Ryan Adams – Heartbreaker (2000) [Deluxe Eition 2016]
FLAC (tracks) 24-bit/96 kHz | Time – 2:09:00 minutes | 2,64 GB | Genre: Rock, Alternative
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | @ Pax Americana

Ryan Adams’ debut solo album and modern classic, Heartbreaker. Originally released in 2000, this new Deluxe edition contains newly released outtakes and demo versions.

As Whiskeytown finally ground to a halt in the wake of an astonishing number of personal changes following Faithless Street (coupled with record company problems that kept their final album, Pneumonia, from reaching stores until two years after it was recorded), Ryan Adams ducked into a Nashville studio for two weeks of sessions with Gillian Welch and David Rawlings. While arch traditionalists Welch and Rawlings would hardly seem like a likely match for alt-country’s bad boy, the collaboration brought out the best in Adams; Heartbreaker is loose, open, and heartfelt in a way Whiskeytown’s admittedly fine albums never were, and makes as strong a case for Adams’ gifts as anything his band ever released. With the exception of the Stones-flavored “Shakedown on 9th Street” and the swaggering “To Be Young (Is to Be Sad, Is to Be High),” Heartbreaker leaves rock & roll on the shelf in favor of a sound that blends low-key folk-rock with a rootsy, bluegrass-accented undertow, and while the album’s production and arrangements are subtle and spare, they make up in emotional impact whatever they lack in volume. As a songwriter, Adams concerns himself with the ups and downs of romance rather than the post-teenage angst that dominated Whiskeytown’s work, and “My Winding Wheel” and “Damn, Sam (I Love a Woman That Rains)” are warmly optimistic in a way he’s rarely been before, while “Come Pick Me Up” shows he’s still eloquently in touch with heartbreak. Adams has always been a strong vocalist, but his duet with Emmylou Harris on “Oh My Sweet Carolina” may well be his finest hour as a singer, and the stripped-back sound of these sessions allows him to explore the nooks and crannies of his voice, and the results are pleasing. Whiskeytown fans who loved the “Replacements-go-twang” crunch of “Drank Like a River” and “Yesterday’s News” might have a hard time warming up to Heartbreaker, but the strength of the material and the performances suggest Adams is finally gaining some much-needed maturity, and his music is all the better for it.

Tracklist:
01 – Argument With David Rawlings Concerning Morrissey
02 – To Be Young (Is To Be Sad, Is To Be High)
03 – My Winding Wheel
04 – AMY
05 – Oh My Sweet Carolina
06 – Bartering Lines
07 – Call Me On Your Way Back Home
08 – Damn, Sam (I Love A Woman That Rains)
09 – Come Pick Me Up
10 – To Be The One
11 – Why Do They Leave?
12 – Shakedown On 9th Street
13 – Don’t Ask For The Water
14 – In My Time Of Need
15 – Sweet Lil Gal (23rd/1st)
16 – Hairdresser On Fire (Outtake)
17 – To Be Young (Is To Be Sad, Is To Be High) (Outtake)
18 – Petal In A Rainstorm (Outtake)
19 – War Horse (Outtake)
20 – Oh My Sweet Carolina (Outtake)
21 – Come Pick Me Up (Outtake)
22 – Punk Jam (Outtake)
23 – When The Rope Gets Tight (Alternate Take)
24 – When The Rope Gets Tight (Outtake)
25 – Goodbye Honey
26 – In My Time Of Need (Outtake)
27 – Bartering Lines (Demo)
28 – Come Pick Me Up (Demo)
29 – To Be The One (Demo)
30 – Don’t Ask For The Water (Demo)
31 – In My Time Of Need (Demo)
32 – Goodbye Honey (Demo)
33 – Petal In A Rainstorm (Demo)
34 – War Horse (Demo)
35 – Locked Away (Outtake)

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Duke Ellington & His Orchestra – The Symphonic Ellington (1963/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 41:29 minutes | 1,55 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | @ Rhino/Warner Bros.

Ellington’s revolutionizing vision of incorporating a symphony orchestra in his work unfolds with The Symphonic Ellington. This breathtaking recording is full of colorful arrangements and inspired solos. “Night Creatures,” the opening three part movement features Ellington’s effort to “make the symphony swing.” The ingenious album is a true highlight in Duke Ellington’s long established career.

In 1963 Duke Ellington realized a longtime goal, to record some of his extended works using both a symphony orchestra and his regular big band. Included on this fine CD are the three movements of “Night Creature,” the relatively brief “Non-Violent Integration,” “La Scala,” and an adaptation of Ellington’s “Harlem Air Shaft.” With most of his all-star soloists heard from in this program and a complete avoidance of trying to make his music sound so-called “respectable” or self-consciously third stream, Ellington’s arrangements keep the strings from weighing down the proceedings and the music is actually quite successful.

Tracklist:
01 – Night Creature (1st Movement): Blind Bug
02 – Night Creature (2nd Movement): Stalking Monster
03 – Night Creature (3rd Movement): Dazzling Creature
04 – Non-Violent Integration
05 – La Scala, She Too Pretty To Be Blue
06 – Harlem

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Duke Ellington and Johnny Hodges – Side By Side (1959/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 46:13 minutes | 2,06 GB | Genre: Jazz
Studio Master, Official Digital Download | Artwork: Front cover | Source: HDTracks | @ Verve Reissues

A follow-up album to Back to Back: Duke Ellington and Johnny Hodges Play the Blues. Ellington takes the back seat to saxophonist Hodges in this jam session album, only playing in three of the nine tracks. The album features Hodges, a prominent member of Ellington’s legendary band, backed by Ellington and Billy Strayhorn on piano among other notable musicians. The ablum includes works, “Let’s Fall in Love,” “Just Squeeze Me (But Don’t Tease Me),” and “Going Up”.

Topping off a wealth of full-band recordings, the various stars of Ellington’s great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-’30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry “Sweets” Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging “Going Up” and Hodges’ bluesy closer, “You Need to Rock.” A must for fans of vintage combo swing.

Tracklist:
01 – Stompy Jones
02 – Squeeze Me
03 – Big Shoe
04 – Going Up
05 – Just A Memory
06 – Let’s Fall In Love
07 – Ruint
08 – Bend One
09 – You Need To Rock

Recorded August 14th, 1958 at Nola Studios in New York, NY and on February 20th, 1959 at Columbia Studios in New York, NY.

Musicians:
Duke Ellington – Piano
Johnny Hodges – Alto Saxophone
Ben Webster – Tenor Saxophone
Harry Edison – Trumpet
Roy Eldridge – Trumpet
Lawrence Brown – Trombone
Les Spann – Flute, Guitar
Al Hall – Bass
Wendell Marshall – Bass
Billy Strayhorn – Piano
Jo Jones – Drums

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Duke Ellington – Ellington ’65 (1964/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 32:50 minutes | 1,22 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | @ Rhino/Warner Bros.

Ellington ‘65 is an illuminating eleven-track album of standards from the legendary Duke Ellington. The album is among the very best in his career and highlights some of the most exceptional performances from veteran players like Johnny Hodges, Russell Procope and Lawrence Brown. With blistering horn arrangements, the ensemble delivers passionate and virtuosic performances on songs like “Hello, Dolly!,” “Never on Sunday,” “Blowin’ in the Wind” and “I Left My Heart in San Francisco.” A must have for any music library.

