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Pieter Wispelwey & Paolo Giacometti – Schubert & Brahms: The Complete Duos / Rondo (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:04:06 minutes | 1,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © EPR-Classic

The cellist Pieter Wispelwey and the pianist Paulo Giacometti have decided to record six albums comprising the complete works for duet of Brahms and Schubert. In other words, the pieces written for an instrument and piano. The instrument in question could be the cello, or the violin, the viola, etc. Because can a virtuoso cellist really resist the temptation to dip their toes into other repertoires than their own? After all, we know full well that the composers themselves wouldn’t hesitate to transcribe, or authorise a transcription, of their own work for other instruments. And so here is the fourth volume of this collection, which hinges on Brahms’s Sonate Op. 78, which was first written for violin in G major, here transcribed into D major by Paul Klengel in 1897; as well as the First Sonata, originally for clarinet Op. 120, by the very same Brahms. Of the latter work, we know that the composer himself transcribed it for the viola, and this transcription formed the basis for Pieter Wispelwey’s own re-reading – very close to the viola part, within which he has simply transposed certain uncomfortably high passages down an octave. By way of overture we have Schubert’s Rondo in B minor (1826), written for violin and piano, here brought down an octave (or two) for cello, although the change doesn’t make any difference at all to the harmonic perception.

Tracklist:
1. Rondo In B Minor, Op. 70, D. 895 [14:35]Sonata in G Major, Op. 78
2. I. Vivace ma non troppo (Arranged in D Major by Paul Klengel) [11:10]3. II. Adagio (Arranged in D Major by Paul Klengel) [07:18]4. III. Allegro molto moderato (Arranged in D Major by Paul Klengel) [09:11]Sonata No. 1 in F Minor, Op. 120
5. I. Allegro appassionato [07:55]6. II. Andante un poco Adagio [04:45]7. III. Allegretto grazioso [04:10]8. IV. Vivace [05:02]

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It is mostly operetta enthusiasts who remember the name of the monocle-wearing Austrian tenor Richard Tauber today, and that’s why this release by Polish tenor Piotr Beczala is welcome. Tauber was an enormously popular figure in many countries, singing in many languages, from the 1910s through the end of his life, unhappily exiled from his native Austria due to Jewish ancestry, after World War II. It’s not clear whether Tauber’s languages included Polish, but the program here involves German, English, and Italian. Beczala’s German is excellent; his English is slightly accented, but probably less so than Tauber’s own, and there are no distractions to impede the enjoyment of Tauber’s biggest hit, You Are My Heart’s Delight, from Franz Lehár’s The Land of Smiles. That and a few other similar numbers set the pattern for operetta and later film musical composers who tried to tailor their big numbers to Tauber’s strengths. The composers here range from the well known (Lehár) to the moderately known (Emmerich Kálmán) to the all-but-forgotten (Rudolf Sieczynski and several of the film film composers), but all the music seems of a piece, and in a style consistent enough to be familiar. That style straddled the divide between operetta and popular song; it is extravagantly romantic, almost strangely so from a modern perspective, filled with the rhythms of the waltz and other popular dances, but exploding often enough into the upper tenor register to give the singer some star quality. Beczala, something of a connoisseur’s tenor up to this point, handles the high Bs nicely, and there is just a sense of fun about the whole thing that puts across something of what Tauber must have been like. You get an aural whiff of Tauber himself in track 7, Du bist die Welt für mich (You are the world to me), which he also composed; this could have had an odd necro-duet feel, but it is tastefully handled, with the Tauber excerpt, recorded in 1934, coming in at the end as a sort of memory. An enjoyable major-label debut for operetta lovers.

Tracklist:
01. Lehár: Das Land des Lächelns-Sung In English / Act 2-You Are My Heart’s Delight
02. Sieczynski: Wien, du Stadt meiner Träume-Arranged By Paul Bateman
03. Lehár: The Merry Widow (Die lustige Witwe) / Act 2-Lippen schweigen
04. Kálmán: Gräfin Mariza-Operetta In 3 Acts / Act 1-Komm Zigany
05. Lehár: Paganini / Act 2-Girls Were Made To Love And Kiss
06. Kálmán: Gräfin Mariza-Operetta In 3 Acts / Act 1-Wenn es Abend wird-Grüß mir mein Wien
07. Tauber: Der Singende Traum-Arranged By Paul Bateman-Du bist die Welt für mich
08. Stolz: Das Lied ist aus
09. Lehár: Giuditta / Act 1-Freunde, das Leben ist lebenswert
10. Stolz: O mia bella Napoli
11. Stolz: Ob blond, ob braun, ich liebe alle Frau’n
12. Ralph: Ich küsse Ihre Hand Madam-Arranged By Paul Bateman
13. Romberg: The Student Prince-Arranged By Paul Bateman-Overhead The Moon Is Beaming
14. Stolz: Ich liebe Dich
15. C. Böhm: Still wie die Nacht, Op.326, No.27-Arranged By Paul Bateman
16. Lehár: Das Land des Lächelns / Act 2-Dein ist mein ganzes Herz
17. Stolz: Brunetki, blondynki

Personnel:
Piotr Beczala, Tenor
Anna Netrebko, soprano
Daniela Fally, vocals
Avi Avital, mandoline
Berlin Comedian Harmonists
Royal Philharmonic Orchestra
Lukasz Borowicz, conductor

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This is a ‘Sony Classical’ re-issue to mark the canonization of Pope John Paul II on April 27. To honor him, Plácido Domingo will perform repertoire from this album at the ceremony in Poznan, Poland.

It includes songs inspired by the Poems of John Paul II – Karol Wojtyła. Featuring guest artists Josh Groban, Katherine Jenkins, Andrea Bocelli and Vanessa Williams. ‘These songs have enormous significance for me … They will speak not only to religious people but to anyone who respects that uniquely great man, John Paul II, who chose to dedicate his life to the service of humanity and of God.’

