Studio Masters – HDMusic.me

Si “la musique commence là où s’arrête le pouvoir des mots”, si elle est une abstraction insaisissable et limitée dans le temps, si, enfin, elle se suffit à elle-même, les musiciens ont parfois relevé le défi de traduire en sons une beauté toute autre : l’éternelle splendeur d’une peinture, d’une sculpture ou d’un paysage automnal. L’auditeur perçoit alors le tableau transformé à travers le double prisme du compositeur et de l’interprète, renouvelant dans l’éphémère son regard.

Tracklist:
Claude Debussy (1862-1918)
Images, Livre II
1. Cloches à travers les feuilles 4’36
2. Et la Lune descend sur le temple qui fut 5’47
3. Poissons d’or 4’41
Franz Liszt (1811-1886)
Années de pèlerinage: Deuxieme Année (Italie) S. 161
4. Sposalizio 8’40
5. Il Penseroso 4’39
6. Canzonetta del Salvator Rosa 3’24
Modest Mussorgski
Tableaux d’une Exposition
7. Promenade 1’31
8. Gnomus 3’13
9. Promenade 0’52
10. Il vecchio castello 4’23
11. Promenade 0’31
12. Tuileries 1’11
13. Bydlo 3’44
14. Promenade 0’51
15. Ballet des poussins dans leurs coques 1’08
16. Samuel Goldenberg et Schmuyle 2’36
17. Promenade 1’31
18. Le marché de Limoge 1’39
19. Catacombes 2’12
20. Cum mortuis in lingua mortua 2’43
21. La cabane sur des pattes de poule 3’49
22. La Grande Porte de Kiev 6’03

Personnel:
Florian Caroubi, piano

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Even frequent concertgoers will find it difficult to imagine what to expect under the heading “English viola music”. Works by Elgar, Vaughan Williams and Britten have found an established place in the Continental concert repertoire; violists also know William Walton’s concerto. Other composers of the British Isles, however, have remained unknown to the rest of Europe’s public in spite of their prolific output: names such as York Bowen (1884-1961), Benjamin Dale (1885-1943) or Frank Bridge (1879-1941) are among those ignored musicians, Bridge does appear in one of his students’ early works, i.e. Britten’s Variations on a Theme by Frank Bridge, but that’s about all regarding his fame. These three, featured on this album, belong to a generation of musicians who centered their activities around London toward the turn of the century and ushered in a new period blending Late Romanticism with Classical Modernism.

All three of them had a particular penchant for the viola’s dark and melancholy timbre: the viola could serve as the perfect musical correlate to the fin-de-siècle mood that had taken over the minds and hearts of so many artists, authors and intellectuals. Bowen’s Sonata, Dale’s Phantasy and the six pieces by Bridge all stem from the period between 1901 and 1910 – a time when the first composers on the Continent were starting to eschew major/minor tonality, a tendency that would have to wait some extra time in ultra-conservative Britain ; the present pieces all belong to the late Romantic Germanic and French style. Until then, the viola had been completely overshadowed by other solo instruments. If it had now become the object of more frequent attention, this was partly due to the exceptional stature of Lionel Tertis (1876-1975). Since Tertis was the first violist who attained international fame, composers now found it worthwhile to collaborate with him and dedicate works to him.

Gernot Adrion has held the post of Assistant Principal Viola in Berlin Radio Symphony Orchestra since 1996. Since 2006 he has been playing together in the Gideon Klein Trio, an ensemble devoted to string trio repertoire from the Early Baroque to the 20th century. Since 2012 he has formed a piano/viola duo with Yuki Inagawa.

Tracklist:
York Bowen (1884 – 1961)
1 Sonata for Viola and Piano No. 1 in C Minor, Op. 18: I. Allegro moderato 10:25
2 Sonata for Viola and Piano No. 1 in C Minor, Op. 18: II. Poco lento e cantabile 08:29
3 Sonata for Viola and Piano No. 1 in C Minor, Op. 18: III. Finale 08:47
Benjamin Dale (1885 – 1943)
4 Phantasy for Viola and Piano, Op. 42 0:09
Franck Bridge (1879 – 1941)
5 Pieces for Viola and Piano: No. 1. Pensiero 04:02
6 Pieces for Viola and Piano: No. 2. Allegro appassionato 02:32
7 Pieces for Viola and Piano: No. 3. Berceuse 02:42
8 Pieces for Viola and Piano: No. 4. Serenade 02:30
9 Pieces for Viola and Piano: No. 5. Élégie 03:21
10 Pieces for Viola and Piano: No. 6. Cradle Song 02:30

Personnel:
Gernot Adrion, viola
Yuki Inagawa, piano

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Jabberwocky sometimes stylized as JBBRWCK is a French electropop band. It was formed in 2013 by three young French producers, Camille Camara, Simon Pasquer, and Emmanuel Bretou, still studying medicine and all originating from Poitiers, France. This second full-lenght release follows the band’s 2015 debut album “Lunar Lane”, which included the number two smash hit ‘Photomaton’. Joining Jabberwocky on these tracks are special guests Allyson Ezell, Sly Johnson and many many more.