A slightly more commercial effort than many previous Duke Ellington recordings, Ellington ’65 is an example of how the change in popular music found jazz musicians attempting crossover material with varying degrees of success. While much of the music here is standard American Popular Song, other tracks such as Bob Dylan’s “Blowin’ in the Wind” are clearly attempts at reaching a younger record-buying audience. While Ellington ’65 isn’t a bad recording, it is by no means required listening and will most likely appeal to die-hard Ellington completists.

Tracklist:
01 – Hello Dolly!
02 – Call Me Irresponsible
03 – Fly Me To The Moon (In Other Words)
04 – The Peking Theme (So Little Time)
05 – Danke Schoen
06 – More (Theme From Mondo Cane)
07 – The Second Time Around
08 – Never On Sunday
09 – I Left My Heart In San Francisco
10 – Blowin’ In The Wind
11 – Stranger On The Shore

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Duke Ellington – Afro-Bossa (1963/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 33:24 minutes | 1,4 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | @ Warner Bros. Records

The experimental Afro Bossa features Duke Ellington pushing his talented group to their limits. The jazz master tosses around the forms he knows so well. Other players include Cat Anderson, Paul Gonsalves, Harry Carney, and Cootie Williams. There is plenty of cornet, violin and plunger-muted trumpets.

Duke Ellington and Billy Strayhorn combined old and new compositions to create the album Afro-Bossa, a suite consisting of a dozen pieces that was never performed in its entirety in concert, though several of the works remained in the band’s repertoire. The title cut is a new work, though the “Bossa” does not refer to Brazilian music; instead, it is a mix of African and Latin influences that slowly builds with insistent percussion to a blazing finale of brass and reeds. “Purple Gazelle” (which was also recorded as “Angelica” in Ellington’s small group session with John Coltrane, was described by the pianist as a “ragtime cha-cha.” Cootie Williams (on muted trumpet), Ray Nance, Paul Gonsalves, and the composer are all featured soloists. Ellington returns to the jungle sound with the exotic “Moonbow,” showcasing a trio of dissonant clarinets and Nance’s effective plunger mute work on trumpet, along with the matchless altoist Johnny Hodges. Strayhorn’s “Tigress” puts the spotlight on Gonsalves, Williams, and clarinetist Jimmy Hamilton in an infectious Latin setting. “Pyramid” dates from 1938, written by Ellington with Juan Tizol, but it is trombonist Lawrence Brown who takes over Tizol’s role, along with contributions by baritonist Harry Carney and Williams. This is easily one of Duke Ellington’s essential studio recordings of the 1960s, though it isn’t as widely recognized as it ought to be.

Tracklist:
01 – Afro-Bossa
02 – Purple Gazelle
03 – Absinthe
04 – Moonbow
05 – Sempre Amore
06 – Silk Lace
07 – Tigress
08 – Angu
09 – Volupte
10 – Bonga
11 – Pyramid
12 – Eighth Veil

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Duke Ellington and His Orchestra – Concert In The Virgin Islands (1965/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 37:22 minutes | 1,46 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | @ Rhino/Warner Bros.

This lush, Caribbean-themed collection created a new standard for big band music. The recording includes four original compositions representing the “Virgin Island Suite” and new readings of classics from Ellington’s extensive repertoire. The pieces on this set are as impressive as the stellar line up of musicians including Cat Anderson, Jimmy Hamilton, Billy Strayhorn, among others. The inspired performances and textured nuances are captured with the highest fidelity.

Although in his mid-60s, Duke Ellington proves on this program of mostly new music that he never declined nor lost his creativity. Four of the pieces comprise “The Virgin Islands Suite,” and there are new versions of “Things Ain’t What They Used to Be” and “Chelsea Bridge,” and also a variety of miniature classics. In 1965 the Ellington orchestra had 11 very distinctive soloists; eight are heard from during this memorable set.

Tracklist:
01 – Island Virgin
02 – Virgin Jungle
03 – Fiddler On The Diddle
04 – Jungle Kitty
05 – Things Ain’t What They Used To Be
06 – Big Fat Alice’s Blues
07 – Chelsea Bridge
08 – The Opener
09 – Mysterious Chick
10 – Barefoot Stomper
11 – Fade Up

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Duke Ellington – Recollections Of The Big Band Era (1963/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 35:21 minutes | 1,35 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | @ Rhino Atlantic

Featuring familiar titles such as: “Ciribiribin,” and “Auld Lang Syne”, this one-of-a-kind set is beautifully remastered and presented in pristine HD quality. This tribute to the big pop-orchestra bands of Ellington’s heyday stands on its own.

These recordings of big-band standards that Duke Ellington originally did for Reprise in the early ’60s. One suspects there was a quid pro quo here — he would cut these ’30s and ’40s standards, which were certain to make money, for Reprise, and that same label, in turn, would record his symphonic music. The material is done in a smooth, swinging style, more laid-back than what the Count Basie orchestra of the same period would have done with this same stuff, but with enough fire and boundless elegance to make it more than worthwhile.

Tracklist:
01 – Minnie the Moocher
02 – For Dancers Only
03 – It’s a Lonesome Old Town When You’re Not Around
04 – Cherokee
05 – The Midnight Sun Will Never Set
06 – Let’s Get Together
07 – I’m Gettin’ Sentimental over You
08 – Chant of the Weed
09 – Ciribiribin
10 – Contrasts
11 – Christopher Columbus
12 – Auld Lang Syne

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More Duke Ellington in Hi-Res

C.P.E. Bach, Graun, Hesse – Trios for Fortepiano & Viola da Gamba – Lucile Boulanger, Arnaud de Pasquale, Laurent Stewart (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:30 minutes | 1.4 GB | Genre: Classical
Studio Master, Official Digital Download | Source: Q0buz | Artwork: Digital booklet | @ Alpha Productions / Outhere Music
Recorded: from 20 to 24 December 2014 at Studio Flagey, Brussels (Belgium)

For this second recording in duo, Lucile Boulanger and Arnaud de Pasquale propose a journey to 18th-century Germany, in the marvellous setting of the Sans Souci palace where Frederick II of Prussia had established his court.

This disc, reflecting the extraordinary conjuncture experienced by the court of Berlin under Frederick II, brings together some of the virtuosic works for viola da gamba and fortepiano by Carl Philipp Emmanuel Bach, Johann Gottlieb Graun or Ludwig Christian Hesse and attesting to the results of fruitful collaborations between the composers at that court.

