Fragile is the fourth studio album by the English progressive rock band Yes, released in November 1971 by Atlantic Records. After touring in support of their previous album, The Yes Album (1971), the band entered rehearsals in London in preparation for their next studio album. Early into the sessions, keyboardist Tony Kaye was fired over his reluctance to utilize more electronic synthesizers. He was quickly replaced with Rick Wakeman of the Strawbs, whose experience with various instruments helped expand the group's sound with the addition of the electric piano and harpsichord, Mellotron, and Minimoog synthesiser. Four tracks are group compositions; the remaining five are solo pieces written by each member. The cover is their first illustrated by Roger Dean, who would design many of their future logos, covers and stage sets.

The debut album from Ariana Grande, 2013's Yours Truly, is a surprisingly sophisticated and unique showcase for the Nickelodeon sitcom star's soulful R&B vocals. As the character Cat Valentine on several Nickelodeon television shows including I Carly, Victorious, and Sam & Cat, Grande developed a huge fan following and the expectations were high for her debut album. Three years in the making and held up by numerous delays, Yours Truly lives up to those expectations. Produced by Kenneth "Babyface" Edmonds, Yours Truly is an impeccably engineered affair. In fact, one would be hard-pressed to find a better platform for Grande's voice.

HellLight was formed in 1996 in São Paulo (Brazil) and is one of the pioneer bands in the Atmospheric Funeral Doom Metal scene. Their music is a unique and intellectual combination which penetrates deep into the mind and soul of the listener. It’s heavy, it’s slow, it’s oppressing.
The Brazilian giants of Atmospheric Funeral Doom hit us again with a new heartfelt piece of art. Full of deep emotions, a new work that transports us to the underworld of darkness, pain, misery, grief and death. After a long wait, HellLight finally presents the eighth album: "We, The Dead". Following the band's traditional style, these 7 new songs come to bring relief to the hearts of fans of one of the most desolate, dense and dark kinds of music.

A backup singer, an occasional producer, and once the leader of an all-girl singing group, Angie Stone presents an impressive fusion of classic soul, '80s funk, and '90s hip-hop in her solo debut, Black Diamond. Purposefully positive, the album chronicles Stone's journeys maintaining personal faith and loving relationships, resplendent with new takes on traditional soul sounds. Stone supports her songwriting and vocal talents with help from A-list musicians/writer/producers such as Lenny Kravitz and D'Angelo. The sophisticated mix is elevated by Stone's incredible voice. With a continuous easy groove, she never resorts to cheap vocal acrobatics to showcase her gifts. With nods to Roberta Flack and Chaka Khan and stylistic similarities to Lauryn Hill, Stone sings of the possibilities of love and life's challenges with "Life Story" and the beautiful standout single "No More Rain"…

A battle of the bands? Not quite – more like a mutual admiration society, with the orchestras of both jazz titans playing together. (The Duke is heard on the right side of your stereo/headphones, the Count on the left.) Ellington's elegance and unique voicings meet Basie's rollicking, blues-based Kansas City swing, and it works gloriously. There's no clutter, each band is focused, and they sound great together. This is not the thoughtful, reflective composer side of Ellington (listeners should check out Far East Suite or Black, Brown & Beige for that). The Duke and his band accentuate their swinging dance band side, while Basie and company have never sounded as suave and exotic as when playing Billy Strayhorn arrangements. Everyone has a good time, and that joy infuses this album from start to finish.

Charlie Rouse's debut as a leader (not counting his earlier work co-leading Les Jazz Modes with the great French horn player Julius Watkins) was made for Jazzland and is available as an OJC CD. The distinctive tenor saxophonist, who had just started a decade-long stint as a member of the Thelonious Monk Quartet, teams up with trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Earl May, and drummer Art Taylor. Together they perform straight-ahead material including Rouse's own uptempo "Upptankt," the standard "They Didn't Believe Me," and songs by Mitchell, Kenny Drew, and Randy Weston. A fine modern mainstream jam session-flavored set.

This double-CD second round of 1969-vintage live King Crimson shows is less compelling than the first, although it does offer a few things not evident on the first release - a Michael Giles drum solo and flute and sax solos by Ian McDonald. The material, of course, overlaps the earlier volume, since their sets were limited to a relatively narrow repertoire, and some songs ("I Talk to the Wind," "Epitaph") have deliberately been left off because of limitations in their equipment at this stage of their careers, playing a pair of English jazz clubs in mid-1969. It seems that without voltage regulators, as the band played ever louder or more lights were put on during the show, the voltage to the band's instruments would drop, which threw the Mellotron increasingly out of tune…