Boogie-woogie pianist Meade Lux Lewis' next-to-last record was his first recording in five years and his final opportunity to stretch out unaccompanied.

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"Fabulous stuff! I just can't understand why this album isn't more popular, or why Harry hasn't put out another trio album like this. He's got a unique piano style, although borrowed from Monk and a few others, that is young and exciting on this album. It is borderline awkward and clumsy that also seems like sheer genius. The drumming is unbelievable. You get the feeling they had a lot of fun in the studio making this album as all three members bring "kick" to each song in a laid-back style. This sits on the CD shelf right next to Dave Brubeck's Time Out." C. J. Zimmel at Amazon.com

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"Black Codes is pure modern jazz energy at its most urban, refined, freshest, sophisticated and complex; it IS a seminal album because it provides the natural evolution and continuation of a hard bop movement that seemed to be floundering a bit in the late 70's, always seeming to have to fight the mediocre commercialism and superficialness that was plauging not only the music scene, but American culture then, and still today. Dark, moody, hip, furious, dissonant, deep---very deep, ahhh, there simply aint' enough adjectives. But if words are meaningless, then how about one sustained goose bump of pure reverie and jazz joy when digging this album? What is especially astounding are the virtuoso performances of an absolutely sick, monstrous rhythm section, and the horn and saxophone blowing which is a reflection of the best of improvisational recording during the last fifty years. I agree with the reviewer: don't walk, run and get it. It belongs next to Miles, Clifford, Coltrane and Bird, but put this one last (or latest) in the line-up." C. Falcone at Amazon.com

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"This outstanding mixture of some of Brazil's best performers was cleverely mixed with one track blending beutifully with another. I hghly recommend this CD for all who love the Brazlian sound. For anyone who is new to Brazlian music, this CD is where to begin as you hear from Brazil's best. Some of these songs brought back memories of days gone by and I still long for the beaches of Rio. I also highly recomend this CD for a romantic night at home. I have no complaints about this CD nor recomendations that could make it better." Clifford S. Gadye

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"Jon Hendricks is one of a handful of cherished figures in jazz whose musicianship is abetted by their natural properties as catalysts. When Hendricks is around, things happen, as they do with Benny Carter, Gerry Mulligan, Branford and Wynton Marsalis, Shorty Rogers, and John Lewis, and as they did with Dizzy Gillespie and Charles Mingus. He is an organizer, a fire-starter, an all-out participant with unflagging commitment to the moment." Doug Ramsey - Author, Jazz Matters: Reflections on the Music and Some of Its Makers

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Escape was a groundbreaking album for San Francisco's Journey, charting three singles inside Billboard's Top Ten, with "Don't Stop Believing" reaching number nine, "Who's Crying Now" number four, and "Open Arms" peaking at number two and holding there for six weeks.

Billed as six unrelated "sound scenarios", In Sides neatly illustrates why Orbital remain light years ahead of the competition. At times, it startles with its raw simplicity, while at others it impresses with its sheer complexity. But in the end, what it comes down to is that only Orbital could mix'n'match the simple and the complex and turn out something this good. It's a long record, but it has to be. Its 70 minutes are comprised of only six recordings, yet each changes its clothes at least twice before the end. This is music so vast that their record company had to invent a new vinyl format to contain it- neither a triple album nor a trio of 12-inchers, but something in between. Each piece gets a side to itself, hence the name.

Corey Harris' second outing for Alligator shows that he's no one-album flash in the pan, with this sophomore effort moving his modern-day acoustic Delta blues vision into even broader territory with delightful results.

An audiophile reissue of an Original Jazz Classics CD also currently available, this live set is notable for teaming guitarist Wes Montgomery and the Wynton Kelly Trio (comprised of pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb) with the fiery tenor of Johnny Griffin.