Peter Erskine and the Dr. Um Band – Second Opinion (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 57:11 minutes | 1,09 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: ProStudioMasters | Front Cover | ©  Fuzzy Music
Recorded by Mark Hornsby, Mixed by Talley Sherwood

The follow-up release to Peter Erskine’s Grammy-nominated “Dr. Um” album, reuniting the production team of Erskine with Grammy-nominated keyboardist and arranger John Beasley. “Second Opinion” is just that: a new look at songs and genres that are ripe and begging for expert musical attention.
From funky originals to Henry Mancini covers, the Dr. Um Band delivers. Featuring Peter Erskine, John Beasley, Bob Sheppard and Benjamin Shepherd. Recorded at Sweetwater Studios, engineered by Mark Hornsby and mixed by Talley Sherwood. Peter feels that this is his “best album yet!” The drum sound will blow you away.

Nerds who pick up Modern Drummer for the articles and not the hot pix of Neil Peart are well aware of Erskine, who’s topped that magazine’s poll as Best Drummer 10 or so times. He’s been on more than 600 records and helped out on a bunch of soundtracks, including all three Austin Powers movies. Sad that someone who’s so famous in certain circles needs that kind of introduction, but there you are — jazz heads are just happy for any written press, believe me. John Beasley on keys and Bob Shepperd on sax and flute front Erskine and bassist Benjamin Shepherd — it’s a package that sounds small, but the sounds are surprisingly large, starting with opener “Hipnotherapy,” which finds Erskine keeping simple time for a lazy hot-summer-midnight groove whose urbanity is pure Yellowjackets. Shepherd puts on a bass clinic in “Eleven Eleven,” bubbling away and barely coming up for air in this 1970s-funk-injected exercise, heavily reminiscent of vintage Ramsey Lewis owing to Beasley’s simple but busy electric piano (Shepperd’s sax is wide-screen in that one also). This one is a go-to for laid-back soundscaping; even the hotter tracks are sublime and friendly. I’ll be pulling this one out often. —Eric W. Seager

Tracklist:
1 Hipnotherapy 7:42
2 Eleven Eleven 4:59
3 Street of Dreams 5:54
4 Not so Yes 7:01
5 Did It Have to Be You? 7:07
6 Lida Rose 4:45
7 Solar Steps 6:39
8 Dreamsville 5:22
9 Willow Weep for Me 7:42

Personnel:
John Beasley, keys
Bob Sheppard, saxes, flutes
Benjamin Shepherd, bass
Peter Erskine, drums, percussions

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Pee Wee Spitelera – Country Clarinet (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 28:04 minutes | 1,07 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: RCA Victor’s “Nashville Sound” Studio, Nashville, Tennessee

Tracklist:
1 Country Clarinet 2:27
2 I Love You So Much It Hurts 2:41
3 San Antonio Rose 2:19
4 Bouqet Of Roses 2:11
5 I Love You Because 2:27
6 Have You Ever Been Lonely? (Have You Ever Been Blue) 2:05
7 Wabash Cannonball 2:15
8 I Really Don’t Want To Know 2:20
9 I Can’t Help It (If I’m Still In Love With You) 2:20
10 You Don’t Know Me 2:15
11 Detour 2:03
12 Night Train To Memphis 2:09

Personnel:
Pee Wee Spitelera, clarinet
Bill Walker, arranger, conductor

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Paul Desmond With Strings – Desmond Blue (1962/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 37:30 minutes | 1,38 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTT | Booklet, Front Cover | © High Definition Tape Transfers
Recorded at Webster Hall in New York City on September 13, 1961 (#1), September 28, 1961 (#5-7) and October 2, 1961 (#2-4,8,9)
Transferred from a RCA 4-track tape

As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as “My Funny Valentine,” “I’ve Got You Under My Skin,” and “Body and Soul,” is very rich in texture, yet subtle and mellow overall in mood. It’s unyielding purpose: to soothe the souls of its listeners. Desmond’s style and tone shine with an alluring quality, and the record is filled with melodies that don’t fail to stimulate the sophisticated jazz listener. Desmond’s melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as “My Funny Valentine,” “Late Lament,” and “Then I’ll Be Tired of You.” This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim’s bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming “Valentine,” which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune “I Should Care” is “a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp,” according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond.

