"Digital Madness" is an album by Barnaby Finch, released in 1986. Barnaby Finch, a keyboardist, was, for many years, a touring member of Lee Ritenour’s band. He toured with Lee on and off from 1982 to 2008. Prior stints include Ronnie Laws, Alphonse Mouzon, Boz Scaggs, Lionel Richie, and David Foster. His piano was featured on the Lionel Richie/Diana Ross hit “Endless Love”. From 1982 to 1989 Barnaby toured with George Benson, and from 1987 to 1989 he was conductor and musical director. He has recorded with Lee Ritenour, George Benson, Pat Kelley, Lee Oscar, Kazu Matsui, Marlena Shaw, Ronnie Laws, Pressure, Lionel Richie, Earl Klugh, Anthony Marinelli, Tom Scott, Peter Sprague, Hubert Laws, Patti Austin, and Kenny Rogers, among others.

The listing shows a CD cover with the word "Complete" in the title. The listing also mentions that there are 2 CDs in the package. I ordered a copy from a seller and received a one CD version of the latest Japanese printing (2004). The two CD version does exist and includes versions of "God Bless the Child" and "Hold 'em Joe". The original single CD version includes "Powaii", "St. Thomas", "Alfie" and "Moritat" for around 45 minutes of music.

GRP's generally well-chosen 1991 Collection covers an entire decade of Lee Ritenour releases from Elektra and GRP. As such, those years seem to form a late-'70s plateau descending into a commercial valley by the early part of the '80s and then gradually ascending a slope as Rit's playing grows and deepens in the decade's final years. Some of the high points are the Latin-inflected numbers from Festival ("Latin Lover") and Portrait ("Asa") and two excellent straight-ahead excerpts from Stolen Moments ("24th Street Blues," "Waltz for Carmen"), the latter two with lots of Wes Montgomery-like octave work. And even "Is It You?," Ritenour's pop hit from 1981, comes off as a good, catchy piece of record-making. Recommended for those who only want a sample of Lee Ritenour's voluminous solo output.

1969's Fancy Free marked the beginning of Donald Byrd's move away from hard bop, staking out fusion-flavored territory that – at this juncture – owed more to Miles Davis than the R&B-dominated jazz-funk Byrd would embrace several years down the road. Recorded just a few months after Davis' In a Silent Way, Fancy Free finds Byrd leading a large ensemble prominently featuring Frank Foster on tenor, Lew Tabackin or Jerry Dodgion on flute, and several percussionists. But the most important piece of the puzzle is Duke Pearson's electric piano, the first time Byrd utilized the instrument.

Given the heartbreaking context in which this album was released – this was the final recording by saxophonist Michael Brecker, who died of myelodysplastic syndrome and leukemia only a few months before its release – there might be a certain temptation to cut it some slack for sentimental reasons. However, leniency is hardly needed. Leading a group comprised of jaw-dropping talents (pianists Herbie Hancock and Brad Mehldau, guitarist Pat Metheny, bassist John Patitucci, drummer Jack DeJohnette) and playing for the first time a program consisting entirely of original compositions, Brecker delivers an emotionally rich and startlingly powerful album of straight-ahead modern jazz that will stand as his musical epitaph and will effectively confound anyone who has ever been tempted to dismiss him as a mere jazz-pop fusioneer.

The three-disc anthology The Real…Miles Davis: The Ultimate Miles Davis Collection brings together tracks the legendary trumpeter recorded for Columbia during the '50s and '60s. These are some of Davis' best-known and most influential recordings when he was at the height of his pre-fusion, modern jazz career. Included are such cuts as "So What," "I Thought About You," "Stella by Starlight," "Milestones," and more.

Alto saxophonist Donald Harrison explores another area of his New Orleans heritage, the music of the Mardi Gras "Indians." His solos are more bluesy and R&B-flavored, while the supporting cast includes Dr. John on piano, along with Cyrus Chestnut, drummer Carl Allen, bassist Phil Bowler, percussionists Bruce Cox and Howard Smiley Ricks, and Harrison's father on vocals.

