Studio Masters – HDMusic.me

Vader is a Polish death metal band from Olsztyn, formed in 1983. “Dark Age” is the re-creation of Vader’s debut “The Ultimate Incantation” specially prepared for the 25th anniversary of the album. All songs for this album were re-recorded or re-mixed and re-mastered in Herz Studios in Białystok, Poland.

Vader’s debut album already established the band as having one of death metal’s highest levels of technical skill, a level which would only improve over the ’90s; The Ultimate Incantation is marred only by a low-tech production that tends to mute some of the band’s thrashy ferocity.

Tracklist:
01 – Dark Age
02 – Vicious Cricle
03 – The Crucified Ones
04 – Final Massacre
05 – Testimony
06 – Chaos
07 – One Step To Salvation
08 – Demon’s Wind
09 – Decapitated Saints
10 – Breath Of Centuries
11 – Reign Carrion (Bonus, has been track “7” on the original album release in 1992)

NOTE: Track “11” presented in 16-bit/44kHz.

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Especially for International Women’s Day, British producer Steve Vibronics presents “Woman On A Mission”, a compilation for which he exclusively invited female vocalists. It resulted in 8 tracks, mostly in Vibronics’ typical UK stepper style. The album presents time-honoured Vibronics associates, Boney L (recording for the first time in 10 years), Nia Songbird, Vanya O and Saraléne , alongside first time collaborations with Trilla Jenna, Nanci Correia, Nish Wadada & Sis I-Leen. Each track vocal track effortlessly glides into an extend dub mix that showcases the sonic skills that Vibronics is known for.

Singers like London based Trilla Jenna, who, with the solid ‘Ghetto Yout Nah Give Up’, proves she’s still got what it takes, Boney L (for many years a regular vocalist for Vibronics, but with ‘Rise Up’ returning to the studio for the first time in over a decade), and Cape Verdean-Dutch singer Nish Wadada (the dubby ‘Each One Teach One’ being one of the highlights from the track list), hopefully don’t need an introduction, but names like Nia Songbird, Vanya O or Sis I-Leen, may be less known. Nia Songbird is a young singer from Leicester who had already collaborated with Vibronics on previous occasions and here signs for the aptly titled opener ‘All Sisters Unite’. Vanya O, who hails from Zagreb, began her career as a member of Radikal Dub Kolektiv and is now one half of Croatian dub duo Dubble. In ‘One Dub Nation’ shows the Croatian singer both shows her vocal and melodica skills. For Sis I-Leen (real name Aline Zuber), we have to head to the Swiss city of Geneva, where she’s made a name for herself thanks to collaborations with OBF Sound System. For ‘Woman On A Mission’ she recorded the heavy UK stepper ‘Peaceful Warriors’. Then there’s Saraléne, a Berlin vocalist who also already collaborated with Vibronics on at least one previous occasion, but with ‘More Love’ does not provide the most memorable song from the track list. Finally we end up with London based Portuguese vocalist Nanci Correia, part of the crew around Congo Natty, and also one half of jungle/dubstep/reggae/hip hop/jazz/soul/blues duo Nanci & Phoebe. With the excellent closing track ‘Woman Is Power’, the Portuguese singer still adds a final highlight to this compilation full of woman power. Still not convinced, then we would like to add that 10% of the proceeds from this album will go to Womankind Worldwide, an organization supporting women’s organizations all over the world. With ‘Woman On a Mission’ Steve Vibronics has already provided you with the ideal soundtrack, so the only thing remaining is to wish all you beautiful ladies out there a great International Women’s Day!

Tracklist:
01 – All Sisters Unite (feat. Nia Songbird)
02 – Each One Teach One (feat. Nish Wadada)
03 – Rise Up (feat. Boney L)
04 – One Dub Nation (feat. Vanya O)
05 – Ghetto Yout Nah Give Up (feat. Trilla Jenna)
06 – More Love (feat. Saralene)
07 – Peaceful Warriors (feat. Sis I-Leen)
08 – Woman is Divine (feat. Nãnci Correia)

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Vince Guaraldi’s name will forever be inextricably linked to Charlie Brown’s, thanks to the iconic piano jazz music Guaraldi composed and performed with his trio for 17 Peanuts television specials and a feature film. It all started in 1964, with A Boy Named Charlie Brown, a never-aired documentary on Peanuts creator Charles M. Schulz that first brought Snoopy and the gang to life. Producers wanted a jazz soundtrack and approached Guaraldi after Dave Brubeck said he was too busy. In two weeks Guaraldi came up with Linus And Lucy, the freshness of the music perfectly enhancing the simplicity of the animation.

Originally entitled Jazz Impressions of a Boy Named Charlie Brown, this is an important album not only because it is Guaraldi’s first Peanuts soundtrack, but also because the music heard here probably introduced millions of kids (and their parents) to jazz from the mid-’60s onward. Actually, this music is the score for a documentary on the Peanuts phenomenon called A Boy Named Charlie Brown, which ran before the first Peanuts specials per se appeared on the CBS network. The most remarkable thing, besides the high quality of Guaraldi’s whimsically swinging tunes, is that he did not compromise his art one iota for the cartoon world; indeed, he sounds even more engaged, inventive, and lighthearted in his piano work here than ever. It must have been quite a delightful shock back then to hear a straight-ahead jazz trio (Guaraldi, Monty Budwig, bass; Colin Bailey, drums) backing all those cartoon figures and genuine children’s voices, a mordant running musical commentary that made its own philosophical points. The music on this album laid the groundwork for much that was to come; here is the first appearance of the well-known bossa nova-influenced “Linus and Lucy,” and fans of the series will recognize such themes from future episodes as “Baseball Theme” and “Oh, Good Grief” (which is a rewrite of the Dixie Belles’ hit “Down at Papa Joe’s”). The original LP came with 12 bonus lithographs of Charles Schulz’s celebrated Peanuts drawings; the only extra thing the CD issue offers is a gratuitous outtake of “Fly Me to the Moon.

Tracklist:
01 – Oh, Good Grief
02 – Pebble Beach
03 – Happiness Is
04 – Schroeder
05 – Charlie Brown Theme
06 – Linus And Lucy
07 – Blue Charlie Brown
08 – Baseball Theme
09 – Freda (With The Naturally Curly Hair)
10 – Fly Me To The Moon [Bonus Track]11 – Baseball Theme [Alternate Take, Bonus Track]

Reissue Produced by Nick Phillips. Remastered by Joe Tarantino.

