The Unforgettable

Niels Pedersen became one of the most heralded jazz bassists of his generation, playing with Bud Powell and Sonny Rollins while gaining international acclaim for his many recordings with Oscar Peterson. But the phenomenal bassist, whose sound is readily identifiable with a note or two, especially shined as a leader. This live CD documents a pair of concerts with guitarist Ulf Wakenius (who also worked with Peterson) and drummer Jonas Johansen, the first five tracks from 1999 and the last six from Pedersen's final recorded concert in March 2005, just a few weeks before his sudden death from a heart attack…

Zenzile Miriam Makeba, nicknamed Mama Africa, was a South African singer, songwriter, actress, and civil rights activist. Associated with musical genres including Afropop, jazz, and world music, she was an advocate against apartheid and white-minority government in South Africa.

Zenzile Miriam Makeba, nicknamed Mama Africa, was a South African singer, songwriter, actress, and civil rights activist. Associated with musical genres including Afropop, jazz, and world music, she was an advocate against apartheid and white-minority government in South Africa.

In the spring of 2018, Ketil Bjornstad realized that it was only a scarce year before 50 years had passed since he debuted as a pianist with the Philharmonic in the University's Aula on January 10, 1969. On that day this year, the celebration of what is Bjornstad's year began. 2019 started with a nice new release of "Rainbow Sessions" in a limited 4cd-boxset. "The World I Used To Know" is recorded at one of the world's most famous studios - Abbey Road in London, more specifically in Studio Two where, among others, The Beatles recorded their material. The album is released not only on cd and double-vinyl, but also as a magnificent box consisting of five cd's. The box contains the recordings from Abbey Road, but also three cd's of music from his entire career with various guest vocalists, and one complete new album recorded at Rainbow Studio in Oslo.

A rock & roll open secret: U2 care very much about what other people say about them. Ever since they hit the big time in 1987 with The Joshua Tree, every album is a response to the last – rather, a response to the response, a way to correct the mistakes of the last album: Achtung Baby erased the roots rock experiment Rattle and Hum, All That You Can't Leave Behind straightened out the fumbling Pop, and 2009's No Line on the Horizon is a riposte to the suggestion they played it too safe on 2004's How to Dismantle an Atomic Bomb. After recording two new cuts with Rick Rubin for the '06 compilation U218 and flirting with will.i.am, U2 reunited with Brian Eno and Daniel Lanois (here billed as "Danny" for some reason), who not only produced The Joshua Tree but pointed the group toward aural architecture on The Unforgettable Fire.

Using the textured sonics of The Unforgettable Fire as a basis, U2 expanded those innovations by scaling back the songs to a personal setting and adding a grittier attack for its follow-up, The Joshua Tree. It's a move that returns them to the sweeping, anthemic rock of War, but if War was an exploding political bomb, The Joshua Tree is a journey through its aftermath, trying to find sense and hope in the desperation…