my Goodness Yes

Created in 1992 in Antwerp, Belguim, the group of four consisted of two brothers, Buni Lenski (violin) and Simon Lenski (cello) and Han Stubbe (clarinet) and Roel van Camp (accordion). They garnered much attention and enthusiasm around them in their many live shows and even grabbed the attention of dEUS and even played on a track in their second album, Suds & Soda. Their name (Die Anarchistische Abendunterhaltung) comes from the novel "Der Steppenwolf" by Herman Hesse. Having come out of the conservatory, they went on to create their music: their music is almost entirely instrumental (depending on the album), classical instruments are their "weapons" of choice and thus their music could be described as neo-classical, with eastern folk influences, some klezmer touches, jazz and with each album they venture with different experiments…

Tenor saxophonist Houston Person was still a relatively new name at the time he recorded this set, his sixth session for Prestige. The funky music (which includes the hit title song) emphasizes boogaloos, danceable rhythms and repetitious vamps set down by the rhythm section (organist Sonny Phillips, guitarist Billy Butler, electric bassist Bob Bushnell, drummer Frankie Jones and Buddy Caldwell on congas), but it is primarily Person's passionate tenor solos that will come the closest to holding on to the attention of jazz listeners. The music is generally quite commercial and is certainly not recommended to bebop purists, although it has some strong moments. But overall these performances succeed more as background music than as creative jazz.

Spooning out the Sea is the peculiar title of the sophomore effort by Orphan Project, a US based Christian progressive rock outfit. For those intimidated by the thought of music with Christian lyrical contents, in this case they aren't too bad. You will encounter a few instances of God and Jesus in here, but you won't find any instances of "Repent you sinners" or messages of a similar nature. These guys take pride in their faith though, but in a more subtle manner than most artists flying the religious flag. Musically we're treated to an album residing somewhere in between progressive hard rock and progressive metal. Heavy guitar riffs dominate manners, but often played in a too slow fashion and somewhat too subdued to truly be called metal, yet slightly heavier and more intense than what's usually described as hard rock.