Will Muse

Simulation Theory is the upcoming eighth studio album by English rock band Muse. It will be released on 9 November 2018 through Warner Bros. Records and Helium-3. Co-produced by the band with Rich Costey, Mike Elizondo, Shellback, and Timbaland, it is a synth-rock album with themes of simulation and centering on the idea of "fantasy becoming real". Contrasting the band's previous three albums which dealt with darker themes, the band sought lighter influences from science fiction and 1980s pop culture and produced the album one track at a time without a focus on a greater narrative or theme. Recording began at AIR Studios in London in early 2017 with Elizondo, creating three tracks before embarking on a midyear tour of North America. Production restarted in Los Angeles in late 2017 with Costey, who had co-produced the band's 2003 album Absolution and 2006 album Black Holes and Revelations. "Era-blending" juxtapositioning and the contemporary political climate of the United States informed the album's music and lyrics.

Houston Person - The Lion and His Pride (1991) {Muse MCD5480 rel 1994}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 322 Mb | MP3 @320 -> 142 Mb
Full Artwork @ 600 dpi (jpg) -> 40 Mb | 5% repair rar
© 1991, 1994 Muse Records | MCD 5480
Jazz / Hard Bop / Soul Jazz / Saxophone

Houston Person really sounds great in this later date for Muse Records – definitely the older lion in the title, surrounded by a younger pride of players who really make the record swing! The set's got a rock-solid rhythm section with Benny Green on piano, Christian McBride on bass, and Winard Harper on drums – that kind of in the pocket combo that was often the driving force of a Person-produced Muse Records session like this. Philip Harper's also in the frontline on trumpet, sparkling nicely next to the tenor – and the tunes have a relatively laidback feel, and a rich sound that hardly shows the date of the record at all. Titles include "Dig", "Dear Heart", "Sweet Love", "Like Someone In Love", and "Captain Hook".

For the first time in the nearly 40-year history of the Schleswig-Holstein Music Festival, the saxophone takes center stage this year. This has been made possible by Asya Fateyeva, who over the past decade has brought the instrument from its jazz and pop niche into the classical world, even making it respectable there. She showcases the impressive versatility of her instrument as a portrait artist at the SHMF in 17 concerts in July and August. Her new album "To the Muse" will also be released on May 17, 2024, on Berlin Classics.

For the first time in the nearly 40-year history of the Schleswig-Holstein Music Festival, the saxophone takes center stage this year. This has been made possible by Asya Fateyeva, who over the past decade has brought the instrument from its jazz and pop niche into the classical world, even making it respectable there. She showcases the impressive versatility of her instrument as a portrait artist at the SHMF in 17 concerts in July and August. Her new album "To the Muse" will also be released on May 17, 2024, on Berlin Classics.

Wallace Roney - Obsession (1991) {Muse MCD5423}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 290 Mb | MP3 @320 -> 101 Mb
Full Artwork @ 300 dpi (png) -> 39 Mb | 5% repair rar
© 1991 Muse Records | MCD5423
Jazz / Post-Bop / Straight-Ahead Jazz / Trumpet

In the early days of his career, trumpeter Wallace Roney was tagged as being yet another Miles Davis-influenced player, though a focused hearing of his fourth CD as a leader will demonstrate how much he was developing his own voice on this exciting hard bop session with tenor saxophonist Gary Thomas, pianist Donald Brown (like the leader, an alum of Art Blakey's Jazz Messengers), bassist Christian McBride, and drummer Cindy Blackman. Roney's furious "Obsession" crackles with energy, showcasing the trumpeter, Thomas, and Brown. McBride contributed the loping, bluesy "Black Moon," while Blackman's "Scenario One" is full of twists, dominated by her drums.

This CD by guitarist Kenny Burrell begins with a solid swinger, Will Davis' "Mark 1." Unfortunately, most of the remainder of the set is ballad-oriented and features Burrell's vocals on nearly half of the selections. While Burrell's voice is not bad, it cannot carry an entire project by itself. His guitar playing is fine, but there are no moments where one feels that he is really stretching himself. There are appearances from veteran pianist Gerald Wiggins and tenor saxophonist Herman Riley that add a little bit of spark to the set, but not enough to make this so-so effort all that memorable.