Studio Masters – HDMusic.me

Ensemble Zene & Bruno Kele-Baujard – Purcell, Byrd, Scarlatti, Lotti & Allegri: Via Dolorosa (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 52:09 minutes | 883 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Klarthe

A remarkable synthesis of the Renaissance and Baroque, the Stabat Mater for ten solo voices is the central link of Via Dolorosa. The programme for this disc is a meditative journey through the suffering of the Virgin Mary. Based around the Stabat Mater, different European masterpieces (by Purcell, Lotti, Byrd, Allegri) accentuate this journey and seem to create a Saint Mary’s Passion.

Tracklist:
01. Ave Verum Corpus, T 92
02. Crucifixus a 8 voci
03. Stabat Mater à 10 voix et basse continue: I. Stabat Mater dolorosa
04. Stabat Mater à 10 voix et basse continue: II. Cujus animam gementem, Quis non posset
05. Stabat Mater à 10 voix et basse continue: III. Eja Mater, fons amoris
06. Stabat Mater à 10 voix et basse continue: IV. Sancta Mater, istud agas
07. Stabat Mater à 10 voix et basse continue: V. Fac me vere tecum flere
08. Stabat Mater à 10 voix et basse continue: VI. Juxta crucem
09. Stabat Mater à 10 voix et basse continue: VII. Inflammatus
10. Stabat Mater À 10 Voix Et Basse Continue: VIII. Fac Ut Animae, Amen
11. Remember not, Lord, our offences, Z. 50
12. Hear my prayer, O lord, Z. 15
13. Miserere: I. Miserere mei Dei. Et secundum multitudinem
14. Miserere: II. Amplius lavame. Quoniam iniquitatem meam
15. Miserere: III. Tibi soli peccavi. Ecce enim in iniquitatibus conceptus sum
16. Miserere: IV. Ecce enim veritatem dilexisti ; Asparges me hysopo
17. Miserere: V. Auditui meo dabis gaudium et laetitiam. Averte faciem tuam
18. Miserere: VI. Cor mundum crea in me Deus. Ne proicias me a facie tua
19. Miserere: VII. Redde mihi laetitiam. Docebo iniquos vias tuas
20. Miserere: VIII. Libera Me De Sanguinibus. Domine Labia Mea Aperies
21. Miserere: IX. Quoniam si voluisses sacrificium. Sacrificium Deo spiritus contribulatus
22. Miserere: X. Benigne fac Domine in bona voluntate tua Sion
23. Miserere: XI. Tunc acceptabis sacrificium justitiae. Tunc inponent
24. Miserere: XII. Tunc inponent super altare tuum vitulos

Composers:
William Byrd (1538 – 1623)
Antonio Lotti (1667 – 1740)
Domenico Scarlatti (1685 – 1757)
Henry Purcell (1659 – 1695)
Gregorio Allegri (1582 – 1652)

Personnel:
Ensemble Zene
Bruno Kele-Baujard, direction

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Following its antecedent by less than a year, World Beyond is a track-by-track orchestrated version of Erasure’s 2017 album, World Be Gone. The band last did something like this in 1987 on a handful of tracks from The Two Ring Circus, a companion LP to their second album, The Circus. A re-recording more than a “reimagining,” it captures Andy Bell back in the studio for fresh vocal takes, this time with the Belgian chamber ensemble Echo Collective. Given that Erasure’s other half, synth pop icon Vince Clarke, would seem to be excluded from such an endeavor, it may surprise some to learn that he was the one who came up with the idea, for a single. (He’s credited with “bright idea” in the liner notes.) As the project expanded, Clarke was heavily involved in planning with Echo Collective, though it should be noted that members of the septet did the arrangements, and Echo Collective received the sole producer credit. With some of its songs addressing anxieties resulting from election outcomes in 2016, it’s one of the duo’s melancholier releases, and the material lends itself well to these sparer, warmer arrangements. Having said that, the band’s own tendencies already lend themselves to this treatment, including their dramatic melodies, solid rhythmic and harmonic foundations, and general poignancy, even on many of their more uptempo dance hits. A track like “Sweet Summer Loving” implies electronics with twinkling mallet percussion, ornamental touches by piano and strings, and a literal bassline. Elsewhere, the keyboard ballad “Still It’s Not Over” is stripped to bare-bones piano, strings, and percussion. Helped by the fact that there isn’t a genuine club banger on World Be Gone, the rearrangements are often surprisingly seamless, especially considering that Erasure have such a trademark electronic sound. On tracks like the 2017 single “Just a Little Love,” however, fans are likely to miss the rousing infectiousness of the original. Through its similarities, though, World Beyond amplifies how efficient Erasure’s own arrangements are, while at the same time giving Bell more space to command the room, which he does, with nuanced performances.

Tracklist:
1. Oh What A World
2. Be Careful What You Wish For!
3. World Be Gone
4. A Bitter Parting
5. Still It’s Not Over
6. Take Me Out Of Myself
7. Sweet Summer Loving
8. Love You To The Sky
9. Lousy Sum Of Nothing
10. Just A Little Love

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Erasure are back with their 16th studio album, The Violet Flame, an emotionally-charged electro-pop album with euphoric, synth-fuelled melodies that strike instantly into the heart. “The Violet Flame” Deluxe Boxset is available for Pledge Music customers only, and includes the album on CD and 24bit FLAC download, plus two bonus CDs: “Live at The Short Circuit Festival”, and “The Violet Flame Remixed” which is exclusive to the box-set and will not be available anywhere else.
The theme of transformation and new beginnings is captured in the album’s title, a literal spiritual term meaning the transformation of negative energy into positive energy, freedom and forgiveness. Erasure enlisted the production expertise of Richard X after their successful collaboration on Snow Globe, and the tracks were recorded between his London studio The Toyshop and by Clarke in his Brooklyn studio.

