Studio Masters – HDMusic.me

Trumpeter Theis Jensen is considered to be one of the main proponents of Danish traditional jazz, cutting several records with independent record label Storyville. This album was originally released in 1965 and features trombone player Peter Elliott Nyegaard.

Tracklist:
01 – High Society
02 – Winin Boy Blues
03 – Avalon
04 – That’s My Home
05 – 21st Street Stomp
06 – I Ain’t Got Nobody
07 – Shine
08 – Wild Mam Blues
09 – Walk Right In
10 – Yes I’m in the Barrel
11 – Mabels’ Dream

Recorded on March 31 – April 1, 1965. Engineered by Ivar Rosenberg.
This album contains high-resolution digital transfers of material originating from an analogue master source.

Musicians:
Theis Jensen – trumpet, vocals
Peter Elliott Nyegaard – trombone
Erik Andersen – clarinet
Freddy Paulsen – banjo
Orla Levin Jørgensen – bass
Niels Bødker – drums

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Thomas David may look like just another singer/songwriter, but once you listen carefully to his expressive voice and simple acoustic sound, you’ll be captured from the very first moment. Influenced by the music of bands like Matchbox20, The Calling or songwriter like Jason Mraz, Gavin Degraw and many more, he writes and performs his songs with a lot of honesty. In his intimate live shows, Thomas mixes his sunny nature with his sincere music and connects with the audience in a truly charming way.

Tracklist:
01 – Find My Love
02 – A Million Lights
03 – Runaway
04 – Catch Me On The Fly
05 – Man With Heart
06 – Better Off Alone
07 – Peculiar
08 – Sooner Or Later
09 – Sweet Nothings
10 – Illusions
11 – Sway

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Torolf Mølgård was born in Copenhagen in 1939 and started out playing tuba in a local brass band before buying his first trombone at 15. He released the debut album ‘Trombone!’ in 1964 on the Sonet label before joining the Danish Radio Big Band that same year.

Tracklist:
01 – Love for Sale
02 – Blues for Butter
03 – Sometimes I’m Happy
04 – You Don’t Know What Love Is
05 – Soul Sister
06 – Lonesome Road
07 – That’s All
08 – I Get a Kick out of You

Recorded on December 30, 1963.
This album contains high-resolution digital transfers of material originating from an analogue master source.

Musicians:
Torolf Mølgård – trombone
Axel Smith – trombone
Bent Ronak – trombone
Ole Kurt Jensen – trombone
Bent Axen – piano
Erik Moseholm – bass
Bjarne Rostvold – drums

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Often compared to Coldplay and Travis, Turin Brakes are a English duo inspired by folk and progressive rock hailing from Balham, London. “Lost Property” is the band’s seventh full-length studio release, produced with Ali Staton. Fifteen years since their debut, Turin Brakes’ tangled, twisty take on acoustic rock sounds confident rather than beleaguered or battered by age.

There’s a subtle folk influence in the music of Turin Brakes, but theirs is not music you’re ever going to hear around a campfire on a chilly evening; instead, this is folk music for moody young people pondering life and love alone in their bedrooms late at night, and the fact group founders and key songwriters Olly Knights and Gale Paridjanian still have anything to say about these subjects 15 years after their first LP is a testimony to their enduring strength as both writers and recording artists. Arriving in 2016, Lost Property is dominated by gentle but thoughtful melodies built around guitar patterns where electric and acoustic sounds walk hand in hand, accompanied by dynamic bursts of keyboards and strings. The lines of these tracks are impressively clean and polished; while the performances often seem languid, the group’s clever use of the relief between the loud and the quiet brings Lost Property an impact that’s big and spacious, and the sweetly sad tone of the vocals is a good match for the emotions of the music, imaging a young person’s world with the experience of a middle-aged man to draw upon. In fact, Turin Brakes evoke the sound of a young man’s lovelorn view of the world so vividly that it’s a bit hard to imagine this band has been around since 2001 and hasn’t fully matured into a group with more to say about the long-term relationships that are the stuff of adult lives. But if Turin Brakes’ world-view has changed little over the years, their embrace of the craft of record-making has only improved, and Lost Property is an impressive document of their skills in the recording studio. ~ Mark Deming

Tracklist:
01 – 96
02 – Keep Me Around
03 – The Quiet Ones
04 – Lost Property
05 – Rome
06 – Brighter Than the Dark
07 – Save You
08 – Martini
09 – Jump Start
10 – Hope We Make It
11 – Black Rabbit

Recorded at The Coach House, Rockfield Studios, Wales.
Mixed at The Bunker, Real World Studios, England.
Strings recorded at Ollywodd Studio. Vibes at Brixton Hill Studios.

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Various Artists – O Brother, Where Art Thou? Original Motion Picture Soundtrack (2000/2014)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 60:32 minutes | 2,38 GB | Genre: Soundtrack
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Lost Highway

The eight million selling, triple Grammy-winning number one soundtrack for the hit Coen brothers movie represents some of the best talent from Americana and country music, assembled by musician and producer T Bone Burnett.

One of the most successful movie soundtracks in recent memory. In order to capture the sound of Mississippi circa 1932, the Coen Brothers commissioned T-Bone Burnett, a masterful producer whose work with artists like Elvis Costello, Sam Phillips, Joseph Arthur and Counting Crows has earned him a special place in the folk-rock hall of fame, to research and re-create the country, bluegrass, folk, gospel, and blues of the era. The Coens were so taken with Burnett’s discoveries that the film became a unique sort of musical revue. There are no original compositions here (though Burnett is given a “music by” credit usually reserved for composers), but nearly every scene in O Brother is set to a period song, and the music frequently drives and defines the action. With one exception ‹ a stunning 1955 Alan Lomax recording of a black prison chain gang singing “Po Lazarus” — every song was recorded for the film by an impressive assembly of old-time country veterans (Fairfield Four, Ralph Stanley, the Whites) and talented newcomers (Gillian Welch, Alison Krauss, Emmylou Harris).