Musicians:
Vince Guaraldi – piano
Monty Budwig – bass
Colin Bailey – drums

Please note: Track “10” is 44.1 kHz / 24-bit Digital Master, mastered in 192 kHz / 24-bit.

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The first time you listen to this disc you will undoubtedly be transported directly back to your childhood. Charles Schulz’s Peanuts characters will go toe-tapping and funky-dancing through your mind’s eye. Play it a few more times, though (ignoring the dialogue snippets, if you can), and you will begin to truly revel in Guaraldi’s wonderful, humorous, deep piano playing. You’ll hear why he’s such an influence on new age ivory tickler George Winston, but you’ll also realize that Winston’s holiday music never quite sparkles with the underlying passion, and humor, that twinkles in these grooves. Buy it for the nostalgia–keep it because it will remain one of the most enchanting albums in your holiday collection.

“Imagine my delight when HDtracks released not one but two hi-res versions of one of my all-time favorite albums. As good as the CD is, the downloads are in a different league. Guaraldi’s piano is so much more dynamic, it’s as if someone raised the lid. The difference is audible within the first half dozen notes of Linus and Lucy. Moreover, the entire presentation is more spacious, and the chorus sounds even more natural, with individual singers easy to discern. The 192/24 version dispenses with the very subtle digital patina that coats the 96/24’s piano, and the chorus is clearer still. However, the less crisp 96/24 version is also mellower and more forgiving. The choice is a matter of preference, but I can’t imagine anyone being less than thrilled”musically and sonically”with either of these downloads.” – Alan Taffel, The Absolute Sound

Tracklist:
01 – O Tannenbaum
02 – What Child Is This
03 – My Little Drum
04 – Linus And Lucy
05 – Christmas Time Is Here [instrumental]06 – Christmas Time Is Here [vocal]07 – Skating
08 – Hark, The Herald Angels Sing
09 – Christmas Is Coming
10 – Für Elise
11 – The Christmas Song
12 – Greensleeves

VINCE GUARALOI – piano
with
FRED MARSHALL, MONTY BUDWIG – bass
JERRY GRANELLI, COLIN BAILEY – drums

The higher resolution captures all the detail of the original recording. I’m happy to have had the chance to master this great music again in HD. I think it’s the best it ever sounded. — Joe Tarantino, Joe Tarantino Mastering

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“Super Nova” is the twelfth album by Wayne Shorter, recorded in 1969 and released on the Blue Note label. The album features five originals by Shorter and an arrangement of “Dindi” by Antônio Carlos Jobim. “Water Babies”, “Capricorn” and “Sweet Pea” were originally recorded in a more traditional jazz setting in 1967 during the sessions with the Second Miles Davis Quintet that would be released in 1976 on the album “Water Babies”. Chick Corea appears on drums rather than his typical role as a keyboardist.

Super Nova is an important transitional album for tenor saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including “Water Babies,” which had been recorded previously by Miles Davis) and Antonio Carlos Jobim’s “Dindi.” He definitely used a forward-looking group of sidemen, because his “backup band” includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for “Dindi,” bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums, and percussionist Airto; Maria Booker takes a vocal on the touching version of “Dindi.” The influence of Miles Davis’ early fusion period is felt throughout the music, but there is nothing derivative about the often-surprising results. As with Wayne Shorter’s best albums, this set rewards repeated listenings.

Tracklist:
01 – Super Nova
02 – Sweet Pea
03 – Dindi
04 – Water Babies
05 – Capricorn
06 – More Than Human

Produced by Alfred Lion.
Recorded on August 29 (“1,2,4,5”) and September 2 (“3 & 6”), 1969 at A&R Studios, NYC.

Musicians:
Wayne Shorter – soprano saxophone
John McLaughlin – acoustic and electric guitar on “1,2,4,5”
Sonny Sharrock – electric guitar
Miroslav Vitouš – bass
Chick Corea – drums, vibes
Jack DeJohnette – drums, kalimba
Airto Moreira – percussion
Walter Booker – acoustic guitar on “3”
Maria Booker – vocals on “3”
Niels Jakobsen – claves

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Stuttgarter Dauner approaches legendary status as one of Germany’s most inventive pianist-composers. Here the quartet jumps onto a bouncy Take The A Train, riding on to Dauner’s own Waltz for a Young Girl with luscious soprano and piano solos. On Ellington’s Take The Coltrane the band rides out on a modern blues. Swiss pianist Elsie Bianchi was popular throughout the 50’s and 60’s as pianist/pianist. Her Baron Lazor features a relaxed, swinging blues, while she interprets What Is This Thing Called Love with a bluesy flair and some hip quotes. Dieter Reith co-wrote the music for 1972 Munich Olympics and worked with the likes of Stan Getz and Art Farmer. On Willow Weep For Me he rhapsodizes in trio on the melody before injecting a Latin lilt with the addition of timbales and bongos. Rieth’s Goofin’ Each Other displays his prodigious talent: this guy can play! ‘Waldi’ Heidepriem was a force in the South German music scene; with tightly knit arrangements and Impressive trumpet and sax solos on Cole Porter’s You Do Something To Me and Jimmy Heath’s Big P, his quintet shows off the high quality of play in mid-60’s Germany. An enlightening listen to some of the best young German players of the era.

Tracklist:
01 – Wolfgang Dauner Quartett – Take the ‘A’ Train
02 – Wolfgang Dauner Quartett – Waltz for a Young Girl
03 – Wolfgang Dauner Quartett – Take the Coltrane
04 – Elsie Bianchi Trio – Baron Lazor
05 – Elsie Bianchi Trio – What Is This Thing Called Love
06 – Dieter Reith Quintett – Willow Weep for Me
07 – Dieter Reith Quintett – Goofin’ at Each Other
08 – The Modern Jazz Group Freiburg – You Do Something to Me
09 – The Modern Jazz Group Freiburg – Big “P”

Wolfgang Dauner-Quartett: Recorded on April 2, 1964 at SABA-Tonstudio.
Elsie Bianchi-Trio: Recorded on December 4, 1963 at SABA-Tonstudio.
Dieter Reith-Quintett: Recorded on December 23, 1963 at SABA-Tonstudio.
The Modern Jazz Group Freiburg: Recorded on October 21, 1963 at SABA-Tonstudio.

