Rush Hour 3

After Neil Young left the California folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic…

A look behind the scenes of the London underground as it undergoes the biggest overhaul in its history, focusing on key members of staff and some of the problems they face. The series follows key members of the London Underground's 19,000-strong staff, from CEO Howard Collins through to the litter pickers who clear miles of track every night.Drivers, station staff and emergency response workers reveal their unique perspective on the travelling public. Capturing the tube in all its guises, from tourist transport to suburban commute, or the last train home for partygoers, this series also looks behind the scenes of the tube's ten billion pound upgrade - and how the process of dragging a Victorian infrastructure kicking and screaming into the 21st century doesn't always run on rails.

After years of producing albums which were more pop/funk than jazz oriented, George Duke simmers down, leaves off the R&B vocals, and takes a little creative license on the self-proclaimed "mood record" After Hours. While his recent Muir Woods Suite showed off his affinity for classical music, here he's at his best on the meditative Vince Guaraldi-type trio ballads "Together as One" and "Sweet Dreams," which glide along on the improvisational and gently swinging graces of Christian McBride and Leon "Ndugu" Chancler. A whole project in this vein would have been welcome, but Duke charters other new territory, too; on the easy grooving "The Touch" and the almost new agey "From Dusk Till Dawn," he borrows the actual Rhodes from Joe Sample but winds up perfectly simulating Bob James' "Taxi" vibe, especially on the exploratory solo on the latter tune. The untrained ear might swear it's an actual James recording, but Duke's a clever enough producer to go beyond strict imitation. "The Touch" achieves an intriguing low-toned brew, as Sheridon Stokes' bass flute melody drifts gently over a hypnotic weave of Larry Kimpel's bass and Duke's Rhodes.

The Slow Rush was recorded between Los Angeles and Parker’s studio in his hometown of Fremantle, Australia. The twelve tracks were recorded, produced and mixed by Parker. The Slow Rush is Parker’s deep dive into the oceans of time, conjuring the feeling of a lifetime in a lightning bolt, of major milestones whizzing by while you’re looking at your phone, it’s a paean to creation and destruction and the unending cycle of life. The album cover was created in collaboration with photographer Neil Krug and features a symbol of humanity all but swallowed whole by the surrounding environment, as though in the blink of an eye.