Plácido Domingo – one of the most beloved spiritual leaders of the modern era, Pope John Paul II was not only a humanitarian and theologian, but an artist and author. In his pre-Papal life as Karol Wojtyła he wrote plays, essays, and, most notably, poetry. For this CD, Plácido Domingo and his son Plácido Domingo Jr. used a selection of not only religious poetry, but also poems about love and people’s daily life.

Tracklist:
01. La coscienza
02. La tua semplicità
03. Risuona anima mia
04. A Mother’s Wonderment
05. Anima nell’anima
06. Canto del sole inesauribile
07. Palabras
08. Love
09. Amore glorificato
10. Gratitude
11. La libertà
12. Madre

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“The first official s t a r g a z e release was a pioneering re-interpretation of the music of the alternative experimentalists Deerhoof, ‘Deerhoof Chamber Variations’, which led to the fulsome and controversial takeover of the BBC Proms for the David Bowie night, which saw s t a r g a z e collaborate with artists as diverse as John Cale, Elf Kid, Marc Almond and Anna Calvi amongst others, to celebrate the astounding, at times contradictory, music of this soulful, inspirational polymath.

POLIÇA have themselves blazed a trail across the modern musical landscape – throughout their three albums of dark, personally political pop they have distorted the conventions of production and form to create deeply affecting songs that claw into your consciousness.

s t a r g a z e’s approach reflects the true collaborative nature of the project and album. He listened closely to POLIÇA’s music, admiring what he describes as the band’s “extreme sense of harmony” and began to see how their two worlds might entwine.

This album, showing a very different access point to the album, demonstrates further the powerful production skills of POLIÇA’s Ryan Olson, who documented and augmented these sounds at Justin Vernon’s studio in Wisconsin.”

Tracklist:
1. Fake Like (03:54)
2. Marrow (02:48)
3. Speaking Of Ghost (04:14)
4. Agree (03:22)
5. Cursed (03:54)
6. How Is This Happening (10:07)
7. Music For The Long Emergency (09:47)

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Přemysl Vojta doesn’t play “a” horn here, but rather several very different horns. He starts out with a natural horn from 1833 for Beethoven’s Sonata − for anyone familiar with this work being played on a modern chromatic instrument, the surprise will be massive! Much due to the fact that most of the notes, unavailable in the natural scale of the primitive instrument, are generated by changing the position of the right hand in the bell, creating a deaf, nasal sound in addition to the natural notes playing at full sonority. The result is quite unique, but foreseen by Beethoven when writing his Sonata; it’s as if two different instruments were playing, exchanging notes within a single phrase.

For Schumann, Vojta decided on a chromatic Viennese horn from the end of the 19th century, then a modern instrument from the famous German manufacturer Alexander. A modern horn he keeps for the ever-intriguing Alterations of the Sonata for Piano, Op. 27/2 by Ludwig van Beethoven into Sonata for Horn and Piano − yes, that’s the complete title! – by contemporary German composer Giselher Klebe (1925-2009). If you take into consideration that he approached the Moonlight Sonata with the aim to produce not a simple re-instrumentation, which wouldn’t be of particular interest, but a rewriting in which each moment is recognisably based on Beethoven while still being Klebe, then you can only marvel at the highly virtuosic accomplishment this represents. On the pianos, Tobias Koch transitions from an 1821 Graf for Beethoven’s Sonata to an 1839 Erard for all Schumann’s pieces and ends up on a Steinway for the Klebe/Beethoven part. In other words, the listener will be transported through an impressive range of sounds!

Tracklist:
01. Sonata for Pianoforte and Horn in F Major, Op. 17: I. Allegro moderato
02. Sonata for Pianoforte and Horn in F Major, Op. 17: II. Poco adagio, quasi andante
03. Sonata for Pianoforte and Horn in F Major, Op. 17: III. Rondo. Allegro moderato
04. Adagio and Allegro for Pianoforte and Horn, Op. 70: No. 1. Langsam, mit innigem Ausdruck
05. Adagio and Allegro for Pianoforte and Horn, Op. 70: No. 2. Rasch und feurig
06. Fantasiestuecke for Pianoforte and Horn, Op. 73: No. 1. Zart und mit Ausdruck
07. Fantasiestuecke for Pianoforte and Horn, Op. 73: No. 2. Lebhaft, leicht
08. Fantasiestuecke for Pianoforte and Horn, Op. 73: No. 3. Rasch und mit feuer
09. Three Romances for Pianoforte and Horn, Op. 94: No. 1. Nicht schnell
10. Three Romances for Pianoforte and Horn, Op. 94: No. 2. Einfach, innig
11. Three Romances for Pianoforte and Horn, Op. 94: No. 3. Nicht schnell
12. Alteration of the Sonata for Piano No. 2, Op. 27 by Beethoven into Sonata for Horn and Piano, Op. 95: I. Adagio sostenuto
13. Alteration of the Sonata for Piano No. 2, Op. 27 by Beethoven into Sonata for Horn and Piano, Op. 95: II. Allegretto
14. Alteration of the Sonata for Piano No. 2, Op. 27 by Beethoven into Sonata for Horn and Piano, Op. 95: III. Allegro agitato

Composers:
Beethoven, Ludwig van (1770-1827)
Klebe, Giselher (1925-2009)
Schumann, Robert (1810-56)

Personnel:
Přemysl Vojta, horn
Tobias Koch, piano

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With his ensemble Pygmalion, Raphaël Pichon has written the listing for this album in the form of a “pastiche” of a Mass for the Dead, a Requiem both sacred and profane. While it is a long way from having all the defining traits, it does possess all the outlines: Introit, Kyrie, Gradual, Sequence, Offertory, In Paradisum… The idea came about after a recent discovery, in the Bibliothèque Nationale of an anonymous requiem mass from the 18th century, in which the writer constructed a “parody” based on musical extracts from Castor and Pollux and the Fêtes de Paphos by Jean-Philippe Rameau. Note that the term “parody” doesn’t necessarily imply satire or mockery: it refers to the practice of taking up older music and setting new words to it. This fusion of sacred music (the mass) and profane music (lyrical tragedy), a common practice during the Enlightenment, was a procedure that Pichon wanted to take up.

