Michael C Keith

Keith Christmas' second album was an improvement over his debut, it has some nicely integrated, varied arrangements that show more imagination than many other British folk-rock recordings of the early '70s: the jazzy piano-dominated vamp of "Waiting for the Wind to Rise" (featuring Keith Tippett), the lovely female back-up harmonies on "The Fawn," the languid tempo of "Lorri," the gothic organ of "Kent Lullaby," the Mellotron-acoustic guitar-piano combination of "Hamlin," the rapid whirl of acoustic guitar picking on "Fable of the Wings." AMG

C'mon America 2003 features 13 live performances from eight-time Grammy winner Sheryl Crow. The set includes more than two hours of footage, including the No. 1 hit "All I Wanna Do" and the Top 10 hits "Everyday Is a Winding Road," "Leaving Las Vegas," and "If It Makes You Happy."
Sheryl Crow's fresh, updated spin on classic roots rock made her one of the most popular mainstream rockers of the '90s. Her albums were loose and eclectic on the surface, yet were generally tied together by polished, professional songcraft.

Reference Recordings proudly presents a unique album of one movement symphonies composed by Barber, Sibelius and Scriabin, in an outstanding interpretation from Michael Stern and the Kansas City Symphony. This album, the ninth in our series with the orchestra, was produced by David Frost, seven-time winner of the Classical Producer of the Year GRAMMY® award. It was recorded by RR’s own engineering team of GRAMMY®-winning engineer and Technical Director Keith O. Johnson, and multi-GRAMMY® nominated engineer Sean Martin. Music Director Michael Stern is in his second decade with the Kansas City Symphony, hailed for its remarkable artistic ascent, original programming, organizational development and stability, as well as the extraordinary growth of its varied audiences since his tenure began. The Kansas City Symphony has a vision to transform hearts, minds and its community through the power of symphonic music.

Michael Jennings is a reverse engineer and what he does is technical jobs for certain companies and as soon as he is done, his memory of the work he has done is wiped out. Now the longest he has been contracted is 2 months. But now billionaire, James Rethrick offers him a job that would last 2 years, maybe 3, and he promises that he will probably earn 8 figures. Michael agrees. Before beginning he turns in all of his personal effects.

Count Basie was undoubtedly one of the most influential bandleaders in jazz history. It seems only logical then that saxophonist Bob Mintzer (who has dedicated most of his career to big-band music) would sooner or later record a tribute to the great father of swing. Joined by many of the top New York City-based jazz players including Pete Yellin on reeds, Scott Wendholt on trumpet, Phil Markowitz on piano, Dennis Irwin on bass, and John Riley on drums, Mintzer and group create a touching homage to the Count. We hear five tunes commonly associated with Basie on this disc. Among them are smart versions of "Cute," "April in Paris," and "Shiny Stockings." In addition, we are treated to three compositions by Mintzer himself, each reflecting the Basie style in one way or another. As a modernist, Mintzer adds a contemporary flair to otherwise classic swing charts such as "Lil' Darling" and "One O'Clock Jump," but it's the spirit of the music, not the harmonic vocabulary, that really matters here. For Basie, the key ingredient was always swing. Thankfully, Mintzer's music and ensemble live up to that great Basie reputation by swinging these charts just right.