Tracklist:

Johann Gottlieb Graun (1703-1771)
Trio in C Major for Viola da gamba & Basso continuo, Wendt 87
01 – I. Allegro non molto 00:05:37
02 – II. Andante 00:05:27
03 – III. Allegro 00:05:56

Carl Philipp Emanuel Bach (1714-1788)
Violin Sonata in D Major, Wq. 71, H. 502 (arr. for viola da gamba and fortepiano)
04 – I. Adagio ma non molto 00:03:16
05 – II. Allegro 00:02:34
06 – III. Adagio 00:03:40
07 – IV. Minuetto I – Minuetto II 00:02:23

Sinfonia in A Minor, Wq. 156, H. 582 (arr. for viola da gamba and fortepiano)
08 – I. Allegro assai 00:05:35
09 – II. Andantino 00:03:26
10 – III. La coorl, tempo di minuetto 00:02:19

Anonymous / Ludwig Christian Hesse (1716-1772)
Viola da Gamba Sonata in D Major, Amalien-Bibliothek 585 (attributed to L.C. Hesse)
11 – I. Allegretto 00:06:22
12 – II. Pocco adagio 00:03:52
13 – III. Pocco allegro 00:04:26

Carl Philipp Emanuel Bach
Trio for 2 Violins and Basso Continuo in C Minor, Wq. 161/1, H. 579, “Sangineus und Melancholicus” (arr. for viola da gamba and fortepiano)
14 – I. Allegretto (Melancholicus) / Presto (Sanguineus) – Dialogue 00:05:19
15 – II. Adagio 00:04:09
16 – III. Allegro 00:07:09

Personnel:
Lucile Boulanger (viola da gamba)
Arnaud de Pasquale (fortepiano)
Laurent Stewart (fortepiano)

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Johann Sebastian Bach – Lutheran Masses II – Bach Collegium Japan, Masaaki Suzuki (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:30 minutes | 1,24 GB | Genre: Classical
Studio Master, Official Digital Download | Source: eClassical | Artwork: Digital booklet | @ BIS Records
Recorded: February 2014 (BWV 233, 234) and February 2015 (Peranda) at Kobe Shoin Women’s University Chapel, Japan

By Bach’s time, the traditional forms of church service had been fundamentally altered by the Reformation, and in German churches Latin had yielded to the country’s own language. To an extent, however, the Latin mass text did remain in use in Protestant church music – in particular the Kyrie and Gloria sections. Albeit incomplete, this form of mass setting was termed ‘Missa’; nowadays the pieces are often referred to as ‘Lutheran Masses’. Bach’s famous Mass in B minor, later expanded into a complete mass, began its existence as a work of this kind, and four other examples from Bach’s pen have survived. The recent release of the Missae in G minor and G major (BWV 235 and 236) caused the reviewers in Gramophone and Fono Forum to eagerly look forward to the sequel, and Bach Collegium Japan and Masaaki Suzuki have not kept them waiting. Like their companion works, the two Lutheran Masses recorded here make extensive use of earlier compositions by Bach and include reworkings of arias and choruses from cantatas, but each of the four masses also has its own unmistakable artistic profile. The most telling detail on the present disc is the instrumentation, where Bach’s choice of flutes in BWV 234 and of horns and oboes in BWV 233 contributes to the individual character of each work. In his task of supplying the music for church services Bach also performed music by other composers, among them Marco Gioseppe Peranda whose Kyrie-Gloria mass closes the disc. Born in 1625, Peranda trained in Rome, and was active in the Dresden Hofkapelle from the 1650s until his death in 1675. Copies in Bach’s hand of parts of Peranda’s splendidly contrapuntal Missa in A minor exist, and it is likely that Bach performed the work during the latter part of his Leipzig period.

Tracklist:

Johann Sebastian Bach (1685–1750)
Lutheran Mass in A major, BWV 234
1 Kyrie (Chorus) 06:04
2 Gloria (Chorus) 05:12
3 Domine Deus (Basso) 05:54
4 Qui tollis peccata mundi (Soprano) 05:54
5 Quoniam tu solus sanctus (Alto) 03:13
6 Cum Sancto Spiritu (Chorus) 03:11

Lutheran Mass in F major, BWV 233
7 Kyrie (Chorus) 03:40
8 Gloria (Chorus) 05:12
9 Domine Deus (Basso) 03:13
10 Qui tollis peccata mundi (Soprano) 05:39
11 Quoniam tu solus sanctus (Alto) 03:34
12 Cum Sancto Spiritu (Chorus) 02:34

Marco Gioseppe Peranda (1625–75)
Missa in A minor
13 Kyrie (Chorus) 05:35
14 Gloria (Chorus) 11:08

Personnel:
Bach Collegium Japan chorus & orchestra
Masaaki Suzuki direction
Hana Blazíková soprano (BWV 233 & 234)
Joanne Lunn and Aki Matsui sopranos (Peranda)
Robin Blaze counter-tenor
Katsuhiko Nakashima tenor (BWV 234)
Gerd Türk and Yusuke Fujii tenors (Peranda)
Peter Kooij bass (BWV 233 & 234)
Dominik Wörner bass (Peranda)

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Johann Sebastian Bach – The Well-Tempered Clavier, Book I, Preludes & Fugues Nos. 9-16, BWV 854-861 – Glenn Gould (1964/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 00:34:39 minutes | 2,2 GB | Genre: Classical
Studio Master, Official Digital Download | Source: Q0buz | Artwork: Digital booklet | @ Columbia Records

Gould launched his complete recording of the “Pianists’ Old Testament” on 10 January 1962. It would eventually occupy him for more than nine years. “We recorded ten or even fifteen different versions of some of the preludes and fugues. Nearly every one was perfect, note for note, yet still completely different. It was an amazing experience to witness how each version became something completely new in Gould’s hands.”

Glenn Gould could not have timed his professional entrance to the recording studio any better than with his première recording in 1955. Five years had passed since the lacquer disc medium had been retired and the industry had fully embraced tape recording.

The availability of digital tools for remastering and restoration has never been greater, or more refined. Yet everything starts with the original masters. Columbia Records kept very good archives of session logs, documenting which takes were recorded on which job reel, and to which musical work they belong. Gould often worked with the producer on choosing how the takes would be edited together, marking directly in the score where one take would end and the next would begin. The session reels were assembled into a “master edit reel.” If the master edit reel was mono or stereo, it would go directly to mastering, where the proper EQ (equalization) was applied for generating a “vinyl master.” If the master edit was three-track or higher, a master stereo mix would be made; this might be a generation before the vinyl master, should further vinyl EQ be necessary for LP manufacturing. Thankfully, the archives have preserved previous generations, so today we can ignore the numerous later copies and work with the original master edits.

In the remastering studio, we maintain original analogue Studer A80, A820 and A807 machines for playback of the Gould recordings. Most of these machines are modified by JRF Magnetics in order to ensure perfect reading from the playback head stack. The signal is converted to DSD via Mytek digital converters, all the while being monitored through Bowers & Wilkins Nautilus 802 series speakers (powered by Krell 600 watt amplification). This level of professional playback ensures that we hear exactly what was recorded at the studio without coloration and with greater clarity than even Glenn Gould had heard. The audio is treated in the computer using Cube-Tec restoration tools when needed, tools that allow us to remove such noises as electrical tics, pops, random studio noises, or even electrical buzzing.

Now, in 2015, we have accomplished a project that took more than three years: the analogue (and digital) remastering of Gould’s entire recorded legacy for Columbia. Remastering and restoration is not, however, a process of creating something new, but the art of bringing clarity and enhancement to the original masterpiece. Just as the restoration of the Sistine Chapel brought new life to Michelangelo’s paintings, so we’ve tried to bring new life to Glenn Gould’s recordings.