Digitally remastered

Personnel
Joki Freund, alto saxophone
Gustl Mayr, tenor saxophone
Eberhard Weber, bass
Karl-Theodor Geier, bass
Peter Witte, bass
Siro Bianchi, bass
Charlie Antolini, drums
Hansjörg Schmidt, drums
Peter Baumeister, drums
Dieter Reith, piano
Elsie Bianchi, piano
Ewald Heidepriem, piano
Wolfgang Dauner, piano
Hermann Mutschler, timbales
Kurt Bong, bongos
Hans Kennell, trumpet

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Pianist/composer Yelena Eckemoff’s musical impressions here, along with a range of other smells recalled from her Russian childhood. When Eckemoff visited Finland and saw how much it reminded her of Russia she decided it was the best place to record an album about her Russian aroma memories, and recruited a Finnish band to realize her vision.

Trumpeter Verneri Pohjola is known for a series of recordings for Germany’s ACT label; drummer Olavi Louhivuori for contributions to ECM albums with artists including Tomasz Stanko and Mats Eilertsen. Vibraphonist Panu Savolainen and double bassist Antti Lotjonen are rising stars in Finland, poised for broader recognition. The instrumentation is unique in Eckemoff’s discography. The closest match would be A Touch of Radiance (L&H, 2014), a quintet with saxophone and vibraphone.

The title tune (the cover painting depicts the composer smelling the flowers in her grandparents’ garden as a child) is an atmospheric opening, its musical impressionism mirroring the visual image. But “Apples laid out on the floor” transitions into fast swing (a feature for the vibes, as well as a lyrical bass solo)—an early sign that not everything will be colored in pastel shades. “Baba Liza’s Singer” has several sections, including one featuring a trumpet solo. This is typical of Eckemoff’s compositional style: she tends to set up a structure that determines the flow of the pieces. There’s a strong role for improvisation, but the overall shape of the performance is more compositionally directed than is common in jazz. Her players all seem to embrace the challenge, so there is never a sense that they feel trapped. In pieces like “Sleeping in the tent” and “Pine needles warmed by the sun” there is even a feeling of collective group improvisation.

The two-disc set is divided into Summer Smells and Winter Smells. I’d have to say that I did not feel a chill during the Winter sequence. But that’s the nature of musical impressionism, except in those rare instances where a natural sound is being directly imitated musically (e.g. a train whistle or a police siren). I do wonder about the books contained in “Grandpa Lera’s bookcase:” there’s a definite Spanish atmosphere that creeps in. Eckemoff’s piano playing is a big part of the sound, of course. She tends to give more solo space to her guests, but she has plenty of shining minutes as soloist, as well as providing important musical glue holding the arrangements together. She is definitely a jazz pianist now, and it may be just the power of suggestion hearing evidence of her classical training. This 2017 release was recorded in September, 2013, and there is no doubt that this musical explorer has already moved on.

Tracklist:
01 – Blooming Tall Phlox
02 – Apples Laid out on the Floor
03 – Baba Lisa’s Singer
04 – Old-Fashioned Bread Store
05 – Wildflower Meadows
06 – Fish Fried on Open Fire
07 – Sleeping in the Tent
08 – Pine Needles Warmed by the Sun
09 – Smoke from the House Chimneys in Frosty Air
10 – Talks over Hot Tea
11 – Grandpa Lera’s Bookcase
12 – Clementines and Candies on Christmas Tree
13 – Mommy’s Shawl
14 – Aunt Galya’s Perfume
15 – Scented Candles and Sparkling Wine

Musicians:
Yelena Eckemoff – piano
Verneri Pohjola – trumpet, flugelhorn
Panu Savolainen – vibraphone
Antti Lötjönen – double bass
Olavi Louhivuori – drums, percussion

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She may rarely perform live in this context, but Yelena Eckemoff has managed to build, over just seven years and a mammoth eleven releases—including her second release of 2017, In the Shadow of a Cloud—a loyal and growing following in the jazz world. It’s all the more remarkable for a multi-talented expat Russian pianist who began life in the classical world, and only entered the jazz world in 2010 with Cold Sun. But there’s even more to marvel at when it comes to Eckemoff, who relocated to the USA a little over a quarter century ago. Consider her accomplishments over the past seven years: she has released the entire body of jazz work on her own L&H Productions imprint, with only the help of publicists to help get the word out; has produced all of her recordings; and, since 2014’s A Touch of Radiance, also contributed original paintings, as well as corresponding poetry to each composition.

A self-described “old fashioned romantic”, Moscow-born pianist-composer Yelena Eckemoff once again demonstrates uncommon lyricism and a gift for melody on In the Shadow of a Cloud, her 11th recording since transitioning from the classical world to jazz back in 2010 with the release of Cold Sun on her own L&H Production label. With a pristine touch and refined sense of form, Eckemoff organically blends classical elements with jazz improvisation in her evocative pieces that strike a delicate balance between being through-composed and full of open-ended exploration.

The title track, which opens the first album, is moody and atmospheric, though it contains elements of polyphony between the instruments. Potter delivers a powerful tenor solo here that culminates in some urgent free blowing in the rubato section. The saxophonist also shines on the driving “Saratovsky Bridge” and more introspective “Fishing Village,” both underscored by Cleaver’s intuitive and interactive pulse on the kit. Potter delivers a rare turn on flute on the dreamy 5/4 “Waters of Tsna River,” which also features brilliant cascading solos by Rogers and Eckemoff herself. “It’s very interesting the way that Yelena writes and thinks about music, the way she would describe every song before we did it,” states Potter. “She clearly has a strong visual or memory sense that’s associated with everything. And you can feel that in the way she writes.”

The gentle “Acorn Figurines,” underscored by Cleaver’s delicate brushwork, is a kind of jazz sonata for quartet showcasing Rogers’ signature legato flow on the fretboard. Gress also turns in an arresting arco solo on this unique hybrid number. Guitarist Rogers also shines on the surging “On the Motorboat,” which shifts into the rubato zone midway through, resulting in some of the most provocative and free-wheeling moments of the session from all the participants. The first album closes with the lazy meditation “Hammock Stories,” which sets the perfect tone for a hot summer day in the backyard.

The second disc opens with jaunty quartet swinger “Picnic in the Oaks,” which has Rogers, Eckemoff, Gress and Cleaver all contributing potent solos. Potter returns on soprano sax for the engaging “Waltz of the Yellow Petals,” which is fueled by Cleaver’s loosely swinging approach to the kit and also features another remarkably fluid solo from Rogers. “Yelena’s music is quite beautiful and really unique. It’s different from a normal jazz record because it’s more through-composed,” states Rogers. “But I wouldn’t describe it as being a ‘classical-jazz’ hybrid record, because it sounds more like she’s assimilated these influences and is expressing them in an already very processed way; processed in a really good way.”

