Enuff Z'Nuff are largely remembered for their hybrid of psychedelic and hair metal aesthetics during the glam rock heyday fostered by MTV during the late '80s. But peel away the exterior and there's a band ripe with a generous helping of power pop to complement their most well-known songs. So it's only fitting that a greatest-hits compilation acts as more than a marker for their entire career, it helps to break through the hairspray and ambiguous fashions to prove the band can rock just as hard, if not harder, than many of their contemporaries. Of course the biggest hits "New Thing" and "Fly High Michelle" start off Greatest Hits with a potent one-two punch, but skip beyond those two tracks and there's a plethora of thoughtful, carefully crafted pop numbers that rock just as much as they strut.

Danielsson has garnered considerable acclaim as a bandleader. His 1987 album, Far North, featured accompaniment by soprano saxophonist David Liebman, pianist Bobo Stenson, and drummer Jon Christensen, while his 1997 album, Origo, was recorded with guitarist John Abercrombie and drummer Adam Nussbaum. 2005's sparse and thoughtful Libera Me featured the Danish Radio Concert Orchestra, 2007's Pasodoble relied heavily on the nimble hands of Polish pianist Leszek Mozdzer, and 2009's Tarantella covered a whole range of genres, including Euro-classical chamber music and traditional Scandinavian folk.

Andrew Cyrille’s title Lebroba is a contraction of Leland, Brooklyn and Baltimore, birthplaces of the protagonists of an album bringing together three of creative music’s independent thinkers. Each of them made his first ECM appearance long ago: drummer Andrew Cyrille on Marion Brown’s Afternoon of a Georgia Faun (1970), trumpeter Wadada Leo Smith on his own classic Divine Love (1978), and guitarist Bill Frisell on Eberhard Weber’s Fluid Rustle (1979); these are, of course, players of enduring influence. Frisell contributed to Cyrille’s previous ECM disc The Declaration of Musical Independence, but Lebroba marks a first-time meeting for the guitarist and Wadada Leo Smith.

Within ten years and hundreds of concerts in Scandinavia, Central-, Southern- and Eastern-Europe and the Near- and Middle East, the trio "Mare Nostrum", consisting of the Sardinian trumpeter Paolo Fresu, French accordion virtuoso Richard Galliano and Swedish pianist Jan Lundgren has established itself as one of the most prominent ensembles of "The sound of Europe", drawing inspiration from jazz, classical and folk-/song-tradition - from the northernmost to the southernmost part of the continent.

Eric Gales spent a good portion of his career in the wilderness – chalk it up to a combination of bad breaks and addiction – but he came storming back in 2017 with Middle of the Road, his first album for Provogue/Mascot Records. Peaking at four on the Billboard Blues chart, Middle of the Road brought Gales back in a big way, giving him the confidence to push himself on its 2019 sequel Bookends. Working with producer Matt Wallace – a stalwart of '90s alt-rock who worked with Maroon 5 after spending time with the Replacements and Faith No More – Gales doesn't reinvent the wheel, but he does place a greater emphasis on singing and song than he has in the past. It's a subtle but notable difference, one that helps Bookends feel fuller and sharper than many of Gales' past albums and one that also accentuates the recovery undercurrents that flow through the album.

The ""Toccate e Correnti dintavolatura dorgano e cimbalo"", probably published around 1634, are the only surviving publication of keyboard music by Michelangelo Rossi (c.1601-1656). Rossis frequent use of unexpected harmonic turns, expressive chromaticism, dissonances with unusual resolutions, and abrupt changes of texture, is an evident sign of Gesualdos influence on his musical language.

As was the case with Fats Waller, Erroll Garner's natural and advanced musical talent ingratiated him to jazz aficionados and experts alike. Garner took to the piano intuitively, never needing to take lessons because of his exceptional ear for music. Further breaking the mold, he transcended many of the jazz styles he came up with, including both swing and bebop. You hear the power of swing pianist Earl Hines in his fleet and robust approach, and, yes, he once played with Charlie Parker, but as heard on this Columbia collection from 1951-1952, Garner concocts a unique blend of the big band's svelte rhythms and bebop's heady swing…

What is a "Zenph Re-Performance"? That may well be the first question for buyers who encounter the cover of this disc without benefit of prior discussion. The short answer: software developed by North Carolina's Zenph Studios that can analyze the sounds of an existing piano recording, breaking them down into digital (numerical) representations of their physical components – tempo, dynamics, attack, duration, even pedaling.

The second album-length collaboration between Jon Anderson and Vangelis is almost perfect in its blending of elements; it's only when the pair tries to do some serious rocking on "Back to School" that things take a bit of a nosedive. Other than that, though, there are some classic cuts to be found on this record, including the breathtaking "I'll Find My Way Home," "State of Independence" (which became a popular tune to cover), and the brilliantly optimistic "Mayflower," which catapults the listener into a star-traveling future. Grand stuff.

Debut album from instrumental/post-rock trio Trys Saulės. It consists of five spacious tracks based on hypnotic rhythms and raw, distorted guitars. Recorded at rehersal space, Gdynia, Poland by Cezary Joczyn, September 2017.