Review by Oleg Trukhanovich

This music is not jazz, nor is it experimental. But it is compelling in its way, representative of a first-rate creative musician, beyond category.

I Have the Room Above Her is exactly what one would expect from Motian, a painstakingly realized effort that creates a virtual poetic of the measure between the adventure of jazz as creative music and the emotional depth and dimension that convey what is beautiful resoundingly.

Queen's The Works is a great pop-rock album. This album is an excellent addition to any music collection, but prog purists had better stay away from this one.

Here's a semi-hidden gem from three ECM greats: Burton, Metheny, and Weber. The players complement one another well; everybody's working together to craft some delicate, pretty stuff here.

Pianist Steve Kuhn, bassist Steve Swallow, and drummer Joey Baron make sweet music together, for sure, but an unquantifiable feel for that music is what sets this dream trio apart.

Just think about the fact that we're listening to the last work of Freddie Mercury, his last time up to the mic for a Queen recording. This is the band embracing finality with a sense of joy and splendor. This album kinda acts as a reflection of the band's career and Mercury's own life in particular; that fact makes many of these songs more powerful than they otherwise would have been.

The heavyweights created an album that is utterly compelling, radiantly jubilant and consummate in artistry.

Very Tall features Oscar Peterson on piano, Milt Jackson on vibraphone, Ray Brown on bass, and Ed Thigpen on drums. With musical gods like Oscar, Milt, Ray, and Ed, you expect the music is going to be fantastic, and it is truly fantastic. It's always a treat for me to hear Milt Jackson on vibes and he's in fine form on Very Tall. The LP has rich, warm, detailed, and dimensional sound that is just a treat both musically and sonically.

This album captures Queen in top form - tight, energetic, and raw. Freddie's voice, in particular, has never sounded better. It's one of the last recordings of the band playing with this much fire and aggression. The sound quality deserves special praise. The mix is crystal-clear, with perfect balance between guitar, bass, and drums. Every instrument comes through distinctly, and the audience is kept low in the mix, allowing full focus on the band's performance. This is the finest live Queen recording officially available.

The album spotlight the capabilities of each band member more than ever: Freddie Mercury's amazing vocal abilities, Brian May's sharp guitar, and the driving rhythms of John Deacon (bass) and Roger Taylor (drums). I can safely affirm that this album, and its songs, will forever remain in the common imagination as a true "Magical Album"... a true "Kind of Magic".

Very sympathetic playing by all the musicians with tasty tunes (after all, the Duke wrote them) and solos by all. The mood is very relaxed and swinging. Incidentally, this is a very fine recording.

Over-nite Sensation is, indeed, a fine album. The songs are jazzy, funky, amusing, sometimes off-colour and the music is thoroughly enjoyable, enduring and, ultimately, highly accessible. Over-nite Sensation certainly opened new commercial doors for Frank Zappa and this 50th Anniversary reissue is a fine tribute to a splendid album.

This album is one of the greatest live ever. The band plays all his famous songs and in facts it could also be a "Greatest Live hits".

A fine live album, recorded during the Hot Space Tour of '82... in my opinion superior to both “Live Killers” and especially the much-celebrated “Live At Wembley”.

A very strong release from those Aussies, that deserve more attention. If you like melodic symphonic with simple, but tasteful, guitar and keyboards, welcome aboard! I'm really sad that those guys did not release a follow up. They left an excellent work for music lovers like me. I'm glad to have found such prog gem.

Jones’ pacifying drawl and waves of sparse yet resonant instrumentation imbue the album with a warm, captivating radiance that still glows bright.

Jones succeeded in doing something new, while sticking to her roots and preserving some of the crucial elements that made her debut record so successful. Among these are the perfect flawless production, Jones’ soulful piano playing and her refreshing song-writing together with her partner, bassist Lee Alexander.

Misty is a very accessible and easily enjoyable album, so I don't think it would be hard to digest for most jazz-friendly music fans.

Mine arrived at the intersection between traditional and unfamiliar, mannerly and chaotic. It is a critical album in a crucial period for Japanese jazz—the sound of everything changing and a new order taking form.

The eternal bible of jazz audio fans, Tsuyoshi Yamamoto's trio "Misty for Direct Cutting" record, which is one of the best records in the history of jazz, is back in a DSD version!