No less than the prodigious Meat Loaf once exclaimed of Adiemus (composer/producer Karl Jenkins), "What vibe is that?," but it's likely classical purists will never quite understand this fascinating blend of world music and Beethoven, Chopin, and Rachmaninov (et al.) that creates a musical realm all its own.

Jenkins' idea to mix his own compositions -- blending orchestral and choral arrangements sung in his own invented language, a truly exotic type of vocalese -- with new twists on famous composers is perhaps risky, but will be fascinating to the open-minded.

He dives right into the mix with "Rondo," an adaptation of the last movement of Beethoven's Violin Concerto, with the often percussive drama of the orchestra joining or trading lines with the rousing female choral chanting.

A gentler mix of strings and voice takes place on the seductive "Allegrettango," which finds Jenkins turning the Allegretto movement of Beethoven's Symphony No.

7 into an irresistible tango.

Chopin's piano piece is turned into a magnificent tribal dance on "Akruzam," which features Pamela Thorby's lush solo sections on recorder.

Jenkins tackles more modern classical composers as well, including Heitor Villa-Lobos, whose dreamy composition Aria is treated with percussive Brazilian kid gloves.

This piece is also notable for its passages sung in Portuguese, an actual world language.

Jenkins' own compositions include the dramatic "The Protector," which features sung English verses from the Psalms.

The riches on this very deep musical extravaganza include improvisations from top jazz musicians Martin Taylor and Nigel Hitchcock.