Following a holiday album (2013’s Snow Globe) with this “return to form” album means veteran duo Erasure are now on the cliched career revival path for aging pop stars, but maybe it’s just by chance. Make that “likely,” as The Violet Flame gets right down to dancey, inspired business on its opening “Dead of Night,” a track that pumps with the beat of any given single off the duo’s great 1989 album Wild!. Classic lyrics from Andy Bell speak to the morality play that club night can be (“Too many times you’re forgiven/Now you cry like you’re the victim”) then the chorus is like a pair of bright red cha-cha heels (a joyful stuttering of “D-d-d-dead of night”) that won’t be ignored. If hearing Bell in his Maleficent costume is a decadent kind of delicious, he’s still an excellent Sleeping Beauty as well, as the pumping “Paradise” welcomes a new soul mate with open arms and open heart. Synth man Vince Clarke is simpatico in these back-to-the-future surroundings, as the great “Be the One” sounds like he plundered the computer and found some early sketches of Yaz’s “Only You.” while “Under the Wave” could be seamlessly mixed with all the minimal bleeping and blooping on Depeche Mode’s debut album Speak & Spell, also known as Clarke’s last hurrah with the band. The big anthem this time out is “Elevation,” a cut with the simplicity of Robin S’s “Show Me Love” and lyrics preaching freedom to the dancing masses (“It makes you kinda wonder, what are we supposed to do/When the fate of many, is guided by the hand of few/Who-o-oa.”), then there’s the closing “Stayed a Little Late Last Night” and the heart-breaking “Smoke and Mirrors,” both serving the roles of a soul-filling number that sticks to the bones. With all the elements in place, the late-era The Violet Flame sits on the top shelf of Erasure albums, and considering all the greatness in the back catalog, that’s no easy task.

Tracklist:
CD1 – The Violet Flame:
01 – Dead Of Night
02 – Elevation
03 – Reason
04 – Promises
05 – Be The One
06 – Sacred
07 – Under The Wave
08 – Smoke and Mirrors
09 – Paradise
10 – Stayed A Little Late Tonight

CD2 – Live At Short Circuit, The Roundhouse, London 14/05/11:
01 – Hideaway
02 – Fingers & Thumbs (Cold Summer’s Day)
03 – Heavenly Action
04 – Always
05 – Ship Of Fools
06 – Victim Of Love
07 – Breathe
08 – Chains Of Love
09 – Sometimes
10 – Blue Savannah
11 – A Little Respect

CD3 – The Violet Flame Remixed:
01 – Dead Of Night [WAWA In The Dark Remix]02 – Elevation [BT Remix]03 – Reason [Carter Tutti Remix (Edit)]04 – Promises [Astrolith Remix]05 – Be The One [Paul Humphreys Remix]06 – Sacred [Daniel Miller Remix]07 – Under The Wave [Parralox Remix]08 – Smoke and Mirrors [Atatika Remix]09 – Paradise [Black Light Odyssey Remix]10 – Stayed A Little Late Tonight [Koishii & Hush v’s Ric Scott Remix]

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Sony Classical announces a further batch of complete recordings from the CBS/Sony and RCA Victor catalogues. The newest installment of this popular series features some unusual repertoire as well as documents of the New York Metropolitan Opera in its postwar heyday. Columbias 1960 recording of Bartoks Bluebeards Castle features American singers. Though it is sung in English, its authentic Hungarian quality is guaranteed by the conductor, Budapest-born Eugene Ormandy. Rosalind Elias makes a splendidly passionate Judith. The Philadelphia Orchestra comes into its own at the opening of the various doors especially the Second, where the dazzling brilliance of Bluebeards treasure-chamber is vividly depicted (Gramophone).

Tracklist:
Béla Bartók (1881-1945)
01. Bluebeard’s Castle, Sz. 48: Opening Scene
02. Bluebeard’s Castle, Sz. 48: First Door-Bluebeard’s Torture Chamber
03. Bluebeard’s Castle, Sz. 48: Second Door-The Armoury
04. Bluebeard’s Castle, Sz. 48: Third Door-The Treasury
05. Bluebeard’s Castle, Sz. 48: Fourth Door-The Secret Garden
06. Bluebeard’s Castle, Sz. 48: Fifth Door-Bluebeard’s Kingdom
07. Bluebeard’s Castle, Sz. 48: Sixth Door-The Lake of Tears
08. Bluebeard’s Castle, Sz. 48: Seventh Door-Bluebeard’s Former Wives

Personnel:
Rosalind Elias, soprano
Jerome Hines, baritone
Philadelphia Orchestra
Eugene Ormandy, conductor

Recorded November 21st, 1960 at The Academy of Music, Philadelphia
Produced by John McClure

Digitally remastered

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For a good third of a century, the Fretwork ensemble has been constantly sifting through the immensely rich repertoire for consort of violas, generally from the British sphere, from Taverner to Purcell — so, the 16th and 17th centuries — while never hesitating to commission entirely new works from modern-day composers. The combination of the viola’s “ancient” sound with modern writing brings forth the most unlikely sonic spheres… This album keeps both feet firmly in England’s 17th century with John Jenkins (1592-1678), famous in his own day, and consistently one of the most essential composers for any self-respecting viola player from the very start of his career — both in England and abroad, which is unusual in itself — thanks to his output of literally hundreds of pieces for various viola ensembles. A number of them were written for “family”-style consorts, in large part due to the ban on all forms of public music implemented by Cromwell’s religious dictatorship. Once the monarchy was restored, the fashion for groups of amateurs playing concert violas would endure long enough to bring fame and fortune to composers such as Jenkins. Here we will discover a language which is at once conservative in terms of form, and very daring, explosive even, in terms of content, rather like the work of a 17th century Haydn.

