Studio Masters – HDMusic.me

“Strange Beautiful Music” is the ninth studio album by guitarist Joe Satriani. The album reached No. 140 on the United States Billboard 200 and remained on that chart for a week, as well as reaching the top 100 in four other countries. The title of Strange Beautiful Music is also the name of Satriani’s publishing company.

What’s a guitar hero to do now that the masses prefer electronic beats and rap-metal to killer scale runs? Joe Satriani seeks that answer on Strange Beautiful Music. Satriani set himself apart from other would-be kings of the six-string in the 1980s by combining impeccable technique with great feel and pop hooks. With those qualities, he produced great guitar-driven albums like Surfing With the Alien and Flying in a Blue Dream. On his 2002 release, Satriani tries to make his music fresh by incorporating world music influences and a bit of techno flava. To his credit, he succeeds more than he fails. “Belly Dancer” combines straight-up rock riffs with Middle Eastern-twinged melodies and faster-than-sound runs up and down the fretboard. On “Oriental Melody,” Satch’s world music sensibility shines with the help of ping-pong delay and keyboards. He still has a knack for great hooks, too, as is evident on “New Last Jam,” which features a melody that bounces around in your head for days. But none of these tracks approach the pop brilliance of his Surfing With the Alien songs. In many ways, the experimental nature of songs like “What Breaks a Heart” hark back to his Not of This Earth release. But Strange Beautiful Music suffers from inconsistency. While the mix-and-match approach works on “Belly Dancer,” it can also result in the bland discontinuity of “Chords of Life,” which at times sounds like “All Along the Watchtower” and at others resembles scale and chord exercises from Yngwie Malmsteen – not an enticing combo. And “Starry Night,” while a nice ballad, feels like an attempt to rewrite his masterful ballad “Always With You, Always With Me.”

Tracklist:
01 – Oriental Melody
02 – Belly Dancer
03 – Starry Night
04 – Chords of Life
05 – Mind Storm
06 – Sleep Walk
07 – New Last Jam
08 – Mountain Song
09 – What Breaks a Heart
10 – Seven String
11 – Hill Groove
12 – The Journey
13 – The Traveler
14 – You Saved My Life

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SACD ISO

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Acclaimed jazz keyboardist and Grammy-nominee John Beasley pays tribute to the great Herbie Hancock in Letter to Herbie. On this 10-song album listeners can hear Beasley’s two original songs, Three Finger Snap and Here and Now. Overall, Letter to Herbie is a powerful way for Beasley to say thank you to one of his musical heros.

Keyboardist John Beasley has enjoyed success as a commercially oriented contemporary instrumentalist, and it is not surprising that he, like so many others, owes a debt of gratitude to Herbie Hancock. Beasley has chosen to rework some of the compositions Hancock made famous in his early days as a leader, and during the time with the funk/fusion band the Headhunters. Playing mainly the acoustic piano and teamed with heavyweights Christian McBride and Jeff Watts, there’s a drive, verve, and passion in the trio that matches the pianist’s desire to take Hancock’s music to a different level. Trumpeter Roy Hargrove is teamed with flute player Steve Tavaglione for the most intriguing idea, combining the bass and piano underpinning of “Tell Me a Bedtime Story” under the lead line of “Maiden Voyage” and creating “Bedtime Voyage.” The two songs fit beautifully in the same key. “Eye of the Hurricane” is rearranged, hinting at the original but incorporating some complex rhythm changes, with Hargrove extrapolating on the original theme played by Freddie Hubbard. “4 A.M.” goes into alternating phases from funky to hard bop to staggered phrasings, a very busy and fun alteration. McBride and Watts are enjoying adapting these tunes they also deem precious, using pedal points, complex and driven rhythm devices on the elongated version of Hancock’s “One Finger Snap” that Beasley has written as “Three Finger Snap.” The project overall tends to lose momentum on the light funk of “Chan’s Song,” the ballad waltz written by Wayne Shorter “Diana,” Beasley’s melodic original “Hear & Now,” Hancock’s “Still Time” and the reggae flavored “The Naked Camera.” The pianist himself is a worthy foil for his acclaimed workmates, and in fact has never sounded better. More than up to the task, he is able to push and pull the bass and drums seemingly at will, and possesses impressive chops and witty ideas that flow throughout. This is a fledgling effort for the Resonance label of which Beasley is a major contributor and an A&R man. This is a credible and laudable effort.

Tracklist:
01 – 4 A.M.
02 – Bedtime Voyage
03 – Chan’s Song
04 – Three Finger Snap
05 – Blow-Up: Blow-Up: The Naked Camera
06 – Eye of the Hurricane
07 – Diana
08 – Hear and Now
09 – Still Time
10 – Vein Melter

Produced by George Clabin. Engineered by George Clabin & Pierre Paul.
2xHD Mastering by: René Laflamme. 2xHD Executive Producer: André Perry.

Musicians:
John Beasley – piano, Fender Rhodes, clavinet, synthesizer
Steve Tavaglione – alto flute, bass clarinet, synthesizer
Roy Hargrove – trumpet
Michael O’Neill – guitar
Christian McBride – acoustic & electric bass
Jeff ‘Tain’ Watts – drums
Luis Conte – percussion

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Black Pearls was originally recorded when John Coltrane was under Prestige, after leaving the label they released these 1958 recordings in August of 1964. The album features the bluesy tune “Sweet Sapphire Blues” composed by producer Bob Weinstock in the studio.