Tracklist:
Johann Sebastian Bach (1685-1750)
The Well-Tempered Clavier, Book I
Prelude & Fugue No. 9 in E Major, BWV 854
1 Prelude 01:35
2 Fugue 01:06
Prelude & Fugue No. 10 in E Minor, BWV 855
3 Prelude 02:49
4 Fugue 01:03
Prelude & Fugue No. 11 in F Major, BWV 856
5 Prelude 00:57
6 Fugue 01:21
Prelude & Fugue No. 12 in F Minor, BWV 857
7 Prelude 04:56
8 Fugue 03:29
Prelude & Fugue No. 13 in F-Sharp Major, BWV 858
9 Prelude 02:16
10 Fugue 02:20
Prelude & Fugue No. 14 in F-Sharp Minor, BWV 859
11 Prelude 01:01
12 Fugue 03:54
Prelude & Fugue No. 15 in G Major, BWV 860
13 Prelude 00:42
14 Fugue 02:24
Prelude & Fugue No. 16 in G Minor, BWV 861
15 Prelude 02:30
16 Fugue 02:16

Personnel:
Glenn Gould, piano

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Maria Callas – Remastered The Complete Studio Recordings 1949-1969 (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 65:49:52 minutes | 56.8 GB | Genre: Classical , Opera
Studio Master, Official Digital Download | Source: Q0buz | Artwork: Digital booklet | @ Columbia Records

Featuring 26 complete operas and 13 recitals, this must be the gramophone event of the year. Callas’s voice recorded perfectly well; it was its transfer to and from disc which caused the problems. Thanks to new state-of-the-art software and painstaking editing of the original tapes, we are now as close as we shall ever be to hearing this unique artist as she actually sounded live in the studio. –Gramophone

“The complete recordings of Maria Callas, one of the greatest vocal artists of the 20th century, have been collected and issued once again, this time in impressively remastered versions” –Anthony Tommasini, New York Times, 2014

The EMI masters of Maria Callas were re-mastered for the purposes of CD and released as a physical product in 2014. We are happy to offer it now as a full digital product in supreme audio quality. More than 25 years’ worth of music has been collected here, and filter applications have been applied to cover up sound defects (and other distortions). The recordings were passed into the expert hands of sound engineers Allan Ramsey and Simon Gibson, both of Abbey Road, who have made the recordings, under the directions of the Warner Classics label, as close to the sound of the originals as possible.  The gain in terms of sound is undeniable, whether by removing harsh noise or treating distorted sounds, and the natural harmonics have not been altered. What’s more, this decision to remaster everything has resulted in the recovering of the entirety of Callas’s oeuvre – meaning that we need no longer fear the disastrous loss of copies… But who said greater definition and cleanliness of sound permitted a better perception of detail! If we discern the disc’s nuances more clearly, the dynamic adjustments, soundscapes, etc., then we discern a greater fidelity in terms of timbre. Certain defects are, importantly, still left in play. Above all, Callas’s voice sounds more dramatic, brighter, more present, and more beautiful in its phrasing; especially pleasing is that it has been revealed for the first time in all of its acidity, in all of its cracks. With the sound completely rejuvenated, recordings such as La Tosca, Madame Butterfly, Il Trovatore, the Barber of Seville, and others, are as irreplaceable as ever.

Complete Operas:

Bellini – I Puritani (1953)
Bellini – La Sonnambula (1957)
Bellini – Norma (1954)
Bellini – Norma (1960)

Bizet – Carmen (1964)

Cherubini – Medea (1957)

Donizetti – Lucia di Lammermoor (1953)
Donizetti – Lucia di Lammermoor (1959)

Leoncavallo – I Pagliacci (1954)

Mascagani – Cavalleria Rusticana (1953)

Ponchielli – La Gioconda (1952)
Ponchielli – La Gioconda (1959)

Puccini – La bohème (1956)
Puccini – Madama Butterfly (1955)
Puccini – Manon Lescaut (1957)
Puccini – Tosca (1953)
Puccini – Tosca (1964)
Puccini – Turandot (1957)

Rossini – Il barbiere di Siviglia (1957)
Rossini – Il turco in Italia (1954)

Verdi – Aida (1955)
Verdi – Il trovatore (1956)
Verdi – La forza del destino (1954)
Verdi – La traviata (1953)
Verdi – Rigoletto (1955)
Verdi – Un ballo in maschera (1956)

Recitals:
Callas à Paris- More Arias from French Opera (1963)
Callas at La Scala- Medea, La vestale, La sonnambula (1955)
Callas portrays Verdi Heroines (1958)
Callas sings Arias from Tristano e Isotta, Norma & I puritani (1949)
Callas sings Arias from Verdi Operas (1964-1969)
Callas sings Great Arias from French Operas (1961)
Callas sings Mozart, Beethoven & Weber Arias (1964)
Callas sings Operatic Arias (1954)
Callas sings Operatic Arias by Puccini (1954)
Callas sings Rossini & Donizetti Arias (1965)
Callas sings Verdi Arias (1964)
Mad Scenes from Anna Bolena, Hamlet & Il pirata (1958)
The Callas Rarities (1953-1969)

Download:

Complete Operas:

https://subyshare.com/htck6x7n774y/Bellini_-_I_Puritani__1953_.rar.html
https://subyshare.com/7uvnckxucu58/Bellini_-_La_Sonnambula__1957_.rar.html
https://subyshare.com/esycezc6pl4o/Bellini_-_Norma__1954_.rar.html
https://subyshare.com/m8jko5p7fw5c/Bellini_-_Norma__1960_.part1.rar.html
https://subyshare.com/80kyz22bn7kz/Bellini_-_Norma__1960_.part2.rar.html
https://subyshare.com/eq1oer60e2ts/Bellini_-_Norma__1960_.part3.rar.html
https://subyshare.com/l8n5opd7r3c5/Bellini_-_Norma__1960_.part4.rar.html

https://subyshare.com/iemgh32x1oik/Bizet_-_Carmen__1964_.part1.rar.html
https://subyshare.com/4h3fks0r0zul/Bizet_-_Carmen__1964_.part2.rar.html
https://subyshare.com/rn7rgm8w7bgc/Bizet_-_Carmen__1964_.part3.rar.html

https://subyshare.com/z2z6btu7qqqe/Cherubini_-_Medea__1957_.part1.rar.html
https://subyshare.com/kk5ib9jg9p1f/Cherubini_-_Medea__1957_.part2.rar.html
https://subyshare.com/gdgsqcdfkcho/Cherubini_-_Medea__1957_.part3.rar.html

https://subyshare.com/7t5m0zrbt8yp/Donizetti_-_Lucia_di_Lammermoor__1953_.rar.html
https://subyshare.com/11lnxmqd1tdv/Donizetti_-_Lucia_di_Lammermoor__1959_.part1.rar.html
https://subyshare.com/3ckj4g61gvdd/Donizetti_-_Lucia_di_Lammermoor__1959_.part2.rar.html
https://subyshare.com/xdz43c30uj7h/Donizetti_-_Lucia_di_Lammermoor__1959_.part3.rar.html

https://subyshare.com/jb8fd2nv3aan/Leoncavallo_-_I_Pagliacci__1954_.rar.html

https://subyshare.com/5yyfpiv282ly/Mascagani_-_Cavalleria_Rusticana__1953_.rar.html