Tracklist:
John Jenkins (1592 – 1678)
01. Fantasia No. 1
02. Fantasia No. 2
03. Fantasia No. 3
04. Fantasia No. 4
05. Pavan in D Minor
06. Fantasia No. 5
07. Fantasia No. 6
08. Fantasia No. 7
09. Fantasia No. 8
10. Fantasia No. 9
11. Fantasia No. 10
12. Fantasia No. 11
13. Fantasia No. 12
14. Fantasia No. 13
15. Fantasia No. 14
16. Pavan in E Minor
17. Fantasia No. 15
18. Fantasia No. 16
19. Fantasia No. 17

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Gérard Poulet & Jean-Claude Vanden Eynden – Schumann: Sonatas and Romances for violin and piano (2018)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:00:57 minutes | 574 MB | Genre: Classical
Studio Master, Official Digital Download | Booklet, Front Cover | © Le Palais des Dégustateurs

The life and work of Robert Schumann has a dual characteristic. In immersing oneself in one or the other, we face an almost systematic duality. He himself was aware of this, appearing in both his writings and in his compositions sometimes under the guise of Eusebius, the tender, introverted dreamer, and sometimes as Florestan, the fiery, impassioned fighter. In studying his life and work, one gains the impression that the greatest lucidity and some form of madness stood side by side in him. But as one deepens one’s knowledge of him as a creator and as a man, one realises that what appears to be contradictory is in fact quite cohesive.

Tracklist:
Robert Schumann (1810 – 1856)
01. Sonata No. 1 in A Minor for piano and violin, Op. 105: I. Mit leidenschaftlichem Ausdruck
02. Sonata No. 1 in A Minor for piano and violin, Op. 105: II. Allegretto
03. Sonata No. 1 in A Minor for piano and violin, Op. 105: III. Lebhaft
04. 3 Romances for oboe (or violin, or clarinet) and piano, Op. 94: I. Nicht schnell
05. 3 Romances for oboe (or violin, or clarinet) and piano, Op. 94: II. Einfach, innig
06. 3 Romances for oboe (or violin, or clarinet) and piano, Op. 94: III. Nicht schnell
07. Sonata No. 2 in D Minor for violin and piano, Op. 121: I. Ziemlich langsam-Lebhaft
08. Sonata No. 2 in D Minor for violin and piano, Op. 121: II. Sehr lebhaft
09. Sonata No. 2 in D Minor for violin and piano, Op. 121: III. Leise, einfach
10. Sonata No. 2 in D Minor for violin and piano, Op. 121: IV. Bewegt

Personnel:
Gerard Poulet, violin
Jean Claude Vanden Eynden, piano

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Ghislieri Consort, Ghislieri Choir – Pergolesi: Messa in Re Maggiore & Mottetto “Dignas laudes resonemus” (2018)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:10:59 minutes | 1,15 GB | Genre: Classical
Studio Master, Official Digital Download | Booklet, Front Cover | © Arcana

New light on Pergolesi! This CD sheds light on a lesser-known aspect of the great Italian composer, offering two masterpieces in their first modern edition and first recording: the Mass in D major and the mottettone Dignas Laudes. Both editions are the outcome of recent musicological research carried out by the Centro Studi Pergolesi in Milan, and show a facet of Pergolesi – his energetic and solemn character – that complements and amplifies the dramatic and introspective moods of his most renowned sacred works.

This Arcana release inaugurates a collaboration with the Ghislieri Choir & Consort and celebrates the fifteenth anniversary of the ensemble, which specialises in eighteenth-century sacred repertory and has already recorded works by Galuppi, Jommelli, Perez (Il Mattutino de’ Morti) and Handel (Handel in Rome 1707) for Sony-DHM.

The soloists on this recording, conducted by Giulio Prandi, are the soprano Marlis Petersen, one of the leading sopranos on the international scene, and a quintet of young Italian singers who already perform in the most important and prestigious European venues.

Tracklist:
Giovanni Battista Pergolesi (1710-1736)
01. Messa in Re Maggiore, P. 46: Kyrie
02. Messa in Re Maggiore, P. 46: Gloria in excelsis Deo
03. Messa in Re Maggiore, P. 46: Laudamus te
04. Messa in Re Maggiore, P. 46: Gratias agimus tibi
05. Messa in Re Maggiore, P. 46: Domine Deus
06. Messa in Re Maggiore, P. 46: Qui tollis peccata mundi
07. Messa in Re Maggiore, P. 46: Quoniam Tu solus Sanctus
08. Messa in Re Maggiore, P. 46: Cum Sancto Spiritu
09. Mottetto “Dignas laudes resonemus”: Dignas laudes resonemus
10. Mottetto “Dignas laudes resonemus”: O me felicem
11. Mottetto “Dignas laudes resonemus”: Sto in calma summae pacis
12. Mottetto “Dignas laudes resonemus”: O Virgo dolorosa
13. Mottetto “Dignas laudes resonemus”: Quot procellae, quot horrores
14. Mottetto “Dignas laudes resonemus”: O sacra et vera fides
15. Mottetto “Dignas laudes resonemus”: In ipsa laeta spero
16. Mottetto “Dignas laudes resonemus”: O praesidium suave
17. Mottetto “Dignas laudes resonemus”: Te Fili contemplando
18. Mottetto “Dignas laudes resonemus”: Dignas laudes resonemus II

Personnel:
Marlis Petersen & Marta Fumagalli
Coro E Orchestra Ghislieri
Guilio Prandi

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The one-to-a-part Gli Incogniti offer a pliant, transparent texture, and soloist Amandine Beyer’s tone has an attractive brogue to it. Gramophone