As is often the case with an artist as prolific as John Coltrane, not every release can be considered as essential. Black Pearls seems a bit ambiguous when placed in a more historical context. It was only three days later that Coltrane participated not as a leader, but rather a member, of the Miles Davis Sextet that recorded “Stella By Starlight” and “On Green Dolphin Street.” There is an obvious disparity between these three mostly improvised and lengthy jams and the Davis session. This is in no way to insinuate that Coltrane’s performance is anything less than par. Black Pearls indeed captures Coltrane at the height of perfecting the intense volley that would garner the name “sheets of sound.” Featuring Donald Byrd (trumpet) and the Red Garland Trio – Garland (piano), Paul Chambers (bass), and Art Taylor (drums) – this is the same quintet that had mightily contributed to Lush Life and The Believers, as well as The Last Trane. This session would be their last together. The title track is a mid-tempo bop number that quite frankly fails to make a great melodic impact. It’s not until Coltrane’s indomitable solo that a direction is found and, for a short while, remains focused. Once the reins are passed to Byrd, Garland, Chambers, and to a lesser extent Taylor, the song meanders through some fairly vapid changes. Fortunately, the soloing from Byrd is more direct and is able to build and support Coltrane’s equally impressive display. The difference is immeasurable as no holds are barred from Garland or Taylor – who is arguably at his prime. All told, this performance is well worth the price of admission. At 18-plus minutes, “Sweet Sapphire Blues” (penned by Prestige Records owner Robert Weinstock) is the longest track on Black Pearls. It is in essence a 12-bar blues jam. Coltrane’s double- and triple-time solo is primal within this setting. The overemphatic backbeat allows for more group interaction, yielding a full and well-rounded union among the musicians that was sadly absent from the opening track.

Tracklist:
01 – Black Pearls
02 – Lover Come Back To Me
03 – Sweet Sapphire Blues

Produced by Bob Weinstock. Engineered by Rudy Van Gelder.
Recorded on May 23, 1958 at Van Gelder Studio, Hackensack, NJ.
Digitally Remastered.

Musicians:
John Coltrane – tenor saxophone
Donald Byrd – trumpet
Red Garland – piano
Paul Chambers – bass
Art Taylor – drums

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John Ogdon’s complete recordings for the RCA Victor label to mark the 25th anniversary of this legendary British pianist’s untimely death in 1989. Originally released in 1968-1972 these LPs appear here for the first time on CD – all digitally remastered from the original tapes.

The repertoire reflects different facets of Ogdon’s large-scale pianism and unusual musical proclivities. From an early age he displayed a passion for Liszt that never abated. His penchant for surmounting the piano repertoire’s most challenging edifices brilliantly manifests itself in Beethoven’s mighty “Hammerklavier” Sonata, Rachmaninoff’s two piano sonatas and the first complete recording of Alkan’s Concerto for Piano Solo. A disc featuring piano music by Carl Nielsen drew attention to this composer’s often undervalued keyboard output, as well as Ogdon’s lifelong curiosity about important works outside the central repertoire. Ogdon’s recording of Peter Mennin’s Piano Concerto and the first of two recordings he made of Richard Yardumian’s Passacaglia, Recitative and Fugue for piano and orchestra also represent the pianist’s fervent advocacy for the music of his time.

Tracklist

DISC 1:
01 – Carl Nielsen: Chaconne, Op. 32
02 – Carl Nielsen: Suite, Op. 45:I. Allegretto un pochettino
03 – Carl Nielsen: Suite, Op. 45:II. Poco moderato
04 – Carl Nielsen: Suite, Op. 45:III. Molto adagio e patetico
05 – Carl Nielsen: Suite, Op. 45:IV. Allegretto innocente
06 – Carl Nielsen: Suite, Op. 45:V. Allegretto vivo
07 – Carl Nielsen: Suite, Op. 45:VI. Allegro non troppo ma vigoroso
08 – Carl Nielsen: Symphonic Suite, Op. 8:I. Intonation – Maestoso
09 – Carl Nielsen: Symphonic Suite, Op. 8:II. Quasi allegretto
10 – Carl Nielsen: Symphonic Suite, Op. 8:III. Andante
11 – Carl Nielsen: Symphonic Suite, Op. 8:IV. Finale – Allegro
12 – Carl Nielsen: Three Piano Pieces, Op. 59:No. 1 – Impromptu – Allegro fluente
13 – Carl Nielsen: Three Piano Pieces, Op. 59:No. 2 – Molto adagio
14 – Carl Nielsen: Three Piano Pieces, Op. 59:No. 3 – Allegro non troppo

DISC 2:
01 – Sergei Rachmaninov: Sonata No. 1 in D Minor, Op. 28:I. Allegro moderato
02 – Sergei Rachmaninov: Sonata No. 1 in D Minor, Op. 28:II. Lento
03 – Sergei Rachmaninov: Sonata No. 1 in D Minor, Op. 28:III. Allegro molto
04 – Sergei Rachmaninov: Sonata No. 2 in B-Flat Minor, Op. 36:I. Allegro agitato
05 – Sergei Rachmaninov: Sonata No. 2 in B-Flat Minor, Op. 36:II. Non allegro
06 – Sergei Rachmaninov: Sonata No. 2 in B-Flat Minor, Op. 36:III. Allegro molto

DISC 3:
01 – Beethoven: Piano Sonata No. 29 in B-Flat Major, Op. 106 “Große Sonate für das Hammerklavier”:I. Allegro
02 – Beethoven: Piano Sonata No. 29 in B-Flat Major, Op. 106 “Große Sonate für das Hammerklavier”:II. Scherzo, assai vivace
03 – Beethoven: Piano Sonata No. 29 in B-Flat Major, Op. 106 “Große Sonate für das Hammerklavier”:III. Adagio sostenuto
04 – Beethoven: Piano Sonata No. 29 in B-Flat Major, Op. 106 “Große Sonate für das Hammerklavier”:IV. Largo, allegro

DISC 4:
01 – Peter Mennin: Piano Concerto – I. Maestoso – Allegro
02 – Peter Mennin: Piano Concerto -II. Adagio religioso
03 – Peter Mennin: Piano Concerto -III. Allegro vivace
04 – Richard Yardumian: Passacaglia, Recitative and Fugue for Piano and Orchestra – I. Passacaglia
05 – Richard Yardumian: Passacaglia, Recitative and Fugue for Piano and Orchestra – II. Recitative
06 – Richard Yardumian: Passacaglia, Recitative and Fugue for Piano and Orchestra – III. Fugue

DISC 5:
01 – Charles-Valentin Alkan: Concerto pour piano seul:I. Allegro assai
02 – Charles-Valentin Alkan: Concerto pour piano seul:II. Adagio
03 – Charles-Valentin Alkan: Concerto pour piano seul:III. Alegretto alla barbaresca

Musicians:
John Ogdon – piano
Royal Philharmonic Orchestra, Conducted by Igor Buketoff.

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“Jazz pour tous: Johnny Hodges” is a collection recordings of Johnny Hodges compiles from the archives of Bibliothèque nationale de France… 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.

