One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz.

Although they're best known as the Ocean, this Berlin, Germany, outfit's original name is perhaps more fitting - the Ocean Collective - as they are a hefty eight members strong. And on the group's 2007 release, Precambrian, the Ocean continue to specialize in a hard-hitting approach that touches upon such similar styles as extreme metal and doom metal. But unlike the majority of groups that fall under either of these two categories, the Ocean are not a one-dimensional band. No siree, as such styles as prog ("Neoarchean") and even Middle Eastern-esque soundscapes ("Siderian") are used to create some much needed shelter - albeit momentary - from all the fury. However, don't be fooled into thinking that Precambrian is all about surprise detours - ditties such as the album-opening "Hadean" and "Paleoachean" are instant headbanging highlights…

Many highlights of Scofield's work from his late 1980s-early 1990s tenure on Blue Note are included in this collection, which features cameos from Pat Metheny, Joe Lovano, Randy Brecker, and Bill Frisell among many other all stars. Also included is material from Hand Jive, Scofield's collaboration with Eddie Harris, and an unreleased take on Wayne Shorter's "Tom Thumb".

Sixty Six to Timbuktu has to be the icing on the cake for Robert Plant. After Led Zeppelin issued its second live album as well as a spectacular DVD in 2003, his career retrospective outside of the band is the new archetype for how they should be compiled. Containing two discs and 35 cuts, the set is divided with distinction. Disc one contains 16 tracks that cover Plant's post-Zep recording career via cuts from his eight solo albums. Along with the obvious weight of his former band's presence on cuts like "Tall Cool One," "Promised Land," and "Tie Dye on the Highway," there is also the flowering of the influence that Moroccan music in particular and Eastern music in general would have on him in readings of Tim Hardin's "If I Were a Carpenter," Jesse Colin Young's "Darkness, Darkness," and his own "29 Palms." There is also a healthy interest in technology being opened up on cuts from Pictures at Eleven and Now & Zen…

On 2003's Long Time Coming, Jonny Lang made the first turn from his rap as an itinerant blues-rocker to being a spiritually inspired rock and pop songwriter. Producer Marti Frederiksen took Lang's tunes and glossed them to the breaking point, leaving the album an unfocused gobbledygook set of songs that had no center. Three years later, Lang returns with Turn Around. And the title does not refer to him turning back to his blues guitar slinger roots. Instead, the title refers to the biblical term that is the definition of the word "repent." (No mistake.) Lang's overt spirituality comes ringing through the mix created by Drew Ramsey Lang and Shannon Sanders. Turn Around is funkier, dressed in contemporary gospel, gritty rock and yes, the blues. Lang's still got a way to go as a songwriter, but the material here is infinitely better than it was on his last outing.

At a time when he was a member of the legendary Clifford Brown/Max Roach sextet, Sonny Rollins was still the apple fallen not too far from the tree of Miles Davis. Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz. With the team of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, staples of that era's Miles Davis combos, Rollins has all the rhythmic ammunition to cut loose, be free, and extrapolate on themes as only he could, and still can…

Third album following the cosmic masterpiece "Forever blowing bubbles", "Les contes du singe fou" released two years later in 1977, shows a new direction in Clearlight's music. The music is now dominated by piano and violin. It results in a more classical feel and a symphonic jazzrock orientation to the music. Another new element is the omnipresent English vocals by Ian Bellamy: a half success, giving a more conventional style to Clearlight's music. A light cosmic touch is still present thanks to Tim Blake galactic synthe work and some instrumental moments remain quite good, despite the drum weakness.

It is not the easiest task to combine compassion and creepiness into one musical piece, but Danny Elfman has demonstrated, quite elegantly, just how to do it. Edward Scissorhands is quite considerably his masterpiece, instantly recognizable and hauntingly memorable. The concept of a man-made creation, a recluse who has been left with scissors for hands because his inventor died just before attaching natural ones, is certainly strange and possibly laughable. The film may indeed have played as pure farce if not for Elfman's artistry. While many films use soundtrack as the "glue" of the story, or as border, Elfman saturates every bit of Scissorhands so that it is as much his art as it is the director's (Tim Burton)…

In 1989, Castle released Tattoo/Blueprint, which contained two complete albums – Tattoo, originally released on Polydor in 1973, and Blueprint, originally released on Polydor also in 1973 – by Irish blues rocker Rory Gallagher…

In 1969, after finishing A Salty Dog, organist Matthew Fisher and bassist Dave Knights decided to exit the lineup of Procol Harum. The remaining members – Gary Brooker, Robin Trower, and B.J. Wilson, in the course of reshaping the band – added Chris Copping, who played both bass and keyboards had been part of the original lineup of the Paramounts, whence the rest of Procol Harum had come. The new version of the band was still working out their sound with neophyte producer Chris Thomas and in mid-January of 1970 decided to head to Abbey Road Studios for a series of informal demo sessions, devoted to straight-ahead rock & roll of the kind that they'd played as the Paramounts.