Tracklist:
1 My Funny Valentine 3:48
2 Desmond Blue 3:36
3 Then I’ll Be Tired Of You 4:03
4 I’ve Got You Under My Skin 4:37
5 Late Lament 4:06
6 I Should Care 3:48
7 Like Someone In Love 4:09
8 Ill Wind 3:45
9 Body And Soul 4:53

Personnel:
Paul Desmond – alto saxophone
Albert Richman – French horn (#1-4,8,9)
Phil Bodner (#5-7), Robert Doty (#1), George Marge (#1), Romeo Penque (#2-9), Stan Webb (#2-4,8,9) – woodwinds
Gloria Agostini (#2-9), Eugene Bianco (#1) – harp
Jim Hall – guitar (#1,5,6,7)
Gene Cherico (#1), Milt Hinton (#2-9) – bass
Connie Kay (#1), Bobby Thomas (#2-9) – drums
Bob Prince – conductor

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Norah Jones – The Fall (2009/2012)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 45:59 minutes | 1,82 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © Blue Note Records/Analogue Productions
Recorded: 2008–2009, The Coop, NY, The Magic Shop, NY, Sunset Sound Recorders, CA, and House Of David, Nashville, TN; Mastered by Kevin Gray at Cohearent Audio from the original analog master tapes!

Part of Analogue Productions’ reissue of the Norah Jones’ solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album is also featured in exclusive LP and SACD box sets that include Norah’s Covers album!

Norah has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits and Modest Mouse. Richly detailed and vocally lush on this DSD format reissue by Analogue Productions, The Fall, Jones’ fourth album, may surprise some of Jones’ die-hard fans, Billboard magazine notes. During the 13-song set, Jones ditches the gentle piano playing of her previous work and tears into fresh, beat-savvy arrangements, playing plenty of electric guitar and exploring the piercing quality of Wurlitzer electric piano. Jones’ smoky voice and soulful veneer highlight the opening track and first single, “Chasing Pirates.”

Jones displays a slinky kind of ambience on “Light As a Feather (co-written with Ryan Adams). The social commentary “It’s Gonna Be” offers a garage-rock attitude, and “You’ve Ruined Me” has a rich Americana flavor. But Jones is still a little bit country (“Tell Yer Mama”) and a little bit rock’n’roll (“Stuck”). Overall, writes reviewer Gary Graff, Jones straddles those lines in an entirely different manner than she ever has before.
For The Fall, Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partners Jesse Harris and Richard Julian. Musicians include drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer).

With The Fall, Norah Jones completes the transition away from her smooth cabaret beginnings and toward a mellowly arty, modern singer/songwriter. Jones began this shift on 2007’s Not Too Late, an album that gently rejected her tendencies for lulling, tasteful crooning, but The Fall is a stronger, more cohesive work, maintaining an elegantly dreamy state that’s faithful to the crooner of Come Away with Me while feeling decidedly less classicist. Some of this could be attributed to Jones’ choice of producer, Jacquire King, best-known for his work with Modest Mouse and Kings of Leon, but King hardly pushes Norah in a rock direction; The Fall does bear some mild echoes of Fiona Apple or Aimee Mann in ballad mode, but its arrangements never call attention to themselves, the way that some Jon Brion productions do. Instead, the focus is always on Jones’ voice and songs, which are once again all originals, sometimes composed in conjunction with collaborators including her longtime colleagues Jesse Harris, Ryan Adams, and Will Sheff of Okkervil River. In addition to King’s pedigree, the latter two co-writers suggest a slight indie bent to Jones’ direction, which isn’t an inaccurate impression — there’s certainly a late-night N.Y.C. vibe to these songs — but it’s easy to overstate the artiness of The Fall, especially when compared to Not Too Late, which wore its ragged ambitions proudly. Here, Jones ties up loose ends, unafraid to sound smooth or sultry, letting in just enough dissonance and discord to give this dimension, creating a subtle but rather extraordinary low-key record that functions as a piece of mood music but lingers longer, thanks to its finely crafted songs. –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Chasing Pirates 02:41
2 Even Though 03:52
3 Light As A Feather 03:52
4 Young Blood 03:38
5 I Wouldn’t Need You 03:30
6 Waiting 03:31
7 It’s Gonna Be 03:11
8 You’ve Ruined Me 02:45
9 Back To Manhattan 04:10
10 Stuck 05:16
11 December 03:05
12 Tell Yer Mama 03:26
13 Man Of The Hour 02:57