Possessor of the most beautiful tone ever heard in jazz, altoist Johnny Hodges formed his style early on and had little reason to change it through the decades. Although he could stomp with the best swing players and was masterful on the blues, Hodges’ luscious playing on ballads has never been topped. He played drums and piano early on before switching to soprano sax when he was 14. Hodges was taught and inspired by Sidney Bechet, although he soon used alto as his main ax; he would regretfully drop soprano altogether after 1940. His early experiences included playing with Lloyd Scott, Chick Webb, Luckey Roberts, and Willie “The Lion” Smith (1924), and he also had the opportunity to work with Bechet. However, Johnny Hodges’ real career began in 1928 when he joined Duke Ellington’s orchestra. He quickly became one of the most important solo stars in the band and a real pacesetter on alto; Benny Carter was his only close competition in the 1930s. Hodges was featured on a countless number of performances with Ellington and also had many chances to lead recording dates with Ellington’s sidemen. Whether it was “Things Ain’t What They Used to Be,” “Come Sunday,” or “Passion Flower,” Hodges was an indispensable member of Ellington’s orchestra in the 1930s and ’40s. It was therefore a shock, in 1951, when he decided to leave Duke Ellington and lead a band of his own. Hodges had a quick hit in “Castle Rock” (which ironically showcased Al Sears’ tenor and had no real contribution by the altoist), but his combo ended up struggling and breaking up in 1955. Hodges’ return to Duke Ellington was a joyous occasion and he never really left again. In the 1960s, Hodges teamed up with organist Wild Bill Davis on some sessions, leading to Davis joining Ellington for a time in 1969. Johnny Hodges, whose unchanging style always managed to sound fresh, was still with Duke Ellington when he suddenly died in 1970.

Tracklist:
01 – Caravan
02 – Pelican Drag
03 – Tapioca
04 – Minuet in Blues
05 – Clouds in My Heart
06 – Swingin On the Campus
07 – Pyramid
08 – The Jeeep Is Jumpin
09 – Jitterbug’s Lullaby
10 – The Rabbit’s Jump

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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The superb November 1960 session recorded by the Ben Webster-Johnny Hodges sextet in studio conditions at the Jazz Cellar, in San Francisco (without an audience). It is presented here in its complete form for the first time ever. These recordings are exceptional in that no other date exists in their collaborative discography featuring them as the only horns. The two great saxophonists were the only horn players heard at the session. They were backed by a rhythm section of piano, guitar, bass and drums. As bonus, to this new DSD release has added a complete (and very rare) octet session featuring Johnny Hodges and His Orchestra from August 27, 1964.

Ben Webster and Johnny Hodges had already known each other for over 25 years by the time they recorded the present date together at The Jazz Cellar in San Francisco. The two sax giants recorded their first sides together as members of the illustrious Duke Ellington orchestra on August 19, 1935.

One of the most influential saxophone players in the history of jazz, Johnny Hodges teamed up with Ben Webster in the 1960s to produce this album. After leaving Duke Ellington’s band in the early 1950s, Hodges decided to record his own virtuosic compositions with his own jazz combo.

Tracklist:
01 – Cambridge Blue
02 – Brute’s Roots
03 – Bouncing with Ben
04 – One for the Duke
05 – Walkin’ the Frog
06 – Rabbit Pie
07 – Jeep’s Blues
08 – Dooji Wooji
09 – The Jeep Is Jumpin’

Tracks 1-6:
Recorded at The Jazz Cellar, San Francisco – November 22 1960
Johnny Hodges – alto saxophone
Ben Webster – tenor saxophone
Lou Levy – piano
Herb Ellis – guitar
Wilfred Middlebrooks – bass
Gus Johnson – drums

Tracks 7-9:
Recorded on August 27, 1964
Johnny Hodges – alto saxophone
Russell Procope – alto sax, clarinet
Cat Anderson – trumpet
Paul Gonsalves – trumpets
Lawrence Brown – trombone
Victor Feldman – piano
George Catlett – bass
Sam Woodyard – drums
2xHD Mastering: René Laflamme
2xHD Executive Producer: André Perry

DSD128

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FLAC

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Blue Hodge is the earliest of several matchups between altoist Johnny Hodges and organist Wild Bill Davis. With the assistance of Les Spann on guitar and flute, bassist Sam Jones, and drummer Louis Hayes, Hodges and Davis mostly stick to fresh material, including three then-recent originals by Gary McFarland. Highlights include “Azure Te,” “It Shouldn’t Happen to a Dream,” and “There Is No Greater Love,” in addition to some swinging blues. ~ Scott Yanow

Tracklist:
01 – And Then Some
02 – I Wonder Why
03 – Azure Te
04 – Blue Hodge
05 – Hodge Podge
06 – It Shouldn’t Happen to a Dream
07 – Why Are You Blue
08 – Knuckles
09 – Stand By Blues
10 – There Is No Greater Love

Produced by Creed Taylor. Engineered by Rudy Van Gelder.
Recorded on August 23-24, 1961 at Van Gelder Studio, Englewood Cliffs, NJ.

Musicians:
Johnny Hodges – alto saxophone
Wild Bill Davis – organ
Les Spann – guitar, flute
Sam Jones – bass
Louis Hayes – drums

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“Stop Time” is the latest album from singer/songwriter Jon Regen, his first for Motéma Records. Fresh but at times bittersweet, Regen’s style blends elements of Randy Newman, Elton John, and Billy Joel into a sound that is entirely his own, and in this collaboration with producer Mitchell Froom the pianist has created a varied album that swings and grooves. Produced by Mitchell Froom (Crowded House, Paul McCartney), and featuring Davey Faragher and Pete Thomas from Elvis Costello and the Imposters, STOP TIME finds Regen at the peak of his songwriting and pianistic powers, with ten original tunes that brim with humor and heart. In the words of storied Rolling Stones keyboardist Chuck Leavell, “‘Stop Time’ never stops pleasing the ears”.

