Forever Young features melodically inventive, harmonically sophisticated and rhythmically alert jazz, composed by Norwegian-American guitarist Jacob Young and played by a spirited team of contemporaries. Young and saxophonist Trygve Seim are friends since school days, and have been heard on the Norwegian jazz scene in numerous combinations and contexts over the years. They are joined on this album by the Polish pianist, bassist and drummer widely known as the Marcin Wasilewski Trio, a group with its own 20 years playing history.
Contemporary jazz that anyone could like, characterised by strong yet open themes, unshowy brilliance and an overall mood of soulfulness and sensitivity. For his third album, French/African drummer Katché has assembled an unusual but effective cast of musicians, with Tore Brunborg on sax, Jason Rebello on piano and Pino Palladino on bass. Guitarist Jacob Young plays on three of the 11 tracks and there's a cameo by Kami Lyle, whose strangulated voice grows on you. Definitely one of the albums of the year. (Source: independent.co.uk)
By 1997, Crosby, Stills & Nash were without a label thanks to a drastic artistic slump, but they began working on a new album, paying for studio time out of their own pockets. Neil Young expressed interest in the tapes, and suddenly, a new CSNY album was in the works. Even though Young's continual tinkering pushed its release back by months, Looking Forward still feels rushed and half-finished. It's immediately apparent that the record began as a self-financed project; it sounds weirdly muted, as if all the levels weren't set accurately; similarly, it's possible to hear sometimes awkward overdubs added to basically completed tracks. While they may have named the album Looking Forward, CSNY are alternately nostalgic and haunted by the past, which colors their attempts to look toward the future.
…The opera is very much worth hearing—and owning (though I wish MD&G had supplied an English translation of the libretto). The performances are for the most part on target. (…) So I guess this must be a qualified recommendation, but a recommendation nonetheless, given the quality of D’Albert’s music.
Cat Stevens virtually disappeared from the British pop scene in 1968, at the age of 20, after a meteoric start to his career. He had contracted tuberculosis and spent a year recovering, from both his illness and the strain of being a teenage pop star, before returning to action in the spring of 1970 — as a very different 22-year-old — with Mona Bone Jakon.