Tracklist:
01 – Honeymoon [feat. Tessa B.]02 – Rosebud [feat. Allyson Ezell & Sly Johnson]03 – Late Nights [feat. Elisa Jo]04 – No Echo [feat. Justine Mauvin]05 – Spacewalk [feat. Blow]06 – Night Time [feat. Gibbz]07 – In My Head [feat. Elisa Jo]08 – Stoned [feat. Anna Majidson]09 – Take Me Home [feat. Gibbz]10 – Confidence [feat. Tif Lamson]11 – Walls [feat. Anna Majidson]12 – Lighter Day [feat. Allyson Ezell]13 – Hurly Burly

Download:

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“Another live album from Jarrett’s trio?” It’s hard not to let out a little yelp as the Allentown pianist continues his apparently-infinite discographic march, aided by drummer Jack DeJohnette and bassist Gary Peacock. But after listening to the first-ever release of this concert from 14 November 1998 at Newark’s New Jersey Performing Arts Center, you might start to see where producer Manfred Eicher was coming from when he decided to bring this one out. Keith Jarrett even said himself: “I was amazed to hear how well the music worked. For me, it’s not only a historical document, but a truly great concert.”

As ever, the three friends move quickly through a few classics from the Great American Songbook but also a few wonders by John Coltrane ( Moment’s Notice), Bud Powell (Bouncin’ With Bud) and Sonny Rollins (Doxy). Above all, that evening signalled that Keith Jarrett was back in business after two years spent offstage for health reasons. From 1996 to 1998 the pianist was suffering from Chronic fatigue syndrome, or CFS, and hearing his return to form here is a real treat. Let’s resist the temptation to start waxing lyrical about the fascinating complicity between Jarrett and his rhythm section, and just say that After The Fall is a record that speaks with one voice. It’s an original voice, as is the re-reading of Bud Powell that opens the concert – and swing proudly reigns at its heart. This world first is also a ray of sunshine and a burst of infectious joy. As ever, DeJohnette and Peacock merrily create jaw dropping havoc onBouncin’ With Bud… In short, it would have been a crime to leave these tapes in the archive.

Tracklist:
01. The Masquerade Is Over
02. Scrapple From The Apple
03. Old Folks
04. Autumn Leaves
05. Bouncin’ With Bud
06. Doxy
07. I’ll See You Again
08. Late Lament
09. One For Majid
10. Santa Claus Is Coming To Town
11. Moment’s Notice
12. When I Fall In Love

Personnel:
Keith Jarrett, piano
Gary Peacock, double bass
Jack DeJohnette, drums

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Kenny Chesney – The Big Revival (2014)
FLAC (tracks) 24 bit/44.1kHz | Time – 39:56 minutes | 484 MB | Genre: Country
Official Digital Download – Source: HDTracks | © Blue Chair Records, LLC / Columbia Nashville

The Big Revival is Country star Kenny Chesney’s 16th studio album and 13th #1 Country album debut. The album is about finding the fire to embrace your life with passion. The record includes number one Country Airplay singles “American Kids” and “Til It’s Gone”. The Big Revivalfeatures eleven songs that Billboardsuggests “captures the zeitgeist of American youth.”

“There are people passionate about life, about music, about their friends and how they dig in and get through as much as how they have a good time,” Chesney says. “I knew during the last tour, they were hungry for more from this music… They wanted songs that showed them more of their life, which maybe offered some different things musically.

“…continuously brings a sense of musical energy and emotional urgency… His strongest collection of songs since 2010’s career-defining Hemingway’s Whiskey.”
– Rolling Stone

“…a coming-of-age tale full of life-changing memories.” – USA Today

Tracklist:

01. The Big Revival (3:11)
02. Drink It Up (2:47)
03. Til It’s Gone (4:11)
04. American Kids (3:02)
05. Wild Child (with Grace Potter) (3:09)
06. Beer Can Chicken (4:07)
07. Rock Bottom (3:41)
08. Don’t It (3:16)
09. Save It for a Rainy Day (3:02)
10. Flora-Bama (4:31)
11. If This Bus Could Talk (4:52)

Personnel:
Kenny Chesney – vocals, guitar

Production:
Producers: Buddy Cannon and Kenny Chesney

Download:

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Superorganism present their highly anticipated debut album. Self-produced, written and recorded in the east London house-stroke-studio-stroke band HQ they all share together (imagine a squat version of the Brill Building, or a lo-fi, DIY take on Max Martin’s Cheiron studio), Superorganism is a spectacularly confident debut record that beams with a sense of wonky fun, a kaleidoscopic riot of sound and visuals. Influenced by the world-building depth of artists like Devo, Beck and The Avalanches, Superoganism soundtracks the band’s rapid trajectory from shared house side project to global audiovisual powerhouse and features previous singles ‘Something For Your M.I.N.D.’ and ‘It’s All Good / Nobody Cares’ as well as their brand single ‘Everybody Wants To Be Famous’.