Tracklist:
Antonio Vivaldi (1678-1741)
01. Concerto for Two Violins and Cello in G Minor, Op. 3, No. 2, RV 578a: I. Adagio e spiccato
02. Concerto for Two Violins and Cello in G Minor, Op. 3, No. 2, RV 578a: II. Allegro
03. Concerto for Two Violins and Cello in G Minor, Op. 3, No. 2, RV 578a: III. Largo e spiccato
04. Concerto for Two Violins and Cello in G Minor, Op. 3, No. 2, RV 578a: IV. Allegro
05. Concerto for Violin in B-Flat Major, RV 372 “Per signora Chiara”: I. Allegro molto e spiritoso
06. Concerto for Violin in B-Flat Major, RV 372 “Per signora Chiara”: II. Largo ma non molto
07. Concerto for Violin in B-Flat Major, RV 372 “Per signora Chiara”: III. Allegro
08. The Four Seasons-Concerto for Violin in E Major, Op. 8, No. 1, RV 269 “La primavera”: I. Allegro
09. The Four Seasons-Concerto for Violin in E Major, Op. 8, No. 1, RV 269 “La primavera”: II. Largo
10. The Four Seasons-Concerto for Violin in E Major, Op. 8, No. 1, RV 269 “La primavera”: III. Allegro
11. The Four Seasons-Concerto for Violin in G Minor, Op. 8, No. 2, RV 315 “L’estate”: I. Allegro non molto
12. The Four Seasons-Concerto for Violin in G Minor, Op. 8, No. 2, RV 315 “L’estate”: II. Adagio
13. The Four Seasons-Concerto for Violin in G Minor, Op. 8, No. 2, RV 315 “L’estate”: III. Presto
14. The Four Seasons-Concerto for Violin in F Major, Op. 8, No. 3, RV 293 “L’autunno”: I. Allegro
15. The Four Seasons-Concerto for Violin in F Major, Op. 8, No. 3, RV 293 “L’autunno”: II. Adagio molto
16. The Four Seasons-Concerto for Violin in F Major, Op. 8, No. 3, RV 293 “L’autunno”: III. Allegro
17. The Four Seasons-Concerto for Violin in F Major, Op. 8, No. 4, RV 297 “L’inverno”: I. Allegro non molto
18. The Four Seasons-Concerto for Violin in F Major, Op. 8, No. 4, RV 297 “L’inverno”: II. Largo
19. The Four Seasons-Concerto for Violin in F Major, Op. 8, No. 4, RV 297 “L’inverno”: III. Allegro
20. Concerto for Violin in B Minor, RV 390: I. Andante molto
21. Concerto for Violin in B Minor, RV 390: II. Allegro non molto
22. Concerto for Violin in B Minor, RV 390: III. Larghetto
23. Concerto for Violin in B Minor, RV 390: IV. Allegro

Personnel:
Amandine Beyer (violin)
Gli Incogniti

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This programme of Neapolitan music, covering a vast historical span (from the Renaissance to the 20th century) is a ‘manifesto’ of the musical influences that have nurtured Marco Beasley. Guido Morini’s arrangements, written especially for him, make the programme particularly appealing.

In addition, it offers an original coherence by setting up ‘bridges’ between genres that are sometimes opposed from a musicological point of view but which have continued to provide food each other.

For the first time, the musician explores the paths of crossover in the broadest sense and without complex: here, Marco Beasley confirms his nickname of ‘the Baroque crooner’ con brio. He also opens up new ways, proposing original orchestrations and making his a part of the colossal heritage that has influenced the modern cultures of the western world.

Tracklist:
01. Ballo de li Sante
02. Cara è la rosa
03. In galera li panettieri
04. Serenata
05. Cicerenella
06. Fenesta vascia
07. Tarantella Tapanella
08. Compianto di Masaniello
09. Vecchie letrose
10. T’aggio voluto bbene
11. Canzona alla montemaranese
12. Tiempe bbelle
13. Caruso
14. Reginella
15. Mazza, pezza e pizzo
16. Napule è…
17. Stella Diana

Composers:
Cioffi, Giuseppe (1901-76)
Dalla, Lucio (b.1943)
Falconieri, Andrea (1586-1656)
Lama, Gaetano (1868-1950)
Latilla, Gaetano (1711-88)
Morini, Guido (b.1959)
Valente, Vincenzo (1855-1921)
Willaert, Adrian (c.1490-1562)

Personnel:
Marco Beasley
Ensemble Accordone
Gido Morini

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“Baby, Let Me Be Your Mess” is the debut solo project from Portland, Oregon musical fixture Danny Dodge, best known for his stints in the No Tomorrow Boys and the Criminal Guitars. This album showcases Dodge’s jangly power pop riffs à la Tom Petty or The Byrds, framing his clever lyrical wordplay.

Having been a fixture in the Portland music scene for the better part of a decade as front man for both No Tomorrow Boys and The Criminal Guitars, Get Loud is proud to announce Danny Dodge’s debut solo record, Baby, Let Me Be Your Mess. Showcasing jangled power-pop riffs and clever lyrical hooks, the ten song debut lends itself more to the likes of Tom Petty and The Byrds than the punk of his former bands. Songs like ”You Need a Man, Not a Hurrican”’ and ”Worry ‘Bout Ya” cut straight to the heart, romanticizing the listener with a 70’s era blast of front seat rock radio, all while casting Dodge as a burgeoning American songwriter. Cut mostly live, Baby Let Me Be Your Mess, is both an honest and urgent reflection of a young man arriving.

