In 1997, bandleader/arranger Gerald Wilson was commissioned by the Monterey Jazz Festival to write an original piece to be performed at that year's festival. Wilson's goal was to compose a melody that the audience would leave the venue singing to themselves. He succeeded by casting his "Theme for Monterey" in five different styles, with his big band interpreting the theme in a variety of moods – as a ballad, a Latin romp, a medium-tempo piece and a shouting conclusion. His memorable five-part suite has solos by his son, guitarist Anthony Wilson, trumpeter Oscar Brashear, pianist Brian O'Rourke, trombonist George Bohanon, trumpeter Carl Saunders, Randall Willis on tenor, and others. Also on this CD are a couple pieces commissioned by the Ira and Leonore Gershwin Foundation, reworkings of "Summertime" and "Anthropology."

Elliot Lawrence, who was born in 1925, formed a big band at the very end of the swing era, much too late to make a strong impression. A fine pianist/arranger/composer, Lawrence primarily wrote for radio and television. In the 1950s he recorded quite frequently for such labels as Decca, King, Columbia, Groove, Vik, Camden, and, particularly, Fantasy, cutting six records for the latter label during 1955-1957 with big bands. This CD has all of the music from the LP Swinging at the Steel Pier, five cuts from Plays Tiny Kahn and Johnny Mandel Arrangements (just the Kahn charts), and a few selections from Plays for Swinging Dancers and Dream on…Dance On. The music, which features arrangements by Tiny Kahn, Al Cohn, Johnny Mandel, and Gerry Mulligan, is essentially updated swing along with some melodic dance music.

While there are still plenty of the signposts that make this an Eivind Aarset album, Sonic Codex represents some significant changes for a Norwegian artist who has become the most important (and in demand) guitarist to emerge from Scandinavia since Terje Rypdal in the early 1970s.

Goregorecords, the death metal sublabel of Aural Music, present the highly anticipated new album “Psychonolatry” from italian Death Metal legends Electrocution. Over 25 years after their cult debut (1993 “Inside The Unreal”), “Psychonolatry” includes 11 new songs of supreme Death Metal. cover art designed by Gustavo Sazes (who previously worked with the likes of Arch Enemy and Morbid Angel).

For David Murray, this is a fairly straightforward quartet date. Joined by pianist John Hicks, bassist Reggie Workman and drummer Ed Blackwell, Murray performs three of his lesser-known originals, Butch Morris' "Light Blue Frolic," "Body and Soul" and "Jitterbug Waltz." Doubling on tenor and bass clarinet, Murray as usual has a tendency to jump into the extreme upper register a bit too much at unexpected times, disrupting a relatively mellow mood on a few occasions. But one cannot deny his musicianship, and there are some exciting moments to be heard during this program.

In the late '60s, Earland became one of the stars on the B-3 organ and earned a classic with 1969's Black Talk. Like many organ players in the '70s, Earland moved over to the Fender Rhodes, the Mini-Moog, and the ARP string synthesizer with mixed results. This 1977 album is the follow-up to 1976's Odyssey. While Earland's skills are never in question here, the execution and the style are the problems here. Although many players legitimately started to do more material pertaining to the universal, even zodiacal concerns, by this time it was becoming old hat. The title track is symptomatic of Earland's the more pensive direction and even emotive Gabor Szabo's guitar solo; can't save the "deepness" from being cloying. Of course with albums of the type, the biggest success comes when the artist isn't really trying.

The second installment of four projected volumes, this once again captures latter-day Lester Young in top form, relaxed and playing with impeccable phrasing and swing. Ably backed by the Bill Potts Trio during his week-long stand at Olivia's Patio Lounge in Washington, these live tapes put the lie to the longstanding jazz myth that Young was well past his prime in the final decade of his life…