https://subyshare.com/98jb05vk0e1h/Ponchielli_-_La_Gioconda__1952_.rar.html
https://subyshare.com/kmric2k1ixt1/Ponchielli_-_La_Gioconda__1959_.part1.rar.html
https://subyshare.com/4si21vu7jksb/Ponchielli_-_La_Gioconda__1959_.part2.rar.html
https://subyshare.com/jjdvauzqitjr/Ponchielli_-_La_Gioconda__1959_.part3.rar.html
https://subyshare.com/k7s8xjhp3zog/Ponchielli_-_La_Gioconda__1959_.part4.rar.html

https://subyshare.com/rfqyhtcmvx1b/Puccini_-_La_bohme__1956_.rar.html
https://subyshare.com/zhyqsxcjsst0/Puccini_-_Madama_Butterfly__1955_.rar.html
https://subyshare.com/2byi2jdo5xwx/Puccini_-_Manon_Lescaut__1957_.rar.html
https://subyshare.com/shaoyla9myvu/Puccini_-_Tosca__1953_.rar.html
https://subyshare.com/39e0h5c0sbun/Puccini_-_Tosca__1964_.part1.rar.html
https://subyshare.com/mxnc3v4ibqpi/Puccini_-_Tosca__1964_.part2.rar.html
https://subyshare.com/2al1too1y2dj/Puccini_-_Tosca__1964_.part3.rar.html
https://subyshare.com/fauocs8hgf7q/Puccini_-_Turandot__1957_.rar.html

https://subyshare.com/r3aithpmfao9/Rossini_-_Il_barbiere_di_Siviglia__1957_.part1.rar.html
https://subyshare.com/4j7rai5nmmyk/Rossini_-_Il_barbiere_di_Siviglia__1957_.part2.rar.html
https://subyshare.com/njo6sh8imu0s/Rossini_-_Il_barbiere_di_Siviglia__1957_.part3.rar.html
https://subyshare.com/oei0wcycwzqr/Rossini_-_Il_turco_in_Italia__1954_.rar.html

https://subyshare.com/l7cz0ypld4h3/Verdi_-_Aida__1955_.rar.html
https://subyshare.com/z68pp5jhr7l3/Verdi_-_Il_trovatore__1956_.rar.html
https://subyshare.com/cb3pbuz0zluq/Verdi_-_La_forza_del_destino__1954_.rar.html
https://subyshare.com/lyhns4jvfg8v/Verdi_-_La_traviata__1953_.rar.html
https://subyshare.com/xdmdntgkc54h/Verdi_-_Rigoletto__1955_.rar.html
https://subyshare.com/q00ts00686ut/Verdi_-_Un_ballo_in_maschera__1956_.rar.html

Recitals:

https://subyshare.com/hwk07klwsuqv/Callas_at_La_Scala-_Medea_La_vestale_La_sonnambula__1955_.rar.html
https://subyshare.com/pfiwi568o54o/Callas_Paris-_More_Arias_from_French_Opera__1963_.rar.html
https://subyshare.com/oblo9wsp7g1a/Callas_portrays_Verdi_Heroines__1958_.rar.html
https://subyshare.com/624kpde46d4y/Callas_sings_Arias_fromVerdi_Operas__1964-1969_.rar.html
https://subyshare.com/4hyfe90lsin5/Callas_sings_Arias_from_Tristano_e_Isotta_Norma_I_puritani__1949_.rar.html
https://subyshare.com/6yqt18xullu7/Callas_sings_Great_Arias_from_French_Operas__1961_.rar.html
https://subyshare.com/7b56woev2cip/Callas_sings_Mozart_Beethoven_Weber_Arias__1964_.rar.html
https://subyshare.com/m5kvbxd0xgjr/Callas_sings_Operatic_Arias_by_Puccini__1954_.rar.html
https://subyshare.com/vicekgbps7fk/Callas_sings_Operatic_Arias__1954_.rar.html
https://subyshare.com/q5l7p6idca5z/Callas_sings_Rossini_Donizetti_Arias__1965_.rar.html
https://subyshare.com/8ctlu3zfbpp3/Callas_sings_Verdi_Arias__1964_.rar.html
https://subyshare.com/j6vwg4cthm7v/Mad_Scenes_from_Anna_Bolena_Hamlet_Il_pirata__1958_.rar.html
https://subyshare.com/lxrvuy9ao028/The_Callas_Rarities__1953-1969_.part1.rar.html
https://subyshare.com/t6mmf373zuo6/The_Callas_Rarities__1953-1969_.part2.rar.html
https://subyshare.com/7sjismkdjyp3/The_Callas_Rarities__1953-1969_.part3.rar.html

Artwork

https://subyshare.com/xeukcy6xackq/Maria_Callas_-_The_Complete_Studio_Recordings_1949-1969__2014___Qobuz_24-96__ArtWork.rar.html

Baroness – Purple (2015)
FLAC (tracks) 24 bit/96kHz | Time – 42:40 minutes | 952 MB | Genre: Rock
Official Digital Download – Source: HDTracks | Front cover | © Abraxan Hymns
Recorded: Winter 2015, Tarbox Road Studios, Cassadaga, New York

Purple is the fourth album from Baroness, produced by Dave Fridmann.

A bus accident in 2012 permanently altered reality for Baroness. While on tour to promote the just-released Yellow & Green, they crashed through a guardrail in heavy rain and fell 30 feet. Though all the members survived, drummer Allen Blickle and bassist Matt Maggioni each suffered fractured vertebrae and ultimately left the group. Frontman/guitarist John Baizley (who spent months in recovery) and guitarist Pete Adams enlisted drummer Sebastian Thomson (Trans Am) and jazz bassist Nick Jost (who also handles keyboards) as their new rhythm section. Purple was produced by Dave Fridmann (Flaming Lips, Sleater-Kinney) and issued on the band’s Abraxan Hymns label. Baroness’ penchant for using colors as album titles is apt here: Purple denotes both bruising and healing. Musically, this is an energetic (at times anthemic) hard rock album whose songs are drenched in hooks, soaring vocals, and vibrant singalong choruses; they’re scored for blistering twin guitars, a forceful, inventive rhythm section, and a boatload of sonic atmospheres. Throughout, influential references seemingly emerge at once: Mastodon, Wishbone Ash, The Obsessed, early Queen, Thin Lizzy, Iron Maiden, Metallica, etc. Fridmann is an equal collaborator: His creatively textured palette is dynamic and sprawling. Baizley’s lyrics continually reference the aftermath of trauma but never weigh down the songs. The first four tracks — “Morningstar,” “Shock Me,” “Try to Disappear” and “Kerosene” — are stone killers. Each contains a brief, speculative intro that gives way to a full-tilt rocker. Tightly written verses/chorus/verse/bridge structures are accompanied by massive riffing and biting, kinetic instrumental breaks. The spacious atmospherics that introduce “Chlorine & Wine” ring and sway before the drum kit, bassline, and dual guitars start cranking through riffs answered by thunder cracking fills. The twin lead guitar break here is the best one on the record. Like “Kerosene” on the first half, “The Iron Bell” and “Desperation Burns” are heavy, hard-hitting metallic jams with vast sound palettes that never minimize the attack factor. There are two things that each of these tracks share: the first is Baizley’s expressive vocal (remarkable given his limited range). The second is that they all seem to wed the heaviness of 2007’s Red Album to the finest melodic hooks from Yellow & Green. The instrumental “Fugue” is painted with billowing ambient sonics, serpentine leads, and electric piano, all guided by a nocturnal snare and hi-hat groove. The melancholy power ballad “If I Have to Wake Up (Would You Stop the Rain?)” pairs the Gothic longing of the Cure’s Robert Smith with the progressive rock of Porcupine Tree, and strains through Baroness’ signature crunch in a striking finish. Though not as “experimental” as their previous couple of records, as a whole Purple is far more focused, and it’s certainly more euphoric. Surviving a close brush with death resulted in a celebratory affirmation of life that equates physical bombast and rockist swagger with woozy, dreamy, rainbow-streaked beauty. –AllMusic Review by Thom Jurek