Tracklist:
01. James Carter and The Prisoners – Po Lazarus
02. Harry McClintock – Big Rock Candy Mountain
03. Norman Blake – You Are My Sunshine
04. Alison Krauss – Down to the River to Pray
05. Soggy Bottom Boys & Dan Tyminski – I Am a Man of Constant Sorrow (Radio Station Version)
06. Chris Thomas King – Hard Time Killing Floor Blues
07. Norman Blake – I Am a Man of Constant Sorrow (Instrumental)
08. The Whites – Keep On the Sunny Side
09. Alison Krauss & Gillian Welch – I’ll Fly Away
10. Emmylou Harris, Alison Krauss and Gillian Welch – Didn’t Leave Nobody But the Baby
11. Leah, Sarah and Hannah Peasall – In the Highways
12. The Cox Family – I Am Weary, Let Me Rest
13. John Hartford – I Am a Man of Constant Sorrow (Instrumental)
14. Ralph Stanley – O, Death
15. Soggy Bottom Boys & Tim Blake Nelson – In the Jailhouse Now
16. Soggy Bottom Boys & Dan Tyminski – I Am a Man of Constant Sorrow (With Band)
17. John Hartford – Indian War Whoop
18. The Fairfield Four – Lonesome Valley
19. The Stanley Brothers – Angel Band

DSD file created by Gus Skinas from the original DSD audio used to create the existing SACD.

DSD64

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{10th Anniversary Deluxe Edition} HDTracks 24-96

http://hdmusic.pw/various-artists-o-brother-where-art-thou-20002011-10th-anniversary-deluxe-edition-official-digital-download-24bit96khz/

An amalgamation of swampy blues, jazz and rock – all mixed and recorded in a sparse, bloomy and eerie sort of way. This recording is just so damn fine, so airy and warm. And the musician’s aboard on this Dennis Hopper film are a who’s who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought after and collectible record among audiophiles. A true demonstration disc.

A return look and listen to this historical and breathtaking collaboration between two of the great figures of modern music should naturally be prefaced by a few key facts. Although this album presents itself as the soundtrack to the film The Hot Spot, like many such releases it bares little relation to the music that was actually used in the film – not that much of this music was actually used. All one really needs to know about the film itself, other than the fact that it was directed by Dennis Hopper, is that it is awful, even by bad film standards. That it was the impetus for this marvelous music to be made is something listeners should be thankful for, particularly fans of either Miles Davis or John Lee Hooker. Anyone who grew up with the former artist during his electric transfusions of the ’60s and ’70s probably wondered why he wasn’t playing with John Lee Hooker the whole time, since they both seemed headed in the same direction. In fact, one wonders why it took this crummy film and the personal appeal of its director to bring these two musical giants together. That they didn’t seek to do something like this on their own can be looked at as a character flaw, one that can only be forgiven after listening to how wonderfully they interact here. An important aspect of the magic is their individual genius in the art of playing blues music in such utterly personal ways. There is no mistaking the sound of either Hooker or Davis for anyone else, with layer upon layer of detail backing that up – the actual sound of their instruments is distinctive, their choices of notes and timing completely unusual and impossible to imitate, and they both have a knack for casually making even the most basic sort of band track sound as if it is a style of music that has never been played before. No matter how many times one may have heard a bar band break into what they think is a Hooker boogie, a brief recovery period will still be required after first exposure to the tracks here. Often during his recording career, Hooker was able to get a particularly scintillating rhythm section sound going with whatever pros had been assembled for the occasion. This is one of these sessions, but it indeed makes it seem like a royal visit to have Davis blowing over the top of these grooves. There are other dignitaries as well. Blues guitarist Roy Rogers adds some tasteful slide guitar, and it could be said that it presents another melodic direction for the interaction. But when one has a choice to hear Hooker or Davis instead, most listeners will simply wish Rogers had ridden off into the sunset on his faithful horse instead of coming to this session. Taj Mahal, on the other hand, adds nice textures with his dobro, an instrument that is wonderfully versatile yet so often overlooked in anything other than bluegrass music or straight-ahead country blues. The latter genre, unfortunately, has too much of a sway over this performer’s choice of picking patterns. He sounds like what he is: a revivalist who learned how to play blues in college. The rhythm section kicks the whole time, while composer and arranger Jack Nitzsche makes valuable contributions of his own. This includes a minor-key groove – completely unusual for Hooker, who perhaps recorded in a minor key less than a half-dozen times in his entire career. The dabs of typical film score-type music seem like nothing special until there is an entrance by Davis. These sections of him extemporizing over such routine music bring to mind one of the Ralph J. Gleason profiles of Davis, which described the artist hanging out in his music room playing along with various new releases and painfully trying to reharmonize several selections from the score of Dr. Doolittle he was thinking about recording. The image is that of normal music being twisted into something different by a master at such trickery; most of The Hot Spot soundtrack, on the other hand, presents this great jazz soloist playing over blues grooves as pure as only Hooker could make happen, an interesting contrast to some of the weaker, late-period Davis, where his bands are simply straining to be funky in an old-time bluesy way. To say this is the best recording Davis made in his final period might be misunderstood as damning with faint praise. A more solid compliment would be to contrast it with other great moments from the trumpeter’s career, such as Bitches Brew or Kind of Blue, and the best parts of this soundtrack contain music that is every bit as interesting and profound. As for a Hooker album, there might be others that have better blues songs on them, but this is just about the only recording the bluesman ever did with a really great jazz soloist on it.

Tracklist:
01 – Coming to Town
02 – Empty Bank
03 – Harry’s Philosophy
04 – Dolly’s Arrival
05 – Harry and Dolly
06 – Sawmill
07 – Bank Robbery
08 – Moanin’ Blues
09 – Gloria’s Story
10 – Harry Sets Up Sutton
11 – Murder
12 – Blackmail
13 – End Credits

Original Music Composed by Jack Nitzsche.

Musicians:
John Lee Hooker – guitar, vocals
Taj Mahal – guitar, vocals
Miles Davis – trumpet
Bradford Ellis – keyboards
Roy Rodgers – slide guitar
Tim Drummond – bass
Earl Palmer – drums

DSD64

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FLAC

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On the first of three volumes, Wynton Marsalis explores 10 standards plus two of his originals with his quartet of the period (which consists of pianist Marcus Roberts, bassist Robert Hurst III and drummer Jeff “Tain” Watts). Marsalis’s tone is quite beautiful on the well-balanced set; even the ballads have their unpredictable moments. Among the more memorable performances are his treatments of “Caravan”, “April in Paris,” “New Orleans,” “Memories of You” and two versions of “Cherokee.”