In French society at the time, when Catholicism was the norm, where the political system was monarchical rule by divine right, the representation of ancient pagan Hell on theatrical stages seemed to betray a fascination in the beliefs of the ancients. And so this programme melds together pagan fable with a Christian imaginary, where Hell takes on different faces. It is the place of unjust and eternal torment, a place of privation where a couple is separated, one half kept in Hades. But, in the lyrical tragedy, Hell is also a place of perdition: obscure forces unleashed in Sabbath rites, a Satanic vision which unearths the darkest depths of the human soul… Stéphane Degout is the author of this tragedy, bringing together such varied characters as Phaedra, Pluto, and the Parcae. The composers whose music is put to use are Rameau and Gluck, with a single borrowing from Rebel: it would have been a shame not to mention his singular Chaos (taken from Éléments), which starts with a dissonant chord containing the seven notes of the scale of D minor.

Tracklist:
01. Zoroastre, RCT 62, Act IV, Scene 6: Ah ! Nos fureurs ne sont point vaines (La Vengeance)
02. Les Élémens: Chaos
03. Dardanus, RCT 35, Act IV, Scene 4: Voici les tristes lieux. Montre affreux (Anténor)
04. Messe de Requiem sur des thèmes de Castor et Pollux: Requiem æternam
05. Iphigénie en Tauride, Wq. 46, Act II, Scenes 3 & 4: Dieux ! Protecteurs de ces affreux rivages (Oreste)
06. Messe de Requiem sur des thèmes de Castor et Pollux: Kyrie eleison
07. Hippolyte et Aricie, RCT 43, Act II, Scene 4: Dieux ! Que d’infortunés gémissent en ces lieux ! (Thésée)
08. Les Surprises de l’amour, RCT 58, Act II, Scene 8: Loure
09. Armide, Wq. 45, Act IV, Scene 1: Nous ne trouvons partout que des gouffres ouverts (Ubalde et le Chevalier danois)
10. Messe de Requiem sur des thèmes de Castor et Pollux: Domine Jesu Christe
11. Orphée et Eurydice, Wq. 30, Act II, Scene 1: Sinfonie infernale. Air de furie
12. Zoroastre, RCT 62, Act IV, Scenes 5 & 6: Épuisons le flanc des tristes victimes (Abramane)-Ministres, redoutés du plus puissant empire (Abramane, Érinice)
13. Zoroastre, RCT 62, Act IV, Scene 5: Air grave pour les Esprits infernaux
14. Zoroastre, RCT 62, Act IV, Scene 6: Quel bonheur ! L’Enfer nous seconde (Abramane, Les Furies, choir)
15. Orphée et Eurydice, Wq. 30, Act II: Danse des Furies
16. Hippolyte et Aricie, RCT 43, Act II, Scene 5: Vous, qui de l’avenir percez la nuit profonde (Pluton)-Quelle soudaine horreur (Trois Parques)
17. Hippolyte et Aricie, RCT 43, Act III, Scene 6: Qu’ai-je appris ? Puissant maître des flots (Thésée)
18. Messe de Requiem sur des thèmes de Castor et Pollux: Hostias et preces tibi
19. Hippolyte et Aricie, RCT 43, Act IV, Scene 4: Quelle plainte en ces lieux m’appelle ? (Phèdre)
20. Hippolyte et Aricie, RCT 43, Act V, Scene 2: Je ne te verrai plus ! (Thésée)
21. Orphée et Eurydice, Wq. 30, Act II, Scene 2: Ballet des Ombres heureuses
22. Messe de Requiem sur des thèmes de Castor et Pollux: Requiem æternam
23. Les Boréades, RCT 31, Act IV, Scene 4: Entrée de Polymnie

Composers:
Gluck, Christoph Willibald (1714-87)
Rameau, Jean Philippe (1683-1764)
Rebel, Jean-Féry (1661-1747)

Personnel:
Stéphane Degout, baritone
Pygmalion
Raphaël Pichon, conductor

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To celebrate its fifteen-year career, the Quatuor Ellipsos wanted to pay tribute to the wind orchestras which unite so many amateur musicians all over the world. With blazing brass, jazz swing, African rhythms and sounds from Asia, along with a touch of tango and Irish fiddle, “United Colors” is a melting pot of sax culture. Their fifth album, crafted with playfulness and collaboration, combines new creations for saxophone quartet with pieces for wind orchestra, alongside the Philharmonie de Nantes.

Tracklist:
01. Sir Patrick
02. High Life
03. Spotlights
04. Pulse
05. The Pale Dancer: I.Andante
06. The Pale Dancer: II. Vivo
07. United Colors of Saxophones: I. Con moto
08. United Colors of Saxophones: II. Tranquillo
09. United Colors of Saxophones: III. Vivace

Personnel:
Quatuor Ellipsos:
Paul-Fathi Lacombe, soprano saxophone
Julien Bréchet, alto saxophone
Sylvain Jarry, tenor saxophone
Nicolas Herrouet, baritone saxophone
Nantes Philharmonie
Frederic Oster, direction

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Leader of the European modernity early XXth century, Karol Szymanowski is still quite ignored today. A certain esotericism emanates from the music and of the artistic personality of this grand Polish lord. His fickleness and his language evolving with his influences : Strauss, Debussy, Scriabine in particular, could have been intimidating. And yet, there is hardly any music more immediately recognizable than Szymanowski’s,especially if you concentrate on his major and most significant works. One of his most identifiable « signatures » will be, for example, this « voice » of the violin, in the mysterious and upper register, sensual and immaterial at the same time, like the song of a heavenly mermaid…