Tracklist:
1 Morningstar 04:17
2 Shock Me 04:17
3 Try to Disappear 04:53
4 Kerosene 05:11
5 Fugue 02:35
6 Chlorine & Wine 06:49
7 The Iron Bell 04:25
8 Desperation Burns 04:14
9 If I Have to Wake Up (Would You Stop the Rain?) 05:42
10 Crossroads of Infinity 00:17

Personnel:
John Baizley – rhythm guitar, lead vocals
Peter Adams – lead guitar, vocals
Nick Jost – bass guitar
Sebastian Thomson – drums, percussion

Download:

https://subyshare.com/3wxv0z2f7sco/Bar0nessPurple20159624.rar.html

Ludwig van Beethoven – Complete Symphonies – Gewandhausorchester Leipzig, Kurt Masur (2015)
FLAC (tracks) 24 bit/192kHz | Time – 05:53:45 minutes | 11,5 GB | Genre: Classical
Official Digital Download – Source: hd-music | Front cover | © Victor Entertainment
Recorded: 1972-1974, Gewandhaus, Leipzig

These symphonies were originally recorded for Philips in 1972 (Nos. 4, 5 & 7), 1973 (Nos. 3 & 6) and 1974 (Nos. 1, 2, 8 & 9). In general the readings are solid, middle-of-the-road affairs, with good sound for their day, but not up-close and as vivid as the state-of-recordings today. Probably the greatest strength of the set is its consistency of approach: Masur does not impose his personality on the music, preferring instead to present rather straightforward performances and let the music speak for itself. And, as we all know, this music can speak for itself quite boldly – listening after listening.

Among the strongest performances here are #4, where tempos seem perfect and the orchestra plays with such vitality and spirit. #6, too, is quite fine, even if tempos are bit more relaxed than I generally prefer. The Ninth is interesting, the one performance here in which Masur pulls tempos about somewhat (try the finale), but to generally good effect. His soloists aren’t the biggest names, but they do just fine and so does the chorus.
The Eroica is good, again a bit relaxed in approach, but Masur eschews the first movement repeat, a fatal flaw for some listeners. To me, this once-common abridgement does not ruin a performance, but the structure of the whole first movement shifts out of balance, the weight tilting toward the development and reprise, leaving the single exposition unable to uphold its end. The Fifth is solidly conceived and well played, but could have more tension and drive. –Robert Cummings, Classical Net

Tracklist:
Ludwig van Beethoven (1770-1827)
Disc#1
Symphony No. 1 in C major Op. 21
1. Adagio molto-allegro con brio 9:05
2. Andante cantabile con moto 8:45
3. Menuetto 3:40
4. Finale: adagio-allegro molto e vivace 5:55
Symphony No. 2 in D major Op. 36
5. Adagio molto-allegro con brio 13:10
6. Larghetto 13:08
7. Scherzo 3:50
8. Allegro molto 6:46
Symphony No. 3 in E flat major Op. 55 ‘Eroica’
9. Allegro con brio 15:27
10. Marcia funebre 16:08
11. Scherzo 5:56
12. Finale 12:12

Disc#2
Symphony No. 4 in B flat major Op. 60
1. Adagio-allegro vivace 11:52
2. Adagio 10:15
3. Allegro vivace 6:02
4. Allegro ma non troppo 6:59
Symphony No. 5 in C minor Op. 67
5. Allegro con brio 8:11
6. Andante con moto 10:11
7. Allegro 5:31
8. Allegro 9:06
Symphony No. 6 in F major Op. 68 ‘Pastoral’
9. Allegro ma non troppo 12:55
10. Andante molto moso 12:43
11. Allegro 5:45
12. Allegro 3:38
13. Allegretto 9:02

Disc#3
Symphony No. 7 in A major Op. 92
1. Poco sostenuto-vivace 12:03
2. Allegretto 8:34
3. Presto-assai meno presto 8:43
4. Allegro con brio 6:41
Symphony No. 8 in F major Op. 93
5. Allegro vivace e con brio 10:08
6. Allegretto scherzando 4:25
7. Tempo di Menuetto 4:36
8. Allegro vivace 7:38
Symphony No. 9 in D minor Op. 125 ‘Choral’
9. Allegro ma non troppo, un poco maestoso 16:01
10. Scherzo, molto vivace 14:05
11. Adagio molto e cantabile 14:37
12. Presto – Allegro assai 23:30

Personnel:
Anna Tomowa-Sintow, soprano (#3.09-3.12)
Annelies Burmeister, mezzo-soprano (#3.09-3.12)
Peter Schreier, tenor (#3.09-3.12)
Theo Adam, bass (#3.09-3.12)
Rundfunkchor Leipzig (#3.09-3.12)
Gewandhausorchester Leipzig
Kurt Masur, conductor

Download:

https://subyshare.com/9i82uxqn7fb2/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part01.rar.html
https://subyshare.com/layns6s0e2uc/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part02.rar.html
https://subyshare.com/189zondkonld/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part03.rar.html
https://subyshare.com/jv8vqfglvjsz/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part04.rar.html
https://subyshare.com/1iq7k22uemq6/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part05.rar.html
https://subyshare.com/vqu58zv72bms/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part06.rar.html
https://subyshare.com/qdt7xmpinc8s/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part07.rar.html
https://subyshare.com/tqnouxodgsmn/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part08.rar.html
https://subyshare.com/elgt18zr447u/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part09.rar.html
https://subyshare.com/linzoo73z4l7/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part10.rar.html
https://subyshare.com/6t3tgyfflqh6/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part11.rar.html
https://subyshare.com/h6uuickwvp4b/Beeth0venC0mpleteSymph0niesGewandhaus0rchesterLeipzigKurtMasur201519224.part12.rar.html

Ludwig van Beethoven – Symphonies Nos. 4 & 7 – Academy of St Martin in the Fields, Joshua Bell (2013)
FLAC (tracks) 24 bit/96kHz | Time – 01:12:14 minutes | 1,23 GB | Genre: Classical
Official Digital Download – Source: Q0buz | Digital Booklet | © Sony Music Entertainment

Beethoven: Symphonies 4 & 7 is Joshua Bell’s debut recording as Music Director of the Academy of St. Martin in the Fields. Bell is a GRAMMY® Award-winning artist and this monumental release marks the first American and first person to hold the title of Music Director since Sir Neville Marriner formed the ensemble back in 1958. Bell is found both conducting and performing from the concertmaster chair. It is truly a display of virtuosity and has already garnered praise from The Washington Post.

