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Weather Report is generally regarded as the greatest jazz fusion band of all time, with the biggest jazz hit ("Birdland") from the best jazz fusion album (1977's Heavy Weather). But the group's studio mastery sometimes overshadows the fact that it was also a live juggernaut – so don't overlook the outstanding live and studio album from 1979, 8:30. This was a rare quartet version of Weather Report, with co-leaders in keyboardist Joe Zawinul and saxophonist Wayne Shorter. The bassist was the inimitable Jaco Pastorius, the drummer a young Peter Erskine. Pastorius is otherworldly on early gems like "Black Market," the breakneck "Teen Town," and his solo showcase, "Slang" (in which he quotes Jimi Hendrix's "Third Stone from the Sun"). Shorter is most involved on the CD's slower pieces like "A Remark You Made," "In a Silent Way," and his own solo piece, "Thanks for the Memory"; Zawinul and Erskine shine on the swinging version of "Birdland" and roller coaster ride of the "Badia/Boogie Woogie Waltz" medley. Four studio tracks (composing what was side four of the original album version) close 8:30 with a flourish – and some surprises.

Arriving in 1967, Greatest Hits does an excellent job of summarizing Dylan's best-known songs from his first seven albums. At just ten songs, it's a little brief, and the song selection may be a little predictable, but that's actually not a bad thing, since this provides a nice sampler for the curious and casual listener, as it boasts standards from "Blowin' in the Wind" to "Like a Rolling Stone."…

Sui Generis is one of the most important rock bands in Argentine history, enjoying enormous success and popularity during the first half of the 1970s and a following that lasts to the present throughout South America. Argentinean folk-rock band Sui Generis was formed in the early '70s by singer, guitarist, and keyboardist Charly García and singer/instrumentalist Nito Mestre, who met while being high school students. Their first record, called Vida, was released in 1972, followed by 1973's Confesiones de Invierno. The following year, bassist Rinaldo Rafanelli and drummer Juan Rodríguez joined the act, soon recording Pequeñas Anécdotas Sobre Las Instituciones. Due to internal discrepancies, the group decided to perform for the last time at Buenos Aires' Luna Park on September 5, 1975.

Let It Flow was the biggest selling album that Dave Mason had while on Columbia, as it contained his biggest hit, "We Just Disagree," as well as "Let It Go, Let It Flow." Everything here is similar in character to the latter song, though not all of it is as catchy or hook-driven. And there is a great deal else to recommend this record, including the horn-and-string ornamented "Mystic Traveler"; the soaring, soulful "Spend Your Life with Me"; the funky "Takin' the Time to Find"; and the soulful "What DO We Got Here?"

This is an album of good, old-fashioned Dixieland standards played by a great group, with Harry Connick Jr. at the piano. Although he's only 11 years old, he plays some fun and creative solos, and in general, the CD is wonderful for all lovers of Dixieland, and will put you in a good mood instantaneously. The loose group jams through nine familiar Dixieland standards and includes trumpeter and leader Teddy Riley and bass player Walter Payton.

Both artistically and commercially, Boz Scaggs had his greatest success with Silk Degrees. The laid-back singer hit the R&B charts in a big way with the addictive, sly "Lowdown" (which has been sampled by more than a few rappers and remains a favorite among baby-boomer soul fans) and expressed his love of smooth soul music almost as well on the appealing "What Can I Say." But Scaggs was essentially a pop/rocker, and in that area he has a considerable amount of fun on "Lido Shuffle" (another major hit single), "What Do You Want the Girl to Do," and "Jump Street." Meanwhile, "We're All Alone" and "Harbor Lights" became staples on adult contemporary radio. Though not remarkable, the ballads have more heart than most of the bland material dominating that format.

Although released in the usually consistent Columbia Jazz Masterpieces series, this recording is a mere sampler of trombonist J.J. Johnson's 1957-60 recordings. The nine selections are drawn from four albums and, although there are some fine moments (most notably on "Misterioso," "Blue Trombone" and "What Is This Thing Called Love").

Picking our list of the Top 100 '70s Rock Albums was no easy task, if only because that period boasted such sheer diversity. The decade saw rock branch into a series of intriguing new subgenres, beginning, at the dawn of the '70s, with heavy metal. Singer-songwriters came into their own; country-rock flourished. The era ended with the revitalizing energy of punk and New Wave. No list would be complete without climbing onto every one of those limbs. Here are the Top 100 '70s Rock Albums, presented chronologically from the start of the decade.

A battle of the bands? Not quite – more like a mutual admiration society, with the orchestras of both jazz titans playing together. (The Duke is heard on the right side of your stereo/headphones, the Count on the left.) Ellington's elegance and unique voicings meet Basie's rollicking, blues-based Kansas City swing, and it works gloriously. There's no clutter, each band is focused, and they sound great together. This is not the thoughtful, reflective composer side of Ellington (listeners should check out Far East Suite or Black, Brown & Beige for that). The Duke and his band accentuate their swinging dance band side, while Basie and company have never sounded as suave and exotic as when playing Billy Strayhorn arrangements. Everyone has a good time, and that joy infuses this album from start to finish.

Dick Essilfie-Bondzie was all ready for his 90th birthday party when the Covid pandemic hit. The legendary producer, businessman and founder of Ghana’s mighty Essiebons label had invited all his family and friends to the event and it was the disappointment at having to postpone that prompted Analog Africa founder Samy Ben Redjeb to propose a new compilation celebrating his contributions to the world of West African music.