Tracklist:
1. It’s All Good (03:23)
2. Everybody Wants to Be Famous (03:04)
3. Nobody Cares (03:49)
4. Reflections on the Screen (03:52)
5. Sprorgnsm (03:20)
6. Something for Your M.I.N.D. (02:45)
7. Nai’s March (02:39)
8. The Prawn Song (03:15)
9. Relax (02:43)
10. Night Time (04:14)

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Sue Foley is a multi-award-winning musician and of the one of the finest blues and roots artists working today. She is a veritable triple-threat of musical talent as a guitarist, songwriter and vocalist. As with many blues women of the past, Foley has a long history of defying convention, and being a positive role model for aspiring, young female musicians.

The Canadian has been working professionally since the age of 16, and by the age of 21, Foley had relocated to Austin, TX and began recording for Antone’s the esteemed blues label and historic nightclub that helped launch the career of Stevie Ray Vaughan and many others. In the two decades that have followed, Sue Foley has been busy touring and recording steadily, all while toting her signature pink paisley Fender Telecaster. In 2001, she won the prestigious Juno Award (Canadian equivalent of the Grammy) and also holds the record for the most Maple Blues Awards and has earned three Trophees de Blues de France. She has also garnered several nominations at the Blues Music Awards in Memphis, TN.

With 11 recordings under her own name, an instructional DVD and book, as well as various compilations and projects, Foley is set to release her new album, The Ice Queen (March 2, 2018) on Stony Plain Records. “I’m extremely excited to be working with Holger Petersen and Stony Plain Records. Holger is one of the most knowledgeable “real music” people in the business”, says Foley. “Stony Plain is known to put out great music and I know The Ice Queen has found her home.”

Recorded throughout 2017, The Ice Queen represents Foley’s full circle journey – her return to the roots of her career in Austin with producer Mike Flanigin. The album was recorded with her long-time friends and collaborators Jimmie Vaughan and Billy F Gibbons (ZZ Top) as well Chris ‘Whipper’ Layton from Double Trouble, Charlie Sexton, and members of the Tedeschi Trucks and Gary Clark Jr bands.

Tracklist:
01. Come to Me (feat. Charlie Sexton)
02. 81
03. Run
04. The Ice Queen
05. The Lucky Ones (feat. Jimmie Vaughan)
06. Gaslight
07. Fool’s Gold (feat. Billy F Gibbons)
08. If I Have Forsaken You
09. Send Me to the ‘Lectric Chair
10. Death of a Dream
11. The Dance
12. Cannonball Blues

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https://subyshare.com/st3w51159uia/SueF0leyTheIceQueen20187Digital2444.1.rar.html

It’s not gonna be as much to take in as the first one. It wasn’t catered to me like that in my head. The way that i did this one is, it still has certain pieces and elements that, you know, if you listened to my old stuff then you will understand where it comes from. But, it’s music, like it’s a lot of music. You know what I mean, it’s less story but it’s more Conflicts Of My Soul – I don’t know if you remember but, how everything transistioned musically, that’s how this is. It’s incredible – it’s just something you gotta listen to – like at the end of the day, that’s like when I was trying to explain I Told You at the start – like I can’t explain, you have to listen to it, everything is just said. You know what I mean, but it’s said through the music. There’s a lot of bars on this for sure, but it’s not like full of rap. It’s full of great music, like you know what I mean. But it’s definitely not I Told You. This album will be something different for you to love in a different way and for you to cherish in a different way.

Tracklist:
01. MEMORIES
02. Old Friends x New Foes
03. Shooters
04. 4 Me
05. Skrt Skrt
06. Benevolent
07. Real Thing feat. Future
08. Hate To Say
09. B.I.D
10. 48 Floors feat. Mansa
11. B.B.W.W x Fake Show
12. Dance For Me feat. NAV
13. Pieces feat. 50 Cent
14. Connection feat. Fabolous & Davo & Paloma Ford
15. Hillside feat. Wiz Khalifa & Mansa
16. Hypnotized
17. Happiness x Tell Me
18. DON’T DIE

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High Definition Tape Transfers is the brainchild of an avid 2 & 4 track open-reel collector and a serious audiophile. Collected over the years, many of our tapes contain forgotten performances of historical importance. Our mission is to preserve and share these rare gems with other music lovers by painstakingly remastering them with the finest state-of-the-art equipment and best techniques available.
Our very special releases are your gateway to a unique musical and sonic adventure. Every one of the techniques of the HDTT transcription process makes important, audible contributions to the quality of the encoded digital signal. All of them together make sonic magic. The improvements with HDTT releases produce unusually good sound quality and are apparent on any kind of system.
In today’s world, it is truer than ever that music is precious. You’ll appreciate the opportunity to hear performances which are otherwise unavailable to you in any other medium. We are sure that as a music lover you will be impressed, delighted, and even astonished by the recordings offered by High Definition Tape Transfers. In fact, we are confident that they will do nothing less than redefine what you think is possible from the much maligned compact disc.