Throughout this recording, the Wynton Marsalis Quartet delivers the sweep of the jazz sound with bold, unapologetic integrity. But by taking on selections from the standard repertoire that have inspired a good number of classic jazz performances, Marsalis and his men are placing themselves in a situation where their work has to be judged against the best of the entire tradition. Here they are challenged to assert their imaginations in contexts that are neither mysterious nor exotic, neither uncharted nor lacking in masterwork so imposing, more than a few musicians of this generation have chosen to avoid them altogether. But the Wynton Marsalis Quartet is not given to avoidance, which is why we observe fresh things happening to these familiar pieces, and spaces found for new footprints on ballroom floors scuffed and marked by hundreds of feet. From the opening gumbo street beat that redefines the dance pulsation of “Caravan,” through the audacious multiple angles on the express tempo of the concluding version of “Cherokee,” these young men prove that the bloom of the unique can often be most easily recognized within the context of the familiar. Yes, Wynton Marsalis, Marcus Roberts, Bob Hurst, and Jeff Watts show us that there is a seriousness, adventure, wit, and idiomatic skill in the air, and that that very air threatens to become a storm of increasingly glorious invention. As you listen to these performances, some of that glory will surely reveal itself. “Soon All Will Know”.

Tracklist:
01 – Caravan
02 – April in Paris
03 – Cherokee
04 – Goodbye
05 – New Orleans
06 – Soon All Will Know
07 – Foggy Day
08 – The Song Is You
09 – Memories of You
10 – In the Afterglow
11 – Autumn Leaves
12 – Cherokee

Recorded Digitally at RCA Studio A on May 29-30, 1986 and September 24-25, 1986.
Recorded on to the Sony PCM 3324 digital 24 track tape recorder through an MCI console.
DSD file created by Gus Skinas from the original Sony Super Audio CD cutting masters.

Musicians:
Wynton Marsalis – trumpet
Marcus Roberts – piano
Robert Leslie Hurst III – bass
Jeff “Tain” Watts – drums

DSD64

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FLAC

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Herbert von Karajan & Philharmonia Orchestra – Karajan conducts Respighi, Berlioz & Liszt (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 48:25 minutes | 972 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Warner Classics International

The Karajan Official Remastered Edition contains official remastering of the finest recordings the Austrian conductor made for EMI between 1946 and 1984, which are now a jewel of the Warner Classics catalog.

For many, Herbert von Karajan (1908-1989) hailed early in his career as Das Wunder Karajan (The Karajan Miracle) and known in the early 1960s as the music director of Europe remains the ultimate embodiment of the maestro. The release of the Karajan Official Remastered Edition over the first half of 2014 marks the 25th anniversary of the conductors death in July 1989 at the age of 81.

He was closely associated with EMI for the majority of his recording career (specifically from 1946 to 1960 and then again from 1969 to 1984). EMIs legendary producer Walter Legge sought him out in Vienna just after World War II and the long relationship that ensued embraced recordings with the Vienna Philharmonic, the Philharmonia (the orchestra founded by Legge), the Berlin Philharmonic (of which Karajan became conductor for life in 1955), La Scala, Milan, and the Orchestre de Paris.

Tracklist:

Ottorino Respighi (1879-1936)
The Pines of Rome, symphonic poem, P. 141
1. I. The Pines of Villa Borghese (I pini di Villa Borghese) 2:50
2. II. The Pines near a Catacomb (Pini presso una catacomba) 6:57
3. III. The Pines of the Janiculum (I pini del Gianicolo) 6:50
4. IV. The Pines of the Appian Way (I pini della Via Appia) 6:14

Hector Berlioz (1803-1869)
5. Le Carnaval romain, Op. 9: Overture 9:21

Franz Liszt (1811–1886)
6. Les Préludes, symphonic poem No. 3, S97 16:13

Personnel:
Berlin Philharmonic Orchestra
Herbert von Karajan, conductor
Recorded 1958 at Kingsway Hall, London

Engineered by Douglas Larter and Liszt）Robert Becket ＆ Harold Davidson
Produced by Walte Legge

Digitally remastered

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Composer Pierre Bartholomée was also conductor. The art of combining instruments therefore has no secrets for him. The disc gathers works from the 1970s and 80s, and features remastered recordings and an unpublished score that has just been recorded during summer 2017: the opportunity to rediscover the interpretation of Michael Gielen at the head of the a magnificent Frankfurt radio orchestra in Harmonique, a piece inspired by extra-Western music. The richness of the timbral combinations gives the work a rhythmic density from which brilliant colors arise. Then, this orchestral effervescence leaves room for more transparency. The programme also features a more intimate piece by Pierre Bartholomée, his saxophone quartet entitled Ricercar. Considered too difficult in its time, the score had not been recorded. Bl!indman sax quartet has finally done it. The four musicians released it with ease and displayed its shimmering harmonies with a pleasure and a joy that make forget its formidable virtuosity.

Tracklist:
Pierre Bartholomée (b.1937)
1. Harmonique
Trois Pôles entrelacés
2. Toccata
3. Ricercar
4. Canzone
5. Ricercar – double
6. Toccata – double
7. Fancy as a Ground
8. Ricercar

Personnel:
Ensemble Musique Nouvelle
Georges-Elie Octors, direction
Hr-sinfonieorchester
Michael Gielen, direction
Bl!ndman [sax]

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A new signing for Delphian, In Echo is made up of some of Europe’s finest young early-music specialists. Each a soloist in their own right, under director Gawain Glenton they have put together a fascinating snapshot of the musical landscape during the heyday of the Hanseatic League. The seafaring nations of northern Europe have always been connected: London to Tallinn via Lübeck, Hamburg, Bremen and the ports of Holland, Denmark and Sweden. The sixteenth- and seventeenth-century composer/musicians on this recording each looked beyond their own shores and toward a sense of shared European culture and understanding. Andrew Keeling’s new work Northern Soul was commissioned specially to complement this programme.

Formed in 2016, In Echo has already given recitals at Dartington International Summer School and at York Early Music Christmas Festival. In 2018 they will perform in Regensburg, as well as making several appearances in the UK. Their director, specialist cornetto player Gawain Glenton, performs with many leading international groups and directors, including Il Giardino Armonico, Concerto Italiano, I Fagiolini and The Taverner Consort.