Stop Time is the sixth album to Jon Regen’s name but it’s better to view the 2015 release as the sequel to 2011’s Revolution. On that record, the pianist eased over from jazz to a pop/rock that recalled the melodic, keyboard-fueled singer/songwriters of the ’70s – think Billy Joel crossed with echoes of Boz Scaggs and Steely Dan – but with a more sophisticated swing. With Stop Time, Regen goes even further into pop, sharpening his songs while deepening his groove. With regard to the latter, he’s assisted by the crackerjack rhythm section of drummer Pete Thomas and bassist Davey Faragher – aka Elvis Costello’s Imposters, minus Steve Nieve – and producer Mitchell Froom helps give Stop Time an elasticity that shifts between saloon songs, exquisitely detailed pop, and casual shuffles like the title track. Throughout it all, Regen is the star: possessing a sly wit and nimble touch, he slides into lyrical solos without losing sight of his songs, a skill that gives this album a rich, lasting resonance.

Tracklist:
01 – I Will Wait
02 – Morning Papers
03 – Run to Me
04 – Borderline
05 – Stop Time
06 – Walk on Water
07 – Annie
08 – Home Again
09 – Chapter Two
10 – These Are The Days

Produced by Mitchell Froom.

Musicians:
Jon Regen – piano, vocals
Davey Faragher – bass
Pete Thomas – drums

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Jonathan Butler’s 22nd studio album, 2014’s “Living My Dream”, showcases the South African-born singer/guitarist/songwriter’s distinctive smooth jazz and R&B sound. Joining Butler here are such musical luminaries as bassist Marcus Miller, saxophonist Elan Trotman, guitarist/songwriter Dennis Dodd, Jr., and Butler’s daughter, vocalist Jodie Butler, who duets with her father on “Night to Remember”.

Living My Dream from South African singer-songwriter and guitarist Jonathan Butler is a bountiful feast of contemporary jazz instrumentals and soul-mined R&B vocal cuts, all original songs he produced and tracked live in the House of Blues studio in Los Angeles. Like Butler’s best material from a diverse, award-winning and chart-topping career that has spanned R&B, jazz, pop and gospel, Living My Dream provides an honest and revealing soulfully-inspired songbook probing the artist’s life and loves: God, family and his homeland. The album includes a reprise of the instrumental tune African Breeze, originally composed by Butler for the 1985 film The Jewel of the Nile starring Michael Douglas, Kathleen Turner and Danny DeVito.

Tracklist:
01 – African Breeze
02 – Living My Dream
03 – Be Still
04 – Let There Be Light
05 – Heart and Soul
06 – Song for You
07 – Catembe
08 – Night to Remember
09 – All About Love
10 – Sweet Serenade
11 – A Prayer

Produced and Arranged by Jonathan Butler.
Recorded & Mixed by Paul Klingberg at House Of Blues Studios, Encino, CA.
Mastered by Steve Hall at Future Disc – Los Angeles, CA.

Musicians:
Jonathan Butler – guitar, vocals
Dennis Dodd – guitar, drum programming
Agape Jerry, Dave Wood – guitar
Katisse Buckingham, Rashawn Ross – horn
Garrett Smith – trombone
Mike Eiya – tenor saxophone
Elan Trotman – saxophone
Dan Lutz, Marcus Miller – bass
Tim Carmon – keyboards
George Duke – piano
Gorden Campbell, Jay Williams – drums
Ramon Yslas – percussion
Aarón Gutiérrez, Antonio Sol – backing vocals

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Georgia Gibbs (1919-2006) was an American popular singer and vocal entertainer rooted in jazz. Already singing publicly in her early teens, Gibbs first achieved acclaim (and notoriety) in the mid-1950s interpreting songs originating with the black rhythm and blues community and later as a featured vocalist on a long list of radio and television variety and comedy programs. Her key attribute was tremendous versatility and an uncommon stylistic range from melancholy ballad to uptempo swinging jazz and rock and roll.

A constant visitor to the charts in the first half of the 1950s, Georgia Gibbs failed to leave as strong an imprint as many of her fellow stars, at least in part because of her versatility. She did ballads, straight pop, novelties, pop-jazz, cha-chas — whatever the marketplace might take, she could adapt. In the mid-’50s she, like many other white pop singers, covered R&B hits for the pop audience. Today’s she’s most remembered for outselling Etta James (with a cover of “The Wallflower,” renamed “Dance with Me Henry”) and LaVern Baker (on “Tweedle Dee”), although this phase of her career was pretty brief.
Gibbs began singing in Boston ballrooms as a teenager and made her recording debut in 1938 under her given name, Fredda Gibson. She made some recordings in the early ’40s with Artie Shaw’s band and by the early ’50s had waxed some hits for the Coral label. She enjoyed her commercial prime, though, on Mercury, for whom she recorded hit after hit from 1951 to 1956. The tango-tinged “Kiss of Fire,” which went all the way to number one in 1952, was the biggest and best of these. Her very white, pop-oriented takes on “Tweedle Dee” (late 1954) and “Dance with Me Henry” (early 1955) are what she remains most notorious for. And with some good reason: although it would be ridiculous to blame Gibbs for singing material that Mercury selected for her, these covers stole a lot of the thunder from the gutsier original performers, at a time when rock & roll was struggling to gain a foothold in the pop mainstream.
In any case, Gibbs’ days on the hit parade were numbered. She never entered the Top 20 again after 1955 and left shortly Mercury afterwards, partially because her A&R men (Hugo Peretti and Luigi Creatore) had left the label. After a brief and unsuccessful stint at RCA, she had her last Top 40 hit, “The Hula Hoop Song,” for Roulette in 1958. She curtailed her professional activities considerably in the 1960s, though she remained active to some degree through the ensuing decades, finally succumbing to complications from leukemia on December 9, 2006, when she was 87 years old. –Artist Biography by Richie Unterberger

Tracklist:
1 Call Me 2:07
2 Blue Grass 2:06
3 Don’t Cry Joe 2:08
4 You Can Never Get Away From Me 2:36
5 Big Wide World 2:47
6 Kiss Of Fire 2:33
7 Let Me Cry On Your Shoulder 2:23
8 Let Him Know 2:06
9 Venice Blue 2:48
10 I Wouldn’t Have It Any Other Way 2:45
11 In Time 2:43
12 Let Me Dream 2:29

Personnel:
Georgia Gibbs – vocals
Joe Sherman, Teddy Randazzo – arranger, conductor

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George Thorogood & The Destroyers – Bad To The Bone (1982/2012)
FLAC (tracks) 24 bit/192 kHz | Time – 41:37 minutes | 1,63 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front cover | © Capitol Records
Recorded: 1981 – 1982, Dimension Sound Studios, Boston

Bad to the Bone is the fifth studio album by the American Blues-Rock band George Thorogood & The Destroyers. It was released in 1982 by the label EMI America Records and contains their best known song, “Bad to the Bone”. The album also features The Rolling Stones side-man Ian Stewart on keyboards and piano.