“there’s a winning fluidity to the collaboration. Bell’s semi-historical approach involves sheer textures and blistering speeds, sweetened here and there with soloistic vibrato. The Seventh could do with more mist and awe but the dances are tightly and brightly pointed.” –The Independent

“These are splendidly alert performances, responding to every nuance in the music, and they made me listen to Beethoven with fresh ears. Particularly impressive is the pianissimo playing Bell obtains from the orchestra…This recording is a real pleasure.” –BBC Music Magazine

“Bell’s interpretative reach isn’t long but nothing is out of place. Readers who like music ‘played straight’ may be very satisfied” –Gramophone

Tracklist:
Ludwig van Beethoven (1770-1827)

Symphony No. 4 in B Flat Major, Op. 60
1. I. Adagio – Allegro vivace 11:16
2. II. Adagio 09:25
3. III. Allegro molto e vivace 05:36
4. IV. Allegro ma non troppo 06:38

Symphony No. 7 in A major, Op. 92
5. I. Poco sostenuto – Vivace 14:18
6. II. Allegretto 08:07
7. III. Presto – Assai meno presto (trio) 08:17
8. IV. Allegro con brio 08:41

Personnel:
Academy of St Martin in the Fields
Joshua Bell, conductor, violin

Download:

https://subyshare.com/9xo726tqycpa/Beeth0venSymph0niesN0s.47Academy0fStMartinintheFieldsJ0shuaBell20139624.part1.rar.html
https://subyshare.com/69atlkb4geln/Beeth0venSymph0niesN0s.47Academy0fStMartinintheFieldsJ0shuaBell20139624.part2.rar.html

Capuana & Rubino – Requiem – Choeur de Chambre de Namur, Leonardo Garcia Alarcon (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:02:57 minutes | 994 MB | Genre: Classical, Choral
Official Digital Download – Source: Q0buz | Digital Booklet | © Ricercar
Recorded: June 2014, Stavelot, church Saint-Sébastien

This album of world premiere recordings of 17th century masses showcases the Namur Chamber Choir and its artistic director, Argentinian conductor Leonardo García Alarcón. The choir champions the musical heritage of its native region while at the same time tackling great works of the choral repertoire. These Requiem Masses by Capuana and Rubino are apparently the only two settings of the Requiem composed in Sicily during the Baroque period. Capuana’s work is imbued with the intense emotion of the madrigal school while the Rubino is a true glorification of Renaissance polyphony.

“Captivating, quality stuff…Chœur de Chambre de Namur, backed by a terrific continuo group, are definitely enjoying themselves, so why shouldn’t we?” –Choir & Organ, May 2015

“colourful, dramatic, touching and full of contrast. The choir sings sturdily, with ample solo talent for Rubino’s slightly more adventurous work. Leonardo Garcia Alarcon paces both performances intelligently.” –Sunday Times, 22nd February 2015

“Capuano tends towards the style of the dramatic madrigal and Rubino makes greater use of polyphony, imitation and occasionally charming soprano solo passages…Neither mass is in the top rank, but the stylish Namur singers make a convincing case for their revival.” –The Observer, 8th February 2015

Tracklist:

Mario Capuana (?-1646/47)
Messa di defonti a quattro voci
1. Introitus 03:55
2. Kyrie 02:51
3. Graduale 01:52
4. Sequentia 12:02
5. Offertorium 02:35
6. Sanctus 00:57
7. Agnus Dei 02:29
8. Communio 01:28

Bonaventura Rubino (1600-1668)
Messa di morti a 5 concertata
9. Introitus 03:48
10. Kyrie 02:10
11. Sequentia 11:34
12. Offertorium 04:41
13. Sanctus 02:07
14. Agnus Dei 02:25
15. Communio 02:44
16. Responsorium 05:27

Personnel:
Sara Bino, Elke Janssens, Lucia Martin Carton, Mariana Moldao, Caroline Weynants: sopranos I
Laura Cartier, Marine Chaboud, Diana Gouglina, Florence Grasset, Maria Nunez de Fatima: sopranos II
Elena Pozhidaeva, Ariana Vafadari: altos
Jean-Sébastien Beauvais, Josquin Gest, Leandro Marziotte: counter-tenors
Eric François, Th ibaut Lenaerts, Riccardo Pisani, Frederico Projecto, Jean-Yves Ravoux: tenors
Jean Delobel, Philippe Favette, Alejandro Gabor, Sergio Ladu, Jean-Marie Marchal, Tiago Mota: basses
Giulia Genini: bassoon
Maximilian Ehrhardt: harp
Pierre-Louis Retat: positive organ
Leonardo García Alarcón: direction

Download:

https://subyshare.com/ulv03fm64ko8/CapuanaRubin0RequiemChurdeChambredeNamurLe0nard0GarcaAlarcn201588.224.part1.rar.html
https://subyshare.com/4e163w64v7jz/CapuanaRubin0RequiemChurdeChambredeNamurLe0nard0GarcaAlarcn201588.224.part2.rar.html

Dino Saluzzi, Anja Lechner – Ojos Negros (2007)
FLAC (tracks) 24 bit/96kHz | Time – 00:57:54 minutes | 895 MB | Genre: Jazz, Classical
Official Digital Download – Source: Q0buz | Digital Booklet | © ECM
Recorded: April 2006, Kulturbuehne AmBach, Goetzis

Ojos Negros is an album by Argentine bandoneon player and composer Dino Saluzzi with cellist Anja Lechner recorded in 2006 and released on the ECM label

What is beauty? What does it mean to feel, to remember, to laugh or to cry? How can music sound both created beforehand and recreated each second? Is music a direct connection to the infinite, to our very ground of being, so we can see into the musician’s soul?

These and many, many more questions are raised by Ojos Negros, the astonishing record by bandoneonist Dino Saluzzi and cellist Anja Lechner. Saluzzi’s Juan Condori (ECM, 2006) was a family affair, but the music somehow managed to convey the humanity, vulnerability and wisdom of its patriarch, Dino Saluzzi.
Lechner is a member of the Rosamunde Quartett, which has an extensive ECM classical discography. She has a deep interest in many kinds of folk music, but Argentinean music has held a special place in her heart for the past twenty-five years. Her research led her to Saluzzi, with whom she has played for the last ten years, including six of duo concerts.

Thus, Lechner has been able to get inside of this music and especially become one with Saluzzi, whose music, at this point, transcends tango. The resulting performance is beyond category and might best be described as not jazz, not classical, not tango, and not folk music.

Whatever it is—and Saluzzi would say, “I play music”—its emotional impact derives from a delicate intimacy that emerges from the music’s depth and breadth, which includes the sound of Saluzzi pressing his bandoneon keys. Lechner, as a playing partner, has tapped into Saluzzi’s ability to communicate directly to the listener. They are talking to us, or better, we are overhearing a musical conversation with all artifice discarded, and what is left is from their hearts to ours.

In the notes, Lechner talks about how each performance could be entirely different from the last, and in more ways than just the amount of rubato, and hence the pacing of this or that phrase. What is improvised is indiscernible from what is written and the arrangement, ostensibly the form of the piece, becomes a very flexible thing that is but the starting point for the performance.

