How different the career and music of Bruce Springsteen could have turned out had it not been for his legally enforced recording hiatus, witnessed between the release of his celebrated Born To Run album and the delayed but extraordinary follow-up, Darkness On The Edge Of Town - almost three years later. Despite the undeniable strength of his 75 opus, during this break from the studio, many wondered if the future of rock n roll was a one trick pony who had somehow managed to capture the imagination of the media for a brief moment, but in reality was just yet another new Bob Dylan who got lucky. Opinion changed dramatically when Darkness hit the stores in Spring 1978, with the record impressing all quarters of the music community, even scooping album of the year in the then mighty-hip N.M.E, beating selections that year by the fashionable likes of The Jam, Siouxsie & The Banshees and Talking Heads to the top spot. The record was also launch pad for an extraordinary era in Springsteen s career, as first base for a triumvirate of albums he followed it with the quite remarkable The River and the downbeat but iconic Nebraska all prior to his first taste of the real big-time which saw a very different songwriter to that which had composed his first six records, emerge. This film examines the period between the start of the lull and the threat of the storm, when Bruce Springsteen recorded and released, arguably, the finest music he was ever going to make. Featuring rare and classic performance footage, archive interviews with the Boss himself, contributions from those who know the man best and who were around him during the 1975-1985 period, plus seldom seen photographs, news reports, newly discovered film material and some of the finest music ever made! Extras include Extended Interviews, Digital Biographies and more.

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In June of 1990, drummer Jack Dejohnette, pianist Herbie Hancock, bassist Dave Holland, and guitarist Pat Metheny, went on tour together to promote Dejohnette's album, Parallel Realities. The two of these shows, which were performed at the Mellon Jazz Festival, were edited to make the very exciting DVD, Dejohnette, Hancock, Holland, Metheny in Concert. Watching the disc, I became very envious of the audience for being able to see four musicians of this caliber play together on one stage. In fact, watching the tremendous amount of skill and creative energy exhibited by the musicians in this DVD is a good reminder of why jazz is such an important school of music. Although the concert does at times stray into musical styles that are not so tasteful, namely smooth jazz, the distinctions seem less important when the music is actually being performed live by these four men.
This wide range of styles is seen in just the first few tunes, if not the first song. The show opens with only Dejohnette on stage performing a very expressive percussion solo. Holland then joins him at which point the two lay into a very dissonant and funky groove. After just a few bars of this, a very excited Herbie Hancock runs out to the stage and attacks his piano only to make the tune all the more dissonant. Finally, a very playful looking Pat Metheny joins his colleges to play the head of the first tune, "Shadow Dance," by Dave Holland. The head speeds up to take on more of a straight-ahead rhythm, but becomes funky again for Metheny's solo, which he plays with his trade-mark guitar synthesizer, while Hancock comps with his own keyboard synthesizer. Hancock takes his solo on the acoustic piano as the piece jumps back into the straight-ahead feel. This first composition is characteristic of the entire video in that Metheny and Hancock take the lead. However, the musical styles change with the next tune. This tune, "Indigo Dreamscape," is a Dejohnette original from the Parallel Realities" album. For this piece, Hancock switches to play only synthesizers and Holland trades his upright bass for an electric one. They come together with these new tambres to play smooth jazz, which varies stylistically from the very hard edged fusion sound of the first tune. Although I tend to believe that, for the most part, smooth jazz is just a more easily marketable genre of real jazz, I also think that it can be done well if the musicians really put their soul into their work, as is true with all genres. This is achieved by the quartet in "Indigo Dreamscape.". However, on the following tune, "9 Over Reggae", not even the combined brilliance of these four individuals could save the composition from the excessively "cheesy" sound of synthesizers and pop rhythms. Fortunately, this is the only such tune on the DVD.
The rest on the Concert continues to be very eclectic. The quartet covers "Solar," a Miles Davis original which is played essentially as a hard-bop tune with all four taking very long, thoughtful, and exciting solos. Then they slow down considerably to play "Silver Hollow," another Dejohnette original, mostly featuring Metheny on the nylon string guitar. Another Dejohnette composition follows which is appropriately titled "Blue" because of its very bluesy feel, although it is not in a twelve bar format. The video continues to vary in style, thanks in no small part to the unique compositions of all four featured musicians. Basically, what it all comes down to in the end is the fact that all four of the musicians are, very appropriately, jazz legends. All have contributed significantly to modern jazz and all are at the top of their game. The only aspect of this video I would like to see changed is the instrumentation. It is my opinion that Herbie Hancock's talents are wasted on the synthesizer sounds that he chooses. However, while some of the styles played are somewhat dated and commercial, the skill and heart-felt intentions of the musicians comes through brilliantly. The manner in which the DVD was filmed allows this to happen. The camera work is totally free of gimmicks such as excessive pans and video effects which tend to ruin many concert videos. The video simply shows the musicians playing, focusing mostly on the individual who is soloing.