Tracklist:

KAROL SZYMANOWSKI
Quartet N. 1 op.37
1 Lento assai 8’22
2 Andantino semplice 6’01
3 Vivace 3’52

MAURICE RAVEL
Quartet in F
4 Allegro moderato 8’08
5 Assez vif 6’34
6 Très lent 8’43
7 Vif et agité 5’08

KAROL SZYMANOWSKI
Quartet N. 2 op.56
8 Moderato 7’38
9 Vivace sherzando 4’46
10 Lento 5’26

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The motto of the Modigliani Quartet, founded in Paris in 2003, is taken from the artist whose name they borrowed: “Your true duty is to save your dream.” Haydn deserves nothing less. The father of the string quartet wrote 68 works in the form. The Modiglianis have chosen three, from the great sets Op 50, Op 76 and Op 77. It may strike us as an arbitrary selection. Why these, and what will come next? But if you want to try out Haydn this is a representative starting point: the wit, ingenuity, laughter and gravitas come through in these occasionally rough-hewn but buoyant performances.

Tracklist:
Joseph Haydn (1732–1809)
01. Quartet in G Major No. 1, Op. 76, Hoboken No. III. 75: I. Allegro con spirito
02. Quartet in G Major No. 1, Op. 76, Hoboken No. III. 75: II. Adagio
03. Quartet in G Major No. 1, Op. 76, Hoboken No. III. 75: III. Menuetto
04. Quartet in G Major No. 1, Op. 76, Hoboken No. III. 75: IV. Allegro ma non troppo
05. Quartet in B Major No. 1, Op. 50, Hoboken No. III. 44: I. Allegro
06. Quartet in B Major No. 1, Op. 50, Hoboken No. III. 44: II. Adagio non lento
07. Quartet in B Major No. 1, Op. 50, Hoboken No. III. 44: III. Menuet
08. Quartet in B Major No. 1, Op. 50, Hoboken No. III. 44: IV. Vivace
09. Quartet in G Major No. 1, Op. 77, Hoboken No. III. 81: I. Allegro
10. Quartet in G Major No. 1, Op. 77, Hoboken No. III. 81: II. Adagio
11. Quartet in G Major No. 1, Op. 77, Hoboken No. III. 81: III. Menuetto
12. Quartet in G Major No. 1, Op. 77, Hoboken No. III. 81: IV. Presto

Personnel:
Quatuor Modigliani:
Philippe Bernhard, violin
Loïc Rio, violin
Laurent Marfaing, viola
François Kieffer, cello

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Petite Afrique, the new album from superb jazz chanteuse Somi, is a song cycle inspired by the vibrant African immigrant community that has become a vital part of Harlem s cultural dimension and to New York City as a whole. The historic uptown neighborhood fondly boasts of West 116th Street as “Little Africa,” where passersby can find any number of African immigrant shops selling a vast array of products and food. Over the last decade, gentrification has crept deeper into Harlem, pushing the African immigrants out. With Petite Afrique, Somi ensures that the stories and struggles of New York City’s largest African community do not disappear without having ever been told. The songs on the album are based on Somi’s conversations with diverse members of the Harlem community reflecting on themes of transnationalism, cultural difference, assimilation and gentrification. Blending modern jazz, African music and the singer-songwriter tradition, Petite Afrique is an amalgamation of the musical and cultural worlds that resonate with Somi as an African AND American woman and a proud Harlemite.

Born in Illinois, the daughter of immigrants from Uganda and Rwanda, Somi is a TED Global Fellow and also the founder of the New Africa Live nonprofit that champions African artists. For the last decade Somi has carved out a career of singing and being an activist.

For her previous effort, 2014’s superb Lagos Music Salon, New York-based singer/songwriter Somi moved to Lagos, Nigeria in order to absorb the city’s vibrant music and culture and utilize them as a catalyst for her own cross-pollinated jazz and R&B. On 2017’s Petite Afrique, she turns her attention back across the Atlantic to New York’s Harlem, drawing inspiration from that city’s deep cultural roots to celebrate America’s immigrant experience. Although born in Illinois, Somi is the daughter of Rwandan and Ugandan immigrants, and even spent several years living in Zambia and Kenya as a child. Consequently, she brings a unique cultural perspective to her music, a sound informed by jazz, R&B, and African and Latin traditions. Here, Petite Afrique (or “Little Africa”) refers to a stretch of Harlem along West 116th Street, famed for its many shops and restaurants historically run by French-speaking Muslim West African immigrants. Somi even includes snippets of recorded conversations she had with Harlem locals and cab drivers to help flesh out her story-based song cycle. Produced by Lagos Music Salon’s Keith Witty, Petite Afrique showcases an adept ensemble including guitarist Liberty Ellman, pianist Toru Dodo, bassist Michael Olatuja, and drummer Nate Smith. Also collaborating with Somi is trumpeter and associate producer Etienne Charles (himself an immigrant who grew up in Trinidad), who co-wrote some of the songs and supplies string and horn arrangements featuring fellow jazz musicians tenor saxophonist Marcus Strickland and alto saxophonist Jaleel Shaw. The result is a set of songs that deftly straddle the lines between evocative R&B, atmospheric world music, and organically robust jazz. It’s a sophisticated vibe, full of pathos, awareness, and poetry, both in the lyrics and in the melodies. It brings to mind the work of icons like Nina Simone and Miriam Makeba, and aligns Somi with such highly regarded contemporaries as Cassandra Wilson and Esperanza Spalding. After a brief opener of found sounds and spoken words that set the Harlem milieu, Somi kicks things off with “Alien,” a bold, wry reworking of Sting’s “Englishman in New York,” featuring the revised chorus of “I’m an alien, I’m a legal alien, I’m an African in New York.” Similar themes of racial and cultural identity crop up throughout Petite Afrique, as on the moody, Afro-pop-inflected “Black Enough” and the languid, classical guitar-tinged “Like Dakar.” Elsewhere, Somi ruminates on the gentrification of Harlem on the thrilling, Duke Ellington and Charles Mingus-influenced “The Gentry.” She also delivers several poignantly rendered ballads, including the string-accented “They’re Like Ghosts,” in which she equates the romanticized feelings one might have for an old lover with the displacement of moving to a new country and longing for a past that might never have really existed, at least not exactly as you might remember it. She sings “They’re like ghosts, these old lovers/Glowing in my dreams, twilight/Singing with a sweet familiar/But out of reach and out of sight.” Undeniably, Somi has crafted a deeply emotive, socially minded album rife with layers of dense jazz harmonies and intoxicating soul grooves. However, what truly grabs your attention on Petite Afrique is her intuitive ability to capture the spirit of the immigrant heart, that dichotomously sorrowful and joyous sweet familiar between the old world and the new. ~ Matt Collar

