5 Fingers Of Death

While heavily influenced by Art Tatum, this performer was hardly considered a heavyweight pianist during his career. Born Louis F. Bush, or Busch depending on the source, the keyboard maestro who would also make heavy use of the stage name of Joe "Fingers" Carr managed to make it into Leonard Feather's Encyclopedia of Jazz, but with the following disclaimer: "A novelty performer rather than a jazz artist." The novelty itself was a kind of heavily sexed-up ragtime piano style that caught on in the very dawn of the hi-fi era. The invention was in sharp contrast to lounge music and would most likely have the opposite effect than a seduction if played in a bachelor pad. Carr began driving his piano this way while working as an A&R man for Capitol. In a brainstorm based on a sharp analysis of current trends, he decided to sign himself up as the mysterious "Fingers."

This collection gathers the riches of Hebrew verse from the Bible to contemporary Israeli writings. It draws on journals, rare editions, and liturgical collections from all over the world. …

When a band changes their style and sound, it can be polarizing. Melodic death metal pioneers In Flames have experienced this with their fans, as their sound has grown more accessible over the years with fewer growling vocals. Their countrymen and contemporaries Opeth have drawn similar criticism, but their switch from death metal to prog seems to have been more easily accepted than In Flames’ evolution toward the mainstream. In Flames’ effort, Battles, has plenty of melody, but there are numerous intense moments, as well.
Battles is the first In Flames album recorded without drummer Daniel Svensson since 1997‘s Whoracle. The band traveled to Los Angeles to record with producer Howard Benson (Halestorm, Skillet, Papa Roach). Benson recommended using drummer Joe Rickard (Red) for the album, and he ended up joining the group permanently…

Without a doubt, Airto put a new face on Brazilian music in the wake of the bossa nova movement, bringing back the frantic complexity of the samba translated into his own frenzied yet controlled electronic/multi-percussion idiom. Here we truly have some of the best of his early work in the U.S. as a leader for the CTI label, where Airto proves that he couldn't be suppressed even by the guiding hand of Creed Taylor. The set kicks off with a pair of great, sizzling tracks from the Free album, with Airto feverishly driving bands manned by Chick Corea on electric piano, Keith Jarrett on acoustic piano, and other American all-stars. From there, we move to the Fingers album, which features Airto's own band yet maintains virtually the same level of excitement with a deeper Brazilian streak.