The "Second Quintet" -- the Miles Davis Quintet of the mid-1960s -- was one of the most innovative and influential groups in the history of the genre. Each of the musicians who performed with Davis--saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams--went on to a successful career as a top player. The studio recordings released by this group made profound contributions to improvisational strategies, jazz composition, and mediation between mainstream and avant-garde jazz, yet most critical attention has focused instead on live performances or the socio-cultural context of the work. Keith Waters' The Studio Recordings of the Miles Davis Quintet, 1965-68 concentrates instead on the music itself, as written, performed, and recorded. Treating six different studio recordings in depth--ESP, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro--Waters has tracked down a host of references to and explications of Davis' work. His analysis takes into account contemporary reviews of the recordings, interviews with the five musicians, and relevant larger-scale cultural studies of the era, as well as two previously unexplored sources: the studio outtakes and Wayne Shorter's Library of Congress composition deposits. Only recently made available, the outtakes throw the master takes into relief, revealing how the musicians and producer organized and edited the material to craft a unified artistic statement for each of these albums. The author's research into the Shorter archives proves to be of even broader significance and interest, as Waters is able now to demonstrate the composer's original conception of a given piece. Waters also points out errors in the notated versions of the canonical songs as they often appear in the main sources available to musicians and scholars. An indispensible resource, The Miles Davis Quintet Studio Recordings: 1965-1968 is suited for the jazz scholar as well as for jazz musicians and aficionados of all levels.

"A selection of unabridged works from 'Serie IV. F'ur Streichinstrumente' and 'Serie V. F'ur Pianoforte und andere Instrumente' of the Collected Works Edition (Robert Schumann's Werke. Herausgegeben von Clara Schumann), originally published by Breitkopf & H'artel"--T.p. verso.

Organ and piano duet teams will appreciate Billie Nastelin's skillful arrangement of the beautiful "How Lovely Is Thy Dwelling Place" from the Brahms Requiem. Each player has opportunities with both melody and accompaniment, and congregations and audiences will request this over and over. Two copies of the music are included. Also arranged for organ/piano duet by Nastelin: "And the Glory of the Lord," from Messiah (GOPD9901),

This volume is an analytical study of 18 works by Brahms, making skillful use of Schoenberg's provocative concept of developing variation. It traces a genuine evolution through Brahm's compositions, considering their relationship to each other.

Sonichu #0 is the first issue of Christian Weston Chandler's magnum opus. At this initial stage, the comic was almost entirely about Sonichu and Rosechu, although bits of Chris's life still managed to find their way in.The "hand-drawn premiere issue" is a special zero issue. In the comics industry, zero issues are used as either a sales-enhancing gimmick (Image Comics is a notable user of this) or a special preview of work that will not truly begin until issue #1. Given that it previews nothing, which one Chris was going for is probably the former, though given that it's not legally able to be sold, it fails even that.The comic consists of Sonichu's first three adventures. In "Sonichu's Origin", the core cast of the series is introduced as Sonichu and Rosechu are created. Then, in "Genesis of the Lovehogs", the two protagonists meet and immediately fall in love. Finally, in "Sonichu vs. Naitsirhc", our yellow hero does battle with his first real villain, who but foreshadows the challenges awaiting the hedgehogs in the following issue. Bonus material in Sonichu #0 includes various advertisements for imaginary Sonichu products, "classic" Sonichu comic strips drawn outside of the narrative of the main comic book, and the first "Sub-Episode".

Superb one-volume edition of two influential compositions noted for individuality, unique interpretations, delicate and subtle beauty. This clearly printed volume is sturdily bound for long life on the music stand.