Tracklist:
01. Disappearing Act I
02. Alien
03. Black Enough
04. The Wild One
05. They’re Like Ghosts
06. The Gentry (feat. Aloe Blacc)
07. Kadiatou the Beautiful
08. Holy Room
09. Disappearing Act II
10. Let Me
11. BLUE
12. Go Back to Your Country (Interlude)
13. Like Dakar
14. Midnight Angels

Personnel:
Somi – vocals
Liberty Ellman – guitar
Nate Smith – drums
Keith Witty – keyboards, percussion, bass
Toru Dodo – piano
Michael Olatuja – acoustic bass
Marika Hughes – cello
Etienne Charles – trumpet
Jaleel Shaw – alto saxophone
Marcus Strickland – tenor saxophone (on tracks 3, 6, 13)
Mazz Swift – violin
Dana Lyn – violin
Jessica Troy – viola
Marika Hughes – cello

Download:

https://subyshare.com/74poa5uviyx4/S0miPetiteAfrique20172444.1.rar.html

Son Lux is the grand genre-less dream of Los Angeles composer Ryan Lott brought to roiling, vivid life with the help of two New Yorkers, guitarist Rafiq Bhatia and drummer Ian Chang. Each is a writer, producer, and performer with omnivorous taste and a penchant for wild improvisation a band whose mix of electronic pop, unusual soul, and outright experimentalism feels more inviting than ever on the project’s fifth album, ‘Brighter Wounds.’ The songs therein leave behind Son Lux’s typically universal themes for deeply personal fare. While making ‘Brighter Wounds,’ Lott became a father to a baby boy and lost a best friend to cancer. Days of “firsts” were also days of “lasts,” and the normal fears that accompany parenthood were compounded by a frightening new reality Lott’s son arrived shortly after Election Day. These songs draw on all of that: warm reflections of a fading past, pain wrenched from a still-present loss, and a mix of anxiety and hope for a future that is promised to no one.

Tracklist:
01. Forty Screams
02. Dream State
03. Labor
04. The Fool You Need
05. Slowly
06. All Directions
07. Aquatic
08. Surrounded
09. Young
10. Resurrection

Download:

https://subyshare.com/quxygxdyivea/S0nLuxBrighterW0unds20182444.1.rar.html

Now, Son Lux is a band. A trio, to be exact; one that has meticulously woven together dizzying percussion, fraying guitar, symphonic bluster, and haunting vocals into a quaking and vivid post-pop (post-everything) burst called Bones. The fourth Son Lux album combines all of the architectural precision and aural inventiveness we’ve come to expect, with more immediacy and melody than ever. That’s all to do with the crew.

Ever adapting his creative process, composer/keyboardist/singer/producer Ryan Lott enlisted his Lanterns touring bandmembers, guitarist/composer Rafiq Bhatia and drummer Ian Chang, to co-write the fourth Son Lux album, the first recorded as a band. The recording and processing techniques Lott has continued to refine from previous albums, including digitally manipulating acoustic instrument recordings, are on full display on Bones, with exotic rhythms, startling anthems, and those organic-mechanical timbres forming a bold song set with an unshakably dystopian feel. Chang’s herky-jerky, rhythmically tantalizing drumming style is a perfect complement to Lott’s crackling, distraught-sounding singing voice, both evident on the relentlessly irregular “Flight,” also with melodic eruptions of flute voicings, experimental noise guitar, and disquieting lyrics: “Are we now what we’ll be?/Are we fixed or free?” “You Don’t Know Me,” described by Bhatia as expressing defiance of political and organizational oppression (“I feel you tracing my scars, but you don’t know me”), is sultry, alarm-riddled art-dance-rock with an inspired, out-of-the-blue rhythm section break with Andrews Sisters-style guest chanteuses. The record is continually surprising, from the blown-out, crushing booms and anthemic chorus of “Change Is Everything” to the diverse drum-sound palette within “White Lies” to the dissonant guitar work on the more psychedelic-leaning “Undone,” and those aren’t all of the noteworthy events within just those songs. The album is also compellingly catchy and danceable throughout, though persistently grim in subject matter and tone; “I Am the Others,” for instance, repeats “Am I the only one?,” “Where are the others?,” and “You are the most fortunate one” for a truly apocalyptic effect among clattering rim drumming, distorted low-end chords, and howling voices. Listeners who can withstand or embrace the heaviness will find an inspiring amount to appreciate. Bones is inventive, unsettling, imposing, and utterly arresting.