Tracklist:
01 – You Do You
02 – You Need a Man, Not a Hurrican’
03 – Rollin’ Wind
04 – Worry About Ya
05 – City Boys Don’t Like My Okie Ways
06 – Yakima Canutt
07 – Goodbye Baby Express
08 – Good Time Lovin’ Woman
09 – Baby, Let Me Be Your Mess
10 – I Can’t Keep You Outta My Heart

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Durand Jones & The Indications – Durand Jones & The Indications (2016) {Deluxe Edition 2018}
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:17:02 minutes | 854 MB | Genre: Soul
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Dead Oceans – Colemine Records

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

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

Tracklist:
01 – Make a Change
02 – Smile
03 – Can’t Keep My Cool
04 – Groovy Babe
05 – Giving Up
06 – Is It Any Wonder?
07 – Now I’m Gone
08 – Tuck ‘N’ Roll
09 – I Can’t Do Without You (Live from Bloomington, IN)
10 – Make a Change (Live from Bloomington, IN)
11 – Can’t Keep My Cool (Live from Bloomington, IN)
12 – Groovy Babe (Live from Bloomington, IN)
13 – Should I Take You Home (Live from Bloomington, IN)
14 – Dedicated to You (Live from Boston, MA)
15 – Now I’m Gone (Live from Boston, MA)
16 – Is It Any Wonder? (Live from Boston, MA)
17 – Smile (Live from Boston, MA)
18 – Giving Up (Live from Boston, MA)

Download:

https://subyshare.com/37kch1l8z5xy/DurandJ0nesTheIndicati0nsDurandJ0nesTheIndicati0ns2016DeluxeEditi0n2018Q0buz24441.rar.html

Fabien Mary is one of the best trumpet player of the contemporary jazz scene. He played with Wynton Marsalis, Diana Krall, Benny Golson, Harold Mabern, Johnny Griffin, Steve Turre, Michel Legrand, Archie Shepp and many others. The story behind this album is a broken arm in New York. Or how French trumpet player Fabien Mary transcended his forced immobilization by composing ‘Left Arm Blues’, an album of originals that refect the hopes from a young jazzman in a city that never sleeps and always swings.

Absolutely essential musician on the current jazz scene, the trumpet player Fabien Mary transmuted the frustration of not being able to play in writing frenzy, laying on the music paper new lines, arranging for a training of eight musicians a directory directly inspired from his New York experience that gave the material of a fully written record of the left hand: Left Arm Blues. With five nominations for the Django Reinhardt Award “French musician of the year” by the Jazz Academy over the years and an impressive course where we find it alongside Wynton Marsalis, Diana Krall, Benny Golson, Harold Mabern, Johnny Griffin, Steve Turre, Michel Legrand, Archie Shepp and many others, this musician continues to fascinate with his talent, his class and his musical requirement.

Tracklist:
01 – Don’t Look Back
02 – Quercus Robur
03 – Song for Milie
04 – Left Arm Blues
05 – Dark ‘n’ Stormy
06 – Walk on the Highline
07 – Autumn Melodie
08 – You Make It Feel So Fun
09 – All the Things You Are

Musicians:
Fabien Mary – trumpet
Pierrick Pedron – alto saxophone
David Sauzay – tenor saxophone, flute
Thomas Savy – baryton saxophone
Jerry Edwards – trombone
Hugo Lippi – guitar
Fabien Marcoz – bass
Mourad Benhammou – drums

Download:

https://subyshare.com/6djclqdcyowt/FabienMaryLeftArmBluesAnd0therNewY0rkSt0ries2018Q0buz24441.rar.html

Scandinavian jazz musician Geir Lysne says he had decided it was time to meet new people, make new music and broaden his sphere of activity when he started planning the aptly-titled “New Circle”, on which he works for the first time with a relatively small ensemble joined by a panoply of well known guest stars. Although his ensemble only contains five acoustic instrumentalists, New Circle sounds as “orchestral” as his earlier big band albums. The key element here is Reidar Skar, a “true master of the computer,” as Lysne says.

Around 15 years ago, a new generation of jazzers set out to find new ways of escaping the rigidity of post-bop and jazz fusion. Young musicians, especially in Scandinavia, tore down genre borders and borrowed from their own folk music, rock and pop. Geir Lysne’s redefinition of the big band concept was and is hardly any less revolutionary. Lysne taught the jazz orchestra an entirely new richness of timbres on three ACT albums. With unaccustomed instrumentations using flutes, percussion, laptop and instrumentally employed voices, and most of all with extensive recourse to world music contexts, a new ‘Nordic’ and unmistakable kind of melodious stereophony and dynamism resulted for the big ensemble. Although the foundation is only five acoustic instrumentalists, ‘New Circle’ sounds almost no less orchestral than the earlier albums. The key element here is Reidar Skar, a ‘true master of the computer,’ as Lysne says. Skar formed this ‘electro-acoustic recomposition production’ (Lysne) with his alienations and innovative computer sounds, without infringing on the artistic integrity of Lysne’s orchestrations, subtleties, double entendres, his predilection for folk singers, ethnic grooves, strong melodies and soundscapes.

Geir Lysne is famous for acoustic big-band composition, but with New Circle the Norwegian original revisits past triumphs with a different lineup, this computer-enhanced sextet, although guitarist Nguyên Lê and vocalist Huong Tranh from Vietnam figure on a long guest list. Weaving brass and high-reeds textures reminiscent of Gil Evans or Mike Gibbs often surf on intense contemporary-urban percussion, and Lysne wraps African and worldbeat grooves around jazz phrasing and traditional songs with a flair that recalls the late Joe Zawinul. The fastmoving Please Welcome! fizzes with lashing backbeats and the riffing horn-section mimicry of gifted programmer of Reidar Skår. African percussion, folk jigs and 1970s Miles Davis merge on the composer’s bow to the Jungle Book python, Kaa, and Tranh’s haunting tone-bends drift in and out of Lê’s glistening chords on A Million Stars. The slowly anthemic 22 (a reflection on Norway’s Utoya massacre) represents Lysne at his most patiently eloquent, and if New Circle occasionally feels like a world tour that the computer resources have probably tempted him into, Lysne is nevertheless a composer of real clout, and makes fresh use of them.