Tracklist:
01. Symphony à 4 No. 1, Op. 12 02:53
02. Der heilig Berg 01:04
03. Peggy Bell 00:42
04. Ein Schottisch Tanz 01:27
05. Sonata à 4 in D Minor 09:16
06. Das Lied ist hier 01:06
07. Susanna paduanna 03:34
08. Prelude 02:04
09. Divisions on John Come Kiss Me Now 04:38
10. Sonata à 2 08:13
11. Paduana Lachrymae (After J. Dowland) 04:59
12. Image of Melancholly 04:31
13. Northern Soul: Walk 1 03:13
14. Northern Soul: Walk 2 02:45
15. Northern Soul: Walk 3 02:40
16. Northern Soul: Walk 4 03:37
17. Der 8, Psalm 03:37
18. Sonata 31 à 4 02:37
19. Lachrimae Pavan 04:26

Composers:
Albert, Heinrich (1604-51)
Baltzar, Thomas (c.1630-63)
Becker, Dietrich (1623-79)
Bertali, Antonio (1605-69)
Brade, William (1560-1630)
Holborne, Antony (?1545-1602)
Keeling, Andrew (b.1955)
Schildt, Melchior (1593-1667)
Schop, Johan (c.1590-1667)
Sommer, Johann (c.1570-1627)
Staden, Johann (1581-1634)

Personnel:
In Echo
Gawain Glenton, direction

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Steve Reich’s Pulse / Quartet is performed by the International Contemporary Ensemble (ICE). An artist collective committed to transforming the way music is created and experienced—and Quartet (2013) is played by the Colin Currie Group, an ensemble led by percussionist Colin Currie that specializes in the music of Steve Reich; these are also the ensembles that gave the world premiere performances of the respective works.

Reich says, “Pulse, for winds, strings, piano and electric bass, was completed in 2015 and was, in part, a reaction to Quartet, in which I changed keys more frequently than in any previous work. In Pulse I felt the need to stay put harmonically and spin out smoother wind and string melodic lines in canon over a constant pulse in the electric bass and or piano. From time to time this constant pulse is accented differently through changing hand alternation patterns on the piano. All in all, a calmer more contemplative piece.”

He continues, “Quartet, when mentioned in the context of concert music, is generally assumed to mean string quartet. In my case, the quartet that has played a central role in many of my pieces (besides the string quartet) is that of two pianos and two percussion. It appears like that or in expanded form with more pianos or more percussion in The Desert Music; Sextet; Three Movements; The Four Sections; The Cave; Dance Patterns; Three Tales; You Are (Variations); Variations for Vibes, Pianos and Strings; Daniel Variations; Double Sextet; and Radio Rewrite. In Quartet, there is just this group alone: two vibes and two pianos.

“The piece is one of the more complex I have composed. It frequently changes key and often breaks off continuity to pause or take up new material. Though the parts are not unduly difficult, it calls for a high level of ensemble virtuosity. The form is one familiar throughout history: fast, slow, fast, played without pause. The slow movement introduces harmonies not usually found in my music.”

Steve Reich has been called “our greatest living composer” (New York Times) and “the most original musical thinker of our time” (New Yorker). His path has embraced not only Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. “There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,” states the Guardian. In April 2009 Steve Reich was awarded the Pulitzer Prize in Music for his composition Double Sextet. Nonesuch has released twenty-three Steve Reich albums, beginning in 1985 with The Desert Music and including two box sets; his most recent album was Radio Rewrite (2014).

“It is tempting to label this music merely as minimalism, but to do so would be slightly misleading because there is so much happening in the midst of the pulse patterns and the layering melodies and sounds. Pulse/Quartet is a brilliant recording by a composer though he’s been around for many years is hitting his stride. The music is profound, enchanting, accessible and engaging.” (AllAboutJazz)

“Pulse felt like a rapturous extended song—one with enough confidence to end with the feel of reverie, as opposed to Reich’s traditional headlong-rush climax” (Guardian)

Tracklist:
Steve Reich (1936 – )
1. International Contemporary Ensemble – Pulse (14:25)
2. Colin Currie Group – Quartet: I. Fast (06:45)
3. Colin Currie Group – Quartet: II. Slow (03:58)
4. Colin Currie Group – Quartet: III. Fast (05:53)

Download:

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Melodiya presents the string duet of brothers Ivan and Mikhail Pochekin.

This is another Melodiya present for music lovers that acquaint us with representatives of musical performing art of the new generation. The young soloists continue a renowned musical dynasty – their father is a famous violin maker, and their mother is a violin teacher. Prize-winners of prestigious international competitions, Ivan and Mikhail Pochekin have appeared at some of the leading venues of Russia, Europe and the world, and been active as both solo and ensemble performers for a decade.

An unusual composition of this album is noteworthy – it is a sort of “two-part concert” where the first part is dedicated to musical classicism and the other to Russian music of the 20th century. Wolfgang Amadeus Mozart’s duo for violin and viola is here next to a rarely performed cycle by Michael Haydn, Joseph Haydn’s younger brother and a friend of the Mozart family. Sergei Prokofiev’s Sonata for two violins concludes the album along with another musical rarity – 12 duos for strings by Reinhold Glière, Prokofiev’s first teacher and a representative of the Sergei Taneyev’s school. His music combines Russian melodiousness and oriental grace with amazing harmonic wealth.

The compositions were recorded by the duet of Ivan and Mikhail Pochekin in 2017 at the Grand Hall of the Moscow Conservatory.

Tracklist:
01. Duo for Violin and Viola in G Major, K. 423: I. Allegro
02. Duo for Violin and Viola in G Major, K. 423: II. Adagio
03. Duo for Violin and Viola in G Major, K. 423: III. Rondeau-Allegro
04. Duo for Violin and Viola in C Major, MH 335: I. Allegro
05. Duo for Violin and Viola in C Major, MH 335: II. Adagio
06. Duo for Violin and Viola in C Major, MH 335: III. Rondo con spirito
07. 12 Duos for 2 Violins, Op. 49: I. Andante
08. 12 Duos for 2 Violins, Op. 49: II. Andantino
09. 12 Duos for 2 Violins, Op. 49: III. Andante
10. 12 Duos for 2 Violins, Op. 49: IV. Poco allegro
11. 12 Duos for 2 Violins, Op. 49: V. Vivace
12. 12 Duos for 2 Violins, Op. 49: VI. Con moto
13. 12 Duos for 2 Violins, Op. 49: VII. Allegretto
14. 12 Duos For 2 Violins, Op. 49: VIII. Con Fuoco
15. 12 Duos for 2 Violins, Op. 49: IX. Andante
16. 12 Duos for 2 Violins, Op. 49: X. Con moto
17. 12 Duos for 2 Violins, Op. 49: XI. Cantabile
18. 12 Duos for 2 Violins, Op. 49: XII. Vivace
19. Sonata for 2 Violins in C Major, Op. 56: I. Andante cantabile
20. Sonata for 2 Violins in C Major, Op. 56: II. Allegro
21. Sonata for 2 Violins in C Major, Op. 56: III. Commodo-quasi allegretto
22. Sonata for 2 Violins in C Major, Op. 56: IV. Allegro con brio