Mopo, one of the most promising young Finnish jazz groups, release their second album 'Beibe' on Helsinki's Texicalli Records, via Edition Distribution for the UK. On their second album, the trio moves towards a more organic sound and expands the thematic palette of their music.

Up north in Finland, in the land of the hottest Saunas, longest winters and saddest tangos, you can also find one of the coolest and most distinguished saxophonist/composers on the jazz-scene today. Timo Lassy, acclaimed as a "rising star" in US jazz bible Downbeat, hits us with 'Love Bullet', his fifth album and his most accomplished studio work to date.

Planet Jazz gives the impression that guitarist/keyboardist Ed Hamilton has sublimated more adventurous instincts to stay on target with his handlers' bid for mass appeal. Only occasionally does he hint at having a voice of his own: for example, when executing an unexpected turn of phrase in a high-speed run up the neck or in moments when his jazz, rock, and pop confections coalesce into glimmerings of a direction worthy of further exploration. Overall, though, the focus on this 1996 release is on sweet, hummable hooks rather than swinging improvisation. Still, on a couple of the 12 Hamilton originals here, the young Philadelphian impresses with some nice Wes Montgomery-inspired work.

An official CD recorded 13 February, 1996 at Warner Pacific College, Portland Oregon, USA "as part of (The Vinny Golia) Large Ensemble's 1996 West Coast tour. This disc contains the second set recorded in its entirety." This was released by the 9 Winds label.

This CD is a change of pace for Abbey Lincoln. She interprets ten standards (plus four of her originals), all love songs performed as duets with pianist Hank Jones. Although there is some social comentary, the emphasis is on male-female relationships and Lincoln sounds more optimistic than usual. Among the more memorable selections are Duke Ellington's "Black Butterfly," "The Nearness of You," "You Came a Long Way from St. Louis," Fats Waller's "Jitterbug Waltz" and "You Won't Forget Me."

Veteran Seattle bassist Chuck Deardorf brings together longtime musical friends and compatriots for this album, filled with spontaneous interaction, gritty grooves and melodic beauty. With the quartet of pianist Dawn Clement, drummer Matt Wilson and saxophonist Hans Teuber, Deardorf explores deep and seldom-heard compositions by Kenny Barron, Keith Jarrett and Monk, while a second trio with Marc Seales & Gary Hobbs performs music by Jack DeJohnette and even the "Blind Faith" rock classic, "Can't Find My Way Home." "Perception" displays an inspired group aesthetic, as it provides a look into the creative vision that has made Deardorf a favorite musical partner to the countless jazz legends he's accompanied over the years.

Sam Yahel has made the grade. His signature Hammond B3 sound—appearing on both his own work and on recordings by Joshua Redman, Bill Frisell, and Norah Jones—has identified him as one of the players that will take Jimmy Smith's favorite instrument deep into the 21st century. So what does Yahel do on Hometown, his fifth disc as a leader? He puts the organ in the closet and does a piano-trio record, which believe it or not, is a good move. Yahel is not unfamiliar with the piano; in fact, it was his original instrument. He considers himself to be "a much more natural organ player than a natural pianist," and admits he really has to work hard to reach the level of quality he expects from himself. Given that Hometown has echoes of piano aces like Horace Silver and Jacky Terrasson, Yahel must have worked really, really hard here.

The Murky World of Barry Adamson collects the best of the former Bad Seed's solo recordings. Adamson's moody, filmic songs mix sex and menace with impenetrable cool, especially on "The Vibes Ain't Nothing But the Vibes" and "Something Wicked This Way Comes," both from his 1996 album Oedipus Schmoedipus. Along with selected tracks from every album from Moss Side Story to As Above, So Below, The Murky World of Barry Adamson also includes three previously unreleased tracks: "Walk the Last Mile," "Mitch & Andy," and "Saturn in the Summertime." Murky World is a delectable sampler of Adamson's dark musical talents.