The working trio of pianist Walton, bassist David Williams, and drummer Billy Higgins is not only bulletproof but in lockstep with Walton's extraordinary musical talents. This set, done at Yoshi's Nitespot in Oakland, CA for radio broadcast over KJAZ-FM, is a perfect example of the Walton trio's brilliance. Of the seven pieces, four are Walton's and comprise his better writings. "Bremond's Blues," an underrated composition in the Walton repertoire, starts and ends by quoting "Giant Steps" and paraphrasing "Sweet & Lovely" in the middle, and spreads buttery melodicism throughout. "N.P.S." is a Walton classic, with Higgins' tango-to-light-swing rhythm accenting a bluesy melody. "Fiesta Espanol" is quicker, brighter, and quite familiar to fans, with Higgins digging in on his lengthy drum solo, while "Ironclad" features an elongated intro and coda, stating the chiming staccato melody in two spurts over 14 minutes…

Along with the previous Tune Up, this set (which has been reissued by Muse) is one of Sonny Stitt's greatest recordings. The bop master is stunning on most of the eight selections, particularly "Constellation," "Webb City," and "It's Magic," switching between alto and tenor and sounding quite creative. The rhythm section (pianist Barry Harris, bassist Sam Jones, and drummer Roy Brooks) is outstanding and, whether it be the ballad "Ghost of a Chance," Tadd Dameron's "Casbah," or "Topsy," this set has more than its share of great moments.

The cultured piano style of Kenny Barron has graced many albums in the last half century. He is an easy swinger deeply admired for his nonpareil musicianship and innate sensitivity to the needs of his musical companions of the moment. Born in 1943 he was gigging with Philly Joe Jones at sixteen and soon playing in a band with his tenor saxist brother Bill. In 1962 he was hired by Dizzy Gillespie and the five year stint he had with Dizzy established him firmly on the jazz scene throughout the world.

Chucho Valdes, Cuba's most famous jazz musician, has rebalanced the repertoire of his Afro-Cuban Messengers on Border-Free, mixing its American-jazz agenda (the group's name deliberately references both Valdes' roots and the late Art Blakey's classic soul-bop Jazz Messengers group) with more extended Latin-American input, and some Native American and Andalusian connections, too. Saxophonist Branford Marsalis, guesting on three tracks, is warmly romantic on tenor on the loping Tabu, agile and fluent on the Cuban dance-shuffle Bebo, and mercurial on a soprano-sax break full of north African microtonalisms on the hurtling, horn-hooting finale, Abdel.

Guitarist Al di Meola has been alternating electric and acoustic projects for the past few years. For this acoustic affair, he teams up with Dino Saluzzi on bandoneon to pay tribute to tango master Astor Piazzolla. The music (even a duet version of "Someday My Prince Will Come") has the flavor of Argentina and uses a wide variety of instrumentations, including an occasional string section and the voice of Hernan Romero. It's recommended to lovers of world music, the modern tango, and those who think of di Meola's guitar playing as being one-dimensional and purely based on speed.

Having grown a bit weary of playing loud fusion, Al DiMeola recorded a largely acoustic set on his debut for Manhattan. DiMeola, who augments his acoustic guitar with the orchestral Synclavier guitar, plays five unaccompanied solos and is joined on the other four numbers by percussionist Airto Moreira. Other than Keith Jarrett's "Coral," all of the moody selections are by the guitarist.

In 1988, the Ohio Players attempted a comeback with Back, their first album in seven years. Though the influential band hadn't had a major hit in over a decade, their classic funk and soul recordings of the 1970s were continuing to have an impact on black music – anyone who was into hip-hop in 1988 couldn't help being bombarded with samples of "Love Rollercoaster," "Fire," and "Skin Tight." So the Players tried to beat the younger artists at their own game by going for a more high-tech production style, eliminating horns and incorporating elements of hip-hop and urban contemporary.

Even though Just Family was produced by Stanley Clarke and employs a lot of musicians who had jazz backgrounds – including Chick Corea, George Duke, Airto Moreira, and Bobby Lyle – this is an R&B album first and foremost. Dee Dee Bridgewater would return to jazz in a major way in the 1980s, but in the late 1970s, she was emphasizing adult-oriented R&B and going after fans of artists like Phyllis Hyman and Minnie Riperton.

This debut album from Gottlieb is one of the great hidden gems of jazz fusion. It is intricate and funky, bright and colorful all at the same time. All the instrumenalists are virtuosos, and if you happen to be a drummer, you'll be in awe of the mastery of Danny Gottlieb, who hails from the early incarnation of the Pat Metheny Group and Mahavishnu.

The date featured the big tenor Jimmy Forrest, drummer Ben Dixon, and Grant Green on guitar in his recording debut. Green not only held his own with McDuff on the title track, "Dink's Blues," and "Blues and Tonic," but he plays gorgeous fills and chord voicings in Henry Mancini's "I Want a Little Girl." Green was always more than a sideman as this date attests, and though he was part of the rhythm section, his playing is a standout on this date. McDuff was already in full possession of his voice as an organist, and his hard bop leanings began to subside here as he embraced a more soulful approach, no doubt informed by the effect Jimmy Smith was having on jazz with his crossover. This is an excellent date and should be picked up by anyone interested in McDuff as a great place to start.

Jungle Garden is just another real gem by one of the greatest flutist in the Jazz realm, and the best in Latin Jazz. The best two cuts by far are "Very Nice Indeed" with Tania Maria on the piano, and the killer cut Tabasco. Those were the days when a flutist had to prove themselves and Valentin does it.

Celebrate the 250th anniversary of Handel's death with this impressive box set. 30-CD box set of the composer's most celebrated works–including the Royal Fireworks and Water Music, The Messiah, concerti grossi and much more! Featuring conductors Sir Neville Marriner, Christopher Hogwood, Trevor Pinnock, Mark Minkowski and others. Performances by the Gabrielli Players, Academy of St. Martin in the Fields, English Baroque Soloists and others.

THE ANALOGUE YEARS presents a 50-Album overview across 54 CDs, in original jackets, of the celebrated international recordings that emerged from the London-based record label in that pre-digital era.

Rui Chen chinese pop female singer. Chen Rui's voice is very unique, slightly hoarse, vicissitudes of life with a touch of sadness, but also magnetic.

Jeannie Hsieh (Chinese: 謝金燕; born December 25, 1974) is a Taiwanese singer-songwriter, dancer, actress, and model. She is known for writing and performing music which combine techno and hip-hop, often in Taiwanese Hokkien, but sometimes mixed with Mandarin, Cantonese, and English.