Carved from the frozen landscapes of Norway, 1349 have etched their mark upon the black metal pantheon, wielding their instruments like war-axes in the vanguard of the genre's relentless assault. With a legacy drenched in the blood of aural extremities, they have become the standard-bearers of unyielding sonic warfare, relentless in their pursuit of the darker arts. Behold The Wolf and The King, the latest cataclysm to be unleashed by 1349. A tempestuous odyssey through eight tracks of pure, unadulterated black metal, flawlessly showcasing the band's mastery over chaos and carnage. From the voracious onslaught of The God Devourer to the sinister depths of Fatalist, each track is a portal into a realm where shadows reign supreme, and the air is thick with the stench of decay. Ash of Ages blends thrash influences with extreme black metal flourishes…

Although they might not admit it, fans of the late Stevie Ray Vaughan have been waiting for the next Stevie Ray to rise out of the blues-rock circuit, and while countless hotshot guitar slingers certainly have dressed the part, few if any of them have that same mixture of explosive skill and hard-earned soul. New England's Albert Cummings might just be the guy who can do it, though. Calling him the new Stevie Ray wouldn't be fair, certainly, but Cummings, a carpenter from Williamston, Massachusetts, has that same explosive, soulful and emotional tone that made Vaughan so special. He also is somewhat of an "aw, shucks" kind of guy, with very little show-biz about him, but when he picks up that Fender Stratocaster, sparks fly. True to Yourself is Cummings' debut with the Blind Pig label, and working with Double Trouble bassist Tommy Shannon is sure to draw parallels with Vaughan, but Cummings, although his guitar tone and attack are definitely similar, is a much more grounded songwriter, and there is somewhat of a domestic veneer to these tracks.

On his 35th album as a leader, pianist and composer David Benoit changed up his game. Remarkably, 2 in Love is the very first time in his long career that he's worked with a vocalist on an entire album. His chosen collaborator is Jane Monheit, one of the most celebrated mainstream jazz singers. All but one of these ten songs are originals co-written with three different lyricists: Lorraine Feather, Mark Winkler, and Spencer Day. Produced by the pianist, 2 in Love was cut live in the studio – a daunting prospect for most contemporary vocalists. But Monheit is no ordinary singer. Check her delivery on the knotty, Latin-tinged opener "Barcelona Nights." She glides through the changes and imbues her canny phrasing with just a hint of samba, with each articulated syllable entrenched in the song's groove. The sultry passion in her utterance is complemented beautifully by Pat Kelly's nylon-string guitar in the bridge. The title track is a swinging bossa with charging piano and hand percussion. Monheit has demonstrated throughout her career that her grasp on the form is both expert and soulful.

After being succesful in almost every European and Asian countries (and relatively in North America), the swedish members of ABBA decided to record their most recognizable hits in Spanish in order to conquer the Latin American region. So, they took into account tunes with a Latin flavour: Hasta Mañana, Fernando, Mamma Mia, and of course Chiquitita, among others. The result was a huge success all over South and Central America,due to the well-polished tracks, highlighting the outstanding voices of the singers whose pronunciation in Spanish was remarkable. This is really a very beloved album for Latin American people, a triumph in all senses!

Having made several changes in their business and musical efforts in 1972, Grand Funk Railroad made even more extensive ones in 1973, beginning with their name, which was officially truncated to "Grand Funk." And keyboardist Craig Frost, credited as a sideman on Phoenix, the previous album, was now a full-fledged bandmember, filling out the musical arrangements. The most notable change, however, came with the hiring of Todd Rundgren to produce the band's eighth album. Rundgren, a pop/rock artist in his own right, was also known for his producing abilities, and he gave Grand Funk exactly what they were looking for: We're an American Band sounded nothing like its muddy, plodding predecessors. Sonically, the record was sharp and detailed and the band's playing was far tighter and more accomplished…

An ECM New Series debut for a Danish composer of great originality. "Sørensen’s music is dreamscapes without boundaries," Nordic Sounds has written. "Down to the last detail of its structure it wishes to accommodate itself to the lyrical leaps and irregular rhythms of consciousness." On "Birds and Bells" Sørensen plays continually with spatial depth in the music, inviting the listener to experience it from unusual and changing perspectives as glissandi sweep through the ensemble sound and composed "echoes" reverberate. The music is well served by an exceptional pan-Scandinavian cast under the direction of Christian Eggen.

Building on her well-represented holiday catalog, Christmas with Judy Collins is essentially a reissue of the folk artist's 2000 release All on a Wintry Night, padded with two additional songs. All 14 tracks from Wintry Night are featured here in their original sequence with the addition of a new single, the western-tinged "Angels in the Snow" leading off the album, and a stirring, largely a cappella version of "Amazing Grace" closing it out. Fans of Collins' rich, warm voice will enjoy some of the more stripped-down arrangements, which feature her singing to a simple piano accompaniment on lesser-known carols like "In the Bleak Midwinter" and "Cherry Tree Carol." On the other hand, the dated synthesizer sounds on tracks like "Come Rejoice" and "Good King Wenceslas" sound rather homogenous and the spoken intro over the faux-strings of "Away in a Manger" is far too heavy-handed to take seriously. Fortunately, the bulk of the album's 16 tracks favor the more minimalist arrangements keeping Collins' lovely voice at the forefront without much distraction.

This Grammy-nominated disc heralds the origins of the highly acclaimed acoustic duo of Jerry Garcia (guitar/vocals) and David "Dawg" Grisman (mandolin). They had been chums for years by the time they began their direct partnership in earnest on December 7, 1990, with a nine-song set at the Sweetwater in Mill Valley, CA. Over half of that material would be reworked the following spring – for inclusion on this disc – at Grisman's newly appointed, plush, and well-lit Dawg Studios. Along with David Grisman Quintet members Jim Kerwin (bass) and Joe Craven (percussion/fiddle), Garcia and Grisman revive a few familiar tunes covering every dimension of popular music, ranging from the blues ("The Thrill Is Gone") to folk-rock ("Friend of the Devil"), as well as pop music standards such as Irving Berlin's "Russian Lullaby" – which Garcia had previously covered on his 1974 Garcia (Compliments) album – and Hoagy Carmichael's "Rockin' Chair." They also examined the origins of authentic traditional folk ("Walkin' Boss"/"Two Soldiers").

A selection of works which shows the courage to try the unusual: Ligeti’s Lux aeterna and Boyd’s As I crossed a bridge of dreams share a flowing of harmonic fields into one another as if in slow motion. On the other hand, Ligeti’s use of the technique of dividing an apparently endless flow of sound, with its related intervallic structures, into comprehensible periods, shows similarities to Scarlattis method of employing motives whose intervallic structure are interrelated. For Ich bin der Welt abhanden gekommen Gottwald transferred Ligeti’s technique of vocal writing to his arrangement of the Mahler Lied.

Il Marito Disperato was a very popular opera in the late 18th century, premiered in 1785 and revised for more performances in 1798. The fact that it has such a long and illustrious performance history and has since fallen into oblivion explains why the San Carlo Theatre thought it worthy of revival. The score is exceedingly lively and clever, based on a libretto that is clever as well as hilarious, so much so that even Mozart, in his Don Giovanni, saw it fit to ‘borrow’ from Il Marito Disperato (the statute scene)./quote]