Composers:
Glière, Reinhold (1875-1956)
Haydn, (Johann) Michaël (1737-1806)
Mozart, Wolfgang Amadeus (1756-91)
Prokofiev, Sergei Sergeievitch (1891-1953)

Personnel:
Ivan Pochekin, Mikhail Pochekin (violins)

Download:

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Javier Perianes, Münchner Philharmoniker – Bartók: Concerto for Orchestra & Piano Concerto No. 3 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:55 minutes | 1,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Melodiya

The inexhaustible strength of a genius: Neither the disillusionment that set in after his exile to the United States nor his declining health stopped Bartók from fulfilling his commission for the Concerto for Orchestra nor from writing the Third Piano Concerto, his final work, intended to secure his wife’s future. Hence his gloomy circumstances led to two masterpieces (and gained him a long-awaited American reputation). They are magnificently served here by Javier Perianes and the musicians of the Münchner Philharmoniker under the direction of Pablo Heras-Casado.

Tracklist:
Bela Bartok (1881-1945)
01. Piano Concerto No. 3, Sz. 119: I. Allegretto
02. Piano Concerto No. 3, Sz. 119: II. Adagio religioso
03. Piano Concerto No. 3, Sz. 119: III. Allegro vivace
04. Concerto for Orchestra, Sz. 116: I. Introduzione. Andante non troppo
05. Concerto for Orchestra, Sz. 116: II. Giuoco delle coppie. Allegretto scherzando
06. Concerto for Orchestra, Sz. 116: III. Elegia. Andante non troppo
07. Concerto for Orchestra, Sz. 116: IV. Intermezzo interrotto. Allegretto
08. Concerto for Orchestra, Sz. 116: V. Finale. Pesante-Presto

Personnel:
Javier Perianes, piano
Münchner Philharmoniker
Pablo Heras-Casado, conductor

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Jean-Guihen Queyras & Alexandre Tharaud – Brahms: Cello Sonatas & Hungarian Dances (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:20 minutes | 1,16 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Warner Classics

Pianist Alexandre Tharaud and cellist Jean-Guihen Queyras are long-established as a duo team, but this is the first time that Queyras has joined Tharaud for an Erato recording. They have chosen works that lie at the heart of the Romantic repertoire, all by Brahms: his two cello sonatas and the duo’s own transcriptions of six of the Hungarian Dances.

Tracklist:
Johannes Brahms (1833-1897)
01. Cello Sonata No. 1 in E Minor, Op. 38: I. Allegro non troppo
02. Cello Sonata No. 1 in E Minor, Op. 38: II. Allegretto quasi Menuetto
03. Cello Sonata No. 1 in E Minor, Op. 38: III. Allegro
04. Cello Sonata No. 2 in F Major, Op. 99: I. Allegro vivace
05. Cello Sonata No. 2 in F Major, Op. 99: II. Adagio affettuoso
06. Cello Sonata No. 2 in F Major, Op. 99: III. Allegro passionato
07. Cello Sonata No. 2 in F Major, Op. 99: IV. Allegro molto
08. 21 Hungarian Dances, WoO 1, Book 1: No. 4 in G Minor (Transc. for Cello and Piano)
09. 21 Hungarian Dances, WoO 1, Book 1: No. 1 in G Minor (Transc. for Cello and Piano)
10. 21 Hungarian Dances, WoO 1, Book 1: No. 5 in F-Sharp Minor (Transc. for Cello and Piano)
11. 21 Hungarian Dances, WoO 1, Book 2: No. 7 in A Major (Transc. for Cello and Piano)
12. 21 Hungarian Dances, WoO 1, Book 3: No. 14 in D Minor (Transc. for Cello and Piano)
13. 21 Hungarian Dances, WoO 1, Book 3: No. 11 in D Minor (Transc. for Cello and Piano)

Personnel:
Alexandre Tharaud, piano
Jean-Guihen Queyras, cello

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Jerusalem Quartet, Veronika Hagen & Gary Hoffman – Dvořák: String Quintet, Op. 97 & String Sextet, Op. 48 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:06:51 minutes | 1,2 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © harmonia mundi

The Jerusalem Quartet explores two aspects of Dvořák’s chamber music: one of the first big successes in the genre of a Bohemian composer who now enjoyed a well-established reputation in Europe (op.48), and one of the masterpieces from the years of American exile which brought him worldwide fame (op.97).

He had just made his decisive breakthrough. More or less overnight, Antonín Dvorák, now thirty-six years old, had risen to the front rank of European composers – and had done so with works that bore their national, popular aura in the title.

The first book of Slavonic Dances for piano four hands, written within a few weeks at the beginning of the year 1878, had become a genuine hit with the public, even beyond the borders of Bohemia, and seemed to be wrought from the very stuff that was henceforth to be the main source of musical invention for this tirelessly searching mind. The resulting mood was euphoric, the creative urge immensely productive. Just a few months later, in May 1878, Dvorák explored the question of how far the style-defining characteristics of the dances could be transferred to other genres in the formal tradition of the sonata and the symphony, and especially his preferred medium of chamber music. Finally, after only a fortnight, the finished score of a string sextet in A major lay on his desk, answering that question not just adequately but in highly impressive fashion.