Personnel:
Norah Jones – vocals, Wurlitzer electric piano (on tracks 1–2, 5, 7), piano (2, 5–6, 8–9, 11, 13), tack piano (9), electric guitar (3—6, 8, 10, 12), acoustic guitar (3–4, 8–9), Glockenspiel (6)
Zac Rae – synthesizer (3), Rhodes electric piano, vibraphone and marimba (4), Marxophone (8), organ (9, 12), clavinet (12)
James Poyser – Wurlitzer electric piano (1), organ (8)
John Kirby – synthesizer (1—3, 10), tack piano (1), piano (2, 10)
Matt Stanfield – synthesizer (11)
Sam Cohen – electric guitar (1, 5, 9)
Smokey Hormel – electric guitar (1)
Peter Atanasoff – electric guitar (2, 7, 10)
Sasha Dobson – acoustic guitar (3)
Lyle Workman – acoustic guitar (4), electric guitar (12)
Marc Ribot – electric guitar (8, 10)
Jon Graboff – pedal steel guitar (9)
Jesse Harris – acoustic guitar (11)
Frank Swart – bass (1, 8)
Dave Wilder – bass (2–3, 10), 6 string tick tack bass (2)
Gus Seyffert – bass (4–5, 9, 12)
Catherine Popper – bass (6)
Tony Scherr – bass (7)
Marco Giovino – drums and percussion (1, 8)
Robert DiPietro – drums (1, 6, 7)
Pete McNeal – drums (2–3, 10)
Joey Waronker – drums (4–5, 12)
James Gadson – drums (9)
Will Sayles – tambourine (2), hand drum (3), percussion (7)
Mike Martin – backing vocals (4)

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Norah Jones – Not Too Late (2006/2012)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 45:42 minutes | 1,8 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © Blue Note Records/Analogue Productions
Recorded: 2005–2006 at The Coop, NYC and Brooklyn Recording, NY; Mastered by Kevin Gray at Cohearent Audio from the original analog master tapes!

Norah Jones’ third studio album, Not Too Late, is an understated masterpiece from one of music’s greatest singer/songwriters. The album follows the success of her first two albums, Come Away with Me and Feels Like Home, which combined have sold over 27 million copies worldwide. The album, which features only self-penned material, finds Jones branching out and developing her signature crooner sound. The album highlighted by her extraordinary artistic growth is eloquently sung and immaculately performed. The outing topped Billboard’s Top 200 and featured the hit single, “Thinking About You.” This transitional effort is easily one of her most compelling and personal albums to date.

Recoils from fame usually aren’t as subdued as Norah Jones’ third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A — it’s not an ornery intensification of her sound nor a chilly exploration of its furthest limits — but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art’s sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early ’70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton’s Peeping Tom project, and finally there’s this hushed record, her first containing nothing but original compositions. It’s also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones’ success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones’ first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah’s music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It’s spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively — part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights — but the atmosphere here is stultifying even if it’s not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones’ nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps (“Sinkin’ Soon”) or tentatively stabs at politics (“My Dear Country”), it never feels out of place; often, the shift is so subtle that it’s hard to notice. That subtlety is the biggest Achilles’ heel on Not Too Late, as it manifests itself in songs that aren’t particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it’s the lazy jazz shuffle of “Until the End,” the country-tinged “Be My Somebody,” or the wonderful laid-back soul of “Thinking About You.” These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she’s more interested in pursuing her art than recycling Come Away with Me, and if this third album isn’t as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. –Stephen Thomas Erlewine

Tracklist:
1. Wish I Could 4:18
2. Sinkin’ Soon 4:38
3. The Sun Doesn’t Like You 2:59
4. Until the End 3:56
5. Not My Friend 2:54
6. Thinking About You 3:17
7. Broken 3:19
8. My Dear Country 3:25
9. Wake Me Up 2:46
10. Be My Somebody 3:36
11. Little Room 2:44
12. Rosie’s Lullaby 3:56
13. Not Too Late 3:31

Personnel:
Vocals: Norah Jones
Backing vocals: Norah Jones, Daru Oda, M. Ward, Richard Julian, Adam Levy
Whistle: Daru Oda
Piano: Norah Jones
Chamberlain keyboards: Paul Bryan
Acoustic guitars: Jesse Harris, Norah Jones
Electric guitar: Adam Levy, Norah Jones, Tony Scherr, Robbie McIntosh
Backwards electric guitars: Adam Levy
Pizzicato cello: Julia Kent
Bowed cello: Jeffery Ziegler
Guitjo: Jesse Harris
Mandolin: Kevin Breit
Trombone: J. Walker Hawkes
Bass: Lee Alexander
Bowed basses: Lee Alexander
Drums: Andy Borger, Tony Mason
Slit drum: Andy Borger
Pots & Pans: Andy Borger
Wurlitzer: Norah Jones
Hammond B-3 organ: Larry Goldings, Devin Greenwood
Marimba: Andy Borger
Cymbals: Andy Borger
Trumpet: Chuck Mackinnon
Tenor sax: Rob Suddith, Bill McHenry
Mellotron: Norah Jones
Cellos: Julia Kent
Pizzicato: Lee Alexander
Tuba: Jose Davilla
Lap steel: Lee Alexander