Tracklist:
01 – Breathe In
02 – Change Is Everything
03 – Flight
04 – You Don’t Know Me
05 – This Time
06 – I Am The Others
07 – Your Day Will Come
08 – Undone
09 – White Lies
10 – Now I Want
11 – Breathe Out

Download:

https://subyshare.com/0j0r05ftk67e/S0nLuxB0nes2015HDTracks2496.rar.html

Starsailor burst onto the scene in 2001 when their single Fever earned them the title of “Britain’s best new band”. The band was formed at Wigan and Leigh Music College by music students James Walsh (vocals/guitar), James Stelfox (bass), and Ben Byrne (drums). Later saw the arrival of keyboardist Barry Westhead, who cemented their sound. In April 2000, after seeing their first London show (at the Heavenly Social) the NME wrote: “One live encounter was enough to convince many sceptics that here was a band who were genuinely special, blessed with a singer whose voice thrummed like an emotional telegraph wire, that swerved the pitfalls of indie melancholia and were clearly in love with rock ‘n’ roll and all its possibilities.” Their debut album Love Is Here featuring the Top 10 single Alcoholic, reached Number Two in the UK Album Charts in October 2001, after receiving great critical acclaim and went on to sell over half a million copies in the UK alone.

Tracklist:
01. Listen to Your Heart
02. All This Life
03. Take a Little Time
04. Caught in the Middle
05. Sunday Best
06. Blood
07. Best of Me
08. Break the Cycle
09. Fallout
10. Fia (Fuck It All)
11. No One Else

Download:

https://subyshare.com/i0vx6nxh29uv/Starsail0rAllThisLife20172444.1.rar.html

1969’s “Brave New World” is the album that not only fully integrates the blues-rock stomp and hazy trippiness of “Children Of The Future” and “Sailor”, but also adds a newfound pop gloss. Indeed, elements of this album would reappear throughout Miller’s stratospherically successful mid-’70s commercial heyday: the slyly humorous centerpiece rocker “Space Cowboy” was name-checked on “The Joker,” and the main riff of “My Dark Hour” (a studio collaboration between Miller and Paul McCartney) would later reappear as the intro to the huge hit “Fly Like An Eagle.” Brave New World also benefits heavily from the contributions of famed British keyboardist Nicky Hopkins. Acid rockers like “Can’t You Hear Your Daddy’s Heartbeat” and “Got Love ‘Cause You Need It” are wisely kept to the 2:30 mark, saving them from getting bogged down in the monotonous jamming that ruined so many albums of the period, while forward-looking experiments like the noise-rock interludes on the title track give the album a freshness that belies its recording date.

Blasting out of stereo speakers in the summer of 1969, Brave New World was more fully realized, and rocked harder, than the Steve Miller Band’s first two albums. From the opening storm of the uplifting title track to the final scorcher, “My Dark Hour,” featuring Paul McCartney (credited as “Paul Ramon”), this recording was the strongest project before Miller’s Fly Like an Eagle days. “Celebration Song” has a sliding bassline, while “LT’s Midnight Dream” features Miller’s slide guitar. “Can’t You Hear Your Daddy’s Heartbeat” sounds like it was lifted right off of Jimi Hendrix’s Are You Experienced, and “Got Love ‘Cause You Need It” also has a Hendrix-ian feel. “Kow Kow” is a wonderfully oblique song featuring Nicky Hopkins’ distinctive piano style. Hopkins’ piano coda on that song alone is worth the price of this album. “Space Cowboy,” one of several songs co-written with Ben Sidran, defined one of Miller’s many personas. “Seasons,” another Sidran collaboration, is a beautifully atmospheric, slow-tempo piece. Steve Miller’s guitar playing is the star of this album, blazing across the whole affair more prominently than on any other release in his lengthy career; many of the songs have a power trio feel. In addition to the fine guitar work, Miller’s vocals are stronger here, and during this era in general, than they would be in his hitmaking days in the mid-’70s, when he was much more laid-back and overdubbed. Ever the borrower, adapter, and integrator, Steve Miller shapes the blues, psychedelia, sound effects, sweet multi-tracked vocal harmonies, and guitar-driven hard rock into one cohesive musical statement with this release.

Tracklist:
01. Brave New World
02. Celebration Song
03. Can’t You Hear Your Daddy’s Heartbeat
04. Got Love ‘Cause You Need It
05. Kow Kow Calqulator
06. Seasons
07. Space Cowboy
08. LT’s Midnight Dream
09. My Dark Hour

Personnel:
Steve Miller – guitar, lead vocals (1, 2, 4–7, 9), harmonica
Glyn Johns – guitar, backing vocals, percussion
Lonnie Turner – bass (all but 9), backing vocals, guitar
Ben Sidran – keyboards
Tim Davis – drums (all but 9), lead vocals (3, 8)
Additional musicians:
Nicky Hopkins – piano (5)
Paul McCartney (as “Paul Ramon”) – drums (9), bass guitar (9), backing vocals (2,9),[5] guitar (9)

Download:

https://subyshare.com/qtsmc4huxnyl/SteveMillerBandBraveNewW0rld20182496.rar.html

Released in the summer of 1970, Number 5 was the fifth LP by the Steve Miller Band in just over two years. While it compares favorably to its immediate predecessor, Your Saving Grace, it is not quite up to the consistent excellence of the potent Brave New World from the previous summer. However, it does have a fair share of delights, especially the opening triumvirate of “Good Morning,” “I Love You,” and “Going to the Country.” These selections, and all of side one, have a distinctly more rural feel than did previous recordings, due perhaps to the fact that the tracks were recorded in Nashville. Charlie McCoy contributes harmonica to several of these cuts, and Buddy Spicher plays fiddle on “Going to the Country,” while Bobby Thompson adds banjo to “Tokin’s.” Side two is more uneven, with the lead-off mid-tempo rocker “Going to Mexico” serving as a conclusion to the first side’s thematic coherence, and the closing “Never Kill Another Man” a string-laden ballad. Sandwiched between them are three experimental-sounding pieces, seasoned with sound effects, buried vocals, and semi-political themes. Although it couldn’t have been predicted at the time, Number 5 represented the end of an era for Steve Miller and bandmates, and subsequent albums would sound nothing like this first batch of great recordings.