Another quartet number, “Trail Along the River,” has a distinctly through-composed quality, though Eckemoff and Rogers break loose for some sparkling solos within the form. Potter returns on soprano sax on the moody “Lament,” then adds a new color to the proceedings with his potent bass clarinet work on the driving “Vision of a Hunt.” The melancholy quartet ballad “The Fog” showcases Potter’s soaring soprano sax alongside Eckemoff on piano, Gress on bass and Cleaver on drums. The second disc closes with the very pleasant “Tambov Streets on a Summer Night.”

While some of her past works, like Leaving Everything Behind and Blooming Tall Phlox are largely nostalgic, the story of In the Shadow of a Cloud ends with an optimistic outlook at the present and future. As Eckemoff explains, “In the last piece, ‘Tambov Streets on a Summer Night,’ I turn down the opportunity to re-live my past as a shadow, invisible to all, and instead choose the present: Even though my heart aches with love/For the people and places of past days/I don’t belong in those times anymore./My time is in the present/Where I have many tasks unfinished, where my life’s work awaits me./No matter that the road before me grows shorter, I am eager to see what the future holds in store for me”.

Tracklist:
01 – In the Shadow of a Cloud
02 – Saratovsky Bridge
03 – Fishing Village
04 – Waters of Tsna River
05 – Acorn Figurines
06 – On the Motorboat
07 – Hammock Stories
08 – Picnic in the Oaks
09 – Waltz of the Yellow Petals
10 – Trail Along the River
11 – Lament
12 – Vision of a Hunt
13 – The Fog
14 – Tambov Streets on a Summer Night

Musicians:
Yelena Eckemoff – piano
Chris Potter – tenor and soprano saxophones, flute, bass clarinet
Adam Rogers – electric guitar
Drew Gress – double bass
Gerald Cleaver – drums

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Zaz – Recto Verso (2013) {Collectors Edition}
FLAC (tracks) 24 bit/48 kHz | Time – 74:07 minutes | 965 MB | Genre: Pop
Studio Master Re-encoded – Source “24-96” files | Artwork: Front cover | © Parlophone France

Isabelle Geffroy, better known by the nickname Zaz, is a French singer-songwriter mixing jazzy styles, French variety, soul and acoustic. Her vocals are often compared to those of Edith Piaf. Recto Verso is her second studio album. The album was Zaz’s first album in three years, after her eponymous début, released in 2010. It débuted on the French Album Chart at #2 and to date has spawned two singles, “On ira” and “Si”. Musically, it is largely in a similar style to Zaz’s début album. The title refers to the two sides of Zaz’s personality, which she wished to express in the music of the album.

Tracklist:
01 – On ira
02 – Comme ci, comme ça
03 – Gamine
04 – T’attends quoi
05 – La lessive
06 – J’ai tant escamoté
07 – Déterre
08 – Toujours
09 – Si je perds
10 – Si
11 – Oublie Loulou
12 – Cette journée
13 – Nous debout
14 – La lune
15 – Ensemble
16 – Je rentre
17 – La part d’ombre
18 – Le retour du soleil
19 – Laissez-moi
20 – En rêve
21 – Appât de velours (Duet with Alex Renart)
22 – La vie en rose
23 – Belle

Please note: Here’s carefully processed to 24/48 files. Dynamic Range & peak level keep the same.

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Fifth Harmony – Reflection {Deluxe Edition} (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 48:45 minutes | 598 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Syco Music

“Reflection” is the debut studio album by American girl group Fifth Harmony. Lyrically, the album discusses themes of female-empowerment, romance, heartbreak and confidence, and this pop album showcases synthpop, “grungy” hip hop and R&B sounds. The album features guest appearances by American rappers Kid Ink and Tyga, as well as American singer-songwriter Meghan Trainor, and collaborations with several producers including Ori Kaplan, Dr. Luke and Stargate. The album received acclaim from contemporary music critics, and was ranked as one of the best albums of 2015 by several publications, including Spin, Rolling Stone and Complex.

The debut album from The X-Factor’s second season third-place finishers Fifth Harmony, 2015’s Reflection is a slick production superbly showcasing the group’s multi-voiced approach to contemporary R&B. Working with a bevy of top-notch producers and songwriters including Julian Bunetta, Stargate, Dr. Luke, Ricky Reed, and others, Fifth Harmony members Ally Brooke Hernandez, Camila Cabello, Normani Hamilton, Dinah-Jane Hansen, and Lauren Jauregui have crafted an album that is very much a savvy pop product of the moment. Reflection hits upon all the au currant musical touchstones, from electronic-infused dance music to synthy, rhythmically bumptious hip-hop, to retro-’90s R&B, all without ever going too far in any one direction. If there is any one major antecedent to Reflection, it is clearly Beyonce’s 2013 feminism-steeped eponymous opus. Along with various production similarities, from the militaristic drum corps rhythmic bed of “Bo$$” to the general focus on resonant vocals, there is also an overall vibe of positive girl power permeating Reflection. Fifth Harmony even directly reference one of Beyonce’s most quotable lyrics, singing “Do you ever post your pics with no filter, ‘Hashtag,’ I woke up like this, too” on “Them Girls Be Like.” Although essentially a radio-ready pop aperitif and nowhere near the cultural touchstone of Beyonce’s album, Reflection nonetheless works as a Revlon ad-level post-feminist girls’ night out with plenty of vintage ’90s R&B swagger, all of which works to remind you that these women have all the right influences, from Beyonce to Mariah Carey, on the aptly titled “Like Mariah,” even going so far as to call out the First Lady on the aforementioned anthemic “Bo$$.” While lyrics like “Boss…Michelle Obama, purse so heavy gettin’ Oprah Dollars” don’t rise to the level of social commentary, they do seem to be offered with a glint of tongue-in-cheek humor, making Reflection an undeniably fun listen from beginning to end.

Tracklist:
01 – Top Down
02 – BO$$
03 – Sledgehammer
04 – Worth It
05 – This is How We Roll
06 – Everlasting Love
07 – Like Mariah
08 – Them Girls Be Like
09 – Reflection
10 – Suga Mama
11 – We Know
12 – Going Nowhere [Bonus Track]13 – Body Rock [Bonus Track]14 – Brave Honest Beautiful [Bonus Track]

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“Finest Hour: The Best of Gavin DeGraw” is a compilation album by American singer-songwriter Gavin DeGraw. This is his first “greatest hits” album. It contains songs from all his studio albums except Free (2009). It also includes the two new tracks “You Got Me” and “Fire”.