On the one hand, the four-movement work, premiered by the augmented Joachim Quartet in Berlin at the end of July 1879 and published by Simrock shortly thereafter, confronts the influence of the Austro-German school in a very responsible, indeed emphatic manner. That is so in respect of both its alignment with formal structural principles of a classical nature and, above all, its strong emphasis on motivic-thematic work. It is unmistakable how closely Dvorák sticks in his op.48 to the example of Johannes Brahms when it comes to underpinning the largely textbook sonata form of the opening Allegro moderato with a complex web of innumerable little motivic derivatives, thanks to which each subsidiary voice is assigned a structural value in its own right. Thus the choice of forces for his ‘test piece’ (it was to remain the only one of its kind in Dvorák’s catalogue of works) with regard to the two string sextets of his revered colleague, eight years his elder, was probably no coincidence. On the other hand, it is the spontaneity of inspiration that captivates. ‘That fellow has more ideas than all of us’, a dumbfounded Brahms is said to have declared in 1875 when a score by this previously unknown Bohemian came into his hands for the first time. ‘Anyone else could pick up their main themes from his rejects.’ And years later, on the occasion of a Viennese performance of Dvorák’s Sextet, it was Brahms again who enthused to his friend the composer and conductor Richard Heuberger over its ‘wonderful invention, freshness and beauty of sound’, observing ‘I always have the feeling that people don’t admire this piece enough’.

Tracklist:
Antonín Dvořák (1841 – 1904)
01. String Sextet, Op. 48: I. Allegro moderato
02. String Sextet, Op. 48: II. Dumka (Elegie). Poco allegretto
03. String Sextet, Op. 48: III. Furiant. Presto-Trio
04. String Sextet, Op. 48: IV. Finale. Tema con variazioni-Allegretto grazioso, quasi andantino
05. String Quintet No. 3, Op. 97: I. Allegro non tanto
06. String Quintet No. 3, Op. 97: II. Allegro vivo-Minore. Un poco meno mosso
07. String Quintet No. 3, Op. 97: III. Larghetto
08. String Quintet No. 3, Op. 97: IV. Finale. Allegro giusto

Personnel:
Veronika Hagen, viola
Gary Hoffman, cello
Jerusalem Quartet

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The Korean-born, US-trained pianist known simply as Ji is very much a classical musician for the 21st century. Having won the New York Philharmonic’s Young Artists Competition at the age of just 10, he went on to study at the prestigious Juilliard School. Described by the Chicago Tribune as “a gifted, sensitive young pianist who is clearly going places,” he has chosen Bach’s sublime Goldberg Variations for his debut on Warner Classics. “Classical music is never going away,” he says, “We live in very modern world, and its our job to live in the moment, but it’s also our job to respect and preserve tradition.” For his first Warner Classics release Ji has perhaps made a surprising choice: not a spectacular programme of Romantic showpieces, but a discreetly sublime and often reflective work composed in the first half of the 18th century: Bach’s Goldberg Variations. Writing of his fascination with Bach and his music, Ji has said: “Why do I feel this inexplicable emotional connection to someone I have never met? … Music, it’s a magical thing that allows everyone to connect with the authentic emotions that another soul chooses to express.”

Tracklist:
Johann Sebastian Bach (1685 – 1750)
01. Goldberg Variations, BWV 988: I. Aria
02. Goldberg Variations, BWV 988: II. Variation 1 a 1 clav
03. Goldberg Variations, BWV 988: III. Variation 2 a 1 clav
04. Goldberg Variations, BWV 988: IV. Variation 3-Canone all Unisuono a 1 clav.
05. Goldberg Variations, BWV 988: V. Variation 4 a 1 clav.
06. Goldberg Variations, BWV 988: VI. Variation 5 a 1 o vero 2 clav.
07. Goldberg Variations, BWV 988: VII. Variation 6 Canone alla seconda a 1 clav.
08. Goldberg Variations, Bwv 988: VIII. Variation 7 A 1 O Vero 2 Clav.
09. Goldberg Variations, BWV 988: IX. Variation 8 a 2 clav.
10. Goldberg Variations, BWV 988: X. Variation 9 Canone alla terza a 2 clav.
11. Goldberg Variations, BWV 988: XI. Variation 10 Fughetta a 1 clav.
12. Goldberg Variations, BWV 988: XII. Variation 11 a 2 clav.
13. Goldberg Variations, Bwv 988: XIII. Variation 12 A 2 Clav.
14. Goldberg Variations, BWV 988: XIV. Variation 13 a 2 clav.
15. Goldberg Variations, BWV 988: Variation 14 a 2 clav.
16. Goldberg Variations, BWV 988: Variation 15 Canone alla Quinta a 1 clav
17. Goldberg Variations, BWV 988: Variation 16 a 1 clav. Ouvertura
18. Goldberg Variations, Bwv 988: XVIII. Variation 17 A 2 Clav
19. Goldberg Variations, BWV 988: Variation 18 Canone alla sexta a 1 clav.
20. Goldberg Variations, BWV 988: XX. Variation 19 a 1 clav.
21. Goldberg Variations, BWV 988: XXI. Variation 20 a 2 clav.
22. Goldberg Variations, Bwv 988: Xxii. Variation 21 Canone Alla Settima A 1 Clav
23. Goldberg Variations, Bwv 988: Xxiii. Variation 22 A 1 Clav. Alla Breve
24. Goldberg Variations, Bwv 988: Xxiv. Variation 23 A 2 Clav.
25. Goldberg Variations, BWV 988: XXV. Variation 24 Canone alla Ottava a 1 clav
26. Goldberg Variations, Bwv 988: Xxvi. Variation 25 A 2 Clav.
27. Goldberg Variations, Bwv 988: Xxvii. Variation 26 A 2 Clav.
28. Goldberg Variations, Bwv 988: Xxviii. Variation 27 Canone Alla Nona A 2 Clav
29. Goldberg Variations, Bwv 988: Xxix. Variation 28 A 1 Clav.
30. Goldberg Variations, BWV 988: XXX. Variation 29 a 1 o vero 2 clav.
31. Goldberg Variations, Bwv 988: Xxxi. Variation 30 A 1 Clav. Quodlibet
32. Goldberg Variations, Bwv 988: Xxxii. Aria Da Capo E Fine

Personnel:
Ji, piano

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Like every great instrument blower, John Surman has a sound you’ll recognize from the first breath. A sound which is as much fed by the culture of his British motherland (local folklore is one of the components of his music) as by the culture from other countries. The saxophonist and clarinetist has crossed paths with pianist Nelson Ayres—well-known by the fans of Brazilian jazz for his work with Airto Moreira and Milton Nascimento—during a tour in South America. And it’s in Oslo that he met the American vibraphonist Rob Waring, an expat in Scandinavia… With Invisible Threads, the three men gathered to perform a programme mostly composed of Surman’s original pieces, recorded in Oslo in July 2017, under the artistic supervision of Mr. ECM, Manfred Eicher. This program is like an ode to melodies that transcend dialects. Once again, John Surman unfolds very singular and beautiful narrations, parcels of internal joys that are almost melancholic, at the heart of which the improvisations are drunk like divine elixirs. This jazz is of course different. And as the saxophonist has been a resident at ECM for decades, he’s also one of the components of the sound of the label from Munich, now more than ever.