Tracklist:
01. Good Morning
02. I Love You
03. Going To The Country
04. Hot Chili
05. Tokin’s
06. Going To Mexico
07. Steve Miller’s Midnight Tango
08. Industrial Military Complex Hex
09. Jackson-Kent Blues
10. Never Kill Another Man

Download:

https://subyshare.com/vpxchihes6kj/SteveMillerBandNumber520182496.rar.html

Long before Steve Miller discovered the art of writing great short pop songs with infectious guitar licks, he led a dynamite band that featured Boz Scaggs. This incandescent album was their last together and for the vast majority of Miller followers it remains the pinnacle. Sandwiched in between the band’s love for the blues and R&B with “Gangster Of Love” and “You’re So Fine” are great rock tracks such as “Living In The USA” and “Dime-A-Dance Romance.” The desert-island choice, however, is the imaginative instrumental “Song For Our Ancestors.” Close your eyes while listening to it and, without needing artificial stimulants, you can actually hear ferry boats entering the harbor, as captured in audio verite for the track.

Second album Sailor was produced by Glyn Johns at Wally Heider s Studio in Los Angeles, and released in October 1968. But this was the end of the five-man line-up, as Boz Scaggs and Jim Peterman left soon after. The album includes the classic opening instrumental Song For Our Ancestors , perennial concert favourite Living In The U.S.A. and three Boz Scaggs songs.

Most definitely a part of the late-’60s West Coast psychedelic blues revolution that was becoming hipper than hip, Steve Miller was also always acutely aware of both the British psychedelic movement that was swirling in tandem and of where the future lay, and how that would evolve into something even more remarkable. The result of all those ideas, of course, came together on 1968’s magnificent Sailor LP. What was begun on Children of the Future is more fully realized on Sailor, most notably on the opening “Song for Our Ancestors,” which begins with a foghorn and only gets stranger from there. Indeed, the song precognizes Pink Floyd’s 1971 opus “Echoes” to such an extent that one wonders how much the latter enjoyed Miller’s own wild ride. Elsewhere, the beautiful, slow “Dear Mary” positively shimmers in a haze of declared love, while the heavy drumbeats and rock riffing guitar of “Living in the U.S.A.” are a powerful reminder that the Steve Miller Band, no matter what other paths they meandered down, could rock out with the best of them. And, of course, this is the LP that introduced many to the Johnny “Guitar” Watson classic “Gangster of Love,” a song that would become almost wholly Miller’s own, giving the fans an alter ego to caress long before “The Joker” arose to show his hand. Rounding out Miller’s love of the blues is an excellent rendering of Jimmy Reed’s “You’re So Fine.” At their blues-loving best, Sailor is a classic Miller recording and a must-have especially for the more contemporary fan, where it becomes an initiation into a past of mythic proportion.

Tracklist:
01. Song For Our Ancestors
02. Dear Mary
03. My Friend
04. Living In The U.S.A.
05. Quicksilver Girl
06. Lucky Man
07. Gangster Of Love
08. You’re So Fine
09. Overdrive
10. Dime-A-Dance Romance

Personnel:
Steve Miller – guitar, lead vocals (1, 2, 4, 5, 7, 8), harmonica
Boz Scaggs – guitar, backing and lead (9, 10) vocals
Lonnie Turner – bass, backing vocals
Jim Peterman – keyboards, backing and lead (6) vocals
Tim Davis – drums, backing and lead (3) vocals

Download:

https://subyshare.com/my7zbft0ifa4/SteveMillerBandSail0r20182496.rar.html

Originally formed by Sublime members Eric Wilson and Bud Gaugh, along with singer/songwriter Rome Ramirez, Sublime with Rome have lost Gaugh, who has been replaced by Vandals, Devo, and even Guns N’ Roses drummer Josh Freese. So why not Sublime with Rome & Josh? Actually, reviving the Long Beach All-Stars name from Wilson’s post-Sublime career would be a better idea, as the free-flowing membership is more like a “project” than a band. All that said, there’s certainly a band “feel” on this second Sublime with Rome effort. Sirens is a step up from their debut, surprising returning fans by opening with a heavily produced, Dirty Heads feature that’s quite good before sliding into the young and organic California rock-reggae that defined their mothership act. “Wherever You Go” skillfully flirts with pop-punk, “House Party” is smooth, jam-band chillin’ with no worries, and then a ripping version of Fishbone’s classic “Skankin'” brings it all home with a song from one of the original act’s influences. Freese is an excellent edition, a musician’s musician who pushes Wilson back into deep bass grooves, while Ramirez’s voice is still big, powerful, and persuasive. Problem is, that band name is more arguable than ever, and yet Sirens proves that some kind of Wilson and Ramirez project would benefit the stoned-and-sandals set, so recommend this one to every Rebelution, Pepper, or Slightly Stoopid fan you see. ~ David Jeffries

Tracklist:
01. Sirens (feat. Dirty Heads)
02. Wherever You Go
03. Brazilia
04. House Party
05. Been Losing Sleep
06. Promise Land Dubb
07. Best of Me
08. Put Down Your Weapon
09. Run and Hide
10. Skankin
11. Gasoline

Personnel:
Eric Wilson – bass
Rome – vocals, guitar
Josh Freese – drums

Download:

https://subyshare.com/rd9k6nh5501w/SublimeWithR0meSirens20152444.1.rar.html

Susan Christie was a Philadelphia-based folksinger and a one-time member of the Highlanders, that city’s top “big-band” folk ensemble of the early ’60s. She attended the Berklee College of Music in Boston, and took easily to the new requirements of the booming folk-rock field in the mid-’60s. She was cheerful and sufficiently accessible as a singer to lend her voice to the song “I Love Onions” (popularized on the Captain Kangaroo show) in 1966. That was enough to get her a chance to cut a brace of demos during the years 1966-1968, comprised of exquisitely beautiful examples of what could only be called acid folk. Her prospective record label was unimpressed with (or, more likely, unprepared for) Christie’s melodic yet thoroughly downbeat creations, mostly her unique takes on traditional country and folk material, which included one of the most hauntingly beautiful and eerily scary version of Stan Jones’ “(Ghost) Riders in the Sky” that one is likely to ever hear. Her subsequent efforts at getting recorded came to nothing, and Christie has been something of a mystery, as to her fate and career, ever since. In 2006, eight of her mid-’60s demos were assembled for a CD release by B-Music, thus pulling Christie out of an obscurity far greater than that ever experienced by, say, Vashti Bunyan, and exposing her music to an audience two generations removed from the one for which she was aiming (and if only a downtown New York gig and the attendant press attention could follow, as happened for Bunyan…).

