"The overall sound of THIRD ROUND is gorgeous. The instruments, especially the drum kit, are recorded robustly, with a slight echo to everything."© TiVo

In the wake of their 2003 debut album, Portland's Exploding Hearts, a punky quartet of early twentysomethings, lost control of their van on the way home from a gig in San Francisco and three members were killed. So endeth the Hearts. Given that tragedy, the band's one recording was immedicately deemed a punk pop essential. Filled with ten songs that totaled 28 minutes, this blast of youthful exuberance was short but very sweet. Or was that the loss and sympathy talking? Ripe for reappraisal, it's fascinating to finally hear the album again, 20 years divorced from the tragedy. Predictably, at least for fans, Guitar Romantic still bursts with promise. Remastered for a fresher sound, the exuberant early Clash-like sing-along "I'm a Pretender," the hooky power pop of "Sleeping Aides and Razorblades," and the sturdy melodic lift of "Throwaway Style"—which sounds unmistakably like a Strokes outtake—all still retain their raucous originality and sassy charm. Best of all is the delightfully snotty "Boulevard Trash" which, set to a glammy strut, shows the Exploding Hearts, too, could salute the New York Dolls. The messages here never get much beyond the perils of love and so the lyrics are appropriately raw. After mentioning that an ex-girlfriend thinks he'd have a "lobotomy" if she had her way, the protagonist of "Sleeping Aides" is even sure their once-shared pet has also moved on: "I got new girls and I'm runnin' around/ The house doesn't look the same/ I hung new posters on my wall and the dog don't remember your name." These final songs on record from vocalist/guitar Adam Cox, drummer Jeremy Gage, guitarist Terry Six, bassist Matt Fitzgerald and keyboardist King Louie Bankston (who left the band before the crash but died in 2022) have also been improved.  Bits of pre-and-post-take chatter from the original reel-to-reel and DAT tapes have been added to the tracks for atmosphere. An alternate mix of "I'm A Pretender," a new mix of  "So Bored," and a remastered version of the non-album track, "Busy Signals," which was self-released as a single, are all included as bonus tracks. Guitar Romantic has aged well, passing the crucial test of any album proclaimed an instant classic upon release. © Robert Baird/Qobuz

"The overall sound of THIRD ROUND is gorgeous. The instruments, especially the drum kit, are recorded robustly, with a slight echo to everything."© TiVo

Herbie Nichols occupies a special place on the podium of unfairly forgotten heroes in the history of jazz. This virtuoso, who died of leukaemia at the age of 44, was an innovative pianist with lyrical and rhythmic melodies that were very original for their time. Fascinated by Thelonious Monk, he found his own sound by mixing influences as disparate as Dixieland, Caribbean and classical music by the likes of Bartók or Satie. His transition to Blue Note led to three trio albums: The Prophetic Herbie Nichols Vol. 1 and Vol. 2 (recorded in May 1955 with Al McKibbon on double bass and Art Blakey on drums) and Herbie Nichols Trio (recorded in August 1955 and April 1956 with Teddy Kotick and Al McKibbon on double bass and Max Roach on drums). This box set brings all these recordings together with the added bonus of alternative takes. His improvisations, complex rhythmic patterns, and personal compositions make this Blue Note box set a brilliant gateway into the world of a truly “different” jazzman. In 1957, Herbie Nichols recorded his last record for Bethlehem Records - the equally important Love, Gloom, Cash, Love with George Duvivier on double bass and Dannie Richmond on drums - before falling into oblivion and being eaten away by the illness that took over his life in April 1963... Years later, avant-garde musicians like Misha Mengelberg, Roswell Rudd and Steve Lacy helped bring his music back into the public eye. © Marc Zisman/Qobuz

Tenor saxophonist Hank Mobley recorded frequently for Blue Note in the 1960s (six albums from 1967-1970) and, although overshadowed by the flashier and more avant-garde players, Mobley's output was consistently rewarding. For this overlooked session, which was not issued until 1980 and then finally reissued on CD in 1988, a regular contingent of top Blue Note artists (Mobley, trumpeter Lee Morgan, altoist James Spaulding, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins) are joined by a wild card, guitarist Sonny Greenwich. The music is mostly in the hard bop vein, with hints of modality and the gospel-ish piece "Give Me That Feelin'," but Greenwich's three solos are a bonus and the performances of five Mobley originals and one by Morgan are up to the usual caliber of Blue Note's releases. Pity that this one has been lost in the shuffle. © Scott Yanow /TiVo