George Thorogood was, is and always will be a bar band rocker at heart. On his first major label record 1982’s “Bad to the Bone” made for Capitol, he and his tight-as-duck-feathers band don’t change a single note of their hard rocking, beer guzzling sound. Only the size of the bar has changed; Thorogood’s slide stings like a big and nasty bee, his voice is as dude-next-door as always, the rhythm section favors brute force over subtlety at all times and Hank Carter blows a marvelously yakky post-Clemons sax. They cover classic slabs of American rock and blues like the Isley Brothers’ “Nobody But Me,” Chuck Berry’s “No Particular Place to Go,” John Lee Hooker’s “New Boogie Chillun,” soulful ballads like Jimmy Reed’s “It’s a Sin” and Albert King’s “As the Years Go Passing By,” and most surprisingly, a restrained and almost thoughtful version of Bob Dylan’s ballad “Wanted Man.” The originals are good, too, with suitably raw rocker “Back to Wentzille” leading things off and the huge, timeless hit “Bad to the Bone” providing the albums’ highlight. Next to Move It on Over, this is Thorogood’s finest work and established him as one of the unsung heroes of the age of AOR. –AllMusic Review by Tim Sendra

Tracklist:
1 Back To Wentzville 3:30
2 Blue Highway 4:44
3 Nobody But Me 3:28
4 It’s A Sin 3:32
5 New Boogie Chillun 5:03
6 Bad To The Bone 4:52
7 Miss Luann 4:13
8 As The Years Go Passing By 5:03
9 No Particular Place To Go 4:00
10 Wanted Man 3:12

Personnel:
George Thorogood – vocals, guitar
Billy Blough – bass
Jeff Simon – drums, percussion
Hank Carter – saxophones
Ian Stewart – keyboards, piano

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Etienne Dupuis – Love Blows as the Wind Blows (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 58:59 minutes | 995 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: ATMA Classique | Booklet, Front cover | © ATMA Classique
Recorded: Salle Pierre-Mercure (Centre Pierre-Péladeau) Montréal (Québec), Canada September / Septembre 2014

ATMA Classique is pleased to present Love Blows as the Wind Blows, the solo debut album by Canadian baritone Étienne Dupuis. George Butterworth’s moving song cycle lends its title to album, which includes music by British composers Geoffrey Bush and Samuel Barber. Dupuis also sings four French songs by Canadian composer Réjean Coallier based on poems by Sylvain Garneau, and the iconic Irish folk song Danny Boy, arranged for voice and string quartet. Dupuis is accompanied by the musicians of the Quatuor Claudel-Canimex, who play Barber’s famous Adagio in its original version for string quartet.

Tracklist:
George Butterworth (1885‐1916)
Love Blows as the Wind Blows
1 | I. In the year that’s come and gone, love, his flying feather [ 3:09 ]2 | II. Life in her Creaking Shoes [ 2:36 ]3 | III. Fill a glass with golden wine [ 1:56 ]4 | IV. On the way to Kew [ 3:53 ]
Samuel Barber (1910‐1981)
5 | Dover Beach Op. 3 [ 7:42 ]
Geoffrey Bush (b.1920)
Farewell, Earth’s Bliss
6 | I. Sweet day, so cool, so calm, so bright [GEORGE HERBERT] [ 3:36 ]7 | II. O, the month of May, the merry month of May [THOMAS DEKKER] [ 2:10 ]8 | III. Do not fear to put thy feet [JOHN FLETCHER] [ 2:34 ]9 | IV. Fear no more the heat o’ the sun [WILLIAM SHAKESPEARE] [ 3:17 ]10 | V. When May is in his prime [RICHARD EDWARDES 1523?-1566] [ 1:54 ]11 | VI. Fair pledges of a fruitful tree [ROBERT HERRICK] [ 4:33 ]
Samuel Barber
12 | Adagio for string quartet [ 6:52 ]
Trad.
13 | Danny Boy [arr.: Daniel Desaulniers] [ 3:34 ]
Réjean Coallier (b. 1953)
Cycle of songs set to poems by Sylvain Garneau
14 | I. Dans chaque village [ 3:13 ]15 | II. Chant d’amour – La rivière [ 1:41 ]16 | III. Élégie [ 2:58 ]17 | IV. Décembre [ 2:56 ]

Personnel:
Etienne Dupuis, baritone
Quatuor Claudel-Canimex

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Pianist, composer, arranger, and producer Erik Deutsch embarks down a path that many instrumentalists ponder, but rarely conquer: a solo instrumental album. Well-known as a go-to NYC-based keyboardist – who regularly tours alongside an impressive array of lauded artists including Citizen Cope, Shooter Jennings, and most recently Leftover Salmon, Deutsch went big and recorded his debut solo studio album in front of a live audience with a multi-camera HD shoot for a companion DVD. The recordings were captured direct to DSD via a Sonoma System with Meitner converters at Immersive Studios. A collection of nine original compositions, Creatures is produced by GRAMMY® and Emmy Award-winning producer Steven Vidaic (Co-owner, Immersive Records) and is scheduled for national digital-only release as a DVD/CD set by Immersive Records on Friday, November 18, 2016.

In Winter 2013, Deutsch broke away from his perpetually crazed touring schedule for a short trip to Boulder, CO to record Creatures at Immersive Studios. A home-away-from-home for Deutsch — which happens to house a beautiful Baldwin grand piano — Immersive became the haven where the pianist laid down his most personal work to date. Stripped of accompaniment by his deft band members, compositions that were originally arranged for a full ensemble now took on a life of their own showcasing Deutsch’s sheer talent. The earthy, dark, and breathy tones of the Baldwin deepened Deutsch’s solo reinventions, which morphed into raw, streams of consciousness running between his fingers, the ivory, and percussive interludes on the piano strings.
Creatures… lions, flies, fish, lovers, fireflies, doctors, and outlaws are the characters that comprise Deutsch’s first solo recording project. Other stalwart jazz giants such as Paul Bley (Open To Love), Art Lande (The Eccentricities of Earl Daunt), and Keith Jarrett (Koln Concert) shaped Deutsch’s sound over his 20-year piano career helping to inform the nine pieces on Creatures.

