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L'angoisse pèse sur Ta'Kayla. Si les souverains du nord du continent sont persuadés que Vaten Mer'rock, l'empereur de Der'Killia, va les envahir et ainsi achever son rêve de régner en maître absolu sur les contrées, ils n'ont en revanche aucune idée des détails de son plan. Ils ignorent qu'une grande partie de celui-ci repose sur les épaules d'une orpheline de vingt-deux ans, recueillie enfant par Vaten Mer'rock dans le but déclaré d'en faire la dame de compagnie de sa fille, Soyeline, et dans le but secret d'en faire un assassin d'élite voué aux ténèbres et dévoué à son maître. …

Like many West Coast tenor saxophonists of his generation, Bob Cooper's style was based upon skillful emulation of Lester Young's velvety, vetiver-scented tone, harmonic ingenuity and sinuous technique. The best introduction to this artist would be Coop! The Music of Bob Cooper, released in 1958 by Contemporary Records. Initially known as an exponent of the Stan Kenton Orchestra, he branched out and spent four decades as an all-purpose session man, serving in the reed sections of multiple studio orchestras while maintaining a steady presence on the cool, bop-inflected West Coast mainstream jazz scene.

The great incontrovertible truth of Brazilian vocalists in the '60s is that the more global success they enjoyed, the weaker and more insubstantial their voices. (As a test, simply compare and contrast the chart-topper Astrud Gilberto with the chart-absent Elis Regina.) Wanda de Sah was quite popular, which says most of what you need to know about her vocal prowess, both on the material she recorded with Brasil '65 as well as her solo career. But as with Astrud Gilberto, vocal weakness is hardly a barrier to entry. When given complementary musicians and arrangements - which were as common as coffee in Brazilian music circles - a thin, wispy voice could be made to sound positively radiant. DRG's 2008 pairing of Brasil '65 and Softly!, the two albums de Sah appeared on during 1965, reflects her peak year as an artist….