The title of the Swiss-born composer/keyboardist's third Narada Jazz recording reflects the down-home spirit of his experience for the first time in Atlanta performing in ensemble with some of that city's greatest musicians, as well as an exhilarating shift from the heavy urban sensibilities of his New York-recorded 2001 hit, Soul Purpose. Getting away from the synthesizer-based sound that formed the foundation of most of his previous recordings, Bugnon strips down to the piano and Fender Rhodes in fashioning a more organically driven collection.

Showcasing the best– NOW That’s What I Call NOW features one track from every NOW since NOW 1 made its impact in 1983. This 5-disc album is a perfect collection of the hottest hits over the last 35 years, making it the ultimate soundtrack of NOW!

Otros Aires is an Argentine XXI century Tango music project, founded in 2003 in Barcelona by Argentine musician/architect Miguel Di Genova. Otros Aires mixes the first tangos and milongas structures from the beginning of the last century (Gardel, Razzano, D'Arienzo, etc.) with electronic sequences, melodies and lyrics of the 21st century. On December 11, 2004, known as "Tango day", Otros Aires presented its first CD at the Carlos Gardel's House Museum, commemorating the birthday of the singer.

Grover Washington, Jr. always put on exciting shows, and this performance from the Bijou Cafe in Philadelphia is a good example of his repertoire in 1977. It doesn't reach the heights of his best studio recordings or concerts, but there are some fine moments. Utilizing his octet at the time (with violinist John Blake, keyboardist James Simmons, and flutist Leslie Burrs), this LP mostly features Washington playing lesser-known tunes that wouldn't be in his repertoire for long (other than a medley that includes "Mr. Magic"), but Washington (heard on tenor, alto, and soprano) consistently brightens the material.

Amgala Temple is the sound of three musical forces combined. The result is an overwhelming clash of spontaneity and control, improvisation and clairvoyance - all meshed together in a quest to make something radiant. The mix of Lars Horntveth, Amund Maarud and Gard Nilssen is a wish come true for music fans, as they each have made great impact as bandleaders, solo artists and musicians in an array of projects - be it with Jaga Jazzist, Susanne Sundfør, Todd Terje, Morudes, Bushman’s Revenge, a-ha or Gard Nilssen’s Acoustic Unity. But Amgala Temple sounds little like the above. These musicians’ profound interest in old and new sounds, and their deep respect for each other, was essential in creating this space where they could create more freely - venturing into new sonic landscapes - letting whatever happens happen…

Jon Arild Eberson is a Norwegian jazz guitarist and composer, son of jazz guitarist Leif Eberson, father of keyboardist Marte Maaland Eberson, and known from bands such as Moose Loose, Radka Toneff Quintet , and Blow Out. Eberson had his debut recording as a guitarist on Ketil Bjørnstad's debut album Åpning (1972). In 1980 he formed the Jon Eberson Group, supported by vocalist and lyricist Sidsel Endresen. The group attracted attention with Jive Talking (1981), which was awarded the Spellemannprisen, and City Visions (1984), but disbanded in 1986. The following year he released the Eberson Pigs and Poetry with Endresen, and he has continued to be noticed in a variety of contexts like the Jazzpunkensemblet.

Insatiable showman, blues singer, and ace harp man kept his high-energy act alive for over a half century. At his high-energy, 1970s peak as a bandleader, James Cotton was a bouncing, sweaty, whirling dervish of a bluesman, roaring his vocals and all but sucking the reeds right out of his defenseless little harmonicas with his prodigious lung power. Due to throat problems during his latter years, Cotton's vocals were no longer what they used to be, but he remained a masterful instrumentalist for decades. Cotton had some gargantuan shoes to fill when he stepped into Little Walter's slot as Muddy Waters' harp ace in 1954, but for the next dozen years, the young Mississippian filled the integral role beside Chicago's blues king with power and precision. Of course, Cotton had been preparing for such a career move for a long time, having learned how to wail on harp from none other than Sonny Boy Williamson himself.