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Martin Taylor's latest DVD is a joyful collaboration with his long time friends and esteemed colleagues Mercury Prize nominee Guy Barker (trumpet) and David Newton (piano). Filmed on the Isle of Man and including bonus tracks and interviews this will be the first jazz group Martin has put together since the highly successful "Spirit of Django" and the only DVD of Martin Taylor with a group on the market. In addition to this on February 1st, 2nd, 3rd Martin will debut the new line-up at Ronnie Scott's Jazz Club in London. The Freternity DVD also introduces fast rising British jazz vocalist Alison Burn
Since the death of Joe Pass in 1994, Martin Taylor has become one of the most highly regarded guitarists in jazz. He was given his first guitar by his father, Buck Taylor. Although he was inspired at first by Django Reinhardt, it was piano players like Art Tatum that drew his attention and helped him practice to develop his phenomenal solo technique. In the late '70s, Stéphane Grappelli invited him to play in a series of concerts in France. The violinist was so impressed that he used Taylor often on tours and a variety of recording dates. Beginning in 1990, Taylor began recording a number of acclaimed CDs for the U.K. label Linn, and also did an excellent duet date with David Grisman for the mandolin player's Acoustic Disc label. 1991's Change of Heart, the following year's Artistry, and 1995's Portraits, are all representative of Taylor's strongest material from this prolific period.
In 2000, he released his debut on an American label, Columbia, entitled Kiss and Tell, while Stepping Stones on Linn followed that same fall. Next, in June 2002, Taylor was awarded an MBE for his services to jazz. Later that year, his first recording for the Sony imprint P3 Records, Solo, was voted Best Album by the International Guitar Foundation. The rest of the decade saw Taylor issue a number of key additions to his canon: the fan-instigated, 2003 collaboration with Steve Howe entitled Masterpiece Guitars, the 2005 electric guitar-fueled Gypsy Journey, and the acclaimed 2008 album Double Standards. While Double Standards saw Taylor successfully deliver an album of guitar duets by overdubbing one guitar part onto another, his next run of albums were much more collaborative affairs. Two 2012 albums One for the Road and First Time Together! in turn saw him work with the English clarinetist Alan Barnes, and the U.S. guitarist Frank Vignola. 2013 brought a further meeting of technically gifted players when Taylor received equal billing on The Colonel & The Governor, an album of duets with the similarly revered guitarist Tommy Emmanuel.

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Patricia Kaas is proud of her stance as a unique chanteuse, and her individuality is clearly highlighted on this CD, recorded in Paris and London with an impressive selection of first-rate musicians. She demonstrates her musicality in unusually vigorous and varied interpretations. Not afraid to challenge her audiences, Kaas dares to mix genres as different as a piano quartet and a bal musette accordion on the same disc. She can, on "JoJo," sound like the reincarnation of Edith Piaf, but she also succeeds in putting her own personal stamp on such Piaf classics as "La Vie en Rose." On this disc, she essays two songs in English, but her distinctive charm is revealed more clearly in her breathless rendition of "Reste Sur Moi." --Ed Killham

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2009 CD/DVD live release from the veteran Synth Pop band fronted by Terri Nunn includes a bonus DVD. Berlin's Electro-Pop sound features the enduring and assertive voice of Nunn, which is why All The Way In is the most preferable place to hear this Los Angeles-based group's music. Berlin made its first national impression with the provocative single 'Sex (I'm A...)' from the gold-selling debut EP Pleasure Victim in 1982. The Synth-soaked punch of 'No More Words' from 1984's Love Life album and the number one ballad 'Take My Breath Away' from the film Top Gun are the album's high points. Berlin's '80s poignancy provided some rather palatable music, even if the charts didn't say so. Songs like 'Dancing In Berlin' and 'Scream' could compete with anything Depeche Mode or Duran spouted at the time, and the range of Nunn's vocals elevated most of Berlin's efforts above the norm of the run-of-the-mill synthesizer glitz. All The Way In captures Berlin at their best in front of a hometown Los Angeles crowd.

At times, it was hard to figure out whether Berlin were an average synth pop band trying to carve out their own niche or just a mediocre rock band jumping on the new wave bandwagon. Sure, they had some good singles and radio hits, but as an album band, they left a lot to be desired. Terri Nunn was beautiful and sexy, but it seemed like Berlin wanted to be more than just a commercial band with a hot vocalist: they seemed to be striving for greatness but settled for "that'll do." Unfortunately, they never had a chance to really prove themselves, breaking up after their commercially disappointing Count Three & Pray album, released in 1986. Nunn has kept the Berlin name alive over the years, touring with a different group of musicians and playing all the hits while releasing the occasional studio or live album. With a recorded output that seems to dwindle in quality with every release, one might hope that All the Way In would deviate from the standard "live hits" collection and offer up something really special. Sadly, that's not entirely the case. All the Way In was recorded live at The House of Blues in Anaheim, CA. The HOB is located very near the heart of the OC music scene, where Berlin started more than two decades ago. This homecoming show promised much but delivered very little.

Backed by three musicians who look like Nine Inch Nails refugees, Nunn is still as beautiful and sexy as ever, and her voice sounds great, but there doesn't seem to be much heart and soul, at least on the CD. Nunn pulls out all the live rock clichés she can muster while performing the big hits, dulling their overall impact. She then throws in covers of "Somebody to Love" (Jefferson Airplane) and "Ordinary World" (Duran Duran) where lesser-known Berlin tunes would have been more appropriate for the diehards. The CD is not a total disaster, but is hardly necessary unless you are a hardcore fan. The DVD is far more interesting and entertaining than the CD, especially Nunn's shoulder-riding journey through the audience during "Take My Breath Away." Visually, she seems to be having more fun than the CD lets on. Nunn looks like she enjoys the adulation but is a bit bored by performing songs like "No More Words" and "The Metro" for quite possibly the millionth time. At times, Nunn and the band do kick things up a bit, but it's hard to get past the notion that the three guys in the band are just hired hands and exist as Berlin in name only. There are tracks on the CD that are not included on the DVD (and vice versa), but even though the DVD has a shorter running time, it's a far more enjoyable experience. So, get this for the DVD and do what you will with the CD.

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Mick Jagger & co perform a lengthy set on the second night of the Glastonbury festival, 2013, the Pyramid stage.

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The DVD, includes acoustic renditions of some of the most beautiful tracks from the past 30 years. This stunning collection of all time songs are fused with visuals ideal for those lazy days or a perfect background to your evening's entertainment.

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