Of all the second-wave post-grunge bands from 1997, Third Eye Blind cultivated the most dedicated fan base. Sure, Matchbox 20 sold more records, but for TEB devotees, the San Franciscan band carried the torch originally lit by such breakthrough alt-rock acts as U2 and INXS -- big, glossy bands that unabashedly celebrated both hooks and rock classicism. Under the direction of Stephan Jenkins, Third Eye Blind celebrated these same virtues, but since they arrived at a time when there were a lot of glossy, even slick, bands marketed as alternative rock, it's easy to see why many observers believed TEB were no different than the legions of post-grunge rockers who dominated the charts that year. By the 1999 release of Blue, the group's second album, many of their peers from 1997 had faded away. Jenkins must have been aware of the fleeting nature of fandom in the '90s, since he pushes his band hard throughout the album. It's as if he's trying to shake the ghost of "Semi-Charmed Life," the ingratiatingly hummable hit that gave TEB success but pegged them, in many observers' eyes, as a bubblegum one-hit wonder. Blue is certainly somber and serious, even with its moments of levity. Almost too much so. TEB sound a little strained when they earnestly try to rock, and the same problem occasionally plagues their slower songs, though they do sound more self-confident there. This problem surfaces because they sound natural when they're a little loose; at that point, they're not too self-conscious to avoid hooks, which they seem to do quite often on Blue. While this self-consciousness mars Blue, it doesn't ruin it, because it lifts often enough (on "Wounded," "An Ode to Maybe," "Anything," and "Never Let You Go," the album's highlight), and because it announces that they're stronger and more serious than many of their post-grunge peers. It also illustrates what TEB truly excel at -- big, glossy alt-pop in the tradition of U2 and INXS. There's not quite enough of it this time around to make Blue the equal of its predecessor, but it should be enough to please devoted fans.© Stephen Thomas Erlewine /TiVo

Given the White Stripes’ reputation for powerful concerts, it’s a little surprising that they waited until more than a decade into their career to release a live album. However, Under Great White Northern Lights was worth the wait: While nothing can really replace seeing the band live, this set captures most of their riveting on-stage presence. The album was recorded during the Stripes’ 2007 Canadian tour, which was such a special experience for them that they chronicled it with a DVD as well. The band was touring in support of that year’s Icky Thump, and the Scottish and Celtic motifs that are woven throughout that album pop up here, too, from the bagpipes intro to a brisk version of “Little Ghost” that sounds almost like a reel. Like most White Stripes concerts, Under Great White Northern Lights features an evenhanded mix of early songs and newer ones -- Jack and Meg White go way back for incendiary takes on “Let’s Shake Hands” and “When I Hear My Name,” which sound right at home next to the lunging “Icky Thump” and “I’m Slowly Turning into You.” The album opens with four furious rockers that show just how primal the duo is live -- on “Black Math” and a breathless “Blue Orchid” they sound like they can barely keep up with the energy flowing through them -- but many of Under Great White Northern Lights’ brightest moments happen when they slow down. Jack and Meg settle into a groove on “300 M.P.H. Torrential Outpour Blues” that makes the song fresher than it was on Icky Thump, while a particularly stunning version of “The Union Forever,” with extra-desperate vocals from Jack surrounded by a swelling, horror-movie organ, just might be the album’s standout. The Stripes also include plenty of favorites, including “Jolene,” a bluesy “Fell in Love with a Girl,” a singalong “I Just Don’t Know What to Do With Myself,” and a bruising “Seven Nation Army” as the finale, all of which capture the kind of show the band puts on for its fans. Since a big part of the Stripes’ live show also rests on their visuals, the Under Great White Northern Lights DVD gives the complete experience, but this album is satisfying enough to make it a must for most fans.© Heather Phares /TiVo