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From the archives of Bibliothèque nationale de France… Original Mono version of Buck Clayton, Coleman Hawkins – Petits jazz pour tous no.21…

The BnF’s audio collection, with over a million audio documents, is one of the oldest and most important ones in the world. Born in 1911 as the Archives de la parole (Archives of the spoken word), it was fortunate enough to be the recipient of donations from contemporary phonographic companies. In 1938, with the institution of legal deposit for phonograms, these contributions became systematic; to this very day, they constitute the collection’s main growth vector, forming a one-of-a-kind national heritage. This legal deposit is further complemented by donations and acquisitions.

Tracklist:
01 – All the Cats Join In
02 – Don’t You Miss Your Baby

This album is a high-resolution digital transfer of material originating from an analogue recording. It may contain noise, distortion or other artifacts, and may also contain audio which is limited in bandwidth and dynamic range, due to the technology available at the time of its original creation. As such, it is offered as a high-resolution documentation of a historical Mono release.

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Maybe it was an epiphany of sorts. As Buck tells it, “One day I was watching Austin City Limits and Dwight Yoakam was on, then he dedicates the program to ‘Buck Owens.’ So I said, I’m going to see what this kid is like.” It wasn’t long after that he was on stage with Dwight singing his old hits. Buck was bitten by the bug to return to music, after calling it quits almost ten years earlier. This man from Sherman, Texas – probably best-known as the wide-grinning rube on Hee Haw for so many years – started a country music revolution. Or more accurately, a counter-revolution. It was called “The Bakersfield Sound”. He and fellow revolutionary Merle Haggard were cranking out raw, hard-driving honky-tonk music that stood the country-pop coming out of Nashville on its head. When Buck Owens and the Buckaroos would launch into “I’ve got a tiger by the tail, it’s plain to see….!” the packed crowds would be on their feet and headed for the dance floor. Along the way Buck inspired none other than The Beatles to record their first country song, his classic “Act Naturally,” and the master of soul, Ray Charles, to immortalize one of the best-known country songs ever, “Crying Time”.

Buck Owens had been out of music for close to a dozen years when, prompted by the success of friend and fan Dwight Yoakam, he made a vocal cameo on Yoakam’s cover of “Streets of Bakersfield” and cut a new album, Hot Dog!, in 1988. But to listen to this set, which Owens recorded warming up for Yoakam at a taping of the PBS series Austin City Limits in the fall of 1988, you’d never guess the man had been away from the stage at all. Live from Austin TX captures Owens in great, energetic form, and if his voice is just a bit less strong than it was in his youth, there’s no doubting he was having terrific fun playing before an audience in his home state of Texas. There aren’t a lot of surprises in the set list, but Owens and his band tear into “Love’s Gonna Live Here Again,” “Tiger by the Tail,” and “Act Naturally” as if they were still storming up the charts, and Buck indulges his passion for rock & roll with high-spirited runs through “Johnny B. Goode,” “Memphis,” and “Hot Dog.” Owens had lost none of his gift with a weeper, either, as “Crying Time” and “A-11” prove beyond a doubt. If there’s a flaw to this set, it’s that Owens performed only a bit longer than 29 minutes this evening, with Yoakam waiting in the wings to play his own set. But what Live from Austin TX lacks in quantity, it certainly has in quality; this isn’t a revelation like the amazing 1966 Live at Carnegie Hall album, but it does show that Buck Owens never lost his love for great honky tonk music, and he always made sure to deliver the goods for his fans, which he unquestionably did this evening.

Tracklist:
01 – Act Naturally
02 – Together Again
03 – Love’s Gonna Live Here
04 – Crying Time
05 – Tiger By the Tail
06 – A-11
07 – Hot Dog
08 – Put Another Quarter In the Jukebox
09 – Memphis
10 – Under Your Spell Again
11 – Johnny B. Goode

Recorded on October 23, 1988.

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Bradley Glenn “Butch” Walker is an American singer, songwriter, and record producer. He was the lead guitarist for the glam metal band SouthGang from the late 1980s to early 1990s as well as the lead vocalist and guitarist for rock band Marvelous 3 from 1997 until 2001. “Stay Gold” is his eighth full-length studio solo album. As Walker enters this new phase of his career, one marked perhaps more by an appreciation of his own work rather than the work he does with others, “Stay Gold”, with its many brilliant moments, lights the way.