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Nicole Cabell – Chanson d’avril: French Chansons and Melodies (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:13 minutes | 0,97 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Delos Productions, Inc.
Recorded: January 2 – 6, 2013 at Allegro Recordings, Burbank, CA

Such praise is entirely typical of critical reaction to American soprano Nicole Cabell’s ravishing singing, whether from operatic, concert or recital stages worldwide. Indeed, this captivating artist has taken the classical world by storm since she won the BBC Cardiff Singer of the World award in 2005.
Drawn strongly to the French vocal repertoire, Nicole Cabell – in this, her first recording for Delos – explores the world of the chanson, and its direct descendant, the mélodie: France’s answer to the German Lied, or art song. Among the finest of mélodie composers are represented: Georges Bizet, Henri Duparc, Franz Liszt and Maurice Ravel. Nicole’s rich, silky-smooth voice and beautifully nuanced interpretations are supported with sensitivity and elegance by pianist Craig Terry.

This gratifying Delos release features the Californian soprano Nicole Cabell who won the BBC Singer of the World Competition in Cardiff in 2005. From a UK perspective I especially recall her 2006 Royal Opera House debut at the Barbican as Eudoxie in a concert performance of Halévy’s La Juive. There was also a solo recital at St. John’s, Smith Square, London in 2007 and in 2010 I remember her Royal Opera House concert performance of Bizet’s Les Pêcheurs de Perles as Hindu priestess Léïla. Much in demand, Cabell has appeared in a number of international theatres and opera houses but a check of her schedule shows that she tends to concentrate on working in the USA.
It comes as no surprise that Cabell has chosen to record a collection of chansons and mélodies as French is a language in which she excels. Together with Bizet, Duparc and Ravel some might raise an eyebrow at the inclusion of Liszt. With the wide choice of home-grown French composers available the choice may at first seem rather curious. Nevertheless the Hungarian-born Liszt had lived for some years in Paris with this mother. According to ‘The Collected Writings of Franz Liszt’ edited and translated by Janita R. Hall-Swadley (‘Introduction’ pg. 17, Scarecrow Press 2012) “His mother tongue was German, which he all but gave up after moving to Paris. Thereafter he began to speak French, his preferred language in speaking and writing throughout the rest of his life.” Using five languages Liszt wrote some eighty songs and the four that Cabell includes here are part of that French contingent.
My main thoughts after playing through this recital disc concern the elevated consistency of performance Nicole Cabell brings to these nineteen songs. Her fluid tone is a sheer delight and she moves easily through her soprano range. Feeling as if they are from a much earlier generation the Liszt’s songs seemed rather out of place in this company. Nevertheless, heard on its own, Liszt’s Oh! Quand je dors is the most charming work.
If I were to select just three songs from this disc they would be the wonderful Duparc mélodies. I relish the love song L’invitation au voyage for its shimmering beauty, the ardent expression given to Chanson triste with its undertow of melancholy and the rich and darkly expressive Au pays où se fait la guerre. There are more attractive timbres around than Cabell is able to produce and occasionally she is given to squeeze her notes. That said, Cabell has the rare ability firmly to engage the listener. It is hard to fault the piano accompaniment of Craig Terry who plays with such sensitivity throughout.
The Delos engineers shine yet again and provide clear sound and an excellent balance between voice and piano. Thanks are due for providing full song texts in French with English translations and a useful short description of each work. –Michael Cookson, MusicWeb International

