Review by Oleg Trukhanovich

This show served as the basis for the famous video release. Visually and musically, they are at their peak. “Larks' Tongues in Aspic, Part II” sounds monumental. The Bruford-Mastelotto drum duel is simply beyond comprehension.

Second night at Sun Plaza. The band feels more relaxed, which benefits the improvisational segments. “The Talking Drum” builds tension to a breaking point. Tony Levin’s bass provides the rock-solid foundation for this sonic madness.

Filmed over four nights in 2019 at the Ziggo Dome in Amsterdam and directed by Waters and Sean Evans, ”Us + Them” is no mere concert film. This is an emotional and moving live multi-media spectacle that transcends the average concert-going experience. Waters and Pink Floyd have always used films, extravagant props and imaginative lighting to enhance the concert experience, and there is no shortage of those effects used here.

A legendary album and the one that many acoustic guitar afficionados look up to! All three players are inspired, at the top of their playing and the mood gets gradually hotter as all three experts appear on stage simultaneously. There are no other instruments other than acoustic guitars so that listeners can fully appreciate. Even though there are many moments to show off, it is in the calmer seconds when the playing gets more atmospheric.

Sangam is a work full of drama and skill—around here, it will end up on virtually everyone's top ten list, and rightfully so.

There is a lot of improvisation going on, but it is all deeply communicative and lyrical - Lloyd's trademark for the last five decades as a composer, soloist, arranger, and bandleader. Lloyd shows no signs of slowing down or simple contentment as he ages, and we are all the more fortunate for it.

Dresden is further proof of Garbarek's ongoing musical vitality, passionate artistry, and ability to put together a unique group sound. His first live album, recorded in the fall of 2007 — faithfully captures the saxophonist and his current quartet with a two-hour set that traverses a broad dynamic and stylistic expanse, with plenty of space for everyone to stretch out.

It's impossible not to appreciate this trio's harmonic sophistication and overall technical skill, as it refines and modernizes a jazz tradition merged with European impressionism. Like ever expanding ripples, this trio's music is a constantly expanding soundscape of color and finely honed lyricism.

Mirror continues to bolster Lloyd's latest ensemble as one of the best — and certainly the freest — of his long career.

Syncopations is a unique gathering of well vetted musicians who, besides of playing with real mastery, seem to be listening to each other carefully and respectfully. It is a sort of aural democracy: everybody has the chance to say it all and, at the same time, everyone lets the other have his share.

On this album you can enjoy the amazing skills and different styles from three virtuosic guitarlayers: Paco De Lucia with his innovative flamenco guitar technique, John McLaughlin with his stunning speed and, last but not least, Al DiMeola with his distinctive 'deading' of the strings. The interplay (in different duo's and in the end as a trio) is awesome, a genuine "guitar heaven"! The way they follow or challenge each other is so exciting, these three musicians are the absolute summit. They play jazz, rock, blues and of course flamenco and there is even room for humor when they start to play the tune of the Pink Panther, very cool!

On Universal Syncopation, Miroslav Vitus demonstrates a masterful combination of idea and execution, as well as the ability to make the most of the talents of all band members.

The Water Is Wide finds Lloyd applying his low-key tenor and lovely unassuming tonality to serene melody making for the most part. The warmth that permeates this disc is palpable and real.

Forever speaks to the enduring power of a reunited trio that is doing absolutely everything but resting on its considerable laurels.

Master guitarist John McLaughlin once again redefines the meaning of fusion in this year 2000 concert recording, and likewise reaffirms his deep affection for classical Indian music and philosophy. The music, not surprisingly, is firmly rooted in ancient Indian aesthetics, but don't let that scare you away: this is magical stuff, played with enough skill and energy to translate across any cultural barrier.

Tokyo Day Trip not only surpasses its studio cousin but, by representing so many facets of Metheny's playing despite its relative brevity, stands as one terrific entry point into Metheny's trio work. While this group is absolutely not about competition, there's a playful sense of keeping up with each other, despite no one ever resorting to meaningless technical displays.

Technically daunting, these recordings are uncannily accessible and there is something new to be discovered with each listen. Guitar virtuosity at it’s zenith.

There's a pleasant, relaxed, and cohesive feel about Tumbleweed Connection - it feels like a proper unified album. While the individual songs don't initially stand out, together they create a mood and ambience of easy-listening country and western music that is both relaxing and evocative.

Free Hand is without a doubt my personal favorite. Their most dense, complex, mechanically flawless album AND their most melodic, beautiful and accessible - Free Hand thus represents a magical occurrence in their catalog like none other.

Easily a contender for one of their top best works, Interview contains some of their most aggressive and electrified music yet.