A virtuoso pianist with rock star-like charisma and an original composer who has forged a unique musical style, blending the depth and discipline of classical tradition with the dazzling diversity of world music.

Volume II of HAVASI Symphonic featuring Tina Guo, The Harlem Gospel Choir and Lisa Gerrard.

A 11 platinalemezzel rendelkezo modern klasszikus zeneszerzo es zongoramiivesz HAVASI, akinek a koncertjeit a televizios kozvetiteseknek koszonhetoen az elmult evekben tobb mint 200 millioan lattak vilag- szerte, egy kulbnleges zenei utazasra invitalja az olvasot, mely hagyomany es innovacio egyedulallb otvozetebol sziiletett meg.

Many words come to mind when you hear the name Cannibal Corpse, but one truly defines the soon-to-be thirty-year death metal veterans: Unstoppable. Returning with their 14th full-length, the monstrous Red Before Black, serves to not only reiterate this but to once more raise the stakes, making it very clear who sets the standard when it comes to always compelling music that is equally brutal and complex.

Aura is a concept album by Miles Davis, produced by Palle Mikkelborg, released in 1989. All compositions and arrangements are by Danish composer/trumpeter Palle Mikkelborg, who created the suite in tribute to Miles Davis when Davis received the Léonie Sonning Music Prize in December 1984, the year Decoy was released.The album won a Grammy Award in 1990 for Best Jazz Instrumental Performance.

Nine years after the breakup of the final version of Return to Forever, Chick Corea ended a long period of freelance projects by forming his Elektrik Band. This set, the group's initial release, finds Corea meeting up for the first time with the great bassist John Patitucci and drummer Dave Weckl; half of the selections also have either Carlos Rios or Scott Henderson on guitar. Due to the high musicianship, the personalities of the players, and Corea's colorful compositions, the Elektrik Band quickly became one of the top fusion groups of the late '80s. This album is a milestone in contemporary jazz.

Jan Garbarek is, of course, one of ECM’s longest standing composers and saxophonists, yet he is first and foremost a spectacular improviser who often manages to reach farther than (I imagine) even his own expectations in touching new melodic concepts. Paired with the Spheres-like church organ of Kjell Johnsen, he plumbs the depths of spiritual and physical awareness in a way that few of his albums have since. Here more than anywhere else, he shapes reverberation into its own spiritualism, exploring every curve of his surrounding architecture, every carved piece of wood and masonry.

Legendary bassist EDDIE GOMEZ has been on the cutting edge of music for over four decades. The Latin GRAMMY® award-winner’s impressive resume includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan and Benny Goodman. Eddie’s unique sound and style can be heard on hundreds of recordings spanning the worlds of jazz, classical, Latin jazz, rhythm & blues, popular and contemporary music.

Eddie Gomez is a brilliant bassist whose flexibility and quick reflexes make him an ideal accompanist (although his own albums tend to be a bit erratic jazz-wise). He grew up in New York and was with the Newport Festival Youth Band during 1959-1961. After studying at Juilliard, Gomez played with Rufus Jones' sextet, Marian McPartland (1964), Paul Bley (1964-1965), Giuseppe Logan, Gerry Mulligan, and Gary McFarland, among others. Gomez came to fame during his long period with the Bill Evans Trio (1966-1977).

The pairing of Afro-Mallorcan vocalist Concha Buika and Afro-Cuban pianist Chucho Valdes has apparently been a long time coming. But they are here together on this lovely recording, featuring songs from a wide variety of composers, in a handful of duets, or with the Valdes' band backing them. El Ultimo Trago - translated as "The Last Drink" is as much a tribute to Mexican singer Chavela Vargas, a major influence on Buika.

This unique straight-ahead jazz project unites three core members of Return to Forever with post-bop horn heavyweights Freddie Hubbard and Joe Henderson. Stanley Clarke makes an unusual appearance on upright bass, and plays it well. Chick Corea and Lenny White round out the ensemble. The set is strictly acoustic, beginning and ending with two Lenny White tunes, the lively "L's Bop" and the somber, dramatic "Guernica," respectively. Clarke contributes the catchy, mid-tempo blues "Why Wait," while Corea gives us "October Ballade" and Hubbard dusts off his hard-bop classic "Happy Times." Corea's trio featured on Steve Swallow's "Remember" breaks things up nicely.

Always one of the most in demand bassist and session men. He does not have a large body of work as a featured artist, but here you can catch him in a rare environment. This time he gets to lead and pick the tracks. A great find.This needs to be added to a serious jazz library, as the important jazz figure he is.

Pianist Joe Sample's Warner Bros. session mostly features relaxed acoustic music. Sample emphasizes his original melodies during his improvisations and is backed quite ably by bassist Jay Anderson, drummer Ralph Penland and an occasional percussionist. Most notable is that tenor saxophonist Charles Lloyd guests on three tracks, playing in his usual mellow version of John Coltrane.

Beautifully played & produced with an excellent song selection, there is no reason for any R&B/jazz lover not to have this in their collection. Both Sample and David T. Walker are hot, and have a great rappore. The horn section absolutely kicks. The only bad thing about this album is it ends to soon and leaves you hungry for more.

On his first solo-piano CD, dedicated to the pioneering bandleader James Reese Europe, Sample demonstrates his jazz cred with a mastery of stride and ragtime. Save for reflective and expansive reprises of hits "Spellbound" and "Soul Shadows," Sample delves into early 20th Century pop and Tin Pan Alley standards. The supple, southern syncopations on Scott Joplin's "The Entertainer" and Jelly Roll Morton's sizzling "Shreveport Stomp" offer evidence of Sample's strong left hand and the elegance of his improvisations, mixing blues feeling, Creole rhythms, and elements of the European classics.

Trumpeter Kenny Wheeler and his sidemen on this quintet CD (guitarist John Abercrombie, pianist John Taylor, bassist Dave Holland and drummer Peter Erskine) had all worked together previously in different settings. Their familiarity with each other's playing came in handy for the frequently intuitive session which consists of explorations of six of Wheeler's complex but often-melodic originals (including "The Widow in the Window," "Hotel Le Hot" and the lengthy "Ana"). Kenny Wheeler's music occupies its own unique area between post bop and free jazz and virtually all of his recordings are recommended to adventurous listeners, including this one.