For the debut album of Cypress Hill DJ and House of Pain producer DJ Muggs, an excellent cast of MCs were assembled, including most of the best in hip-hop. It's hard to expect anything but uniform excellence from an album which includes Dr. Dre, Wu-Tang Clan's RZA and GZA/Genius, KRS-One, Mobb Deep, the Fugees' Wyclef Jean, Cypress Hill and MC Eiht, and though the diversity might appear a bit daunting, Muggs' mostly uniform production style ties the album together well. Most collaboration albums end up being spoiled by the number of cooks, but Muggs Presents the Soul Assassins, Chapter I is that rare exception. Among the many highlights are "Puppet Master" by Dr. Dre & B Real, "Third World" by RZA/GZA and "Move Ahead" by KRS-One.© John Bush /TiVo

From 1982-1983, pianist Michel Petrucciani was a member of the Charles Lloyd Quartet. Lloyd, coaxed out of retirement by Petrucciani, sounded virtually unchanged from his earlier days; the passion and enthusiasm were still there. The leader is heard on tenor, flute, and the exotic Chinese oboe on seven of his originals, including two ("Of Course, Of Course" and "Sweet Georgia Bright") that were released for the first time on this CD reissue. Bassist Palle Danielsson and drummer Woody Theus are excellent in support, and the remarkable singer Bobby McFerrin scats quite creatively on "Of Course, Of Course" and "Third Floor Richard." Recommended.© Scott Yanow /TiVo

Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note's stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter's "Venus Di Mildew." Recommended. © Scott Yanow /TiVo

She may be a part of the noisy Sub Pop stable, but Lael Neale feels more intimate and dreamlike. In short, light years away from the original ambiance of the Seattle label... on her website, this crystal-clear-voiced goldsmith describes her passion for the old books of John Steinbeck, Ralph Waldo Emerson and the poems of Mary Oliver. Originally from Virginia, she went into exile, between 2009 and 2019, in Los Angeles, looking for a musical Eden for her rather folksy songs. “I felt the songs had been stripped of their vitality in the process of layering drums, bass, guitar, violin, and organ over them. They felt weighed down”. In 2015, she still managed to bring out the folk release I'll Be Your Man... When the pandemic broke out, LA was transformed, and a return to the family farm in the rural valley of Shenandoah became necessary. In Lael Neale's suitcase, an Omnichord borrowed from a friend. A rather weird instrument that offers an electronic counterpart to the autoharp and which provides her singing voice with an ideal accomplice. Above all, it's a toy that inspires her and has seen her write and compose like never before. On Every Star Shivers in the Dark, Lael Neale takes in tunes from the Australian Julia Jacklin. Elsewhere, we think of a rural Lana Del Rey who might make a low-fi Stereolab... Acquainted With Night is full of strangeness of that kind. The young woman's poetry is frankly unique, juggling with everyday life, a certain sense of dark humour sometimes, romanticism too, and an endearing melancholy. She has stolen a few gothic values from Steinbeck, which she has worked into miniatures. All this is fascinating and her city/country dilemma smoulders (she sings of this turmoil on Every Star Shivers in the Dark), as she sets it to music most tastefully. A real revelation. © Marc Zisman/Qobuz

African Magic is a sweeping 24-part suite recorded live at the 11th and final Jazz Across the Border Festival in Germany in 2001 by the Abdullah Ibrahim Trio. Ibrahim's trio features acoustic bassist Belden Bullock and drummer Sipho Kunene distilling the melodic sounds of South Africa into a personal improvisation of jazz, religious, and traditional world music coupled with European classical and chamber music influences. Recurring cubistic style fragments of Ibrahim's multi-themed tone poem "Blue Bolero" are sequenced throughout this enchanting program and encourage listeners to participate in the invigorating rhythms that are abstract yet romantic. African Magic, which was inspired by nature, Duke Ellington, and Africa's Diaspora, also features "Duke 88," a 16-second sampling of "Solitude," and "In a Sentimental Mood" in recognition of Ellington's outstanding talent as a songwriter whose jazz standards have left enough room for reinterpretation by artists from around the world. Ibrahim's six-minute tribute to John Coltrane also epitomizes the depth of Ibrahim's talents as a composer and attests to his cubistic style of deconstructing and reconstructing, which he has also lent to such film scores as those for Chocolat and No Fear No Die. Overall, African Magic cannot be compared to any of Ibrahim's previous concerts. However, it deftly captures the emotion, exploration, and exciting impulses generated from the stage that evening. A must-have for any serious jazz collection.© Paula Edelstein /TiVo