Draug means "wolf" in Sindarin (search Tolkien's languages) but joining the wolf's figure (an animal that is the symbol of Abruzzo as well as the symbol of Rome) to the nordic word (as a tribute to the Scandinavian scene, that first inspired Draugr's music) of a creature that turns back to life for vengeance/a bloody-minded spirit, we add the final letter "r", also to give a cacophonic sound.In the concept "De Ferro Italico" the word Draugr is used like an adjective for the main character of the concept story, that fighting in Ultima Thule during the roman conquering campaign is considered by the inhabitants an immortal and untamed spirit, a Draugr, for his abilities to fight and kill, without being killed…

The long awaited third album has finally been completed and sealed in the March of 2011. The record, titled ’Without Saving’ is the first true collaboration since the new formation. It represents everything that the band and the fans have stood for in the past years, showing a whole new range of thought provoking ideas. Hence, the latest Everwood album in the new millennium is not the beginning, and not the end, neither is it the beginning of the end, but rather the end of their beginning.

The foreboding crawl of the Hammond organ is what made Van Der Graaf Generator one of the darkest and most engrossing of all the early progressive bands. On H to He Who Am the Only One, the brooding tones of synthesizer and oscillator along with Peter Hammil's distinct and overly ominous voice make it one of this British band's best efforts. H to He is carpeted with a science fiction theme, bolstered by the bleak but extremely compelling use of heavy tones and the absence of rhythms and flighty pulsations. This album, which represents Van Der Graaf in their most illustrious stage, is a pristine example of how dark progressive rock should sound.

This Landmark release was trumpeter Donald Byrd's first jazz album in over 15 years after a long (and commercially if not artistically successful) detour into poppish R&B/funk. In the 1980s Byrd had neglected his trumpet playing in order to direct the Blackbyrds and teach. The period away from his instrument shows in spots on this well-intentioned set. Byrd gathered together four excellent players (altoist Kenny Garrett, pianist Mulgrew Miller, bassist Rufus Reid and drummer Marvin "Smitty" Smith) to play four group originals, W.C. Handy's "Harlem Blues" and "Blue Monk." Ironically Byrd's own playing was not at this point up to the level of his sidemen although his chops would improve during the next couple of years.

Jazz Cafe is an ongoing series of albums, specially designed for the first-time jazz buyer - except that you don't need a mortgage! At The Movies was always a good place to hear great tunes that later inspired great jazz versions. The films also sometimes featured jazz musicians on the soundtrack (like Henry Mancini and Shorty Rogers) and people like Louis Armstrong and Fats Waller got to make their first international appearances on celluloid.

Road Trippin' Blues is a two-CD set of Traditional, Delta, Chicago and even British blues rendered by a solid collection of the legendary masters: John Lee Hooker, Howlin' Wolf, Otis Spann, Memphis Slim, Sonny Terry, Muddy Waters, Billie Holiday, Bessie Smith, Big Joe Williams, and others. Highly recommended.

Beautifully put-together with classic performances and interviews, the viewer gets to see the transition from the early three-piece days (singer/songwriter/guitarist David Byrne, bassist Tina Weymouth and drummer Chris Frantz in 1975) to a quartet (keyboardist/guitarist Jerry Harrison joined in 1977), on into an ensemble of multi-cultural proportions. A deluxe edition of the release will also be available that will include a 48-page hard-cover book with photographs and an essay by the late Lester Bangs, originally published as a review of Fear Of Music for the Village Voice in 1979.