Tracklist:
01 – Please Welcome!
02 – Sakn
03 – Kaa Is Back In Town
04 – A Million Stars
05 – 22
06 – Amana na nunga
07 – Alwilly

Produced by Reidar Skår and Geir Lysne.
Recorded: 2011-2013 by Reidar Skår (7 etage studio), Geir Lysne (Brattopp studio), Nguyên Lê (studio Louxor) and Peter Baden (Baden studio)
Mixed by Reidar Skår. Mastered by Bjørn Engelmann at Cutting Room.

Musicians:
Geir Lysne – saxophones, flutes, jews harp, voice, keys, ballaphone, kalimba, programming, perc.
Reidar Skår – keys, programming
Eckhard Baur – trumpet, flugelhorn, voice
Gjermund Silset – bass
Olav Torget – electric guitars, acoustic guitar
Knut Aalefjær – drums, percussion
Guests:
Nguyên Lê – electric guitar (04)
Helge Sunde – trombone (01, 04 & 06)
Huong Thanh – vocals (04)
Solo Cissoko – vocals, kora (07)
Audun Erlien – bass (03)
Peter Baden – percussion, electronics (01 & 04)
Helge Norbakken – percussion (02 & 07)
Renate Alsing – marimba (07)

Download:

https://subyshare.com/h2xaumor2nkb/GeirLysneNewCircle20132014Pr0Studi0Masters24441.rar.html

Northern California-based reggae group Groundation were formed by guitarist/singer/lyricist Harrison Stafford, keyboardist Marcus Urani, and bassist Ryan Newman in 1998. The rest of the band personnel has fluctuated. As of 2009, it included a horn section consisting of David “Diesel” Chachere (trumpet), Kelsey Howard (trombone), and Dr. Jason Robinson (saxophone), as well as percussionist Mingo Lewis, Jr. and singers Kim Pommell and Stephanie Wallace. The group’s newest member was drummer Te Kanawa Haereiti. Groundation self-released their debut album, Young Tree, on their own Young Tree label in 1999. Each One Teach One followed on July 31, 2001. The disc featured guests Ras Michael and Marcia Higgs. Hebron Gate, released January 21, 2003, included Don Carlos and the Congos as guests. Don Carlos also appeared on We Free Again (November 16, 2004), along with Apple Gabriel. In 2005, Groundation released the dub album Dub Wars. After the appearance of Upon the Bridge on October 17, 2006, the band not only toured internationally as usual, but, for the first time, also performed in the eastern half of the U.S. The domestic release of Here I Am on August 18, 2009, also heralded a round of American tour dates. ~ William Ruhlmann

Tracklist:
01 – Dub Them Down
02 – Dub Rome
03 – Wanna Dub
04 – Throwing Dubs
05 – Dub It Up
06 – Dub Strong
07 – If I Dub
08 – Waterfall Dub
09 – Confrontation Dub
10 – Dub Spirit
11 – Each One Dub One

Download:

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https://subyshare.com/o80gkanal7v4/Gr0undati0nEach0neDub0ne2018Q0buz24882.part2.rar.html

Groundation – Each One Teach One (2001) {Remixed & Remastered 2018}
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:05:25 minutes | 1,33 GB | Genre: Reggae
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © HTS Roots Creations

Re-issue of Groundation’s second album of original music recorded in 2000. The classic “Each One Teach One” was originally released by the label Young Tree Records and now the album is presented today from HTS Roots Creations, a new digital mix that reveals with clarity the true power of the musician’s performance. Album features guest appearances from Jamaican Nyabinghi specialist Ras Michael, late reggae elder Joe Higgs daughter Marcia Higgs on harmony vocals and new mastery renown engineer JimFox.

Tracklist:
01 – Weak Heart
02 – Rome
03 – Wanna Know
04 – Throwing Stones
05 – Live It Up
06 – Head Strong
07 – If I
08 – Waterfall
09 – Nyabinghi Order
10 – Jah Spirit
11 – Each One Teach One

Download:

https://subyshare.com/xjk0apsdmafl/Gr0undati0nEach0neTeach0ne2001RemixedRemastered2018Q0buz24882.part1.rar.html
https://subyshare.com/h3z8wpjn2ccj/Gr0undati0nEach0neTeach0ne2001RemixedRemastered2018Q0buz24882.part2.rar.html

Harmondia has a unique sound that is influenced by jazz, electronic sounds, and world music beats. These influence can be heard on their latest album “A Strange Tissue of Space and Time”. Tracks like Elisa, Kalumbu, and Off the Cliff all provide audiences with a contrasting variety of musical taste which showcases this group’s versatility.

Harmondia roots back to 1998 which is the year that Burak Irmak and Berke Can Özcan met each other. Although the two of them have been in a lot of other bands together in the past 20 years, this is their very first album as a duo.

Tracklist:
01 – Elisa
02 – Comendinger
03 – Kalumbu
04 – Intergalactic Hitchhikers
05 – Off the Cliff
06 – Idea
07 – Jacob

Recorded at Studio Mermaid, Beykoz, Istanbul.
Mixed by Pharoah Talin. Mastered by Emre Değer.

Musicians:
Burak Irmak – keyboards, sampler, clarinet
Berke Can Özcan – drums, percussion

Download:

https://subyshare.com/6zglthm62qy4/Harm0ndiaAStrangeTissue0fSpaceAndTime2018HDTracks24441.rar.html

Helloween – My God-Given Right {Deluxe Edition} (2015/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:52 minutes | 1,51 GB | Genre: Metal
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Nuclear Blast

“My God-Given Right” is the 16th studio album by German power metal band Helloween. It is their seventh consecutive album produced by Charlie Bauerfeind, and their first album released under the label Nuclear Blast since 2003’s “Rabbit Don’t Come Easy”. The album is considered by the band as a “back to the roots” album, while still keeping some modern elements.