Butch Walker is a guy who wants it both ways — he wants to write personal songs full of telling details and anecdotes, but he also wants them to sound like anthems that will fill up arenas and burst out of the radio. Walker has done more than his share of creative shape-shifting since he launched his solo career in 2004, and on 2016’s Stay Gold, he sounds like this year’s goal is to be Bruce Springsteen, with Keith Richards playing guitar and lending occasional melodic advice. Walker’s grand scale heartland rock, seasoned with the swagger of an overgrown street kid, sounds pretty convincing on Stay Gold, though the snarky guy looking for cheap weed and good times on the title cut doesn’t sound the same as the lovelorn dude wearing his heart on his sleeve on “Descending.” Walker has enjoyed a successful side career as a producer and songwriter, and he and Ryan Adams (credited as “overall album concept co-conspirator”) have made a record that’s rollicking and slick at the same time, and if the details that are supposed to make numbers like “Mexican Coke” and “Record Store” come to life seem more forced than sincere, you can’t deny that Walker has put plenty of sweat and elbow grease into this. Some songwriters sound as if they’re talking to you heart to heart, while others seem to be reading you a story that they’ve been tinkering with for a few months. On Stay Gold, Walker falls into the latter camp, but if these songs lack a certain spontaneity, the craft is strong and Walker seems so eager to sound like a rock star that you just might mistake him for the real thing. ~ Mark Deming

Tracklist:
01 – Stay Gold
02 – East Coast Girl
03 – Wilder in the Heart
04 – Ludlow Expectations
05 – Descending
06 – Irish Exit
07 – Mexican Coke
08 – Can We Just Not Talk About Last Night
09 – Spark: Lost
10 – Record Store

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The world of Jazz has been graced by many great female vocalists through the decades — Ella Fitzgerald, Sara Vaughan, Nina Simone, Billie Holiday, to name just a few. Chesky Records is excited to introduce a name we feel will one day be in their company…Camille Thurman. On her Chesky Records debut, Thurman shows her versatility with stunning performances on both saxophone and vocals.

The multi-talented Camille Thurman is an award-winning composer, a formidable saxophonist, and a second-place winner of the prestigious Sarah Vaughan Vocal Competition. She has performed with artists ranging from Dr. Billy Taylor, George Coleman, Lew Tabackin, and George Benson, to Chaka Khan, Alicia Keys, and Missy Elliot. She recently made her Jazz at Lincoln Center debut during the Generations in Jazz Festival, leading a killer quartet as she sang, played, and showcased original compositions and some classics. She also recently gave an improvised scatting performance during Battle of the Big Bands that brought down the house in The Appel Room.

The inaugural release of the new Virtual Audio Series from Chesky Records, this album was recorded in front of a live audience at Rockwood Music Hall in the SoHo neighborhood of Manhattan, using a single binaural microphone. This technique places the listener in the middle of a live show. If you didn’t know any better, you’d swear you can smell the perfume of the young lady seated to your left.

Tracklist:
01 – The Night Has a Thousand Eyes
02 – Sassy’s Blues
03 – Road Song
04 – Detour Ahead
05 – Nefertiti
06 – Flower Is a Lovesome Thing
07 – Cherokee

Produced by David Chesky.
Recorded at Rockwood Music Hall, NYC.
Engineered, Edited & Mastered by Nicholas Prout.

Musicians:
Camille Thurman – tenor saxophone, vocals
Mark Whitfield – guitar
Ben Allison – bass
Billy Drummond – drums

Download:

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After a first album that was indie folk blended with rockabilly, which was released in 2014 (I Will Not Be Afraid), Caroline Rose changes up her repertoire. With Loner, the young American opens up her pop chakra and gives birth to a super seductive record. “I would say that this album is as much inspired by Justin Timberlake and Britney Spears as by the punk of the 70s,” confides Rose who is much more well rounded but not settling. With her touches of vintage synths, her wavey guitars and her punk like attitude, Loner offers an unlikely canvas in which the imprisoned spirit of The Tiger, Blondie, Devo, Justin Timberlake, Courtney Barnett, Cramps, Sallie Ford and even Kate Bush are found. It’s sweet, it’s offbeat, it’s mischievous and possibly addictive with tracks like the single “Jeannie Becomes a Mom”

Tracklist:
01 – More of the Same
02 – Cry!
03 – Money
04 – Jeannie Becomes a Mom
05 – Getting To Me
06 – To Die Today
07 – Soul No. 5
08 – Smile! AKA Schizodrift Jam 1 AKA Bikini Intro
09 – Bikini
10 – Talk
11 – Animal

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This album features pianist Chick Corea, bassist Dave Holland and drummer Barry Altschul during the brief period that, along with Anthony Braxton, they were members of the fine avant-garde quartet Circle. The music heard on this set is not quite as free as Circle’s but often very explorative. Four of the six songs are Corea originals which, in addition to Holland’s “Vedana” and Wayne Shorter’s “Nefertiti”, form a very viable set of adventurous jazz, recorded just a few months before Corea changed direction.

