On December 6 and 7, 1976, in a small jazz club called Stampen (The Pawn Shop) in Stockholm's Old Town, Swedish sound engineer Gert Palmcrantz recorded a group of leading Scandinavian jazzmen live, trying to get "the tight, harmonious sound of the records of my childhood." Conditions were less than ideal. A full house, a great deal of background noise. No rehearsals. No sound checks. The musicians just started playing with no one knowing what would be next on the agenda until reedman Arne Domnerus called it.

The traditional mode of composition for texts was violated in many ways in the twentieth century. Especially in the latter half of the century, one finds strategies for demolishing the text that are either intended to obtain syllables or phonemes as elementary elements of a related musical setting - a procedure that certainly reveals a certain proximity to the deconstructionist aesthetic - or that use collages and montages to produce intertextualities that go beyond the integral stock of a genre of text, a type of text, or even a single literary sketch. This broadening perspective, like the deconstructive techniques, permitted completely new compositional procedures for adapting texts. Such trends are found in numerous works by Wolfgang Rihm…

Siegfried Mauser, from the attached booklet

Aribert Reimann - Lieder
Avant-Garde | FLAC, IMAGE/EAC no CUE, no LOG, booklet | 1CD | 186 MB
Label: Wergo | Catalog Number: WER 60183-50 | Published: 1989

The inspiration and influence of a particular performer or even a specific request for a new work can be of immeasurable importance for the creation of a new composition. Particularly in music for the voice, the vocal characteristics of the intended singer have always played an essential role in determining the character of new pieces. This has also been the case for Aribert Reimann, who wrote each of his song cycles with a specific singer in mind. – Wergo web site

Super Trio is the name given by the Japanese Venus label to a trio of Manhattan based musicians, consisting of pianist Kenny Barron, bassist Jay Leonhart, and drummer Al Foster

Out of Norway's biggest and darkest metal bands rises Ov HELL. This group of Satan’s all-stars has been sharpening their teeth in some of black metal's most influential bands for many years. Known as key figures in bands such as Dimmu Borgir and Gorgoroth, Shagrath and King have come together to bring forward a new chapter in Norwegian black metal history. Ov HELL will carry on in the same tradition for which King and Shagrath are known, but the collaboration between the two will mark a new era for them both. Frost, Ice Dale and Teloch have been recruited for the first full-length release which is entitled “The Underworld Regime”. The album combines the best from two worlds - King's remarkable riffs and the distinguishable voice of Shagrath. The end result is a black metal album that contains all of the power and blast beats worthy of their evil pedigrees. Expect an assault on all false gods and hypocrisy that is of this world today.

Jim Hall has long exhibited a sense of adventure in his playing, which has intensified as his career has progressed. His duo meeting with Enrico Pieranunzi (a kindred spirit and one of the most in-demand jazz pianists in Europe) consists of original compositions and inventive duo improvisations (three of them are titled "Duologue" by number), which greatly contrast from one another, along with the extended improvisation "Our Valentines," which seems to briefly hint at "My Funny Valentine" as its inspiration. The compositions are as compelling as the improvisations. "Careful" is a tricky piece recorded many times by the guitarist over the decades; Pieranunzi takes immediately to the Hall's quirky blues. "Jimlogue" has the flavor of a 20th century composition for classical piano; one can easily imagine Hall composing it during his conservatory days, though it could just as easily be brand new at the time of these sessions. Jane Hall (the guitarist's wife) penned the beautiful ballad "Something Tells Me" for an earlier CD; this version proves to be even more spacious and lyrical than its initial recording. The pianist's songs include the tasty waltz "From E. to C.," the provocative "The Point at Issue," and the soothing finale, "Dreamlogue." Hopefully, this compelling first meeting between Jim Hall and Enrico Pieranunzi will inspire a follow-up recording date. Ken Dryden, allmusic.com