The stalwart German outfit’s 16th studio long player, My God-Given Right is a power metal cornucopia spilling over with commercial-grade sweets and cheeses. Bolstered by the dizzying guitar work of Michael Weikath and Sascha Gerstner, the 15-track set has some satisfying moments, especially early on with the one-two punch of “Heroes” and “Battles Won,” both of which fit nicely into the Helloween canon where speed metal precision meets rich, melodic choruses tailor-made for unison fist pumping. Vocalist Andi Deris more than holds his own throughout, delivering often inane lyrics like “We wanna stay crazy, fresh as a daisy” with gusto, in a voice that falls somewhere between former Helloween frontman Michael Kiske and head Scorpion Klaus Meine. At 15 slabs of metal, My God-Given Right overstays its welcome a bit, with large portions of its latter half drifting dangerously into filler territory. But stand-out cuts like the soaring “Creatures in Heaven,” the menacing “Swing of the Fallen World,” and the aforementioned “Heroes” prove that, 30 years into their career, Helloween are still largely unequaled purveyors and unabashed champions of “cheese-tastic” power metal hymns.

Tracklist:
01 – Heroes
02 – Battle’s Won
03 – My God-Given Right
04 – Stay Crazy
05 – Lost In America
06 – Russian Roulé
07 – The Swing Of A Fallen World
08 – Like Everybody Else
09 – Creatures In Heaven
10 – If God Loves Rock ‘n’ Roll
11 – Living On The Edge
12 – Claws
13 – You, Still Of War
14 – I Wish I Were There [Bonus Track]15 – Wicked Game [Bonus Track]16 – Free World [Bonus Track]

Produced by Charlie Bauerfeind.
Recorded: October 2014 – February 2015 at Mi Sueño Studio, Tenerife, Spain.

Musicians:
Andi Deris – lead vocals
Michael Weikath – lead and rhythm guitars
Sascha Gerstner – lead and rhythm guitars
Markus Grosskopf – bas
Daniel Löble – drums

Additional musicians:
Matthias Ulmer – keyboards
Billy King and Olaf Senkbeil – additional backing vocals

Download:

https://subyshare.com/akxud4y2b2wi/Hell0weenMyG0dGivenRightDeluxeEditi0n20152018Q0buz2496.part1.rar.html
https://subyshare.com/cnutdmeple0c/Hell0weenMyG0dGivenRightDeluxeEditi0n20152018Q0buz2496.part2.rar.html

“Future Shock” is pianist Herbie Hancock’s thirty-fifth album and a million-selling Platinum-certified disc. It was Hancock’s first release from his electro-funk era and an early example of instrumental hip hop. Much of the album was initially composed by the team of avant-garde bassist and record producer Bill Laswell, and keyboardist and producer Michael Beinhorn, and played on tour by their group Material in 1982.

Herbie Hancock completely overhauled his sound and conquered MTV with his most radical step forward since the sextet days. He brought in Bill Laswell of Material as producer, along with Grand Mixer D.ST on turntables — and the immediate result was “Rockit,” which makes quite a post-industrial metallic racket. Frankly, the whole record is an enigma; for all of its dehumanized, mechanized textures and rigid rhythms, it has a vitality and sense of humor that make it difficult to turn off. Moreover, Herbie can’t help but inject a subversive funk element when he comps along to the techno beat — and yes, some real, honest-to-goodness jazz licks on a grand piano show up in the middle of “Auto Drive.” ~ Richard S. Ginell

Tracklist:
01 – Rockit
02 – Future Shock
03 – TFS
04 – Earth Beat
05 – Autodrive
06 – Rough
07 – Mega Mix (Includes: Rockit, Autodrive, Future Shock, TFS, Rough, & Chameleon) [Bonus Track]

Produced by Material & Herbie Hancock.
Digitally Remastered.

Musicians:
Herbie Hancock – piano, synthesizer, Fairlight CMI, keyboards
Bill Laswell – electric bass
D.S.T. – turntables, “FX”
Pete Cosey – electric guitar
Michael Beinhorn – keyboards
Daniel Poncé – percussion
Sly Dunbar – drums, percussion
Dwight Jackson Jr. – lead vocals on “Future Shock”
Lamar Wright – lead vocals on “Rough”

Download:

https://subyshare.com/n58cu3q18ov3/HerbieHanc0ckFutureSh0ck19832014Q0buz2496.rar.html

Begun as an acoustic spinoff of the Jefferson Airplane, Hot Tuna eventually became the full-time focus of founding members Jack Casady and Jorma Kaukonen, emerging as a popular touring act of the 1970s. This live show recorded on November 25, 2017 at The Tabernacle, Mt. Tabor, NJ. The official release.

Tracklist:
01 – Ain’t in No Hurry
02 – Search My Heart
03 – Been so Long
04 – Second Chances
05 – Let Us Get Together Right Down Here
06 – Barbecue King
07 – Trouble in Mind
08 – Living in the Moment
09 – Trial by Fire
10 – Watch the North Wind Rise
11 – 99 Year Blues
12 – Sales
13 – Keep Your Lamps Trimmed and Burning
14 – I See the Light
15 – That’ll Never Happen No More
16 – In My Dreams
17 – San Francisco Bay Blues
18 – Come Back Baby
19 – Death Don’t Have No Mercy
20 – Sea Child
21 – Good Shepherd
22 – Bar Room Crystal Ball
23 – Water Song
24 – Hesitation Blues

Download:

https://subyshare.com/jlfrohvo6kfx/H0tTuna20171125atTheTabernacleMt.Tab0rNJ2018Q0buz2448.part1.rar.html
https://subyshare.com/9tanljo2md92/H0tTuna20171125atTheTabernacleMt.Tab0rNJ2018Q0buz2448.part2.rar.html

Described by Joan Wasser as ‘punk rock R&B’ and ‘American soul music,’ Joan as Police Woman combine two of the biggest influences on her music: classic soul such as Al Green and Nina Simone and the rougher experimental sounds of Sonic Youth and Bad Brains. Produced by Tyler Wood, the fifth full-length studio release for Joan Wasser features guest appearances from Joseph Arthur and Reggie Watts.

