These performances are not, to be sure, historically informed, nor are they fashionably chamber-like. The Thomanerchor is traditionally large (and all male), and it is accompanied in four of the 11 discs by the Gewandhaus Orchestra and in the remaining seven by the Neues Bachisches Collegium Musicum. The roster of the latter is not listed, but, like the Gewandhaus Orchestra, its players use modern instruments and are not adverse to vibrato. On the other hand, Rotzsch does avoid, for the most part, languid tempos and extravagant gestures. The young men of the Thomanerchor are well trained and attentive and make, collectively, a joyfully controlled noise. The orchestral players and instrumental soloists, too, are beyond reproach. Similarly, Rotzsch’s soloists are top-drawer. Among the latter, Arleen Augér, Otrun Wenkel, Peter Schreier, and Hermann Christian Polster make the most frequent appearances, but the others, including the likes of Regina Werner, Doris Soffel, Theo Adam, and Siegfried Lorenz, are splendid as well. Rotzsch, himself, sings on two of the discs (he is a tenor).

–George Chien

Released in 2018 by journalist David Nathan's Soul Music label, Don't Let It Go to Your Head is easily the most thoughtful and generous Jean Carn compilation. Most of the selections are drawn from Carn's time with Philadelphia International and its subsidiary TSOP, when she was in the top class of vocalists specializing in elegant soul that did not pander to the mainstream. Included are all the essentials off these four 1976-1981 albums – "Time Waits for No One," "Don't Let It Go to Your Head," the superior 12" inch version of "Was That All It Was," and "Bet Your Lucky Star" among them. A raft of duets and featured appearances on releases headlined by Norman Connors, Dexter Wansel, Al Johnson, Roy Ayers, and Grover Washington, Jr. – altogether a distillation of the Expansion label's Collaborations anthology – enhance the two-disc set. Listeners with more adventurous taste should also seek Carn's earlier work on progressive jazz sessions led by the likes of Connors, Doug Carn, Azar Lawrence, and Jamtume

Their music can mainly be described as Stoner Rock, including elements of Psychedelic and Progressive genres, based on solid bass, dynamic drums and heavy guitar with spacey solos. Derived from their lengthy sessions of improvisational experimentations, band creates an intense, organic atmosphere which is incorporated into their compositions and performances.

As part of Columbia's This Is Jazz series, this volume collects Ellington sides waxed for the label between 1927 and 1959. Even on later remakes of classics like "Mood Indigo," "Take the 'A' Train," and "C-Jam Blues," the quality stays pretty high simply because of the high caliber of almost any Ellington organization. The seventh volume is worth purchasing alone for "Diminuendo and Crescendo in Blue" from 1956's In Newport album featuring Paul Gonsalves' legendary solo.