Tracklist:
1 Firefly 6:17
2 Lover’s Eyes 5:13
3 Fishmonger 4:33
4 Tiny Lion 4:46
5 Black Flies 4:28
6 Incandescence 5:26
7 Prayer for Zimewanga 3:37
8 Doctor’s Demon 7:04
9 Outlaw Boogie 4:38

Personnel:
Erik Deutsch, piano

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Ella Fitzgerald – Clap Hands, Here Comes Charlie! (1961/2012)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 50:35 minutes | 2,0 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Verve Records / Analogue Productions XVRJ4053D64

Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945, played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella Fitzgerald in completely new and personal interpretations in 1961.

Clap Hands, Here Comes Charlie! is absolutely top notch as regards to musicality; perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz!

Another typically wonderful CD reissue of Ella Fitzgerald in her prime, this set augments the original LP (which finds Ella joined by pianist Lou Levy, guitarist Herb Ellis, bassist Joe Mondragon, and drummer Stan Levey) with three previously unreleased selections from the same era (with Levey, bassist Wilfred Middlebrooks, and drummer Gus Johnson). Ella is in fine form on such numbers as “A Night in Tunisia,” an emotional “You’re My Thrill,” “Jersey Bounce,” “Clap Hands! Here Comes Charlie,” and an unissued “The One I Love (Belongs to Somebody Else).” Although not reaching the heights of her live performances, this is an excellent (and somewhat underrated) set. –AllMusic Review by Scott Yanow

Tracklist:
1. Night In Tunisia 04:07
2. You’re My Thril 03:38
3. My Reverie 03:17
4. Stella By Starlight 03:17
5. ‘Round Midnight 03:27
6. Jersey Bounce 03:33
7. Signing Off 03:46
8. Cry Me A River 04:14
9. This Year’s Kisses 02:17
10. Good Morning Heartache 04:20
11. (I Was) Born To Be Blue 02:42
12. Clap Hands Here Comes Charlie! 02:43
13. Spring Can Really Hang You Up The Most 06:15
14. Music Goes Round And Around 02:28

Recorded: 22-23 June 1961 in Los Angeles
Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

Personnel:
Ella Fitzgerald, vocals
Lou Levy, piano
Herb Ellis, guitar
Joe Mondragon, bass
Gus Johnson, drums

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Duke Ellington & His Orchestra – The Popular Duke Ellington (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 42:15 minutes | 1,45 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: RCA Hollywood Recording Studio B in Los Angeles, CA on May 9 (#1,2,9), May 10 (#5,6,10,11) and May 11 (#3,4,7,8), 1966

The Popular Duke Ellington is a studio album by American pianist, composer and bandleader Duke Ellington featuring many of the tunes associated with his orchestra rerecorded in 1966 and released on the RCA label in 1966.

This CD reissue from 1997 features Duke Ellington and His Orchestra running through 11 of the leader’s hits and a lesser-known blues tune, “The Twitch.” The 1966 version of his big band still had all of its main stars, including such major voices as trumpeters Cootie Williams and Cat Anderson, trombonists Lawrence Brown and Buster Cooper, altoist Johnny Hodges, Paul Gonsalves on tenor, and clarinetist Jimmy Hamilton. All are featured on The Popular Duke Ellington. Since the material is all very familiar, and mostly quite concise (nothing over six minutes long, and a version of “Do Nothin’ Till You Hear From Me” that is under two minutes), few surprises occur. But Ellington fans will enjoy this well-played effort. –AllMusic Review by Scott Yanow

Tracklist:
1 Take the A Train 04:36
2 I Got It Bad (And That Ain’t Good) 02:35
3 Perdido 03:13
4 Mood Indigo 05:07
5 Black and Tan Fantasy 05:10
6 The Twitch 03:07
7 Solitude 03:34
8 Do Nothin’ Till You Hear from Me 01:52
9 The Mooche 05:33
10 Sophisticated Lady 03:01
11 Creole Love Call 03:05

Personnel:
Duke Ellington – piano
Cat Anderson, Mercer Ellington, Herb Jones, Cootie Williams – trumpet
Lawrence Brown, Buster Cooper – trombone
Chuck Connors – bass trombone
Russell Procope – alto saxophone, clarinet
Johnny Hodges – alto saxophone
Jimmy Hamilton – tenor saxophone, clarinet
Paul Gonsalves – tenor saxophone
Harry Carney – baritone saxophone
John Lamb – bass
Sam Woodyard – drums

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Davide Formisano was born in Milan in 1974. He graduated with the highest marks plus distinction under the guide of M° C. Tabarelli, Jean-Claude Gérard at Stuttgart Musikhochschule and Aurele Nicolet in Basel.

At just seventeen, he took part in the “Jean Pierre Rampal Concourse” in Paris, gaining the “Prix Special du Jury”. During the next few years he won a prize at Kobe International Flute Competition, 1st prize at the Budapest Flute Competition and 2nd prize (1st not assigned) at the outstanding ARD Concourse in Munich.

In 1995 he obtained the solo flute role at the Hamburg Philharmonisches Staatsorchester, getting the same position in the Netherlands Radio Philharmonic Orchestra one year later. From 1997 until 2012 he was principal flute in the “Orchestra del Teatro alla Scala” and in the same Philharmonic Orchestra.