Tracklist:
Georges Bizet (1838-1875)
1. Adieux de l’hôtesse arabe (4:59)
2. Ouvre ton coeur (2:40)
3. Pastorale (3:41)
4. Chanson d’avril (2:57)
Henri Duparc (1848-1933)
5. L’invitation au voyage (4:26)
6. Chanson triste (3:09)
7. Au pays où se fait la guerre (5:20)
Franz Liszt (1811-1886)
8. Enfant, si j’étais roi (3:06)
9. Oh! quand je dors (5:03)
10. S’il est un charmant gazon (2:07)
11. Comment, disaient-ils (1:57)
Maurice Ravel (1875-1937)
Shéhérazade
12. Asie (10:30)
13. La flûte enchantée (3:38)
14. L’indifférent (3:43)
Cinq mélodies populaires grecques
15. Chanson de la mariée (1:31)
16. Là-bas, vers l’église (1:49)
17. Quel galant m’est comparable (0.57)
18. Chanson des cueilleuses de lentisques (2:57)
19. Tout gai! (0.49)

Personnel:
Nicole Cabell, soprano
Craig Terry, piano

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Nicki Parrott – The Look Of Love (2013)
FLAC (tracks) 24 bit/88,2 kHz  | Time – 01:00:13 minutes | 1,22 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: e-Onkyo | Front Cover | © Venus Records
Recording: Avatar Studio In New York On September 17 & 18 , 2013

Australian native Nicki Parrott’s release from the Japanese label Venus Records is a collection of well-known theme songs from Hollywood movies. Supporting her are great musicians based in New York, including Chuck Redd on vibraphone, Ken Peplowski on tenor sax and clarinet, John Di Martino on piano, and her sister Lisa Parrott on baritone sax and alto sax.

Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15. After graduating high school she moved to Sydney to study jazz at the New South Wales Conservatorium of Music where she began to play with Australian musicians such as Mike Nock, Dale Barlow, Paul Grabowsky, Bernie McGann, and Ten Part Invention. She also toured Australia with Russian musicians Daniel Kramer and Alexander Fischer and American trumpeters Bobby Shew and Chuck Findley. She continued her studies with various bassists including visiting artists Ray Brown and John Clayton.
Nicki was the recipient of two awards, a scholarship to Pan Pacific Music Camps at the age of 16, and first place in the 1992 Jazz Action Society’s Annual Song Competition for her composition “Come and Get It”, which is the opening track of Nicki and her sister Lisa’s debut CD, “Awabakal Suite”. She was also nominated for the annual Australian Young Achievers Award by the Arts Council of Australia who granted her the funds to come to New York to study with Rufus Reid. Nicki came to New York in May 1994.
In June 2000, Nicki began performing on Monday nights at the Iridium Jazz Club with the legendary guitarist and inventor, Les Paul. As part of the Les Paul Trio, Nicki worked side-by-side with guitar greats from Paul McCartney, Slash, Steve Miller to fellow Aussie, Tommy Emmanuel.
Since then she has performed with such notable musicians as Michel Legrand, Joe Wilder, Randy Brecker, Clark Terry, Jose Feliciano, Bucky Pizzarelli, John Pizzarelli, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Harry Allen, Warren Vache, Marlena Shaw, David Krakauer, Ken Peplowski, Ann Hampton Callaway, Bill Mays, Scott Hamilton, Lillian Boutte, Larry Carlton and Houston Person, to name a few.
In 2007 and 2008, Nicki received back to back honors for Swing Journal’s Best Jazz Vocal Album (“Moon River” and “Fly Me to The Moon”, respectively).
In 2010 her album Black Coffee (Venus) received Swing Journal’s Gold Disc award.
In 2012, Nicki headlined the Fujitsu Concorde Jazz festival after the release of her eighth CD from Venus Records, “Sakura Sakura”.
Nicki has performed at most major festivals around the globe including the Mary Lou Williams Jazz Festival, Newport Jazz Festival, Jazz in July at the 92nd Street Y, Litchfield Jazz Festival, Detroit Jazz Festival, the Lionel Hampton Jazz Festival and the Newport Beach Jazz Party, Jazz Ascona and Bern Jazz Festival in Switzerland and many others.
Nicki has also performed in several Broadway shows such as “Avenue Q”, “Imaginary Friends”, “You’re a Good Man, Charlie Brown”, “Summer of ’42” and “Jekyll and Hyde” and has made several television and documentary appearances including “The Gossip Girls”, “Chasing Sound” and “Thank You Les”, which recently debuted on PBS.