Tracklist:
1. At First Sight (02:33)
2. Autumn Nocturne (06:52)
3. Within the Clouds (04:48)
4. Byndweed (05:11)
5. On Still Waters (04:45)
6. Another Reflection (01:33)
7. The Admiral (05:15)
8. Pitanga Pitomba (07:06)
9. Summer Song (05:22)
10. Concentric Circles (06:32)
11. Stoke Damerel (03:37)
12. Invisible Threads (05:39)

Personnel:
John Surman, soprano and baritone saxophones, bass clarinet
Nelson Ayres, piano
Rob Waring, vibraphone, marimba

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Initially released in 1972 “Demons And Wizards” is the fourth album by British rock band Uriah Heep. Fast forward 45 years it still remains a timeless classic. Painstakingly remastered by Andy Pearce this 2CD set also includes previously unreleased alternative mixes that excite, reignite and rejuvenate.

This is the album that solidified Uriah Heep’s reputation as a master of gothic-inflected heavy metal. From short, sharp rock songs to lengthy, musically dense epics, Demons and Wizards finds Uriah Heep covering all the bases with style and power. The album’s approach is set with its lead-off track, “The Wizard”: it starts as a simple acoustic tune but soon builds into a stately rocker that surges forth on a Wall of Sound built from thick guitar riffs, churchy organ, and operatic vocal harmonies. Other highlights include “Traveller in Time,” a fantasy-themed rocker built on thick wah-wah guitar riffs, and “Circle of Hands,” a stately power ballad with a gospel-meets-heavy metal feel to it. Demons and Wizards also produced a notable radio hit for the band in “Easy Livin’,” a punchy little rocker whose raging blend of fuzz guitar and swirling organ made it feel like a ’70s update of classic ’60s garage rockers like the Electric Prunes or Paul Revere & the Raiders. However, the top highlight of the album is the closing medley of “Paradise” and “The Spell”: the first part of the medley starts in an acoustic folk mode and slowly adds layers of organ and electric guitar until it becomes a forceful, slow-tempo rocker, while the second half is a punchy, organ-led rocker that includes an instrumental midsection where choral-style harmonies fortify a killer, Pink Floyd-style guitar solo from Ken Hensley. All in all, Demons and Wizards works both as a showcase for Uriah Heep’s instrumental firepower and an excellent display of their songwriting skills in a variety of hard rock styles. As a result, it is considered by many fans to be their finest hour and is definitely worth a spin for anyone with an interest in 1970s heavy metal. ~~ AllMusic Review by Donald A. Guarisco

Tracklist:
01 – The Wizard
02 – Traveller in Time
03 – Easy Livin’
04 – Poet’s Justice
05 – Circle of Hands
06 – Rainbow Demon
07 – All My Life
08 – Paradise
09 – The Spell
10 – Easy Livin’ (Alternate Version)
11 – Rainbow Demon (Alternative Version)
12 – Traveller in Time (Alternative Version)
13 – Paradise (Alternative Version)
14 – The Spell (Alternative Version)
15 – All My Life (Alternative Version)
16 – Home Again to You (Alternative Version)
17 – Why (Alternative Version)
18 – The Wizard (Alternative Version)
19 – Poet’s Justice (Alternative Version)
20 – Circle of Hands (Alternative Version)
21 – Proud Words (Alternative Version)
22 – Green Eye (Alternative Version)
23 – Why (Alternate Single Edit)

NOTE: Tracks “10-23” are bonus tracks, presented in 24-bit/44kHz.

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Uriah Heep – The Magician’s Birthday (1972) {Deluxe Edition 2017}
FLAC (tracks) 24 bit/96 kHz | Time – 1:45:56 minutes | 1,55 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: Mora.jp | Front Cover | © Sanctuary Records

Initially released in 1972 “The Magician’s Birthday” is the fifth album by British rock band Uriah Heep. Fast forward 46 years it still remains a timeless classic. Painstakingly remastered by Andy Pearce this 2CD set also includes alternative mixes that excite, reignite and rejuvenate. Following the meteoric success of their previous release ‘Demons And Wizards’ that firmly cemented Heep’s legendary status ‘The Magician’s Birthday’ did not disappoint. In fact, it carried on from where the previous album left off, selling 2.5 million copies worldwide.

After reaching an international level of success with Demons and Wizards, Uriah Heep continued to build their fan base by knocking out another album of prog-like metal before the year’s end. The end result, The Magician’s Birthday, is not as consistent or cohesive as Demons and Wizards but still offers plenty of highlights. It starts dramatically with “Sunrise,” a spooky power ballad that alternates quiet organ-led verses with an emotional chorus and guitar-fuelled instrumental breaks topped off by David Byron’s operatic wail. The remainder of the album divides its time between punchy rockers and spacy balladry before climaxing with another prog-inflected epic. Highlights in the rock arena include “Blind Eye,” an acoustic-flavored rocker whose galloping pace is firmly anchored by Gary Thain’s melodic bassline, and “Sweet Lorraine,” a stomping good-time rocker that adds extra texture to its guitar-driven sound with some spacy synthesizer lines. As for the quieter moments, “Rain” is a lovely piano ballad that makes surprising and impressive use of a xylophone in its sound and “Echoes in the Dark” is an eerie mid-tempo song that alternates stark piano-led verses with an emotional chorus cemented by Mick Box’s searing guitar leads. There is also another multi-part epic in the title track, a prog-ish piece with fantasy themes. It lacks a strong structure (it feels more like three songs grafted together than a true multi-part composition) and succumbs to a bit of aimless jamming in the middle, but it is redeemed by strong hooks in the opening and a spirited performance from the band on its space rock finale. All in all, The Magician’s Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards but remains a solid listen for Uriah Heep fans. ~~ AllMusic Review by Donald A. Guarisco

