Between 1979 and 1981, whenever Breau was in Nashville, Chet Atkins would try to get some of his music on tape. The fruit of his dedicated labor surfaced in 1981 as Standard Brands, an all-acoustic disc of gorgeous and spirited Atkins and Breau duets. These are not lengthy improvisations, rather nine concise masterpieces by two players breathing as one.

Brutal blasting death metal from Philippines. Guillotined, formerly Uteral Regurgity. Was formed in the month of October 2007 by AC - Guitars and Bin - Vocals. The album entitled "Souls Eternally Devoured" features 8 songs of brutality which will be released this September 2010! And after a years of existence, Guillotined finally got a drummer named Renz, drummer of Fatal Castration. For fans of Disgorge, Condemned, Prutridity, Disavowed, Liturgy.

Sharrie Williams is a relatively young singer/songwriter who is known as the princess of rockin’ gospel blues. If you are wondering what rockin’ gospel blues is, just listen to the title track of I’m Here To Stay. Williams was born January 3, 1965, and was raised by a family of gospel singers and blues lovers at the Daniels Heights Projects in Saginaw, Michigan. She is very popular in Europe, and up until now has not had a release on a North American label.

This recording, made in 1969, presents Ricther's chorus of 80 and orchestra using modern instruments, considered truer to Bach's spirit at this time than the large-orchestra oratorio style It is great to see a large chorus of everyday citizen singing Bach with such fervor. Filmed in the lovely baroque-style Klosterkirche in Diessen, about 25 miles southwest of Munich, this is a wonderful representation of Richter and Bach.

Carla Bley performs originals in a trio setting, with frequent partner Steve Swallow and an alumnus of her big bands, English saxophonist Andy Sheppard. He shines on tenor and soprano, and clearly has empathic partners. Between judicious contributions, Bley helps out Swallow in the drummerless rhythm section. Fine collaboration, as well as faultless writing and arranging, is her forte, rather than sheer piano chops. As for Swallow, his electric bass sings and lilts, with an attention to his partners that is truly impressive. He steps out front sparingly and effectively. The pieces are all by Bley except Thelonious Monk's "Misterioso," heard here in Bley's fine arrangement. Other highlights are a fittingly galumphing "Wrong Key Donkey" and a swaying "The Lord Is Listenin' to Ya, Hallelujah," where Bley rejoices in the chapel, as her big band would do so successfully a couple of years later on Goes to Church. The album takes her far from the grandeur and bulk of the big-band work, but it has the same intricacy and subtle play of convention and invention.