Tracklist:
1. Moonlight Serenade 4:32
(from The Glenn Miller Story)
2. The Look of Love 3:53
(from Casino Royale)
3. The Man That Got Away 5:24
(from A Star Is Born)
4. As Time Goes By 4:02
(from Casablanca)
5. The Way We Were 5:35
(from The Way We Were)
6. Diamonds Are a Girl’s Best Friend 3:43
(from Gentlemen Prefer Blondes)
7. I’ve Grown Accustomed to His Face 4:02
(from My Fair Lady)
8. The Shadow of Your Smile 5:18
(from The Sandpiper)
9. Incurably Romantic 3:31
(from Let’s Make Love)
10. Moon River 4:15
(from Breakfast At Tiffany)
11. Over the Rainbow 4:32
(from The Wizard Of Oz)
12. Raindrops Keep Fallin’ on My Head 3:17
(from Butch Cassidy And The Sundance Kid)
13. On the Street Where You Live 4:43
(from My Fair Lady)
14. Smile 3:46
(from Modern Times)

Personnel:
Nicki Parrott, vocal, bass
Lisa Parrott, bariton & alto sax
Chuck Redd, vibraphone
Ken Peplowski, tenor sax & clarinet
John Di Martino, piano
Alvin Atkinson, drums

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SACD

http://hdmusic.pw/nicki-parrott-the-look-of-love-2013-japan-2015-sacd-iso-flac/

Nicki Parrott – The Last Time I Saw Paris (2013)
FLAC (tracks) 24 bit/88,2 kHz  | Time – 01:02:36 minutes | 1,29 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: e-Onkyo | Front Cover | © Venus Records
Recording: Avatar Studio in New York on February 18 & 19, 2013

Celebrated as an instrumentalist and a vocalist, Australian artist Nicki Parrott has earned acclaim as one of the most engaging talents to emerge on the jazz scene in the 21st century. Born in Newcastle, New South Wales, Australia in 1970, Parrott had a precocious talent for music, first learning to play the piano when she was four years old.

Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15. After graduating high school she moved to Sydney to study jazz at the New South Wales Conservatorium of Music where she began to play with Australian musicians such as Mike Nock, Dale Barlow, Paul Grabowsky, Bernie McGann, and Ten Part Invention. She also toured Australia with Russian musicians Daniel Kramer and Alexander Fischer and American trumpeters Bobby Shew and Chuck Findley. She continued her studies with various bassists including visiting artists Ray Brown and John Clayton.
Nicki was the recipient of two awards, a scholarship to Pan Pacific Music Camps at the age of 16, and first place in the 1992 Jazz Action Society’s Annual Song Competition for her composition “Come and Get It”, which is the opening track of Nicki and her sister Lisa’s debut CD, “Awabakal Suite”. She was also nominated for the annual Australian Young Achievers Award by the Arts Council of Australia who granted her the funds to come to New York to study with Rufus Reid. Nicki came to New York in May 1994.
In June 2000, Nicki began performing on Monday nights at the Iridium Jazz Club with the legendary guitarist and inventor, Les Paul. As part of the Les Paul Trio, Nicki worked side-by-side with guitar greats from Paul McCartney, Slash, Steve Miller to fellow Aussie, Tommy Emmanuel.
Since then she has performed with such notable musicians as Michel Legrand, Joe Wilder, Randy Brecker, Clark Terry, Jose Feliciano, Bucky Pizzarelli, John Pizzarelli, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Harry Allen, Warren Vache, Marlena Shaw, David Krakauer, Ken Peplowski, Ann Hampton Callaway, Bill Mays, Scott Hamilton, Lillian Boutte, Larry Carlton and Houston Person, to name a few.
In 2007 and 2008, Nicki received back to back honors for Swing Journal’s Best Jazz Vocal Album (“Moon River” and “Fly Me to The Moon”, respectively).
In 2010 her album Black Coffee (Venus) received Swing Journal’s Gold Disc award.
In 2012, Nicki headlined the Fujitsu Concorde Jazz festival after the release of her eighth CD from Venus Records, “Sakura Sakura”.
Nicki has performed at most major festivals around the globe including the Mary Lou Williams Jazz Festival, Newport Jazz Festival, Jazz in July at the 92nd Street Y, Litchfield Jazz Festival, Detroit Jazz Festival, the Lionel Hampton Jazz Festival and the Newport Beach Jazz Party, Jazz Ascona and Bern Jazz Festival in Switzerland and many others.
Nicki has also performed in several Broadway shows such as “Avenue Q”, “Imaginary Friends”, “You’re a Good Man, Charlie Brown”, “Summer of ’42” and “Jekyll and Hyde” and has made several television and documentary appearances including “The Gossip Girls”, “Chasing Sound” and “Thank You Les”, which recently debuted on PBS.

