under the direction of Neil Ardley, several of the performers who had worked with him recorded an album of Taylor’s surviving orchestral music, jazz tunes and songs as a memorial to him and to preserve his work as a composer and song writer for posterity. Taken from Ardley’s master tapes, this is their critically-acclaimed tribute to a master of his art by friends and colleagues, themselves representing a cross-section of the cream of modern British jazz talent of the day.

This LP is an excellent studio representation of Louis Armstrong & the All-Stars at work in their prime as a nostalgia act. And just because they were a nostalgia act didn't mean they didn't push the envelope given half a chance, as these recordings did. The personnel list is impressive on its own terms, with Jack Teagarden, Earl Hines, and Barney Bigard together in the small group stretching out on "Twelfth Street Rag," and if the later incarnations of the group aren't as eye-catching in their personnel, they're every bit as much of a pleasure to hear on "Skokiaan" (aka "South African Song"), "Frog-I-More Rag," or the title tune. Pianist Billy Kyle gets the spotlight for a chunk of the extended jam of "Otchi-Tchor-Ni-Ya" before Peanuts Hucko and Eddie Miller take center stage on clarinet and tenor sax…

"In tomorrow's world, men will not need artificial instruments such as jets and space ships. In the world of tomorrow, the new man will 'think' the place he wants to go, then his mind will take him there." — Sun Ra, Jazz in Silhouette album notes (1959)

On Real Gone, Tom Waits walks a fraying tightrope. By utterly eliminating one of the cornerstone elements of his sound - keyboards - he has also removed his safety net. With songwriting and production partner Kathleen Brennan, he strips away almost everything conventional from these songs, taking them down to the essences of skeletal rhythms, blasted and guttural blues, razor-cut rural folk music, and the rusty-edge poetry and craft of songwriting itself. His cast includes guitarists Marc Ribot and Harry Cody, bassist/guitarist Larry Taylor, bassist Les Claypool, and percussionists Brain and Casey Waits (Tom's son), the latter of whom also doubles on turntables. This does present problems, such as on the confrontational opener, "Top of the Hill." Waits uses his growling, grunting vocal atop Ribot's monotonously funky single-line riff and Casey's turntables to become a human beatbox offering ridiculously nonsensical lyrics…

This release contains parts from the original pre-show soundtrack from the legendary Schiller Live events. All tracks by Schiller under various names.
Almost an album and almost a compilation. Sleepingroom consists of material specially written for Schiller’s gigs, which were grandiose, with sophisticated lights and singers from the albums. While all the equipment was being tuned, a beautiful instrumental piece of music with crickets was played for about nine minutes in the venue. Other people explain why: in order to make the wait less boring and more pleasant for the audience. Sleepingroom comes from the name of the label, which was formed after the success of the first single by Christopher von Deylen and Mirko von Schlieffen, who were a duo back then…

Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's "Pride of Man," probably their best studio track; "Light Your Windows," probably the group's best original composition; and founding member Dino Valenti's "Dino's Song" (Valenti himself was in jail when the album was recorded). "Gold and Silver" is their best instrumental jam, and the 12-minute "The Fool" reflects some of the best and worst traits of the psychedelic era.

An appearance in Hollywood for a first-rate jazz vocalist was not necessarily an opportunity to broadcast the singer's visage and pander to everyone from Tacoma to Tallahassee. It could also include a date at the Crescendo. The Sunset Strip's best chance to find premier jazz, Gene Norman's nightclub hosted dozens of jazz legends (and a comic or two), and produced more than its share of excellent LPs recorded on location. Better even than Mel Tormé's 1954 classic, the Ella Fitzgerald LP that resulted from her May 1961 appearances generated one of the best (and certainly most underrated) live records in her discography. All of her hallmarks - technical wizardry, breakneck scatting, irrepressible humor and warmth - are on full display, with a small but expressive quartet backing her performance (including pianist Lou Levy, guitarist Herb Ellis, drummer Gus Johnson, and bassist Wilfred Middlebrooks)…

When considering the finest releases of the Japanese symphonic rock scene, the first two albums by Mr. Sirius come to mind immediately, not only for their apparent absence of any immediately obvious influences, but also because of the crafty compositions, superb musicianship, tight arrangements, and outstanding vocals of Hiroko Nagai. Those albums are Barren Dream (1987) and Dirge (1990). The synergy of the five musicians is evidenced throughout these seven tracks: it's not clear if the the pieces were penned by Mr. Sirius himself or Mr. Sirius the band, but each of these is truly a group effort, a solid and powerful statement by five musicians sharing a common purpose. Their sound relies on gentle subtleties (acoustic guitars, flute) juxtaposed with moments of power (heavy symphonics, screaming guitar leads), often seemingly disconnected, evoking a different feeling from one moment to the next…