New age composer/multi-instrumentalist Kazu Matsui reinterprets the works of Franz Schubert in Tribal Schubert, placing his classical compositions into completely different, refreshing contexts. Matsui introduces and integrates jazz, hip-hop, ambient, Eastern and improvisational elements into Schubert pieces, transcending the formality of the original works while preserving the melodic beauty of the originals. Tribal Schubert also features new age/jazz pianist Matsui on several tracks, adding to the album's diverse mix of classical and cutting edge.

Carioca would be a swan song of sorts for Azymuth – the last album for keyboardist/leader Jose Roberto Bertrami, who left the group around this time, and their last album for Milestone, which spelled the beginning of the end for them as players in the U.S. music scene. Indeed, Bertrami doesn't even include his longtime cohorts Alex Malheiros and Ivan Conti on the lovely waltz tune "Valsa Se Uma Cidade," or the smooth showcase for Hammond organ, "Guaratiba," preferring the solid, mobile work of guests Paulo Russo (bass) and Jurim Moreira (drums). The selections with Malheiros and Conti are often more reflective than much of Azymuth's past work, with a few references to American funk ("Toque De Cuica") and fewer overtly Brazilian rhythmic influences (Malheiros' nicely soft-focused "Bom Tempo" being a nice exception).

In the 1980s, fusion had two things working against it. On one hand, you had Wynton Marsalis and his disciples arguing that fusion was pseudo-jazz and urging young instrumentalists to stay away from it. On the other hand, you had a lot of NAC radio formats encouraging instrumentalists to play elevator Muzak. But Azymuth weathered those storms. The Brazilian jazzmen didn't feel the need to become retro-boppers in order to prove their legitimacy, and they didn't turn into George Howard or Kenny G clones either – more often than not, the 1980s were a productive decade for the group. Recorded in 1983, Rapid Transit finds them doing what they do best: a rhythmic yet very melodic fusion of jazz, samba, funk, and rock.

1984's essential Flame was an incredibly tough act to follow, but the excellent album that came after it, Spectrum, is nothing to be ashamed of either. This 1985 LP found Azymuth paying more attention than usual to other artists' songs. While most of the eight selections are Azymuth originals, Spectrum finds the combo interpreting two Brazilian standards (Antonio Carlos Jobim's "Song of the Jet" and Ivan Lins' "The Island") as well as Marvin Gaye's "What's Going On." And interpret is definitely the operative word.

The second of Ella Fitzgerald's famed Songbook series features her singing 34 of the best songs co-written by Richard Rodgers and Lorenz Hart. The arrangements by Buddy Bregman for the string orchestra and big band only border on jazz but she manages to swing the medium-tempo numbers and give sensitivity to the ballads. With such songs as "You Took Advantage of Me," "The Lady Is a Tramp," "It Never Entered My Mind," "Where or When," "My Funny Valentine," and "Blue Moon," it is not too surprising that these recordings were so popular.

“Fragments“ is by far the most RPWL-like solo effort: self-indulgent midtempo songs with gripping Floyd-like harmony vocals form its cornerstones, like in “Wide World“. As insiders know, this is no wonder, since the multiplayer Postl contributes a lot to the creation of RPWL-songs, even though he is officially “just“ RPWL’s bassist. The other longtracks like “Longings End“ and “Skylights“ (like “Wide World“ adorned with Bairnsons guitar artwork) also show Postl’s penchant for prog-Genesis’ latter days, which manifests itself in “Longings End“ with corresponding guitar arpeggios and in “Skylights“ with mellotron, a trademark vocal line and classical acoustic guitar parts echoing the spherical moments on “Trick of the Tail“…

The album was composed by composer Charlie Mole (Mr. Selfridge, Mr. Selfridge, Papach Army), and its release took place on October 7, 2014. The soundtrack got 19 songs with a total duration of about 50 minutes. The selection is a compilation of original music. Album was released by BFD.

This effort was Freddie Hubbard's first recording under his own name for Impulse! Fellow Jazz Messenger Curtis Fuller and newcomer John Gilmore color the proceedings with added trombone and tenor saxophone, respectively. These rock-solid post-bop horn players are backed by the formidable rhythm section of Tommy Flanagan on piano, Art Davis on bass, and Louis Hayes on drums. Hubbard's shimmering style and clear tone show a clear debt to the late Clifford Brown and a nod to the bold sonic curiosity of John Coltrane. These are some hot young players pushing a classic format forward…