Radiohead - In Rainbows - 2007

On the deliriously satisfying In Rainbows, Radiohead returns to a more straight-ahead (though subdued) rock sound. Much hubbub has been made about this record's innovative release. Radiohead allowed fans to pay what they wished to download fairly low-resolution tracks from the band's own website. Like so many innovations, it already seems funny both that it was such big news and that someone else of similar stature hadn't done it sooner. Some pundits were appalled that it took awhile to download the tracks if you tried to do it at the same time as thousands of other people, while others decried that the group was trying to kill the music industry (or save it). Little of the press seemed to focus on the record itself, which actually made sense because it was so entertaining and inviting, the most low-key album Radiohead has made to date. There's even a very straight-forward, simple, silly little love song, "House of Cards." It might be a bit lethargic, but the simple instrumentation of electric guitars, bass, and drums is lovely as heck. A handful of these tunes enchanted fans for years before finally being committed to computer "tape." This is particularly fitting as In Rainbows is the group's most "band"-sounding album since OK Computer. This is not a record that hits you over the head with how far this group is pushing the envelope; it's simply a phenomenal, well-crafted, and exciting album. As soon as it's done, you're playing it again. --Mike McGonigal

James Cotton - Late Night Blues

James is called a young man on this CD, but he'd already played with Muddy Waters for a time. Recorded in 1967, it showcases his vocals and harp well. The recording, done at Montreal's Penelope Cafe, is a pretty accurate depiction of James Cotton's raw power and force. The sound quality is OK for the time and really captures the feel of a live performance. Cotton has long been one of the greatest of the Chicago blues harp stylists, and his energy, enthusiasm and sincere love for the blues jumps right out at you from start to finish. The idea of a blues musician doing a recording in a static and heavily controlled atmosphere like a studio seems odd; amplified electric Chicago blues really should be both played AND heard in a loud, raucous, dark, smoky bar-type environment. You can smell the smoke and feel the beer being spilled on you while listening to this CD. I'd heartily recommend it to anyone who loves Chicago blues.

Bobby McFerrin - Live In Montreal 2005 DVD-RIP

Also featuring : Evelyne Lamontagne, Jorane, Richard Bona, Tamango (from Urban Tap), Le Grand Choeur De Montreal This DVD, will lock you in front of your screen. You will get through it in no time with a permanent smile on your face, just as I did.

Oscar Peterson - Oscar Peterson In Russia (2 CD) (1974)

This is another stunning Peterson album. As the title indicates it was recorded in Russia in 1974 and the playing is great. As Benny Green says in the sleeve notes it would be fascinating to know whether the Russian audience could pick up on the little quotes that Oscar puts in his solos. Its a mixture of solo, duo and trio tracks with Neils Pederson on bass and Jake Hanna on drums. Starting out with solo Piano, Peterson plays a number of stunning solo interpretations of which perhaps the best are 'I Concentrate On You' and his own composition 'Place St. Henri'. This last track has some of phenomenal stride playing at amazing speed. Then Neils Pederson joins him and the remainder of disc 1 is Bass and Piano. Disc 2 starts with a superb trio version of 'Take the A Train'. There are multiple highlights on disc 2, including a great version of 'Just Friends' and perhaps best of all 'Hallelujah Time' (mis-titled on the disc as 'Hallelujah Trail'). Some really fast Boogie Woogie is in this tune (which Oscar was specialist at early in career) leading to a classic down-home blues finish.

Mediaeval Baebes - Mistletoe and Wine 2003

The Mediaeval Baebes are one of world music's treasures. The vocal ensemble's exquisite storybook beauty came to life in 1996 when ex-Miranda Sex Garden chanteuse Katharine Blake aimed to set her fascination with the Middle Ages to music and theater. She and 11 additional musicians and singers — Miranda Sex Garden's Teresa Casella, Audrey Evans, comic writer Marie Findley, Nicole Frobusch, Ruth Galloway, Karen Lupton, Claire Ravel, Australian native Cylindra Sapphire, Carmen Schneider, Nichole Sleet, and New Zealander Rachel Van Asch — defined a contemporary musical approach while incorporating Middle Ages Paganism and spiritual moods and sentiments.

Lee Morgan - Candy (1958)

A seminal figure in the golden age of Blue Note records, Lee Morgan was the definition of the '50s post-bop trumpet style and sound. His album CANDY from 1958 is a quintissential document of the easy swing and tight ensemble work that was prominant before the onset of hard-bop and free-jazz of the '60s. Morgan's nimble lines and smooth sound contrast perfectly with drummer Art Taylor's jumping solo spots in the opening title track. The bluesy ballad "Since I Fell For You" is just smokey and subtle enough to melt even the coldest heart. Jimmy Heath's "C.T.A." and Irving Berlin's "Who Do You Love, I Hope" are nice-and-quick workouts that find pianist Sonny Clarke and bassist Doug Watkins in perfect sync with Taylor in support of their agil leader. For Sinatra fans, Morgan's reading of the classic "All The Way" is a beautiful interpretation that would make Old Blue Eyes smile. Overall, this is a golden snapshot of one of the most stylish trumpeters in jazz.