Tracklist:
1. Under The Paris Skies 4:05
2. The Windmills of Your Mind 4:13
3. Chanson De Maxence 5:19
4. Nuages – All For You 4:55
5. C’est Si Bon 3:45
6. I Will Wait For You 4:42
7. Hymne L’Amour – If You Love Me 3:56
8. L’Ame Des Poetes 3:26
9. The Last Time I Saw Paris 4:09
10. The River Seine 3:59
11. La Mer – Beyond The Sea 4:58
12. La Vie En Rose 4:14
13. If You Go Away – Ne Me Quitte Pas 5:06
14. What Are You Doing The Rest Of Your Life 6:29

Personnel:
Nicki Parrott, vocal, bass
Jacob Fischer, guitar
Gil Goldstein, accordion
John Di Martino, piano
Tim Horner, drums

Download:

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SACD

http://hdmusic.pw/nicki-parrott-the-last-time-i-saw-paris-2013-sacd-iso-flac/#more-40822

Nemanja Radulovic – Journey East (2014)
FLAC (tracks) 24 bit/96kHz  | Time – 54:20 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: prestoclassical.co.uk | Booklet, Front Cover | © Deutsche Grammophon
Recording: Teldex Studio Berlin, 3/2014 (orchestra); Paris, Studios Davout, 6/2014 (ensemble); Belgrade, Ilija M. Kolarac Foundation Concert Hall, 6/2014 (Sarievski)

For his international debut album on the Yellow Label, the brilliant young violinist Nemanja Radulović proposes a journey throughout the musical traditions of Eastern Europe. The selection contains all-time favorites, both classical and popular, from Eastern Europe, ranging from core classical pieces to traditional folk melodies to film music – among them Brahms’ Hungarian Dance, Dvořák’s Songs my mother taught me and William’s music from the film Schindler’s list.
Nemanja Radulović represents a boldly innovative young generation of classical artists – profoundly gifted and possessing enormous stage presence, he is constantly seeking new ways to communicate his fiery and innately musical performances to an ever-wider audience. He launched his international career in 2006 when he stood in for Maxim Vengerov at Paris’s Salle Pleyel, playing the Beethoven concerto to great acclaim with the Orchestre Philharmonique de Radio France under Myung-Whun Chung.
The album is produced by the hugely successful French composer-producer Yvan Cassar – known for his work with platinum-selling artists such as Roberto Alagna.

Serbian violinist Nemanja Radulovic, long flying hair and all, evokes the spirit and sound of the central European violinists of a hundred years ago. On this collection of pieces, mostly associated with Slavic lands (John Williams’ Theme from Schindler’s List makes a fascinating exception), he takes new chances, and they pay off big time. Radulovic has developed a vigorously rhythmic style that can build up a good deal of momentum in a piece like the opening Hungarian Dance No. 1 of Brahms, and he effectively alternates these with pieces that lay on the sentiment. What’s new here is that Radulovic has reached out and gotten the music he needs from other genres, from unusual sources, and from a variety of ensembles. There are several arrangements by Yvan Cassar that make a wonderful effect. Sample the violin-and-small ensemble version of Khachaturian’s Sabre Dance (track 4) for a bit of pure excitement that someone might have come up with in an old Viennese cafe in 1900, but probably not since then. Radulovic draws on some Serbian film soundtracks and on original compositions. He employs not only his usual backing group Les Trilles du Diable, but also a slightly larger string group called Double Sens and, on several tracks, the Deutsches Symphonie-Orchester Berlin. The musicians back up Radulovic’s fiery effects, and the result is perhaps the most colorful and exciting exotic violin recitals in many years. Bravo! –AllMusic Review by James Manheim

Tracklist:
Johannes Brahms (1833-1897)
Hungarian Dance No. 1 In G Minor
1. Hungarian Dance No. 1 In G Minor 03:12
Antonín Dvorák (1841-1904)
Gypsy Melodies, Op. 55, B. 104
2. Songs My Mother Taught Me 03:18
Peter Ilyich Tchaikovsky (1840-1893)
Swan Lake, Op.20 / Act 3
3. Danse russe (Moderato) 04:21
Aram Khachaturian (1903-1978)
Gayane
4. Sabre Dance 02:56
Sonja Kalajic
5. Vatra suze 03:17
Traditional
6. Pašona kolo 02:43
Aram Khachaturian
Masquerade Suite
7. Nocturne 03:39
Shostakovich (1906-1975)
The Gadfly Suite, Op. 97a
8. Romance 04:17
Sergei Prokofiev (1891-1953)
The Love For Three Oranges, Op.33
9. March (Arranged By Yvan Cassar) 01:35
John Williams (1932-)
Schindler’s List – Original Motion Picture Soundtrack
10. Theme 03:50
Traditional
11. Niška Banja 02:21
Zoran Simjanovic
Petrijin venac
12. Main Theme 04:19
Emir Kusturica (1954-)
Dejan Sparavalo: Life Is A Miracle
13. Ovo je muški svet 04:20
Vittorio Monti (1868-1922)
14. Csárdás 04:45
Aleksander Sarievski
15. Zajdi, zajdi, jasno sonce 05:37

