Another underrated work, characterized by a lot of interesting keyboards and his usual talent as well… sometimes closer to such classic "Light Prog". In other circumstances it's more in the vein of such Ambient/Acoustic New Age, but always filtered through his versatility and huge important music experience, in the course of his long career.

In a way, it is quite sensational to see another Morbid Saint album released at this point in time, meaning more than 30 years after their second LP “Destruction System” was recorded but not finished, only to be officially published recently. However, the prospect of delivering new music in their own unique death/thrash metal style was one of the main reasons why the core members reunited in 2010 in the first place. During its initial run from 1984 to ’94, the band wasn’t even close to having the final word, especially with regards to their seminal first record “Spectrum of Death” (1990). “Swallowed By Hell” was born from a remote creative exchange, with ideas being bounced back and forth between all members to create a ten-track barrage of extreme metal like it’s become rare these days - utterly punishing yet musically sophisticated, pushing limits but not for its own sake…

Something of a smooth jazz oriented answer to the label's 2003 straight-ahead compilation Jazz After Dark, this highly engaging two-disc set features oft-played radio hits that have helped define the genre's generally easy grooves and colorful melodies. For diehard fans, smooth jazz has always been as about much about lifestyle as music, and these tracks will no doubt remind them just why they became devotees. All the early classics (circa mid-'70s to mid-'80s) are here, from Kenny G.'s "Songbird" and Dave Grusin's "Mountain Dance" to George Benson's "Breezin'" and Grover Washington, Jr.'s "Just the Two of Us." These are supplemented by later hits like Boney James & Rick Braun's "Grazin' in the Grass" and Dave Koz's "You Make Me Smile." But it's not simply an objective survey of smoothness at its best. The collection also seems designed to promote artists in the Concord Jazz stable – David Benoit and Russ Freeman, the Rippingtons, the Braxton Brothers, Gato Barbieri, Eric Marienthal, and Cassandra Reed, among others.

Anton Bruckner's Symphony No. 8 in C minor, WAB 108, is the last symphony the composer completed. It exists in two major versions of 1887 and 1890. It was premiered under conductor Hans Richter in 1892 at the Musikverein, Vienna. It is dedicated to the Emperor Franz Joseph I of Austria. This symphony is sometimes nicknamed The Apocalyptic, but this was not a name Bruckner gave to the work himself.

The Space Between Worlds is a concept album that follows the story of a huntress who travels the infinite metaphysical worlds brought into being by the dreams of humankind. In these realms, she encounters a dream eater which threatens to unravel the fabric of reality by devouring dreamers and destroying the dimensional gateways.

This album is of historic interest as it comprises the only studio recordings made by the Johnny Hodges band while John Coltrane was a member, most of the other sidemen being former Ellingtonians or guests from Duke Ellington's orchestra. The music is excellent: Johnny Hodges is on superb form throughout; all of Harold Baker's trumpet solos are exquisite, as is Jimmy Hamilton's clarinet playing on "If you were mine",while Louie Bellson demonstrates that he was surely the best drummer ever to play with Ellington.
The CD is marketed under John Coltrane's name. However anyone who buys this record expecting to hear any solos by Coltrane will be disappointed; Coltrane is the one horn player in the band who does not play any solos.

Mikhail Pletnev was born in Archangelsk, which is located in the north of Russia on the coast of the White Sea. By the time Pletnev began piano studies at age seven, with pianist Julia Shaskina, his family had moved to the central Russian City of Kazan in Tatarstan. Pletnev demonstrated promise and was enrolled at age 13 in Evgeny Timakin's piano preparatory class at the Moscow Central Music School. At 14, Pletnev earned the Grand Prix awarded by the International Jeunesses Musicales in Paris, and at 15 he transferred into master classes headed by Yakov Flier at the Moscow Conservatory. /quote]