New York-based singer/songwriter Gavin DeGraw rose to success in 2003 when the song “I Don’t Want to Be” from his debut album Chariot was chosen as the theme song on the popular American TV series One Tree Hill. His mix of gritty, rock-based songwriting and passionate, uplifting themes struck a chord with fans and music directors alike, as several more of his singles made appearances on American Idol, So You Think You Can Dance, Scrubs, Boston Legal, and other popular shows. Over the course of his five studio albums, he scored a number of hits on the Billboard charts like “Follow Through,” “Not Over You,” and “Best I Ever Had,” all of which appear here on his first best-of anthology. Finest Hour is a strong representation of DeGraw’s most popular work, though some fans might be irked that the original version of his hit “In Love with a Girl” has been omitted in favor of a previously unreleased Max Martin mix. Additionally, the title track is also featured here in a newly recorded version. Alternate takes aside, this collection is a solid bet. ~ Timothy Monger

Tracklist:
01 – I Don’t Want to Be
02 – Not Over You
03 – Follow Through
04 – In Love With a Girl (Max Martin Unreleased Version)
05 – Chariot
06 – We Belong Together
07 – Best I Ever Had
08 – Finest Hour (New Version)
09 – Soldier
10 – Fire
11 – You Got Me

Download:

https://subyshare.com/0xczz8mfo2n1/GavinDeGrawFinestH0ur.TheBest0fGavinDeGraw20142015Q0buz24441.rar.html

The American pianist Hank Jones could, spanning his 65 year career, always be counted on for a joyful presence on the jazz scene, playing sparkling piano solos that uplifted every group that was wise enough to hire him. This set of previously unreleased music from June 6, 1983 puts the spotlight of one of the most consistent geniuses in jazz history.

In the 1970s and 1980s, Jazzhus Slukefter in Tivoli Gardens, Copenhagen, was the site for a large number of live recordings release by Storyville. Hank Jones brought Danish bassist Mads Vinding with him, a bassist with a large sound, the ability to take very original solos, and a love for straight ahead jazz. The third name on the stage was drummer Shelly Mane, whose career was as prolific as Jones’, and who added color and life to every group. This 1983 concert consists of nine jazz standards. Jones takes the lion’s share of the solo spots, changing his style between that of a classical bebop pianist and other times swinging elegantly like Teddy Wilson. The masterful trio comes up with creative variations and give all the songs on the release rewardingly fresh treatments.

Hank Jones (1918-2010) was born in Mississippi and was an early inspiration for his two younger brothers, both of whom would become all-time greats: cornetist Thad Jones and drummer Elvin Jones. He immediately became part of the jazz major leagues once he relocated to New York where he embraced the bebop of Bud Powell without abandoning his roots in swing. Tasteful and lightly swinging, Hank Jones would always be thought of as a class act. His non-stop activity with countless bands, orchestras and musicians only ended when ageless Hank Jones passed away in 2010. Musically, he never declined.

The result of the 1983 Slukefter session is an enjoyable hour of music that, after sitting unheard for over 30 years, sounds as fresh as if it were recorded yesterday.

Tracklist:
01 – Just Friends
02 – Au Privave
03 – Alone Together
04 – Stablemates
05 – It Could Happen to You
06 – Scrapple from the Apple
07 – Budo
08 – Tangerine
09 – What’s New

Recorded on June 6, 1983 at Jazzhus Slukefter in Copenhagen.

Musicians:
Hank Jones – piano
Mads Vinding – bass
Shelly Manne – drums

Download:

https://subyshare.com/wmt9rx6hji0s/HankJ0nesLiveatJazzhusSlukefter19832018HDTracks24441.rar.html

Equal parts anthemic grandeur, brawny metalcore-infused heaviness, and chorus-driven radio rock nirvana, “Feeding Fiction” is Heartist at their absolute best. With each song boasting a towering chorus that demands to be unleashed in arenas and stadiums, it is rich with hooks and chunky riffs, and vocalist Bryce Beckley’s candid lyrics and soaring vocals aim to bring real, honest emotion back into heavy music.

Having heard Heartist’s record Feeding Fiction for the first time, it is extremely hard to tell that this is only their debut full-length album in the Hard Rock scene. This genre is full of notable and dominating styles that have shaped Hard Rock to what it is today. For what seems to be their first major step as a band, Heartist find their place with heavier twists without taking too many risks. Their complex instrumentals and captivating vocal melodies already put them at a step above any other newbie in the scene. Although they give listeners a taste of their aggressive potential, their more mainstream hard rock styles power through and are overall more impressive. The smooth flow of musical elements gives off a truly liberating sound to the refrains, moving listeners with every note. Heartist has made quite a big step as a new band in Hard Rock. Feeding Fiction certainly has set their bar high, but it is by all means reachable. With that said, as they grow musically, it is not a far-fetched guess to think that their future in hard rock will be successful.

Tracklist:
01 – What Kind Of World
02 – Black Cloud
03 – Skeletons
04 – Pressure Point
05 – Ignite
06 – Unbreakable
07 – Legacy
08 – Manipulate
09 – Ready To Change
10 – Set Me Free
11 – Demons

Download:

https://subyshare.com/rghyv980fwyo/HeartistFeedingFicti0n2014HDTracks24441.rar.html

Canadian jazz singer Holly Cole is best known for her ability to explore adventurous repertoire that expands from show tunes, country music, and rock. On this long-awaited album, she engages with some of the best jazz composers such as Duke Ellington, George Gershwin, and Richard Rodgers on this album where she showcases her musical versatility.

Internationally acclaimed jazz songstress Holly Cole returns 5 years after her last album ‘Night’ with a long-awaited fabulous new album. Produced by Grammy Award winning producer Russ Titelman (Eric Clapton, Randy Newman, Ricki Lee Jones), and arranged by pianist extraordinaire Larry Goldings, Holly, was mostly recorded at Sear Sound Studio in New York City alongside an exemplary cast of both New York and Toronto based musicians. The recording comes complete with classics including “They Can’t Take That Away From Me”, “Everybody Loves Somebody” and “Teach Me Tonight” which showcase Holly’s dynamic artistry while bringing currency to these timeless tracks. One of the defining recordings of her long and celebrated career, this album includes 3 tracks with her original trio members David Piltch and Aaron Davis who collaborated with her on her very successful ‘Don’t Smoke in Bed’ and ‘Girl Talk’.Her versatile and distinctive voice, along with her adventurous repertoire is a true delight.

