Ric Manrique Jr. Pagka’t Minamahal Kita

Gregory Groover's Criss Cross debut, recorded on the Boston born-and-bred tenor saxophonist's thirtieth birthday, is a tour de force. Joined by a bespoke sextet of his favorite players, all New York-based, Groover presents a recital of 11 original tone-parallels to family and friends, his intentions anticipated, illuminated and fulfilled by his gifted bandmates.

As the lead singer and song writer for New Wave legends The Cars, the late Ric Ocasek created a catalog of unforgettable hit singles that appealed to mainstream and underground audiences alike. For his debut solo album Beatitude in 1982, Ocasek put his experimental foot forward to create an album that included his trademark Cars sound, but also veered into a more electronic direction. Aided by drum machines and bringing keyboards to the forefront, Beatitude spawned two well-received singles. Something To Grab For could have fit on any Cars album with its upbeat and catchy hook, while Jimmy Jimmy takes a serious tone tackling teenage hardships and challenges. This newly remastered CD edition now includes several bonus tracks, including the 1983 re-recording of Jimmy Jimmy in both its single and dance mix versions. Also included are remixes of the electro-epic Connect Up To Me and the soulful Prove.

When Cindy Castillo and Frédéric d'Ursel told me about their project involving the six Sonatas for violin and keyboard by J.-S. Bach and invited me to write pieces for violin and organ to frame two of them, I immediately and intensely felt the challenge. The juxtaposition of styles that would inevitably result implied an equation that was not easy to solve: the music to be created had to be in connection, in dialogue with that of this "Master" - one of the most famous in the entire History of Western Music! In any case, it seemed to me that the project had to aim at a proposal for an overall form whose elements would be brought together in a coherent architecture that would be perceptible to the listener.

Other than two numbers cut for the Progressive label in Houston a couple years earlier (and thus far never reissued), this Atlantic session (put out as a Koch CD in 1999) was the recording debut for the remarkable Phineas Newborn. The 24-year-old pianist's playing on this trio/quartet date with bassist Oscar Pettiford and drummer Kenny Clarke (and occasionally guitarist Calvin Newborn) is virtuosic to say the least, on Oscar Peterson's level if not Art Tatum's. Newborn rips through the repertoire (which is highlighted by "Barbados," "Celia," "Daahoud," and "Afternoon in Paris"); try to tap your foot to "Celia" without breaking your ankle!

Guitarist, songwriter, and singer Andrew "Jr. Boy" Jones began working professionally at age 16 with Freddie King's backing band, the Thunderbirds. He got his first guitar from his uncle, jazz musician Adolphus Sneed. Jones cites an eclectic array of influences: Freddie King, Cornell Dupree, and Larry Carlton. For many years, he's backed various Dallas-area vocalists on guitar, but in the mid-'90s, he came into his own as a vocalist with an album for JSP Records, I Need Time (1997), which showcases his crafty songwriting, great guitar playing, and powerful singing…

Cut of the same cloth as his famous father, Elmore James, Jr. is a legitimate blues man in the best sense. He plays electric guitar and sings quite well, not with the intensity of his dad, but that shouldn't be expected. What he has become is a seasoned professional with the right attitude, consistently interpreting Chicago-style 12-bar blues without watering it down. In a world where contemporary pop and soul have invaded authentic blues, what James is laying down is definitely the real thing. It's also commendable that he borrows from a repertoire of well-known songs, while adding others that have a certain flair and originality, keeping the fire of his legendary father burning brightly on both ends.

Harry Connick, Jr.'s vocals perfectly fit the moods throughout the 1989 Billy Crystal film When Harry Met Sally. This soundtrack album (which stands apart from the movie) was a big hit and a major step forward for the young pianist-vocalist, although it appears to have been the high point of his career. Connick warmly sings such numbers as "It Had to Be You," "Our Love Is Here to Stay," "But Not for Me," and "Let's Call the Whole Thing Off," while usually accompanied by bassist Benjamin Wolfe, drummer Jeff "Tain" Watts, and a big band. Frank Wess' warm tenor makes a brief appearance on "Our Love Is Here to Stay." In addition, there are a few melodic instrumentals, including some solo Connick piano on "Winter Wonderland" and "Autumn in New York." Highly recommended.

Gary Clark Jr.’s forthcoming album entitled JPEG RAW, his fourth studio release,marks a grand step in his musical evolution. A powerful and expansive artistic statement.While retaining the deep and true resonance of his blues foundations and guitar virtuosity with subtlety yet conviction, he reaches well beyond this time.The emphasis here is on song and studio craft without losing the rawness of his young legend. (Rolling Stone Magazine called him, The Chosen One).The music is dense and adventurous with a more cohesive synthesis of his eclectic musical palette. Hip samples, Thelonious Monk and Sonny Boy Williamson decorate flourishes of African, World Music, even Jazz while merging with blues , rock, R&B and rap; familiar areas he has ventured before, this time with more unity forging a fresh new style. Clark’s lyrics are pointed, deeply personal, outspoken and socially conscious with occasional forays into rap and spoken word from Clark himself.