Disciples Shrine of Insanabilis

Macca To Mecca! Begins as a 12-song tribute to The Beatles that kicks off with a performance of "I Saw Her Standing There" recorded in London with a special appearance by Paul McCartney. It is followed by an extraordinary surprise set at the Cavern Club recorded during the band's sold out European tour. The intimate gig is filled with renditions of "Magical Mystery Tour," "Got To Get You Into My Life," and "All You Need Is Love," alongside iconic songs famously performed by the nascent Fab Four.

In a perfect world, Curtis Peagler's Modern Jazz Disciples would have had a longer run and built a much larger catalog. But regrettably, the Cincinnati quintet is only a small footnote in the history of hard bop and gave listeners only two albums. The first was this self-titled LP, which was recorded for Prestige's New Jazz subsidiary in 1959. The Modern Jazz Disciples shows the late Peagler, who turned 29 that year, to be a hard-swinging alto saxman in the Charlie Parker/Sonny Stitt/Cannonball Adderley/Phil Woods vein - his hot-blooded solos on tracks like "A Little Taste," "Slippin' and Slidin'," and the standard "After You've Gone" make this record well worth the price of admission. Quite often, "After You've Gone" has been heard in swing and classic jazz settings, but the Disciples' version is pure bop…

Mount Shrine presents us an album filled with warm drones layered with rich wet textures. This is the very last album produced by Cesar Alexandre of Mount Shrine before his passing. Finalized by Simon Heath at the Cryo Chamber studios. Recommended for fans of sedative ambient and for drifting into a place of comfort.

The revival of old school thrash metal that kicked off soon after the turn of the millennium has presented a fair share of blessings and curses, the most frequently cited in the later camp being that the younger crowd has been a bit too slavish to the past…

This Audiophile CD release is comprised of 22 brief performances (generally 2-2 1/2 minutes apiece) that were originally recorded as radio transcriptions (rather than commercial records). Altoist Gene Quill and tenorman Al Cohn (one of the main arrangers) are the main soloists on the big-band selections while Lawrence (on piano) is also featured in a sextet with guitarist Mary Osborne and Tyree Glenn (who doubles on trombone and vibes)…

Purcell’s fourth and last full-scale semi-opera, The Indian Queen, is often passed over in favour of its longer and more rounded predecessors, especially King Arthur and The Fairy Queen. The reasons are plentiful: Thomas Betterton, with whom Purcell collaborated, never finished his reworking of an early Restoration tragedy and even if he had torn himself away from his business interests in 1695, Purcell would not have been alive to set the remaining music for Act 5. As it happened, Henry’s brother Daniel set the masque from the final act after Betterton had hired an anonymous writer to finish his adaptation. No one can deny that neither verse nor music achieved the heights imagined in the original collaboration; given the quality of the masques in Purcell’s large ‘dramatick’ operas (including Dioclesian, of course), there is an undoubted sense of anticlimax.