Tracklist:
01 – I’m Beginning to See the Light
02 – Your Mind Is on Vacation
03 – The Goldwyn Follies: I Was Doing All Right
04 – And the Angels Sing: It Could Happen to You
05 – Ain’t That a Kick in the Head?
06 – Teach Me Tonight
07 – We’ve Got a World That Swings
08 – Shall we Dance: They can’t take that away from me
09 – Everybody Loves Somebody
10 – Pal Joey: I Could Write a Book
11 – Golden Apple: Lazy Afternoon

For more info and list of performers – read the included booklet.
2xHD Mastering by: René Laflamme. 2xHD Executive Producer: André Perry.

DSD128

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FLAC

https://subyshare.com/fnzvff7g5hd3/H0llyC0leH0lly2018FLAC24882.rar.html

Hollywood Undead – Day Of The Dead {Deluxe Edition} (2015/2017)
FLAC (tracks) 24 bit/48 kHz | Time – 58:21 minutes | 806 MB | Genre: Rock, Rap, Hip-Hop
Studio Masters, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © Interscope Records

“Day Of The Dead” from Los Angeles hip-hop/metal veterans Hollywood Undead is the band’s fourth studio album, the follow-up to 2013’s highly-acclaimed smash hit Notes From The Underground. In the weeks leading up to this release, the band unveiled five new singles, one per week, on its website and played a series of intimate preview concerts for fans. This deluxe edition includes three bonus songs.

The fifth studio long-player from the ghoulish, non-Faygo-drinking, Los Angeles-based rap-rock crew, Day of the Dead is the follow-up to 2002’s chart-topping Notes from the Underground – it’s also the group’s first outing for Interscope. Darker and a tad more defiant than previous outings (calling out the band’s “haters” is a frequent theme) but still stocked with enough good-time, in-your-face, but largely innocuous party-rap anthems to successfully soundtrack multiple lost weekends, the 12-track set offers up a wide array of rock, electropop, and hip-hop with a newfound emphasis on the pop side of things. Festooned with enough well-worn hooks, stadium-ready gang vocals, and seismic orchestral bursts to be briefly mistaken for a Katy Perry superbowl halftime show rehearsal, Charlie Scene, Da Kurlzz, Danny, Funny Man, J-Dog, and Johnny 3 Tears clearly have their sights set on the mainstream, but they pollute the water with too many cheap slurs and lazy, sexist non sequiturs to really break free from the WWE/UFC promo/highlight reel graveyard, even though singles like “Gravity,” “How We Roll,” “Usual Suspects,” and the beefy title track, at least sonically, suggest very obvious commercial aspirations. That said, overthinking Hollywood Undead causes brain freeze, and taking the album at face value results in a far better listening experience. How many masked, horror-themed rap-rock crews the world needs is still up for debate, but Day of the Dead is easily the group’s most accessible and instantly gratifying outing, and what it lacks in nuance it more than makes up for with (schlocky) audacity.

Tracklist:
01 – Usual Suspects
02 – How We Roll
03 – Day Of The Dead
04 – War Child
05 – Dark Places
06 – Take Me Home
07 – Gravity
08 – Does Everybody In The World Have To Die
09 – Disease
10 – Party By Myself
11 – Live Forever
12 – Save Me
13 – Guzzle, Guzzle [Bonus Track]14 – I’ll Be There [Bonus Track]15 – Let Go [Bonus Track]

Musicians:
Daniel “Danny” Murillo – vocals, keyboards, rhythm guitar
Jordon “Charlie Scene” Terrell – vocals, lead guitar
Jorel “J-Dog” Decker – vocals, rhythm guitar, bass guitar, keyboards, synth, programming
George “Johnny 3 Tears” Ragan – vocals, bass guitar
Dylan “Funny Man” Alvarez – vocals
Matthew “Da Kurlzz” Busek – vocals on “Disease” and “Ghost” drums, percussion, backing vocals

Download:

https://subyshare.com/a1txvy4056lq/H0llyw00dUndeadDay0fTheDeadDeluxeEditi0n20152017HDTracks2448.rar.html

Swedish jazz singer and pianist Ida Sand pays tribute to the music of rock legend Neil Young with the cleverly-titled Young At Heart, featuring Young classics such as Cinnamon Girl, Helpless, Ohio and Harvest Moon in jazz-soul interpretations with all the depth and expression of the originals, but with an added laid-back feel.

“It has been such a great experience for me to dive into the music of Neil Young. I’m Swedish and I’ve done my best to keep the essence of the music intact, but with a new and personal twist. It is the lyrics I pay most attention to, then the feel and the energy that a song exudes. If it resonates with something in me, I sit down at the piano. I try to improvise and sing it in my key, then I just let it grow from there.”– Ida Sand

Tracklist:
01 – Cinnamon Girl
02 – Hey Hey, My My
03 – Don’t Let It Bring You Down
04 – Harvest Moon
05 – Woodstock
06 – Birds
07 – Only Love Can Break Your Heart
08 – Ohio
09 – Old Man
10 – Helpless
11 – War of Man
12 – One of These Days
13 – Sea of Madness

Produced by Nils Landgren. Executive Producer: Siggi Loch.
Recorded on September 23-27, 2014 by Janne Hansson at Atlantis Studios, Stockholm.
Mixed by Ronny Lahti. Mastered by Klaus Scheuermann.

Musicians:
Ida Sand – vocals, piano
Jesper Nordenström – keyboards
Ola Gustafsson – guitars
Dan Berglund – acoustic bass
Christer Jansson – drums, percussion

Additional musicians:
Sven Lindvall – electric bass
Per Texas Johansson – tenor saxophone
Nils Landgren – trombone & vocals
André De Lange – background vocals
Paris Renita – background vocals
Bo Sundström – vocals

Download:

https://subyshare.com/ppe2ifrysdok/IdaSandY0ungAtHeart2015Pr0Studi0Masters2448.rar.html

Pietro Iannuzzi (Indian Wells) released two lovely albums before this, but with his latest he breaks from typecasting. Until now, he was known as the Italian producer with a penchant for tennis samples and for titles like “Racquets”, “Wimbledon” and “After the Match”. This year, he has more important topics to address.

It’s no surprise that a person who is obsessed with an international sport would be upset about isolationism and borders. We’ve encountered such reactions across the map. The difference between Iannuzzi and other musicians tackling the same issues is the tone of the conversation. Some artists underline their anger and determination; Iannuzzi underlines his dreams of a better, closer world. This lends the set a warm, unified vibe, the tracks seeming to flow together despite the fact that the album is unmixed. The die-cut cover shields a multi-color painting by Chiara Tomati / Tomati Soup, itself a metaphor for the lack of boundaries ~ in fact, for the beauty created when cultures mingle.

