I hate to sound like a grumpy old man, but I'm a little worn out with all of today's wacky collaborations between seemingly divergent recording artists. One need only check the YouTube footage of Paul McCartney singing "Yesterday" with Lincoln Park and Jay-Z to see how far south that idea can fly.

Chromatic gales, emotion-churning dissonances, and vocal writing so torturous it makes you wonder if the all-star cast is composed of masochists: such is the score for composer Thomas Adès and librettist Meredith Oakes’ three-act opera, The Tempest. Based on Shakespeare’s eponymous play, it was commissioned by the Royal Opera Covent Garden, where it was premiered in February 2004 under the baton of then 32-year old Adès.

No one has ever accused the Black Crowes of being innovators. Some say their sound is derivative, others say imitation. I find them somewhere in the middle depending on which record you're listening to. They've made one truly great album ("Southern Harmony and Gospel Companion") and a few really good ones, mostly towards the beginning of their career.

This striking, eponymously titled album from singer/songwriter Christina Courtin introduces an enigmatic, deep-thinking artist who first disarms you, then ropes you in. Courtin’s seductive, little girl voice comes off as almost naïve in the opening track, “Green Jay,” but turns surprisingly dark and pleading in “Laconia.”

When I think of Duke Ellington, I think of Big Bands and his "Live at Newport" album from 1956. I bought "Money Jungle" based on the album cover and the fact that it was released by Classic Records. The cover photo shows The Duke and drummer Max Roach commiserating at the piano while the formidable Charles Mingus looks on in the background with his bass. It's in black and white. The music is not.

Tags: Vinyl