Following on the heels of their Grammy-nominated Mint Jam, their self-released 2001 "live" recording, the Yellowjackets continue to blaze an enjoyable musical trail that pulsates with their energy and signature sound that few will fail to recognize and many have come to love over the past 30 years. With Time Squared, the group's first studio recording in five years, the Yellowjackets have added 11 diverse songs to this fertile contemporary jazz landscape. The songs, which were all written by the group's new members, range from prayerful, peaceful melodies with improvised vocals, such as "Healing Waters," to those that capture Thelonious Monk's piano style. On "Monk's Habit," pianist Russell Ferrante and tenor saxophonist Bob Mintzer stir up some great jazz memories by playing an amazing straight-ahead set ripe with bebop solos reminiscent of Monk's time with Sonny Rollins.

Guitarist, composer, and bandleader Pat Metheny is one of the most successful jazz musicians in the world. He is the only artist to win 20 Grammy Awards in 10 different categories. A consummate stylist and risk-taker, his musical signature melds a singular, euphoric sense of harmony with Afro-Latin and Brazilian sounds, rock, funk, global folk musics, and jazz. His 1976 debut, Bright Size Life, and the self-titled Pat Metheny Group two years later resonated with audiences and critics for its euphoric lyricism, dynamics, and rhythmic ideas.

Meyerbeer composed Il Crociato in just over one year, between September 1822 and the following autumn, at the end of the German composer's so-called "Italian period". Although this is an opera of great dramatic and musical complexity its première was highly successful with both audience and critics, one commentator accurately describing it as "a building of highlyapplauded construction". The plot, so rich in events, skilfully weaves historical-religious elements with private happenings and feelings. Against the background of the interreligious conflict between Christians and Muslims, the story of the main characters unfolds in an efficacious alternation of grand choral scenes and solo numbers with arias and cabalettas.

Mehta differs from other countertenors insofar as his dynamic range is concerned. As René Jacobs points, Mehta can sing high softly–very rare for this voice type–and has a rich, full alto range. Furthermore, his phrasing is natural and musical; he can express feelings from rage to ecstasy to yearning by coloring his tone, leaning into a note or phrase. His coloratura is natural and unaspirated; his bottom register takes on a very dark hue without becoming baritonal or chesty. His embellishments are both tasteful and virtuosic–a rare combo–and he has real trills.