y Destiny

The box set 83:13, represents an innovative and bold new commitment of White and Black, as it is not common in the sector risk publish a work of this size, with 15 CDs in one box. But the label has chosen to make an effort: this album 83:13 wants to be a tribute and reminder of the past 30 years creating, editing, distributing dance music in Spain and in the world and has a comprehensive collection of topics that monitors progress dance music published by the company.

The box set 83:13, represents an innovative and bold new commitment of White and Black, as it is not common in the sector risk publish a work of this size, with 15 CDs in one box. But the label has chosen to make an effort: this album 83:13 wants to be a tribute and reminder of the past 30 years creating, editing, distributing dance music in Spain and in the world and has a comprehensive collection of topics that monitors progress dance music published by the company.

I have to recommend this box set of Brahms Symphonies and other works including his Requiem recorded in the 1990's by Kurt Masur and the New York Philharmonic. Warner Classics released this edition in 2014 and it seems fitting for me to be the first one to review it now as Kurt Masur sadly passed away at the end of 2015. He had been the music director of the New York Philharmonic from 1991 until 2002 and this had been seen as a very successful period for the Orchestra which had been a bit wayward until he took over.

Splinter Group/Destiny Road is a remarkably good value for anyone interested in the comeback of Peter Green. Combining the self-titled debut of the Splinter Group along with Destiny Road, this two-fer offers a good snapshot of the man's return…

While other contemporary jazz reed players grab more headlines and steal more thunder and attention, Nelson Rangell has slowly but surely created his own niche as one the genre's most consistent purveyors of spicy horn energy, virtuosic flute pepper, and technical wizardry, all laced with an ear for hip musical trends. Continuing on a path towards yet another fruitful and ambitious Destiny, he pays even more attention to the urban side of life, kicking up the funk (with the help of co-producer Michael Bearden) on "The Road Ahead," then digging up even grittier mud on "Streetwise." While still owing a little to the Sanborn influence, Rangell reaches into some more inventive textures by recording all three saxes at once and becoming his own horn section.