A.R.C. documents Chick Corea at the cusp of a major leap of intuition. I am just not sure if this transition was in dire need of a record. The Wayne Shorter tune “Nefertitti” (sic) kicks things off to a grand start. Unfortunately, with the next tune, that spark seems to fade as quickly as it is ignited. With the exception of “Vedana” (Holland), the rest of the album is filled out by Corea originals which, while they may not have the same panache, do provide plenty of joyful moments. This cursory set churns out some gritty work from Holland, with Corea and Altschul also in fine form, yet overall I find the album lacking in structure. There seems to be little in the way of progression from one cut to the next. This may not be a necessity for all jazz albums, but one look at the mainstays of the medium reveals a thematic or conceptual edge to even the most spontaneous happenings. For instance, “Thanatos” intrigues at first with its slow fade-in until one gets a handle on the rather disjointed goings on. The subsequent fadeout comes across as formulaic and feels more like an afterthought in the studio than part of the original spirit of the piece. Considering the shoes these three musicians had to fill, not only of their own mounting reputations but also those of the established greats with whom they had played in the recent past, their timing or energies simply may not have been on the same wavelength when this session was recorded. Still an album worth checking out, if not for its historicity, then at least for its stellar opening.

Tracklist:
01 – Nefertiti
02 – Ballad for Tillie
03 – A．R．C．
04 – Vedana
05 – Thanatos
06 – Games

Produced by Manfred Eicher. Engineered by Kurt Rapp.
Recorded on January 11-13, 1971 in Ludwigsburg, West Germany.

Musicians:
Chick Corea — piano
David Holland — bass
Barry Altschul — drums, percussion

DSD64

https://subyshare.com/8a368aw8b4tl/ChickC0reaDaveH0llandBarryAltschulA.R.C.19712017M0ra.JPDSD64.part1.rar.html
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“Songs for Rainy Day Lovers” is an album by American keyboardist/composer-arranger Clare Fischer, recorded in August 1966 and released in September 1967 by Columbia Records. It have been reissued in 1978 on the Discovery label as “America the Beautiful”. Having provided his distinctive string backgrounds for albums by several artists over the previous decade, including Donald Byrd, Cal Tjader, and the Hi-Lo’s, the 37-year-old Fischer finally had an opportunity to provide the same service for himself, as a string orchestra and rhythm section combine to support the leader as featured piano soloist.

Tracklist:
01 – On a Clear Day You Can See Forever (Medley)
02 – A Time for Love
03 – I Remember Spring
04 – America the Beautiful
05 – I’m Beginning to See the Light
06 – Look at That Face
07 – When Autumn Comes
08 – Sleep Sweet Child
09 – Opener
10 – Here’s That Rainy Day
11 – The Shadow of Your Smile

Produced by Albert Marx.

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Durand Jones & The Indications – Durand Jones & The Indications (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:17:02 minutes | 352 MB | Genre: Soul
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Dead Oceans – Colemine Records

Bayou-born soul sensation, Durand Jones, is bringing his raw energy to Colemine Records with his 2016 debut album. Jones brings you fiery original soul music, pairing soaring vocal work with dusty drums, slinking guitars and screaming organs. With a stellar background in gospel, Jones got his start in the church, singing in the choir of his hometown in rural Louisiana. When his music career took him to Bloomington, Indiana, he was selected to join the legendary Indiana University Soul Revue, and it was through his involvement that he met writer/producer duo Aaron Frazer and Blake Rhein. The three began writing original soul music, recording themselves straight to tape in the basements of Bloomington- a process which brings you the gritty sounds available on Ohio-based Colemine Records. Sure to satisfy fans of Charles Bradley, Lee Fields, Aloe Blacc, and Leon Bridges.

On their self-titled album of original songs, released on Ohio’s Colemine label, the band opens with one of their strongest tracks, “Make a Change.” This is old-school stuff in the very best sense—funky and hard driving, with organ riffs and raw vocals channeling soul singers several generations removed. Frazer lays down a steady groove on “Smile,” which gives the horn section a workout. This is followed by the slow burner “Can’t Keep My Cool,” a strong track that lets Jones stretch his vocal and emotional range. Things just keep getting better on “Groovy Babe,” a song guaranteed to shake up the dance floor, with Frazer given a chance to shine with a drum solo, while Jones shouts to the rafters. “Giving Up” is a classic break-up song with a sound straight out of the Stax studio—one can even imagine that Booker T (another IU alum) is sitting in on the B3. On “Is It Any Wonder,” Frazer takes over on vocals, injecting a softer, more tender timbre, enhanced with a bit of reverb. Jones comes back in full force on “Now I’m Gone,” a tour de force of heartache and disappointment that might unleash a few tears. The album closes with “Tuck ‘N’ Roll,” a rocking instrumental that showcases the band, in particular Justin Hubler on organ.

