With Historicity, Vijay Iyer one of today's most celebrated and innovative US-American jazz artists spectacularly redefines the classical notion of the piano trio.

A galvanizing album. No further explanation necessary. Please.

Louis Davids (Rotterdam Zandstraat 19 december 1883 - Amsterdam 1 juli 1939). Louis Davids beroep was cabaretier en revue-artiest. Hoewel gestorven in het jaar vòòr de Tweede Wereldoorlog, stond hij in januari 2000 nog op nummer 5 op de Parool top 100 van de allerbeste Nederlandse liedjes van de afgelopen eeuw. Met het liedje Naar de bollen. Vic van der Reijt schreef dat de liedjes van J.H. Speenhoff, Dirk Witte en Willy Derby nog steeds mooi zijn, maar wel erg ouderwets klinken. ´Dat is niet het geval bij Louis Davids. Zijn liedjes hebben tempo, hij ging in zee met de beste componisten en tekstschrijvers en stelde hoge eisen aan de orkesten waarmee hij zijn platen opnam; daarvoor week hij zelfs uit naar de studio's van His Masters Voice in Londen.´

A non-official collection with more than 60 years of classical Avant-Garde Electronic music. It includes 62 CDs in total with a lot of rare and historical stuff.
CD 1 includes works by Oliver Messiaen, John Cage, Pierre Schaeffer and Pierre Henry.

Im Auftrag des Herrn… - Die Toten Hosen Live or just Im Auftrag des Herrn is the second live album by the German punk band Die Toten Hosen. The album is compiled out of concerts of the 1996 "Ewig währt am längsten tour", and released on CD and VHS in October 1996, re-released on DVD in 2003, and re-mastered and re-released again on band's 25 Anniversary in 2007.

Pianist Vijay Iyer leads a quartet on his third outing, featuring Rudresh Mahanthappa on alto saxophone, Stephan Crump on bass, and Derrek Phillips on drums. Iyer's two previous releases were attempts to integrate the avant-garde, South Asian, and M-Base concepts that shaped him as a player and composer. On Panoptic Modes, Iyer continues to do this, but manages to arrive at the next level in terms of artistic focus and vision. With this new quartet music (three tracks are trio pieces), he continues to eschew the rhythmically obvious at all costs. His harmonic and formal concepts are as challenging as ever, yet his exceedingly difficult writing is rendered oddly accessible by the unperturbed facility of his band. Highlights include the brisk, rolling rhythms and animated piano/drum conversation heard on "Configurations"; the highly angular juxtaposition of melody and bassline on "Atlantean Tropes"; the dark, suggestive world of the anti-death penalty ballad "Numbers," which lasts not even two minutes; and the stirring quartet remake of "Trident" (a far slower trio version appeared on Iyer's 1998 record, Architextures). Highly recommended.

This release offers a unique glimpse of a young Chet Baker in a quintet setting, complemented by a nine-piece string section. Utilizing the uniquely modern arrangements of Johnny Mandel, Marty Paich, Jack Montrose, and Shorty Rogers, this interaction of "West Coast cool" with primordial elevator music escapes many – if not indeed all – of the potential sonic pitfalls such a marriage might suggest. In the truest sense of the word augmentation, the string arrangements provide the desired opulence sans the heavy-handed or syrupy residual effects. Perhaps most inspiring about this outing is the success with which Baker and crew are able to thrive in this environment, providing subtle insight into the quintet's ability to simultaneously adapt and explore. Chet Baker and Strings was recorded over three days in late 1953 and early 1954. Joining Baker (trumpet) on these sessions are Jack "Zoot" Sims (tenor sax), Jack Montrose (tenor sax), Russ Freeman (piano), Joe Mondragon (bass), Shelly Manne (drums), and Clifford "Bud" Shank (alto sax), who steps in for Sims on the 1954 date. "Love Walked In" incorporates a trademark volley of interaction between Baker and Sims. "Love" contains what is arguably the most successful implementation of the string section, as well as some stellar soloing by Freeman. In fact, his contributions to this particular recording rank among his finest with Baker and company. The same enthusiasm can likewise be applied to "A Little Duet for Zoot and Chet." Not only are Sims and Baker in top flight, but the string arrangement swings irresistibly as well. The easygoing and otherwise winding strings support the cool bop like a kite in a March breeze – light, airy, and conspicuous only in altitude. The 1998 CD reissue also includes three alternate performances, "You Don't Know What Love Is," "You Better Go Now," and an incendiary "A Little Duet for Zoot and Chet," all of which make their debut on this release.