The music follows suit. On the surface this is techno, but Indian Wells also provides hints of ambience and modern composition. Not every track is for dancing, but every track is for caring. The video for opener “Voices” is a bit misleading as both track and image are more sedate than the majority of the album’s pieces, but it establishes a mood of tranquility from which activity may arise. The next track and first single “Cascades” lends itself particularly well to body movement ~ eyes closed, hips swaying, carried on repetitions of wordless vocals. One remembers a key component of club culture, that differences dissipate when lights are low.

While Iannuzzi can’t resist at least one tennis reference (“Forest Hills”, former home of the U.S. Open), his music is better characterized by its inviting nature. This is the opposite of a border. The mastering is simultaneously crisp and wet, the clarity of the percussion offset by the smoothness of the synths. It’s crucial to note that the album sounds best as a whole, as every track makes more sense in context. The highlight piece, “It’s Where the World Ends”, contains an extended use of chimes, bolstered late in the track by amplified bass. Hearing only this track, one might mistake the repetition for lack of development, but hearing the full album, one understands it as connected to the tracks on either side ~ just as human beings are connected with one another. Ironically, it then sounds different when played alone, like a person leaving the company of friends while retaining the strength of the friendships. Metaphors aside, the album simply glows. If this is where the world ends, it’s so much better than the endings we’d feared; if this is our fate, it gives us more hope for the day we’re in.

Tracklist:
01 – Voices
02 – Cascades
03 – Forest Hills
04 – Some Stripes
05 – Heart of Lights
06 – The Alps
07 – Les Ardennes
08 – It’s Where The World Ends
09 – Parola

Mixed by Jo Ferliga at Tapewave Mastering Studio & Matilde Davoli at Sudestudio.
Mastered by Jake Viator at Stones Throw.

Download:

https://subyshare.com/i9wxp7zsgmos/IndianWellsWhereTheW0rldEnds2017Bandcamp24441.rar.html

Ben Bridwell of Band Of Horses and Iron & Wine collaborate on a covers albums that includes songs originally sung by JJ Cale, El Perro del Mar, Bonnie Raitt, Ronnie Lane, Marshall Tucker Band, Sade, Pete Seeger, Spiritualized, Talking Heads, Them Two, and Unicorn. The album’s title is a lyric from the Talking Heads song “This Must Be the Place (Naive Melody)”. The album debuted at No. 116 on Billboard 200, and No. 14 on Top Rock Albums.

It turns out that bearded gents Sam Beam of Iron & Wine and Ben Bridwell of Band of Horses were friends in their hometown of Columbia, South Carolina back before they were ever touring-bill companions or Sub Pop labelmates (mid- to late aughts), and well before they recorded a covers album together. Perhaps a studio collaboration was inevitable or even overdue given their amity, frequent path-crossing, and shared tastes and influences represented small-scale here on the 12-track Sing Into My Mouth. The title is taken from lyrics in the opening track, “This Must Be the Place” by Talking Heads, a sign of the relative diversity to come, which bridges Sade, John Cale, El Perro del Mar, and Peter La Farge. The Talking Heads tune is a toned-down take with acoustic and slide guitars, bass, piano, accordion, and light percussion, representative of an album full of slide guitar-heavy arrangements that fall squarely within folky expectations. Versions most similar to the originals include Ronnie Lane’s “Done This One Before,” ’70s U.K. band Unicorn’s “No Way Out of Here” (better known via David Gilmore’s cover), Spiritualized’s “Straight and Narrow,” and fellow South Carolinians the Marshall Tucker Band’s beautifully spare “Ab’s Song” — all folk-inspired or twang-leaning to begin with, and covered affectionately with Beam and Bridwell trading lead-vocal duty throughout the record. Most altered are the duo’s reworkings of the strings-supported, Brill Building-esque “God Knows (You Gotta Give to Get)” by Sweden’s El Perro del Mar, which is slowed down here and given an earthy woodwind and guitar delivery; Sade’s “Bullet Proof Soul,” which still sounds uniquely Sade despite a rootsy rearrangement; and Them Two’s 1967 soul plea “Am I a Good Man?,” previously covered by Bridwell’s Band of Horses and captured with enthusiasm on Sing Into My Mouth by piano, reed instruments, electric guitars, bass, and percussion. Other songs include Bonnie Raitt’s “Anyday Woman,” John Cale’s “You Know Me More Than I Know,” and J.J. Cale’s “Magnolia.” That kind of variety keeps things interesting, though none of the arrangements comes as a real surprise with the exception of the closer, “Coyote, My Little Brother” (later covered by Pete Seeger but recorded by its songwriter Peter La Farge in 1963), a yodeling, Native American-inspired lament that gets full dream pop treatment with Bridwell on lead. Still, the represented songwriters and the sequencing, which nimbly waltzes through 50 years of song selections beginning with a quirky new wave tune and ending with a howling cautionary ballad, are rendered with grace. Those attracted to the collaboration’s premise will very likely appreciate its results. ~ Marcy Donelson

Tracklist:
01 – This Must Be The Place
02 – Done This One Before
03 – Anyday Woman
04 – You Know More Than I Know
05 – Bullet Proof Soul
06 – No Way Out Of Here
07 – God Knows (You Gotta Give To Get)
08 – Straight And Narrow
09 – Magnolia
10 – Am I A Good Man
11 – Ab’s Song
12 – Coyote

Produced by Sam Beam.
Recorded at Echo Mountain Recording, Asheville, NC.

Download:

https://subyshare.com/lsomym3xxf4m/Ir0nAndWineBenBridwellSingInt0MyM0uth2015Q0buz24441.rar.html

If he wanted to, trumpeter Itamar Borochov could awe the audiences by showing his virtuosity on his instrument. But at the age of 32, this Israeli-born but Brooklyn-based musician since 2007, a student of Junior Mance, Charles Tolliver or Cecil Bridgewater, has chosen to go further: telling a story that connects Lower Manhattan to North Africa, modern Israel and ancient Bukhara, a story we find in his album “Boomerang”.

Nowadays there are no more tenors and trumpeters, like Jonas Kaufmann and the young Israeli Itamar Borochov, but only exceptional tenors and star percussionists, or the other way around, to name just two exponents of the music scene. It does not matter whether these stars radiate exceptionally bright for artistic or purely marketing-driven reasons: main thing is, there is extensive radiation on the way. This generalizing and non-binding jubilation tires music consumers and offers no decision criterion for the acquisition of this or that album. It is best to forgo the use of these taciturn and completely empty jubilations and start doing so by turning our attention to the exponent of the album Boomerang, the trumpeter Itamar Borochov, who is praised being a “star” in all previous reviews. This is also because, thanks to his unquestionable ability, he does not need this kind of cheering through the press.

