McDonald and Giles is an album of music released by British musicians Ian McDonald and Michael Giles in 1971.

Only in last times the significance of Telemann in musical history was really recognized: his part is more than a participation in the only artistic field of the 18th century: Telemann, the unflinching avantgarde musician, he came from the same generation and landscape as Bach and Handel, tried in his own manner to participate in the determination of the decisive transitions within the stilistic phases which were always changing. He realises the connection between Bach's and Mozart's time; in his stilistical position he was variable and so "progressive" that even the "young" musical generation respected him as advisor and master. It is significant that even in pieces where he utilizes baroque forms, he combines them - like Friedrich Wilhelm Marpurg (1718-1795) remarks on Telemanris Art of Fugues - with the so-called "gallant" style.

Throughout his long career, Art Blakey built a tremendous reputation for aggressive bands that featured the most gifted young musicians. Few of his later bands, however, could stand comparison with this 1960 edition of the hard-bop juggernaut. Its members combined strong writing skills with distinctive solo voices, including the creative seeking of tenor saxophonist Wayne Shorter; the edgy, sometimes blistering, trumpet of Lee Morgan; and the soul-drenched piano of Bobby Timmons. Blakey's drumming contributes an explosive drive to this CD's version of Dizzy Gillespie's "A Night in Tunisia," a coiling snake of bop exoticism, while "So Tired" is a Timmons essay in deep funk, like his better-known "Moanin'".

The Old Busted Granny Piano is a Tonehammer speciality. We realized that there is already a million other amazing piano libraries around, but none of them ever captured the authentic beauty of a dusty-old-haven’t-been-played-since-granny-lost-her-hearing upright piano. There are a number of broken and badly detuned strings, especially in the upper ranges. We couldn’t afford a repairman, so you’ll just have to live with them.

During 1977, vibraphonist Lionel Hampton had the opportunity to record full albums with all-star groups headed by Charles Mingus (a nonet also including Woody Shaw and Gerry Mulligan), Mulligan, Dexter Gordon, Buddy Rich, Teddy Wilson and Earl Hines, among many others. This is another album from these sessions and is highly enjoyable !!!

From the first pressing ripped from my private collection. The critically praised debut release from this groundbreaking band.

Over 2 million records sold, three gold and one platinum single, a gold DVD release, countless sold out tour dates and numerous awards and nominations including the 2008 Grammy Nomination For 'Best New Artist' Award, you can say that Paramore has reached mainstream stardom. Arguably one of the most anticipated releases of 2009, 'brand new eyes' is by far the band's most personal album. Produced by Grammy Award-winner Rob Cavallo (Green Day, Kid Rock, My Chemical Romance) and co-produced by the band, the long-awaited follow-up to 2007's platinum certified second album, 'Riot!' The 11-track collection is unquestionably Paramore's best and brightest album to date, fit to burst with all the exuberant melodies, breathless hooks, and irrepressible energy that has made the Nashville-based band one of the most popular rock outfits in recent memory.

Their Satanic Majesties Request has always been disliked by fans, who perceived it as the Rolling Stones trying to emulate the Beatles during the latter's psychedelic phase, and generally not sounding terribly good. The mono mix fixes all of that and then some – indeed, all of a sudden, the album sounds great, and is great. The rhythm instruments are upfront and solid, and from the opening bars of "Sing This All Together" through the punchy break on "In Another Land" to the extended jam on "Sing This All Together (See What Happened)" (as it's printed here), this sounds like the Stones, pounding away hard and heavy, and scarcely like the Beatles at all. Allmusic.

During the mid-to-late '70s, Lionel Hampton sought to recapture the magic of his classic '30s all-star recordings with a series of albums featuring his vibes with musicians who he normally did not encounter in his travels. This particular CD draws one or two selections apiece from seven of these albums (originally on the Who's Who label), all but one from 1977. The lone exception, a version of "Stardust" from 1965, has quite a lineup (trumpeters Clark Terry and Thad Jones, trombonist J.J. Johnson, Lucky Thompson on soprano and tenor great Coleman Hawkins) and is quite listenable but does not live up to its potential. The same can be said for most of these performances which include meetings with pianists Earl Hines and Teddy Wilson, a workout with baritonist Gerry Mulligan, a version of "Cherokee" featuring Steve Marcus's soprano and drummer Buddy Rich, two selections with Dexter Gordon (who has a rare outing on soprano during "Seven Comes Eleven") and a pair of numbers from what would be bassist Charles Mingus's final recording date.

Perotin and the film by Uli Anmüuer achieves an audiovisual symbiosis, which asks about the origins and the basis of medieval music, philosophy, architecture and religiousness. The film thus creates a musical painting with medieval chants by the Hilliard Ensemble, accompanied by a scientific dispute, and choreography by Johann Kresnilc. The chant, the dispute and the dance run like a thread throughout the film; they weave around and together attempt to bring Perotin's time and music back to life. The director did not so much employ the classic documentary format with interviews and a historical ambience, rather, his focus was on the presence of music and the staging of the images and the participants. The four scientists Martin Burckhardt, Rudolf Flotzinger, Christian Kaden and Jürg Stenzl, who were filmed in various places, such as the choir stalls of Schleswig Cathedral, discuss the fundamentals of Perotin's music. In the film, the scientists do not just engage in scholastic dispute, they also play around each other as part of a staged workshop discussion. Only, the workshop is a church; the church as a space where Perotin's music can and was able to develop. The film also opens up another sphere of experience; watching the renowned choreographer Johann Kresnik creating a dance. Through the medium of dance, the choreographer and the two dancers, Simona Furlani and Tanja Oetterli, look for ways and possibilities to make the lyrics of Perotin's vocal music comprehensible to us today.