The magic of the sound of Ojos Negros, apart from the emotional intangibles, lies in the fact that nothing stands still. Saluzzi will play close chords, then contrapuntal lines, while Lechner changes registers to mix first with Saluzzi’s high notes and then the low notes, or jumps back and forth from arco to pizzicato. When playing together, the caress of Saluzzi’s bandoneon surrounds Lechner’s singing cello.
Combine all of this with a sense of rhythm or pulse that is so refined as to make the music playfully dance, creating such a very strong sense of breathing that you might just hold yours.
Ojos Negros is another gem in the ECM catalogue of gems, and will continually show new faces and reflections no matter how many times it is heard. –Budd Kopman, All About Jazz

Tracklist:
1. Tango A Mi Padre 04:20
2. Minguito 07:04
3. Esquina 08:44
4. Duetto 06:08
5. Ojos Negros 05:56
6. El Titere 10:23
7. Carretas 06:33
8. Serenata 08:46

Personnel:
Dino Saluzzi, bandoneón
Anja Lechner, violoncello

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Dvorak: Cello Concerto / Tchaikovsky: Variations on a Rococo Theme – Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan (1968/2012)
FLAC (tracks) 24 bit/192 kHz | Time – 01:00:23 minutes | 2,05 GB  | Genre: Classical
Studio Master, Official Digital Download  | Source: e-onkyo | @ Deutsche Grammophon
Recorded: September 1968, Jesus-Christus-Kirche, Berlin, Germany

„Mstislav Rostropovich is the world’s greatest cellist, and he has actually made at least five recordings of this greatest of all cello concertos. I have a certain preference for his later version, with Seiji Ozawa and the Boston Symphony Orchestra on Erato. This version has long been a prime recommendation, and in this new remastering at mid-price, it’s an even better deal now. Herbert von Karajan accompanies with his usual expertise, and the Tchaikovsky performance is quite simply the finest around. This concerto is one of those pieces of which you’ll want to have five or six copies. Just make sure this is one of them.“ –David Hurwitz, ClassicsToday

„Two great musicians performing with complete sympathy for each other: Rostropovich on top form and Karajan an attentive partner.“ –James Jolly, Gramophone

Rostropovich’s emotional and sonic power in this classic 1968 recording has never been bettered.“ –Jessica Duchen, BBC Music Magazine

“The intensity of lyrical feeling and the spontaneity of the partnership between Karajan and Rostropovich ensures the position of their DG disc at the top of the list of recommendations.” –Penguin Guide

Tracklist:

Antonín Dvorák (1841-1904)
Cello Concerto in B minor, Op.104
1. 1. Allegro 15:43
2. 2. Adagio ma non troppo 12:42
3. 3. Finale (Allegro moderato) 13:05

Pyotr Ilyich Tchaikovsky (1840-1893)
Variations on a Rococo Theme, Op.33
4. Moderato assai quasi andante 00:54
5. Tema: Moderato semplice 01:43
6. Variazione I: Tempo del Tema 00:52
7. Variazione II: Tempo del Tema 01:14
8. Variazione III: Andante sostenuto 03:58
9. Variazione IV: Andante grazioso 01:53
10. Variazione V: Allegro moderato 03:29
11. Variazione VI: Andante 02:52
12. Variazione VII e Coda: Allegro vivo 01:59

Personnel:
Mstislav Rostropovich, Cello
Berliner Philharmoniker
Herbert von Karajan, Conductor

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Bud Shank – California Dreamin’ (1966/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 31:39 minutes | 681 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | @ Blue Note Records

American saxophonist and flutist Bud Shank, while best known for his work in jazz, also worked in the pop world and is famous for contributing the improvised flute solo to the 1965 smash hit California Dreamin’ by The Mamas & the Papas. This album capitalizes on that successful collaboration and also includes instrumental interpretations of 1960s songs by the Beatles, Burt Bacharach, Roger Miller and more.

Tracklist:
01 – California Dreamin’
02 – Imprevu
03 – Listen People
04 – What The World Needs Now Is Love
05 – In Times Like These
06 – Norwegian Wood (This Bird Has Flown)
07 – Woman
08 – Monday Monday
09 – Daydream
10 – Gotta Go
11 – The End Of The World
12 – Husbands & Wives

Produced by Richard Bock.

Musicians:
Bud Shank – alto saxophone, flute
Chet Baker – flugelhorn
Unidentified orchestra arranged and conducted by Bob Florence

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https://subyshare.com/kgdeeha4791h/BudShankCalif0rniaDreamin19662015HDTracks2496.rar.html

Bud Shank – Michelle (1966/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 24:38 minutes | 507 MB | Genre: Jazz
Studio Master, Official Digital Download – Source; HDTracks | Artwork: Front cover | @ Blue Note Records

Acclaimed jazz saxophonist and flutist Bud Shank is joined by trumpet legend Chet Baker on this 1966 album featuring instrumental takes on pop songs, including tunes by the Beatles, the Rolling Stones, Simon & Garfunkel, the Byrds and more.

Tracklist:
01 – Michelle
02 – Petite Fleur (Little Flower)
03 – Girl
04 – As Tears Go By
05 – You Didn’t Have To Be So Nice
06 – Love Theme, Umbrellas Of Cherbourg (I’ll Wait For You)
07 – Sounds Of Silence
08 – Turn! Turn! Turn! (To Everything There Is A Season)
09 – Yesterday
10 – Blue On Blue

Produced by Richard Bock.

Musicians:
Bud Shank – alto saxophone, flute
Chet Baker – flugelhorn
Unidentified orchestra arranged and conducted by Bob Florence

Download:

https://subyshare.com/m28gnbvkob99/BudShankMichelle19662015HDTracks2496.rar.html

Bud Shank – Magical Mystery (1968/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 34:53 minutes | 821 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | @ Blue Note Records

This 1968 album features alto saxophonist and flautist Bud Shank covering mostly Beatles tunes, including “Hello Goodbye” and “I Am The Walrus”.

By late 1966, Chet’s playing was in such poor shape he asked Dick Bock to pay for him to have dentures fitted. He struggled to play for several months, and eventually emerged one year later, appearing on a handful of songs on Bud Shank’s ‘Magical Mystery’ album. Chet’s playing still sounds extremely tentative at times – the first few bars of his playing on ‘Hello Goodbye’ find him struggling to hold a note – and it is probably for this reason that a second recording session was arranged with a new band, this time featuring Gary Barone on flugelhorn. The arrangements, still by Bob Florence, are slightly more interesting than on Bud Shank’s previous ‘pop’ albums, suggesting a move away from the ‘easy listening’ market to a more current, ‘psychedelic’ sound.

Tracklist:
01 – Blue Jay Way
02 – I Am The Walrus
03 – The Fool On The Hill
04 – Flying
05 – Hello Goodbye
06 – Your Mother Should Know
07 – Paper Cup
08 – Windy
09 – Never My Love
10 – I Wanna Be Free
11 – I Say A Little Prayer

Produced by Richard Bock.
Recorded in November 3 & 8, 1967, Los Angeles, CA.

Musicians:
Bud Shank – alto saxophone, flute
Chet Baker – flugelhorn
Gary Barone – flugelhorn
Dennis Budimir – guitar
Herb Ellis – guitar
Robert West – bass
John Guerin – drums
Victor Feldman – percussion

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https://subyshare.com/t4e88ujhjtc6/BudShankMagicalMystery19682015HDTracks2496.rar.html