Tracklist:
01 – Make a Change
02 – Smile
03 – Can’t Keep My Cool
04 – Groovy Babe
05 – Giving Up
06 – Is It Any Wonder
07 – Now I’m Gone
08 – Tuck ‘N’ Roll

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Dustin Charles Lynch is an American country music singer and songwriter. On his third album, Dustin Lynch moves beyond the big ballads and bad-boy rockers that helped define his first couple albums. Here, Lynch offers a wide-ranging set of rock- and R&B-influenced country tunes (about half of which he wrote himself) that express a wide spectrum of emotions. There’s plenty of fun, clever writing on guitar-driven sing-alongs like “I Wish You Were Beer” and “Party Song”, but the songs that hit the hardest are catchy midtempo tracks like “Small Town Boy” and “New Girl”.

It’s possible to follow the trends in mainstream country music by listening to Dustin Lynch’s albums. He started the 2010s attempting to fashion his own spin on Luke Bryan’s friendly bro country, slid into the middle of the decade by co-opting a little bit of Jason Aldean’s simmering seduction, and approaches its sunset with Current Mood, a record that is firmly aligned with current country trends. Namely, Current Mood is awash in R&B and glossy electronic surfaces, a sound that suggests mainstream pop as much as country. He’s not the only purveyor of this sound in 2017 – Sam Hunt pushed country in this direction, with the likes of Thomas Rhett and Maren Morris following quickly in his footsteps – but he’s someone who has pursued it wholeheartedly, dedicating almost every track on Current Mood to this pop amalgam. Because Where It’s At had a fair number of cuts in the vein of Aldean’s R&B-friendly “Burnin’ It Down,” this doesn’t feel like a great leap for Lynch and, frankly, it’s a better fit for him than the wannabe Bryan era. He not only seems relaxed and confident, but the modern R&B opens the door for the old-fashioned soul slow-burner “Love Me or Leave Me Alone,” a duet with Karen Fairchild, to pop. Generally, Lynch is better with the romantic material – the party songs “I Wish You Were Beer” and, well, “Party Song,” veer toward the cornpone, as does “Why Not Tonight,” but it’s saved via its bizarre Weezer country fusion – but fortunately the album favors ballads and slow-grooving pop tunes, all of which allows Lynch to display his laid-back charm.

Tracklist:
01 – I’d Be Jealous Too
02 – Seein’ Red
03 – Small Town Boy
04 – Why We Call Each Other
05 – Here We Come
06 – Love Me Or Leave Me Alone
07 – Back On It
08 – I Wish You Were Beer
09 – State Lines
10 – Party Song
11 – New Girl
12 – Why Not Tonight
13 – Sun Don’t Go Down On That

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Twentysomething Dwight Yoakam was literally the new kid in country music when he stepped onto the Austin City Limits stage in October 1988. But even then, as he has ever since, he was doing things his own way. Dwight was born in a small Kentucky town and grew up listening to mountain and bluegrass music, and unlike most of the mainstream country-pop crooners of the eighties, he almost singlehandedly revived the rockabilly/honky tonk/hillbilly sound that was one of the cornerstones of country music’s formative years. Early on he discovered the fabled “Bakersfield” sound of the 60’s and adopted it as his own, in the tradition of country legends Merle Haggard and Buck Owens. Buck, in fact, became his hero and friend. When Dwight was playing a fair in Bakersfield, he stopped by Buck’s office and coaxed him into playing a few songs with him onstage that night. The result was a lasting friendship and their historic duet, “Streets Of Bakersfield.” Much like his heroes, Dwight has been true to his roots and breaking new ground for almost 20 years.

The man who brought the Bakersfield sound back to the country charts, Dwight Yoakam, was on the road supporting his third album (and one of his best), 1988’s Buenas Noches from a Lonely Room, when he and his band made a stop in Austin, Texas to appear on one of television’s best showcases for quality roots music, PBS’ Austin City Limits. Yoakam was at once a staunch traditionalist and a nervy Young Turk when he played his ACL gig, and both sides shine through in the performance, which has been issued on compact disc as Live from Austin TX. Yoakam and his band (including guitarist Pete Anderson) burn though these songs with plenty of spark, and demonstrate that the best sort of respect to show this music is to play it with the same swagger and confidence that Buck Owens, Johnny Horton, and Merle Haggard showed back in the day. While Yoakam is still doing that today, there’s something fresh and emphatic here that shines brighter than on some of his later work, and if this disc isn’t as ambitious as the later Dwight Live, on its own modest terms it’s the more satisfying listen. Added value: Buck Owens and Flaco Jimenez stop by to re-create their cameo spots on “Streets of Bakersfield,” with Owens in particularly feisty form.

Tracklist:
01 – Guitars, Cadillacs
02 – Smoke Along the Track
03 – What I Don’t Know
04 – Home of the Blues
05 – 1,000 Miles
06 – Please, Please Baby
07 – Little Ways
08 – Honky Tonk Man
09 – Streets of Bakersfield
10 – Buenas Noches From a Lonely Room (She Wore Red Dresses)
11 – Always Late With Your Kisses
12 – Little Sister
13 – I Sang Dixie
14 – This Drinkin’ Will Kill Me

Recorded on October 23, 1988.