Tracklist:
Claude-Paul Taffanel (1844-1908)
1 | Grande Fantaisie sur Mignon 00:12:26
Albert Charles Paul Marie Roussel (1869-1937)
Joueurs de flûte
2 | Pan 00:03:09
3 | Tityre 00:01:09
4 | Krishna 00:03:31
5 | Mr. de la Péjaudie 00:01:51
Philippe Gaubert (1879-1941)
6 | Nocturne et Allegro Scherzando 00:05:34
Camille Saint-Saëns (1835-1921)
7 | Romance, Op.37 00:06:41
Henri Dutilleux (1916-2013)
8 | Sonatine pour flûte et piano 00:09:18
Achille-Claude Debussy (1862-1918)
9 | Prélude à l’après-midi d’un faune, L 86 00:09:53
Olivier Messiaen (1908-1992)
10 | Le merle noir pour flûte et piano 00:05:54
Pablo de Sarasate (1844-1908)
11 | Fantaisie sur Carmen, op. 25 00:12:08

Personnel:
Davide Formisano, flute
Phillip Moll, piano

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One of the coolest, grooviest albums we’ve ever heard from arranger David Matthews – a set that draws inspiration from Frank Herbert’s Dune, and sends Dave out into space with a whole bunch of sci fi-tinged funky numbers! Matthews has already had plenty of CTI arranging experience by the time of this set – but he really moves into some unusual space with the record – open, evocative tunes that really live up to their inspiration, but also have some of Dave’s funky touches too. Matthews gets help from an all-star lineup of CTI players – including Grover Washington on reeds and Eric Gale on guitar – and titles include the massive funk track “Sandworms”, plus “Song Of The Bene Gesserit”, “Silent Running”, “Arrakis”, and “Space Oddity”.

Dune by David Matthews: This 1977 album is, perhaps, Matthews’s most singular statement of artistic greatness. You probably don’t know anything about it because of producer Creed Taylor’s insistence to tie the album to Frank Herbert’s 1965 book Dune (which hadn’t been turned into a film until 1984) – using Star Wars-styled typography. Matthews objected. But Taylor insisted. And Herbert, who died in 1986, sued this brilliant musical journey right out of existence – despite the music having absolutely nothing whatsoever to do with Herbert’s work other than some obscure title cops. Dune, though, is magisterial; undoubtedly one of composer, arranger and producer David Matthews’ very best. Side one is a tremendously exciting Matthews suite featuring excellent turns by star soloists such as Grover Washington, Jr. (the oft sampled “Sandworms”), David Sanborn (“Song of the Bene Gesserit”), Hiram Bullock and Eric Gale. The original LP’s second side features several space-related covers, all expertly, if not astoundingly, arranged by Matthews, the surprisingly sumptuous “Silent Running” (the 1972 movie theme by Peter Schickele, aka P.D.Q. Bach, and host of NPR’s Schickele Mix), the odd-choice of Bowie’s “Space Oddity” (featuring the negligible Googie Coppola on vocals and Matthews’s remarkably beautiful string work, which must be heard to be believed) and two inevitable covers from John Williams’ Star Wars, both of which were issued on 45 at the time – and both far more engaging than the huge Meco single of the time. An absolutely essential part of CTI’s iconography and David Matthews’ vast discography.

Tracklist:
Dune
1. Part I: Arrakis 6:03
2. Part II: Sandworms 5:03
3. Part III: Song Of The Bene Gesserit 2:50
4. Part IV: Muad’Dib 6:36
5. Space Oddity 6:05
6. Silent Running 3:16
7. Princess Leia’s Theme (From Star Wars) 2:55
8. Main Theme From Star Wars 3:22

Personnel:
Arranger, Composer, Keyboards – David Matthews
Alto Saxophone [Melody Solo] – David Sanborn
Bass – Mark Egan, Gary King
Bass Trombone – Dave Taylor
Concertmaster [String] – Sanford Allen
Drums – Andy Newmark, Steve Gadd
Flugelhorn [Solo] – Joe Shepley
Flute [Solo] – David Tofani
Guitar [Melody Solo] – Hiram Bullock, Eric Gale
Oboe [Solo] – Lew Delgatto
Keyboards [Synthesizer Solo] – Cliff Carter
Percussion – Gordon Gottlieb, Sue Evans
Soprano, Tenor Saxophone [Solo] – Grover Washington, Jr.
Trumpet [Solo] – Randy Brecker
Trombone – Jerry Chamberlain, Sam Burtis, Tom Malone, Wayne Andre
Trumpet, Flugelhorn – Burt Collins, Jim Bossy, John Gatchell, Jon Faddis, Lew Soloff
Vocals – Googie Coppola

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Daniel Clarke Bouchard with Oliver Jones – Scenes d’enfants (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 52:51 minutes | 820 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: ATMA Classique | Booklet, Front cover | © ATMA Classique

At just 13 years old, the Québécois pianist Daniel Clarke Bouchard is already a sensation on the Montréal music scene. ATMA Classique presents Scènes d’enfants, his tailor-made debut solo recording, featuring music by Mendelssohn, Debussy, Haydn and Chopin.

The hugely talented Clarke Bouchard is also a jazz enthusiast and joins his mentor — jazz great, Oliver Jones — on two jazz-inspired tracks performed on two pianos: an improvisation on Mozart’s Ah vous dirai-je maman variations, and Claude Léveillée’s Grande valse fofolle, a piece the two performed live at the 2012 Francofolies de Montréal.

Tracklist:
Wolfgang A. Mozart (1756-1791)
1. Fantasy for two pianos on « Ah vous dirai‐je maman » Variations, K. 265
Franz Schubert (1797-1828)
2. Four Impromptus D. 899 (op.90) : Impromptu n° 2 in E flat Major (Allegro)
Felix Mendelssohn (1809-1847)
3. Rondo capriccioso op.14
Ludwig van Beethoven (1770-1827)
4. Rondo and capriccio in G Major op. 129
« Colère à propos d’un sou perdu »
Joseph Haydn (1732-1809)
Piano sonata in B Minor, Hob. XVI: 32
5. II. Menuet – Trio
6. III. Finale ‐ Presto
Wolfgang Amadeus Mozart
Piano sonata no 12 in F Major, K. 332
7. I. Allegro
8. II. Adagio
9. III. Allegro assai
Robert Schumann (1810-1856)
Scènes d’enfants (Kinderszenen) op. 15
10. no 1 Gens et pays étrangers
Claude Debussy (1862-1918)
11. Children’s Corner: no 1 Doctor Gradus ad Parnassum
Claude Léveillée (1932-2011)
12. La Grande valse fofolle à deux pianos

Personnel:
Daniel Clarke Bouchard, piano
Oliver Jones, piano

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Eagles – Hotel California (1976) {40th Anniversary Expanded Edition 2017}
FLAC (tracks) 24 bit/96 kHz | Time – 01:31:54 minutes | 1,88 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Rhino – Elektra

The Eagles’ Hotel California was a critical and commercial phenomenon when it was released in December 1976. The album topped the Billboard charts for eight weeks in the US, won two Grammy Awards, sold more than 32 million copies around the world, and featured two Billboard #1 hit singles. The album was nominated for five Grammy Awards, and won for “Record Of The Year” and “Best Arrangement For Voices”. “Hotel California: 40th Anniversary Deluxe Edition” opens with a remastered version of the original album, featuring two Billboard #1 singles – “New Kid In Town” and the title track – plus the smash hit “Life In The Fast Lane”. 40 years later, it still ranks as one of the best-selling albums of all time.