Tracklist:
01. I Love Onions
02. Take Me as You Find Me
03. Tonight You Belong to Me
04. Toy Balloon
05. All I Have to Do Is Dream
06. Anywhere You Are
07. King Kong
08. Frank N. Stein
09. Tell Me, Tell Me

Download:

https://subyshare.com/iua27dlstc5i/SusanChristieC0lumbiaSingles20182496.rar.html

A one-way ticket to the darkest and most somber corners of the human souls. This is usually what every album from Suuns sounds like. With Hold/Still released in 2016, the Canadian band dived a little bit more into this protean rock ‘n’ rock that can’t decide between sick psychedelia and experimental deflagrations, whether carried by saturated guitars or elegantly Stakhanoviste electronic beats. As often with Suuns, you hear krautrock in the style of Can or of the Neu!, shoegaze stolen from My Bloody Valentine, post-punk in the style of The Fall, electro in the style of Warp, and many other things more or less avant-garde… As worrisome as it is fascinating, this fourth album is quieter than the previous ones. Suuns somewhat lets loose and gives birth to a less clinical recording, more organic and handcrafted, but that does not mean it is less oppressive. Once again: it is not for the faint hearted.

Tracklist:
01. Look No Further
02. X-ALT
03. Watch You, Watch Me
04. Baseline
05. After the Fall
06. Control
07. Make It Real
08. Daydream
09. Peace and Love
10. Moonbeams
11. Materials

Download:

https://subyshare.com/pbypyzruy5k2/SuunsFelt20182444.1.rar.html

„The new faces of German Jazz“ This is how the German magazine stern referred to triosence, the trio formed in 1999 by Bernhard Schüler (piano), Omar Rodriguez Calvo (bass) and Stephan Emig (drums). Since their debut album, “First Enchantment”, released in 2002, triosence has been praised by the music press all around the world. The trio has been acclaimed as one of the most successful jazz imports and as “the piano trio that changed our impression of the ‘stiff German jazz’.”

Triosence has performed all over the world, with tours in Germany, the United States, Brazil, Japan, Taiwan, Malaysia, Spain, Norway, Turkey, Lebanon, Albania and many more. Over the years they have created their own fresh and unique style from a combination of Jazz, Fusion, Folk and World Music. Because they emphasize melody and focus on the essence of the song as their trademark, the trio has labeled their music songjazz. The result is music that connects with a variety of audiences, from pure jazz fans to those who haven’t found themselves among jazz listeners before.

Tracklist:
01. As If It Was Yesterday
02. Hidden Beauty
03. Sad Chilean
04. Hit By Life
05. Thaisinha
06. Day At Scarlett’s
07. Some Things Never Change
08. Out Of Reach
09. Juquei
10. Leave Me Here
11. Basically It’s All Quit Simple

Personnel:
Bernhard Schüler – piano
Omar Rodriguez Calvo – bass
Stephan Emig – drums

Download:

https://subyshare.com/jl3eqrt7khf4/Tri0senceHiddenBeauty20172496.part1.rar.html
https://subyshare.com/2njg1vva7mp4/Tri0senceHiddenBeauty20172496.part2.rar.html

Pieter Wispelwey & Paolo Giacometti – Schubert & Brahms: The Complete Duos / Rondo (2018) [Official Digital Download 24bit/88,2kHz]

Piotr Beczala – Heart’s Delight – The Songs of Richard Tauber (2013) [Official Digital Download 24bit/96kHz]

Placido Domingo – Amore Infinito (2008/2014) [Official Digital Download 24bit/44,1kHz]

Poliça & s t a r g a z e – Music for the Long Emergency (2018) [Official Digital Download 24bit/44,1kHz]

Premysl Vojta & Tobias Koch – Metamorphosis, Horn & Piano (2018) [Official Digital Download 24bit/48kHz]

Stéphane Degout, Pygmalion, Raphaël Pichon – Enfers (2018) [Official Digital Download 24bit/96kHz]

Quatuor Ellipsos, Nantes Philharmonie & Frederic Oster – United Colors (2018) [Official Digital Download 24bit/48kHz]

Quatuor Joachim – Ravel & Szymanowski: String Quartets (2018) [Official Digital Download 24bit/44,1kHz]

Quatuor Modigliani – Haydn: Quartets, Op. 76 No. 1; Op. 50 No. 1; Op. 77 No. 1 (2014) [Official Digital Download 24bit/44,1kHz]

Somi – Petite Afrique (2017) [Official Digital Download 24bit/44,1kHz]

Son Lux – Brighter Wounds (2018) [Official Digital Download 24bit/44,1kHz]

Son Lux – Bones (2015) [Official Digital Download 24bit/96kHz]

Starsailor – All This Life (2017) [Official Digital Download 24bit/44,1kHz]

Steve Miller Band – Brave New World (1969/2018) [Official Digital Download 24bit/96kHz]

Steve Miller Band – Number 5 (1970/2018) [Official Digital Download 24bit/96kHz]

Steve Miller Band – Sailor (1968/2018) [Official Digital Download 24bit/96kHz]

Sublime With Rome – Sirens (2015) [Official Digital Download 24bit/44,1kHz]

Susan Christie – Columbia Singles (2018) [Official Digital Download 24bit/96kHz]

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

Triosence – Hidden Beauty (2017) [Official Digital Download 24bit/96kHz]