On Boomerang, we experience Itamar Borochov as a trumpeter in the group of his current quartet, including his brother Avri Borochov on the bass, Michael King on the piano, and the percussionist Jay Sawyer. Having grown up in Israel, the trumpeter has absorbed the influences of Arab and African musicians quasi with mother’s milk. In New York, he finally expanded his musical horizon towards jazz. After the visit of the New School for Jazz and Contemporary Music, he realized that his musical orientation, which had been gained in the Israeli homeland, would be best expressed in jazz. The New York jazz clubs confirmed him in his decision to conquer the world of contemporary jazz as a trumpeter and composer as his own, and the audience’s reaction confirmed this decision as well.

On his album, Boomerang, recorded in Paris in late 2015, it is easy to see that Itamar Borochov, fusing the western and middle-eastern sound world, has found his very own style in jazz. We encounter the Middle Eastern sound world modified, but as such recognizable only in Eastern Lullaby. Apart from that, this sound world is only remotely discernable by one or another twist in the pianist’s play or a sudden twist of the percussion, so strongly it is sublimated into a completely new sound and a surprisingly variable rhythm just as typical phrases and moods of the Western sound world of jazz, which seem shortly to surface similar to a Déja Vue, before not after all they prove themselves as elements of the very own sound language of Itamar Borochov.

A great album, on which new musical paths are convincingly pursued. An album that has the finest recording technology that makes you forget that between what you hear and the recording location a lot of hardware is used, so naturally does the Itamar Borochov Quartet sound on Boomerang.

Tracklist:
01 – Tangerines
02 – Shimshon
03 – Eastern Lullaby
04 – Jones Street
05 – Adon Olam
06 – Jaffa Tune
07 – Avri’s Tune
08 – Ça va bien
09 – Wanderer Song
10 – Prayer

Produced by Laborie Jazz. Recorded by Boris Darley at Studio Sextan.
Mixed by Brian Montgomery. Mastered by Raphaël Jonin.

Musicians:
Itamar Borochov – trumpet, vocals on “9”
Michael King – piano
Avri Borochov – bass, oud on “8-9”, Sazbush, vocals on “9”
Jay Sawyer – drums

Guest musician:
Yisrael Borochov – Jumbush, vocals on “9”

Download:

https://subyshare.com/sxw5dkj39mql/ItamarB0r0ch0vB00merang2016Q0buz24882.part1.rar.html
https://subyshare.com/21ehwvuqmht5/ItamarB0r0ch0vB00merang2016Q0buz24882.part2.rar.html

Jerry Garcia and Merl Saunders – GarciaLive: Volume Nine – Keystone Berkeley – August 11th, 1974 (2017)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:57:24 minutes | 2,31 GB | Genre: Rock
Studio Master, Official Digital Download – Source: jerrygarcia.com | Front Cover | © Round Records
Recorded: August 11th, 1974, Keystone Berkeley

GarciaLive Volume Nine presents Jerry Garcia & Merl Saunders’ adventurous rock-jazz-R&B fusion performance from August 11th, 1974 at Keystone in Berkeley, CA with John Kahn on bass, Martin Fierro on saxophone & flute and the Grateful Dead’s Bill Kreutzmann on drums. While the evening’s setlist focuses mainly on standards, the approach is anything but regular or straight. It showcases their ability to reimagine standards through inventive arrangements and fiery virtuosity permeated with soul.

Tracklist
First set:
01 – That’s What Love Will Make You Do
02 – La La
03 – It Ain’t No Use
04 – Mystery Train
Second set:
05 – The Harder They Come
06 – Ain’t No Woman (Like the One I’ve Got)
07 – It’s Too Late
08 – (I’m a) Road Runner
09 – The Night They Drove Old Dixie Down

Musicians:
Jerry Garcia – guitar, vocals
Merl Saunders – keyboards, vocals
Martin Fierro – flute, saxophone
John Kahn – bass
Bill Kreutzmann – drums

Download:

https://subyshare.com/ci9zpd5n3xku/JerryGarciaBandGarciaLiveV0lume9.Keyst0neBerkeleyAugust1119742017FLAC2488.part1.rar.html
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Vader – Dark Age (2017/2018) [Official Digital Download 24bit/44,1kHz]

Vibronics – Woman On A Mission (2018) [Official Digital Download 24bit/44,1kHz]

Vince Guaraldi Trio – A Boy Named Charlie Brown (1964/2014) [Official Digital Download 24bit/192kHz]

Vince Guaraldi Trio – A Charlie Brown Christmas (1965/2011) [Official Digital Download 24bit/192kHz]

Wayne Shorter – Super Nova (1969/2014) [Official Digital Download 24bit/192kHz]

Wolfgang Dauner Quartett – Piano x 4 (1969/2016) [Official Digital Download 24bit/88,2kHz]

Yelena Eckemoff – Blooming Tall Phlox (2017) [Official Digital Download 24bit/44,1kHz]

Yelena Eckemoff – In The Shadow Of A Cloud (2017) [Official Digital Download 24bit/96kHz]

Zaz – Recto Verso (2013) {Collectors Edition} [Official Digital Download Re-encoded 24bit/96kHz]

Fifth Harmony – Reflection {Deluxe Edition} (2015) [Official Digital Download 24bit/44,1kHz]

Gavin DeGraw – Finest Hour: The Best Of Gavin DeGraw (2014/2015) [Official Digital Download 24bit/44,1kHz]

Hank Jones – Live at Jazzhus Slukefter 1983 (2018) [Official Digital Download 24bit/44,1kHz]

Heartist – Feeding Fiction (2014) [Official Digital Download 24bit/44,1kHz]

Holly Cole – Holly (2018) [Official Digital Download DSF DSD128/5.64MHz + FLAC 24bit/88,2kHz]

Hollywood Undead – Day Of The Dead {Deluxe Edition} (2015/2017) [Official Digital Download 24bit/48kHz]

Ida Sand – Young At Heart (2015) [Official Digital Download 24bit/48kHz]

Indian Wells – Where The World Ends (2017) [Official Digital Download 24bit/44,1kHz]

Iron And Wine & Ben Bridwell – Sing Into My Mouth (2015) [Official Digital Download 24bit/44,1kHz]

Itamar Borochov – Boomerang (2016) [Official Digital Download 24bit/88,2kHz]

Jerry Garcia and Merl Saunders – GarciaLive: Volume Nine – Keystone Berkeley – August 11th, 1974 (2017) [Official Digital Download 24bit/88,2kHz]