Keith Jenkin

This is the Keith Jarrett Trio's – featuring bassist Gary Peacock and drummer Jack DeJohnette – elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with – and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums.

Five years isn't really a long time to generate 12 monster-size hits for a greatest-hits album, but that's exactly what Toby Keith did. From his first album in 1993 to the release of his first greatest-hits package in 1998, Keith has culled some of his best singles from the charts to create a 14-track ode. He includes only two newbies – the deliciously suggestive "Getcha Some" and the achingly troubled "If a Man Answers." Those are the first two tracks on the album, so you can get them out of the way quickly if you want to and move on to the music that makes Keith so good, starting with his very first single that went straight to number one, "Should've Been a Cowboy." And you'll kick your heels all the way through "A Little Less Talk and a Lot More Action," "You Ain't Much Fun," "Who's That Man," and "He Ain't Worth Missing." It might be hard to recall at first that Keith had so many hit singles in the Top Ten, but with one listen, it'll be hard to forget.

An historic reunion of original Public Image Limited personnel, post-punk dub bass legend Jah Wobble and six-string experimentalist, Keith Levene. Considered the driving forces behind PiL's landmark 1980 album, Metal Box, on 'Yin & Yang', Wobble and Levene ably demonstrate that they haven't lost any of their questing spirit.

This is the long awaited acoustic album from Keith Thompson. A raw and passionate collection of songs showcasing the singer/songwriter in Keith. As the title suggests strength and weakness, the songs tackle subjects as diverse as lost love, the Mississipi floods, moral choices and political correctness. Also featuring some great slide guitar from Keith and some mean saxophone from Patsy Gamble. Keith is primarily a songwriter and a guitarist although he plays many instruments.He performs music on a professional level solo or with great musicians in The Keith Thompson Band in the genre of blues/rock.He also writes and records music, some of which have been used on TV, computer games and production company releases. You won't be interested in networking with Keith unless you are into music in a big way. Real music and thoughtful lyrics.

Even before his solo concerts became popular successes, Keith Jarrett was clearly getting a free hand from ECM founder Manfred Eicher, as this ambitious double album of classical compositions proves. In this compendium of eight works for all kinds of ensembles, the then-28-year old Jarrett adamantly refuses to be classified, flitting back and forth through the centuries from the baroque to contemporary dissonance, from exuberant counterpoint for brass quintet to homophonic writing for a string section. Though the content is uneven in quality, Jarrett is clearly sincere and skilled enough to exploit his European roots with only a handful of syncopated references to his jazz work. The strongest, most moving individual pieces are the strange, gong-haunted "In the Cave, In the Light" (the probable source of the title of Jarrett's publishing company, Cavelight)…

The reason to mention the "particulars" of this document of informal sessions is because Keith Jarrett went to the trouble of doing so in his liner notes: they came about in the aftermath of he and Charlie Haden playing together during Ramblin' Boy, a documentary film about Haden. The duo, who hadn't played together in over 30 years, got along famously and decided to do some further recording in Jarrett's Cavelight home studio without an end result in mind. The tapes sat - though were discussed often - for three years before a decision was made to release some of them. Jasmine is a collection of love songs; most are standards played by two stellar improvisers. Picking out highlights on this eight-song, hour-long set is difficult because the dry warmth of these performances is multiplied by deeply intuitive listening and the near symbiotic, telepathic nature of the playing…