Book of Rhapsodies Vol. II is the fourth album from the Ghost Train Orchestra. The album continues where the Book of Rhapsodies left off, with surreal new re-imaginings of early third stream music by composers from the late 1930s working with unusual instrumentation such as Alec Wilder, Reginald Foresythe, and Hal Herzon. The album was recorded in 2015 by Andy Taub at Brooklyn Recording Studios and mixed by Danny Blume and Brian Carpenter at Hidden Quarry Studios in Woodstock NY. Release date October 20 2017.

"Brian Carpenter has followed a footnote from Gunther Schuller’s book The Swing Era down a rabbit hole to a bizarre, charming world of nearly forgotten music from the 1930s. On the surface, the Ghost Train Orchestra may look like just another Brooklyn-based jazz revival act, but Carpenter and his collaborators find plenty of new life in these old charts and 78s." - Davis Inman, Downbeat

Afro-Cuban jazz is a vibrant fusion of jazz and Afro-Cuban rhythms, originating in the 1940s in New York City. It combines the improvisational nature of jazz with the complex, clave-based rhythms of Cuban music, such as son, mambo, and rumba. This genre emerged from the collaborations of Cuban musicians like Mario Bauzá and Frank Grillo (Machito) with prominent jazz figures like Dizzy Gillespie.

"I Love How You Love Me" is a song written by Barry Mann and Larry Kolber, first popularized by the Paris Sisters in 1961 as a hit produced by Phil Spector. The phrase "I love how you love me" is grammatically correct and expresses appreciation for the way someone shows affection. The song was later covered by Bobby Vinton in 1968, achieving Top Ten status. The "Wonderful Sounds Of The Girl Groups!" compilation album, as indicated by the title, likely features various girl groups performing songs from that era, including potential versions of "I Love How You Love Me" or other popular girl group hits. Some notable girl groups of the time include The Shirelles, who had a major hit with "Will You Love Me Tomorrow". That song was the first by a girl group to top the Billboard Hot 100 chart, according to Wikipedia.

Three works, one sound world: Bach’s Horns is a bold exploration of the festive, pastoral and ceremonial power of the horn in Bach’s music. In this imaginative album, the ensemble Solomon’s Knot juxtaposes the Mass in F major BWV 233 with the secular Hunt Cantata BWV 208—framed and interwoven with movements from the First Brandenburg ConcertoBWV 1046. A rich musical arc between sacred grandeur and mythological Arcadia—performed with vibrant energy and historical awareness.

Dinah Washington cut a lot of sides in two decades of recording. However, her straight jazz sessions were few and far between because of the mass popular and commercial appeal that she had as a pop singer. Still, the versatile Dinah thrived in just about any setting and the one provided here in 1955 by the gifted Chicago producer Bob Shad showcases her intimate side to perfection.
Since Dinah Washington just about invented gospel-based soulful singing, it's thrilling to hear her at the peak of her powers backed by a small group that includes trumpeter Clark Terry and pianist Wynton Kelly. The session is also graced by Quincy Jones' tidy arrangements…

By the time this third album came out, little was left of the original spirit of East Of Eden and only violinist Dave Arbus of the original line-up. They had changed from one progressive label Deram to another Harvest, but also lost their experimental edge in the process. As a matter of fact, aside from more conventional song structures, this album has a slight country music feel. This album is quite far removed from the experimental forays of their first two albums, but the album has many charms and holds some interest for progheads.

A listener familiar with the pedigree of the albums of Brian Eno might assume that the Virgin/Astralwerks release More Music for Films is merely a repackaging of Music for Films, Vol. 2, a bonus album included within the LP boxed set Working Backwards. Such an assumption would be incorrect, as More Music for Films represents a new spin on a variety of soundtrack material made by Eno in the years 1976-1983, including some tracks drawn from Music for Films, Vol. 2, others from Eno Box I: Instrumentals, and at least six selections never made public before. According to Virgin, these are taken from the limited-edition promo LP of Music for Films, a two-album set predating the familiar EG release by two years and only circulated to filmmakers and journalists…

This is where Miles Davis turned funk into jazz, rock into soul, and chaos into Beauty. With a rotating cast of bands featuring keyboardists Keith Jarrett and Chick Corea, guitarist John McLaughlin, percussionist Airto Moreira, saxophonists Gary Bartz and Wayne Shorter, and myriad other explorers, Davis kept up with the times…and surpassed them. He rocked harder than Sly, got funkier than J.B., and turned jazz inside out, slicing the music open till blood spilled on to the floor. More focused than Bitches Brew, which is all the more surprising since it's actually a piecemeal recording from various dates and venues–some in the studio, some on stage, but all very much l-i-v-e.