Avant que l'ombre… à Bercy is the fourth live album by Mylène Farmer. In France, but also in Belgium, the DVD of the concert was very successful, having huge sales in a very short time.

Carver's Mass for six voices of about 1515 is constructed on the familiar pattern of clearly-defined sections for different combinations of voices. Those in six parts for full choir are weighty and sonorous, freely contrapuntal, but occasionally introducing imitative detail between the voices, and only very occasionally more solidly structural imitation. Individual parts are always beautifully shaped, constantly crossing within a wide range, and eminently singable, in spite of occasional harmonic constraints, and the overall effect is one of much sensuous sonority. And in the very last measures of the final Agnus Dei there is a wonderfully effective use of imitation at the same pitch.
Carver's Mass L'Homme armé for four voices of about 1520 follows the time-honoured practice of basing a musical composition on a pre-existing melodic 'scaffolding', as it were - in this case the famous French popular song much set by fifteenth- and sixteenth-century European composers. Carver was in fact the only British composer to use it as the basis for the composition of a Mass. The text is set in the usual series of well-defined sections for four voices (full) alternating with those for three and two (solo). And while those for four are freely decorative, the solo sections are again often much more elaborate and contain imitative effects of detail between the voices

At last, a disc of Tartini violin music that doesn't include the Devil's Trill sonata! (For some reason, that G minor work has been turning up a lot lately.) No, this is a group of concertos, and before the first has concluded you're wondering why (with all due respect) Vivaldi gets so much attention when music of this quality and inventiveness is around. One reason may be a question of quantity and historical misfortune: until recently dozens of Tartini's 200 known violin concertos were believed lost, but the four performed here were recently discovered "at the Bibliothèque Nationale in Paris."

New Jersey-born blues-rocker Walter Trout spent decades as an ace sideman, playing guitar behind the likes of John Lee Hooker, Big Mama Thornton, and Joe Tex. In 1981, he was also tapped to replace the late Bob Hite in Canned Heat, remaining with the venerable group through the middle of the decade. While filling in one night for an ailing John Mayall, Trout (also a Bluesbreaker for some five years) was spotted by a Danish concert promoter who agreed to finance a solo tour. Assembling his own backing band, in 1990 he released his debut LP, Life in the Jungle, trailed a year later by Prisoner of a Dream. Albums including 1992's Live (No More Fish Jokes), 1994's Tellin' Stories, and 1997's Positively Beale Street followed. Trout continued a steady release schedule, issuing Livin' Every Day in 1999, a live album the following year (recorded at the Tampa Bay Blues Fest), the 2001 studio album Go the Distance, 2003's Relentless -- which Trout and his band, the Radicals, recorded in front of a live audience -- and 2005's Deep Trout, a compilation of early and unreleased recordings. On the 2006 release Full Circle, Trout realized his dream of creating an album with some of his most admired musicians, including John Mayall, Coco Montoya, and Joe Bonamassa, among others.