The brief heyday of the Anhaltinische Hof in Zerbst (Saxony-Anhalt) coincided with the work of its court Kapellmeister Johann Friedrich Fasch. The benevolent and prudent Prince Johann August von Anhalt-Zerbst (1677-1742) expanded his court orchestra and engaged outstanding musicians for this purpose.

As glam rock debut albums go, you'll have to search a long way to find one that outclasses Suzi Quatro's opening shot. Though her fame and, of course, her hit singles thus far were based around songwriters Nicky Chinn and Mike Chapman's guileless ability to crank out the classics, away from the glare of TV and radio play the pair allowed Quatro and partner Len Tuckey full rein. The result was an album of several very distinct parts, inextricably linked by the sheer power of the Quatro personality. The heart of Suzi Quatro lies in the band's choice of covers.

In BIS' Chinoiserie, pianist Jenny Lin brings one of the most compelling and relevant themed recitals to be heard on disc in years, a collection of pieces by Western composers that attempts to explore the subject of China in some regard, not only musically but culturally.

One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz.

Although they're best known as the Ocean, this Berlin, Germany, outfit's original name is perhaps more fitting - the Ocean Collective - as they are a hefty eight members strong. And on the group's 2007 release, Precambrian, the Ocean continue to specialize in a hard-hitting approach that touches upon such similar styles as extreme metal and doom metal. But unlike the majority of groups that fall under either of these two categories, the Ocean are not a one-dimensional band. No siree, as such styles as prog ("Neoarchean") and even Middle Eastern-esque soundscapes ("Siderian") are used to create some much needed shelter - albeit momentary - from all the fury. However, don't be fooled into thinking that Precambrian is all about surprise detours - ditties such as the album-opening "Hadean" and "Paleoachean" are instant headbanging highlights…

Many highlights of Scofield's work from his late 1980s-early 1990s tenure on Blue Note are included in this collection, which features cameos from Pat Metheny, Joe Lovano, Randy Brecker, and Bill Frisell among many other all stars. Also included is material from Hand Jive, Scofield's collaboration with Eddie Harris, and an unreleased take on Wayne Shorter's "Tom Thumb".

Sixty Six to Timbuktu has to be the icing on the cake for Robert Plant. After Led Zeppelin issued its second live album as well as a spectacular DVD in 2003, his career retrospective outside of the band is the new archetype for how they should be compiled. Containing two discs and 35 cuts, the set is divided with distinction. Disc one contains 16 tracks that cover Plant's post-Zep recording career via cuts from his eight solo albums. Along with the obvious weight of his former band's presence on cuts like "Tall Cool One," "Promised Land," and "Tie Dye on the Highway," there is also the flowering of the influence that Moroccan music in particular and Eastern music in general would have on him in readings of Tim Hardin's "If I Were a Carpenter," Jesse Colin Young's "Darkness, Darkness," and his own "29 Palms." There is also a healthy interest in technology being opened up on cuts from Pictures at Eleven and Now & Zen…

On 2003's Long Time Coming, Jonny Lang made the first turn from his rap as an itinerant blues-rocker to being a spiritually inspired rock and pop songwriter. Producer Marti Frederiksen took Lang's tunes and glossed them to the breaking point, leaving the album an unfocused gobbledygook set of songs that had no center. Three years later, Lang returns with Turn Around. And the title does not refer to him turning back to his blues guitar slinger roots. Instead, the title refers to the biblical term that is the definition of the word "repent." (No mistake.) Lang's overt spirituality comes ringing through the mix created by Drew Ramsey Lang and Shannon Sanders. Turn Around is funkier, dressed in contemporary gospel, gritty rock and yes, the blues. Lang's still got a way to go as a songwriter, but the material here is infinitely better than it was on his last outing.

At a time when he was a member of the legendary Clifford Brown/Max Roach sextet, Sonny Rollins was still the apple fallen not too far from the tree of Miles Davis. Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz. With the team of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, staples of that era's Miles Davis combos, Rollins has all the rhythmic ammunition to cut loose, be free, and extrapolate on themes as only he could, and still can…

Third album following the cosmic masterpiece "Forever blowing bubbles", "Les contes du singe fou" released two years later in 1977, shows a new direction in Clearlight's music. The music is now dominated by piano and violin. It results in a more classical feel and a symphonic jazzrock orientation to the music. Another new element is the omnipresent English vocals by Ian Bellamy: a half success, giving a more conventional style to Clearlight's music. A light cosmic touch is still present thanks to Tim Blake galactic synthe work and some instrumental moments remain quite good, despite the drum weakness.

It is not the easiest task to combine compassion and creepiness into one musical piece, but Danny Elfman has demonstrated, quite elegantly, just how to do it. Edward Scissorhands is quite considerably his masterpiece, instantly recognizable and hauntingly memorable. The concept of a man-made creation, a recluse who has been left with scissors for hands because his inventor died just before attaching natural ones, is certainly strange and possibly laughable. The film may indeed have played as pure farce if not for Elfman's artistry. While many films use soundtrack as the "glue" of the story, or as border, Elfman saturates every bit of Scissorhands so that it is as much his art as it is the director's (Tim Burton)…