Though much has already been written on religious freedom in the United States, these treatments have come mostly from historians, legal scholars, and advocates, with relatively little attention from rhetorical critics. In The Rhetoric of Religious Freedom in the United States, fifteen scholars from this field address the variety of forms that free, public religiosity may assume, and which rhetorical techniques are operative in a public square populated by a diversity of religious-political actors. Together they consider the arguments, evidences, and strategies defining what religious freedom means and who is entitled to claim it in the contemporary United States.

Coleman Hawkins' adventures as an American jazzman in Holland during the mid-'30s have been documented with regularity by numerous reissue labels. Dutch Treat!, Avid's 1998 double-disc anthology, appears to be the most thorough of them all, as it examines the recorded evidence in detail, presenting 25 masters and 24 alternate takes recorded in The Hague, Laren, and Hilversum between February 4, 1935, and June 14, 1938. Hawkins glows in the full glory of his early maturity, merrily jamming among capable players with names like Toon Diepenbroeck, Sal Doof, Kees Kranenburg, Wim Poppink, George van Helvoirt, and Andre Van Den Ouderaa. Hawkins is heard with a nine-piece ensemble known as the Ramblers and in trio and duet performances with drummer Maurice van Kleef and pianist Freddy Johnson. Vocals on "Some of These Days," "I Only Have Eyes for You," and "Hands Across the Table" were sung by Anny de Reuver, and Hawkins used his handsome speaking voice on "What Harlem Is to Me." A number of Hawk's original compositions are mixed in with swing standards and Tin Pan Alley pop tunes. They are "Swinging in the Groove," "Blues Evermore," "Well, All Right Then," "Something Is Gonna Give Me Away," "Netcha's Dream," and "A Strange Fact," known to the Dutch as "Een Vreemd Feit." The inclusion of alternate takes -- placed on a second disc so as to avoid repetition -- makes this a richly rewarding treat for those who love Coleman Hawkins and want to hear how good he sounded wherever he went during his amazing European sojourn during the years immediately preceding the Second World War. ~ arwulf arwulf

A three-disc box set from England's Avid Records, Little Jazz Giant tracks trumpeter Roy Eldridge's career from his early work as part of the Delta Four in 1935 through his own efforts to front a swing combo in the late '30s, his work with bandleaders Teddy Hill and Fletcher Henderson, his brilliant early-'40s sides with Gene Krupa, his profitable stay with Artie Shaw, his uncertain position with the modern bop community, and finally, four concluding tracks with Oscar Peterson. In retrospect, it's interesting how many of the most striking cuts here were actually written by Eldridge, including "That Thing," "The Gasser," "Fish Market," "Wild Driver," "Yard Dog," and "They Raided the Joint," each of which has a perceptible modernist edge. Pound for pound, Eldridge was one of the finest upper-range trumpet players jazz has ever produced, and this set has countless examples of his jet-propelled solos (check out his lightning-fast solos in the version of "St. Louis Blues" that is included here). Avid has released each of the discs from this set as single packages as well, entitled The Gasser (1935-1946), Wild Driver (1944-1950), and The Heat's On (1951-1952). ~ Steve Leggett

Collection of every episode from all nine seasons of the long-running American soap following the mixed fortunes of a wealthy Denver oil business family presided over by Blake Carrington (John Forsythe). Scandalous love affairs, dirty business deals, power struggles, catfights and bulging shoulder pads all add to the drama in the show that epitomised the glamour and greed of the 1980s.

The music included on this CD reissue has always been a bit mysterious. Recorded sometime in 1960, it was originally released on a pair of cheap-looking LPs by the Crown label. The composers of the songs have never been listed, although it is probable that some were written by tenor-saxophonist Coleman Hawkins, pianist Eddie Costa and trumpeter Thad Jones (who probably was responsible for the bulk of the tunes). Even for the 2004 reissue, the origin of the music is not known. None of the songs would become standards and they sound moderately modern for 1960 without being more advanced than hard bop. Nat Pierce is the pianist on "Shadows" but otherwise all of the piano chores are taken by Eddie Costa, who also plays vibes on a couple numbers. Hawkins and Jones are both in excellent form, digging into the chord changes, some of which seem a little familiar although usually not based exactly on any earlier standard; an exception is "Shadows" which is very close to "Under a Blanket of Blue." The fact that Hawkins could sound so comfortable with modernists from younger generations is always impressive. Although falling slightly short of essential, this is certainly the best reissue of this obscure material. ~ Scott Yanow

This entry in the French Classics Jazz label's instructive chronological series documenting the careers of significant jazz artists features the brilliant, influential tenor saxophonist Coleman Hawkins on a variety of recordings made in Chicago in the early 1950s.