Tracklist:
01 – Sunrise
02 – Spider Woman
03 – Blind Eye
04 – Echoes in the Dark
05 – Rain
06 – Sweet Lorraine
07 – Tales
08 – The Magician’s Birthday
09 – Echoes in the Dark (Alternate Version)
10 – Sweet Lorraine (Alternate Version)
11 – Blind Eye (Alternate Version)
12 – Tales (Alternate Version)
13 – Silver White Man (Alternate Version)
14 – Sunrise (Alternate Version)
15 – Crystal Ball (Alternate Version)
16 – Spider Woman (Alternate Version)
17 – The Magician’s Birthday (Alternate Version)
18 – Rain (Alternate Version)
19 – Silver White Man (No Vox: Alternate Version)
20 – Happy Birthday (Alternate Version)
21 – Sunrise (Alternate Single Version)
22 – Sweet Lorraine (Alternate Single Version)
23 – Gary’s Song (Alternate Version)

NOTE: Tracks “09-23” are bonus tracks, presented in 24-bit/44kHz.

Download:

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Uriah Heep – Salisbury (1971) {Deluxe Edition 2016}
FLAC (tracks) 24 bit/96 kHz | Time – 1:49:00 minutes | 1,59 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Sanctuary Records

After the debut album “Very ‘eavy, Very ‘umble’”, the group released their second album “Salisbury” in an “Expanded Edition”. In addition to the album with the 2016 mastered version, this package contains the bonus CD “An Alternative Salisbury” with 9 bonus tracks.

On their second album, Uriah Heep jettisons the experiments that weighed down Very ‘Eavy Very ‘Umble and works toward perfecting their blend of heavy metal power and prog rock complexity. Salisbury tips the band’s style in the prog direction, containing one side of songs and one side dominated by a lengthy and ornate epic-length composition. Highlights on the song-oriented side include “Bird of Prey,” a soaring rocker that blends furious, power chord-fuelled verses with spacy, keyboard-drenched instrumental breaks, and “Lady in Black,” a stylishly arranged tune that builds from a folk-styled acoustic tune into a throbbing rocker full of ghostly harmonies and crunching guitar riffs. The big surprise on this side is “The Park,” a ballad-style song built on a light blend of acoustic guitars and ethereal keyboards. It has a gentle, appealingly psychedelic feel that is topped off by David Byron’s falsetto vocal and some soaring harmonies from Byron and Ken Hensley. However, Salisbury is undone by its title track, the 16-minute track that dominates the album’s entire second side: it feels more like a lengthy jam session instead of a prog epic with distinctive and carefully crafted sections. Another problem is that the overly busy brass and woodwind arrangements that have been grafted onto it intrude on the group’s sound instead of fleshing it out. All in all, Salisbury is too unfocused for the casual listener but offers enough solid songs for the Uriah Heep completist. Collector’s note: The American version of this album had different cover art (the tank on the British edition was replaced by a gruesome image of man tearing out of his own skin) and replaced “Bird of Prey” with a bluesy B-side entitled “Simon the Bullet Freak.” ~~ AllMusic Review by Donald A. Guarisco

Tracklist:
01 – Bird of Prey
02 – The Park
03 – Time to Live
04 – Lady in Black
05 – High Priestess
06 – Salisbury
07 – High Priestess
08 – Time to Live
09 – The Park
10 – Simon the Bullet Freak
11 – Bird of Prey
12 – Here Am I
13 – Lady in Black
14 – Salisbury
15 – Salisbury [Live]

NOTE: Tracks “7-15” are bonus tracks, presented in 24-bit/44kHz.

Download:

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Theis Jensen, Peter Elliott Nyegaard – Traditional Jazz (1965/2017) [Official Digital Download 24bit/96kHz]

Thomas David – To Love (2017) [Official Digital Download 24bit/44,1kHz]

Torolf Molgaard – Trombone (1964/2017) [Official Digital Download 24bit/96kHz]

Turin Brakes – Lost Property (2016) [Official Digital Download 24bit/44,1kHz]

Various Artists – O Brother, Where Art Thou? Original Motion Picture Soundtrack (2000/2014) [Official Digital Download DSF DSD64/2.82MHz]

Various Artists – The Hot Spot: Original Motion Picture Soundtrack (1990/2009/2011) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/88,2kHz]

Wynton Marsalis – Marsalis Standard Time, Vol. 1 (1987/2015) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/88,2kHz]

Herbert von Karajan & Philharmonia Orchestra – Karajan conducts Respighi, Berlioz & Liszt (2014) [Official Digital Download 24bit/96kHz]

hr-Sinfonieorchester, Michael Gielen – Pierre Bartholomee: Annees 1970-1985 (2017) [Official Digital Download 24bit/48kHz]

In Echo & Gawain Glenton – Music in a Cold Climate: Sounds of Hansa Europe (2018) [Official Digital Download 24bit/48kHz]

International Contemporary Ensemble & Colin Currie Group – Steve Reich: Pulse / Quartet (2018) [Official Digital Download 24bit/48kHz]

Ivan Pochekin & Mikhail Pochekin – The Pochekin Brothers: The Unity of Opposites (2018) [Official Digital Download 24bit/48kHz]

Javier Perianes, Munchner Philharmoniker – Bartok: Concerto for Orchestra & Piano Concerto No. 3 (2018) [Official Digital Download 24bit/96kHz]

Jean-Guihen Queyras & Alexandre Tharaud – Brahms: Cello Sonatas & Hungarian Dances (2018) [Official Digital Download 24bit/96kHz]

Jerusalem Quartet, Veronika Hagen & Gary Hoffman – Dvorak: String Quintet, Op. 97 & String Sextet, Op. 48 (2018) [Official Digital Download 24bit/96kHz]

Ji – Bach: Goldberg Variations, BWV 988 (2018) [Official Digital Download 24bit/44,1kHz]

John Surman, Nelson Ayres & Rob Waring – Invisible Threads (2018) [Official Digital Download 24bit/96kHz]

Uriah Heep – Demons And Wizards (1972) {Deluxe Edition 2017} [Official Digital Download 24bit/96kHz]

Uriah Heep – The Magician’s Birthday (1972) {Deluxe Edition 2017} [Official Digital Download 24bit/96kHz]

Uriah Heep – Salisbury (1971) {Deluxe Edition 2016} [Official Digital Download 24bit/96kHz]