Songwriters and musicians have long used emotional turmoil as a source of inspiration, but on The Classic – which nods to ’60s and ’70s soul with its sound and title – Joan Wasser proves that happiness can make for smart, relatable songs too. Even though this is easily her most joyous album, it isn’t completely new territory. Joan as Police Woman’s previous albums showed that Wasser can set loss, grief, and acceptance to song like few others and also had uplifting moments that broke through like sunbeams. And while plenty of singers – most notably Amy Winehouse’s mod neo-soul and Chan Marshall in her Memphis-flavored era – have revisited this kind of sound, Wasser puts her own stamp on it. The Classic is full of smoky vocals and slinky melodies that are unmistakably hers; they’re just lit up. The results are some of her most accessible music yet, such as the radiant closing track, “Ask Me.” At times, the instrumentation borders on clichéd instead of classic; after half a century of peppy brass and wah-wah guitars signifying “happy” and “empowered,” it’s hard to wring anything new out of those sounds. More often than not, Wasser manages to do just that by playing against the expectations of upbeat soul music as much as she plays into them: the title track mixes beatboxing and doo wop vocals as it sings the praises of being innocent enough to fall in love and mature enough to move on from the past, while “Shame” uses its brassy choruses to banish a “dirty space invader.” The mix of clarity and sensuality in Wasser’s songwriting makes The Classic’s message – that happiness is an active choice rather than a passive state – all the more dynamic. The album’s best songs aren’t about being happy, but what it takes to be ready for happiness. On the bold opener, “Witness,” Wasser depicts her self-defeating thoughts as “a tape that’s played forever”; “Good Together” dispels the nostalgia around an old flame with a massive, cobweb-clearing beat; and “What Would You Do” underscores her impatience with people and situations that don’t work. Joan as Police Woman takes almost as many musical risks as emotional ones on The Classic, particularly on lengthy tracks like “Get Direct” and “New Year’s Day,” but this bravery is usually rewarded, and rewarding. While the album’s brightness may take some getting used to, listeners who love her music for how well she expresses feelings that are universal yet hard to articulate will appreciate how vividly The Classic captures joy and what it takes to get it.

Tracklist:
01 – Witness
02 – Holy City
03 – The Classic
04 – Good Together
05 – Get Direct
06 – What Would You Do
07 – New Year’s Day
08 – Shame
09 – Stay
10 – Ask Me

Produced by Joan Wasser and Tyler Wood.

Download:

https://subyshare.com/qi2tukw0o6nd/J0anAsP0liceW0manTheClassic2014Q0buz2496.part1.rar.html
https://subyshare.com/ll4dpgjs0p5r/J0anAsP0liceW0manTheClassic2014Q0buz2496.part2.rar.html

Ensemble Zene & Bruno Kele-Baujard – Purcell, Byrd, Scarlatti, Lotti & Allegri: Via Dolorosa (2018) [Official Digital Download 24bit/96kHz]

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

Erasure – The Violet Flame (2014) {3CD Deluxe Version} [Official Digital Download 24bit/44,1kHz]

Eugene Ormandy – Bartok: Bluebeard’s Castle, Sz. 48 (1963/2018) [Official Digital Download 24bit/96kHz]

Fretwork – John Jenkins: Complete Four-Part Consort Music (2018) [Official Digital Download 24bit/96kHz]

Gerard Poulet & Jean-Claude Vanden Eynden – Schumann: Sonatas and Romances for violin and piano (2018) [Official Digital Download 24bit/44,1kHz]

Ghislieri Consort, Ghislieri Choir – Pergolesi: Messa in Re Maggiore & Mottetto "Dignas laudes resonemus" (2018) [Official Digital Download 24bit/88,2kHz]

Gli Incogniti & Amandine Beyer – Vivaldi: The Four Seasons, Op. 8 & Other Concertos (2008/2015) [Official Digital Download 24bit/96kHz]

Guido Morini – Storie Di Napoli (2013) [Official Digital Download 24bit/44,1kHz]

Danny Dodge – Baby, Let Me Be Your Mess (2017) [Official Digital Download 24bit/44,1kHz]

Durand Jones & The Indications – Durand Jones & The Indications (2016) {Deluxe Edition 2018} [Official Digital Download 24bit/44,1kHz]

Fabien Mary – Left Arm Blues (And Other New York Stories) (2018) [Official Digital Download 24bit/44,1kHz]

Geir Lysne – New Circle (2013/2014) [Official Digital Download 24bit/44,1kHz]

Groundation – Each One Dub One (2018) [Official Digital Download 24bit/88,2kHz]

Groundation – Each One Teach One (2001) {Remixed & Remastered 2018} [Official Digital Download 24bit/88,2kHz]

Harmondia – A Strange Tissue Of Space And Time (2018) [Official Digital Download 24bit/88,2kHz]

Helloween – My God-Given Right {Deluxe Edition} (2015/2018) [Official Digital Download 24bit/96kHz]

Herbie Hancock – Future Shock (1983/2014) [Official Digital Download 24bit/96kHz]

Hot Tuna – 2017-11-25 at The Tabernacle, Mt. Tabor, NJ (2018) [Official Digital Download 24bit/48kHz]

Joan As Police Woman – The Classic (2014) [Official Digital Download 24bit/96kHz]