The set also marks the debut of ten live tracks that were recorded during the band’s three-night stand at the Los Angeles Forum in October 1976. The concert recordings – which were recorded about a month before the album came out – feature one of the first ever live performances of “Hotel California” and “New Kid In Town” along with other Eagles classics including “Already Gone”, “Take It To The Limit”, and “Witchy Woman”.

The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for The Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band’s dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album’s music, which marks a peak in The Eagles’ playing. Early on, the group couldn’t rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, The Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of “classic rock,” music appropriate for the arenas and stadiums the band was playing. The result was The Eagles’ biggest-selling regular album release, and one of the most successful rock albums ever.

Tracklist

DISC 1 – Stereo Album Remastered:
01 – Hotel California (Remastered)
02 – New Kid In Town (Remastered)
03 – Life In The Fast Lane (Remastered)
04 – Wasted Time (Remastered)
05 – Wasted Time (Reprise) [Remastered]06 – Victim Of Love (Remastered)
07 – Pretty Maids All In A Row (Remastered)
08 – Try And Love Again (Remastered)
09 – The Last Resort (Remastered)

DISC 2: Live at The Los Angeles Forum, 10/20-22/76:
01 – Take It Easy
02 – Take It To The Limit
03 – New Kid In Town
04 – James Dean
05 – Good Day In Hell
06 – Witchy Woman
07 – Funk #49
08 – One of These Nights
09 – Hotel California
10 – Already Gone

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Ludwig van Beethoven – Symphony No. 9 – Boston Symphony Orchestra, Charles Munch (1959/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 01:02:10 minutes | 2,01 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records

Charles Munch’s isn’t the most subtle Beethoven around, but it certainly is exciting, and that counts for a lot. In particular, this Ninth has what has to be one of the angriest, most fiery first movements ever recorded. It’s worth hearing for that alone, but there are other attractions as well, including a perfectly paced Adagio (about 14 minutes), and a very well-sung finale with some stellar names among the soloists. The Leonore Overture No. 3 also is a barn-burner of a performance, full of genuinely operatic drama and tension. Sonically the disc could use careful remastering. In the symphony, there’s no real soft dynamics at all, but the mid-to-late-’50s stereo sound is otherwise acceptable. This will not be an uncontroversial recommendation: several friends and colleagues have referred to this performance over the years as “vulgar”, and I take their point. Munch fans of course will already own this recording in one of its prior incarnations, but I suspect that more recent collectors might very well find this Japanese RCA reissue, available on demand from Arkivmusic.com, a real treat. –David Hurwitz, ClassicsToday.com

Tracklist:
Ludwig van Beethoven (1770-1827)
Symphony No. 9 in D Minor, Op.125 “Choral”
1 I. Allegro ma non troppo, un poco maestoso 14:08
2 II. Molto vivace 10:23
3 III. Adagio molto e cantabile 14:04
4 IV. Presto – Allegro assai 23:35

Personnel:
Leontyne Price, soprano
Maureen Forrester, contralto
David Poleri, tenor
Giorgio Tozzi, bass
New England Conservatory Chorus
Boston Symphony Orchestra
Charles Münch, conductor

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Joe Satriani – Strange Beautiful Music (2002/2014) [Official Digital Download 24bit/96kHz]

John Beasley – Letter To Herbie (2008/2018) [Official Digital Download 24bit/44,1kHz]

John Coltrane – Black Pearls (1964/2016) [Official Digital Download 24bit/96kHz]

John Ogdon – The Complete RCA Album Collection (2014/2015) [Official Digital Download 24bit/44,1kHz]

Johnny Hodges – Jazz pour tous: Johnny Hodges (1957/2014) [Official Digital Download 24bit/96kHz]

Johnny Hodges – Johnny Hodges featuring Ben Webster (2018) [Official Digital Download DSF DSD128/5.64MHz + FLAC 24bit/88,2kHz]

Johnny Hodges, Wild Bill Davis – Blue Hodge (1962/2013) [Official Digital Download 24bit/96kHz]

Jon Regen – Stop Time (2015) [Official Digital Download 24bit/44,1kHz]

Jonathan Butler – Living My Dream (2014) [Official Digital Download 24bit/44,1kHz]

Georgia Gibbs – Call Me Georgia Gibbs (1966/2016) [Official Digital Download 24bit/96kHz]

George Thorogood & The Destroyers – Bad To The Bone (1982/2012) [Official Digital Download 24bit/192kHz]

Etienne Dupuis – Love Blows as the Wind Blows (2015) [Official Digital Download 24bit/96kHz]

Erik Deutsch – Creatures (2016) [Official Digital Download DSF DSD64/2.82MHz]

Ella Fitzgerald – Clap Hands, Here Comes Charlie! (1961/2012) [Official Digital Download DSF DSD64/2.82MHz]

Duke Ellington & His Orchestra – The Popular Duke Ellington (1966/2016) [Official Digital Download 24bit/192kHz]

Davide Formisano – Portrait (2015) [Official Digital Download 24bit/96kHz]

David Matthews – Dune (1977/2016) [Official Digital Download 24bit/192kHz]

Daniel Clarke Bouchard with Oliver Jones – Scenes d’enfants (2013) [Official Digital Download 24bit/96kHz]

Eagles – Hotel California (1976) {40th Anniversary Expanded Edition 2017} [Official Digital Download 24bit/96kHz]

Ludwig van Beethoven – Symphony No. 9 – Boston Symphony Orchestra, Charles Munch (1959/2016) [Official Digital Download 24bit/192kHz]