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It’s one of those fairy stories that the world of lyrical music likes to keep secret. Still an unknown and barely emerged from the La Scala Lyrical Academy, Georgian mezzo-soprano Anita Rachvelishvili was given the title role in Carmen by Baremboim, alongside Jonas Kaufman: an international career seemed to beckon for the young singer. And so here we will hear some of opera’s great tunes, including, of course, the hits from Carmen, but also the two great arias from Samson et Dalila by Saint-Saëns, a pair from Verdi, a touch of Mascagni, some Rimski – less-frequently performed, it is true – and a rarity from his compatriot Dimitri Arakishvili (1873-1953) whose style is solidly anchored in the Russia of his day, with several, probably regional, twists. Since 2009, she has sung Carmen’s role around three hundred times, and we can only hope that she never gets bogged down in it – and takes on Santuzza, Eboli, Dalil: in other words, the great characters of the dramatic mezzo repertoire.

Tracklist:
1. Carmen, WD 31: Act I: Près des ramparts de Seville (“Seguidilla”) 02:02
2. Samson et Dalila, Op. 47, Act I: Printemps qui commence 05:37
3. Il Trovatore, Act II: Condotta ell’era in ceppi 04:31
4. Don Carlo, Act II: Nei giardin del bello (Canzone del velo) 04:14
5. Werther, Act III: Je vous écris de ma petite chambre (“Letter Aria”) 07:00
6. The Legend of Shota Rustaveli: Cavatina of Queen Tamar 02:23
7. Samson et Dalila, Op. 47, Act II: Mon coeur s’ouvre à ta voix 05:19
8. The Tsar’s Bride, Act I: You Wil Pay (“Lyubasha’s Aria”) 04:24
9. Carmen, WD 31: Act I: L’amour est un oiseau rebelle (“Habanera”) 04:14
10. Cavalleria rusticana: Voi lo sapete, o mamma 03:01
11. Sapho, Act III: O ma lyre immortelle 06:49
12. Don Carlo, Act IV: O don fatale 04:16

Composers:
Arakishvili, Dimitri (1878-1953)
Bizet, Georges (1838-75)
Gounod, Charles François (1818-93)
Mascagni, Pietro (1863-1945)
Massenet, Jules Emile Frederic (1842-1912)
Rimsky Korsakov, Nikolay Andreyevich (1844-1908)
Saint-Saëns, Charles Camille (1835-1921)
Verdi, Giuseppe (1813-1901)

Personnel:
Anita Rachvelishvili, mezzo-soprano
Barbara Massaro, soprano
Orchestra Sinfonica Nazionale della Rai
Coro del Teatro Municipale di Piacenza
Giacomo Sagripanti, conductor

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Florian Caroubi – Debussy, Liszt & Moussorgsky: Images (2018) [Official Digital Download 24bit/96kHz]

Gernot Adrion & Yuki Inagawa – Bowen, Bridge & Dale: English Viola Music (2018) [Official Digital Download 24bit/48kHz]

Jabberwocky – Make Make (2017) [Official Digital Download 24bit/44,1kHz]

Keith Jarrett, Gary Peacock & Jack DeJohnete – After The Fall (2018) [Official Digital Download 24bit/44,1kHz]

Kenny Chesney – The Big Revival (2014) [Official Digital Download 24bit/44.1kHz]

Superorganism – Superorganism (2018) [Official Digital Download 24bit/44,1kHz]

Sue Foley – The Ice Queen (2018) [Official Digital Download 24bit/44,1kHz]

Tory Lanez – Memories Don’t Die (2018) [Official Digital Download 24bit/44,1kHz]

HDTT (High Definition Tape Transfers) 70 Albums

Buck Clayton, Coleman Hawkins – Petits jazz pour tous no.21 (1959/2014) [Official Digital Download 24bit/96kHz]

Buck Owens – Live From Austin, TX (2007/2017) [Official Digital Download 24bit/96kHz]

Butch Walker – Stay Gold (2016) [Official Digital Download 24bit/96kHz]

Camille Thurman – Inside The Moment (2017) [Official Digital Download 24bit/192kHz]

Caroline Rose – Loner (2018) [Official Digital Download 24bit/44,1kHz]

Chick Corea, Dave Holland, Barry Altschul – A.R.C. (1971/2017) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/88,2kHz]

Clare Fischer – Songs For Rainy Day Lovers (1967/2018) [Official Digital Download 24bit/192kHz]

Durand Jones & The Indications – Durand Jones & The Indications (2016) [Official Digital Download 24bit/44,1kHz]

Dustin Lynch – Current Mood (2017) [Official Digital Download 24bit/48kHz]

Dwight Yoakam – Live From Austin, TX (2005/2017) [Official Digital Download 24bit/96kHz]

Anita Rachvelishvili – Anita (2018) [Official Digital Download 24bit/96kHz]