Personnel:
Nemanja Radulović, violin & viola
Les Trilles du Diable
Double Sens
Deutsches Symphonie-Orchester Berlin
Michail Jurowski, conductor

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John D. Loudermilk – Sings A Bizarre Collection of Most Unusual Songs (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 34:31 minutes | 1,18 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: RCA Victor’s “Nashville Sound” Studio, Nashville, Tennessee

Tracklist:
1 To Hell with Love 02:43
2 Mary’s Little Boy Child 03:18
3 Ma Baker’s Little Acre 02:27
4 No Playing in the Snow Today 03:39
5 Bad News 03:01
6 The Little Grave 02:17
7 Talkin’ Silver Cloud Blues 03:50
8 I’m Looking for a World 02:00
9 The Lament of the Cherokee Reservation Indian 03:33
10 Interstate 40 02:29
11 You’re Lookin’ 02:40
12 Where Have They Gone 01:51

Personnel:
John D. Loudermilk, vocals, guitar

Download:

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Joe Simon – Simon Pure Soul (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 28:10 minutes | 0,99 GB | Genre: R&B, Soul
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Monument Records

Joe Simon established himself as a poignant, folksy, yet urgent vocalist with his debut album on the Sound Stage label. He was then working with the great disc jockey John “R” Richbourg, who helped him find the right blend of soulful ardor and countrified narrative. While neither “Teenager’s Prayer” nor “Nine Pound Steel” hit the charts, they laid the groundwork for Simon’s monster hits that followed two years later. This album has long been deleted; look for it on collector’s auction lists or in used record stores. –AllMusic Review by Ron Wynn

His plaintive baritone equally conversant with R&B and country phrasing, Joe Simon married the two genres with startling success during the late ’60s, adapting Nashville material to the soul sound and repeatedly coming up a winner. Simon began recording in the Bay Area, but a switch in recording sites (first to Muscle Shoals for Vee-Jay and then to Nashville, upon signing with disc jockey John Richbourg’s Sound Stage 7 label in 1966) heightened his national appeal. With easy access to prime country-oriented material, Simon soon found his true calling, scoring major hits with “Nine Pound Steel,” “(You Keep Me) Hangin’ On,” and the number one R&B smash “The Chokin’ Kind,” penned by Music Row tunesmith Harlan Howard. Still dabbling in country covers after switching to the Spring imprint in 1970, Simon was even more successful when assigned to Philadelphia wizards Kenny Gamble and Leon Huff, who produced the moody “Drowning in the Sea of Love” the next year. Simon tried his hand at disco in 1975 with the sizzling “Get Down, Get Down (Get on the Floor)” and “Music in My Bones,” two of the most palatable artifacts of the era. Simon eventually retired from active performing to devote his life to the church. –Artist Biography by Bill Dahl

Tracklist:
1 Too Many Teardrops 2:33
2 Travelin’ Man 1:55
3 Nobody But You 2:14
4 My Special Prayer 2:14
5 What Makes A Man Feel Good 2:08
6 That’s All I Want (From You) 2:23
7 Teenager’s Prayer 2:26
8 The Girl’s Alright With Me 2:00
9 Long Hot Summer 2:19
10 When A Man Loves A Woman 2:53
11 Miss You So 2:24
12 Too Many Rivers 2:18

Personnel:
Joe Simon, vocals

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Jim Reeves – Distant Drums (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 30:10 minutes | 1,14 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: RCA Victor’s Studio, New York City

Tracklist:
1 Distant Drums 2:46
2 Is It Really Over? 2:11
3 I Missed Me 2:31
4 Snow Flake 2:08
5 A Letter To My Heart 2:39
6 Losing Your Love 2:15
7 This Is It 3:03
8 Not Until The Next Time 2:42
9 Good Morning Self 2:20
10 Where Does A Broken Heart Go? 2:46
11 Overnight 1:57
12 The Gods Were Angry With Me 2:25

Personnel:
Jim Reeves, vocals

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Jens Schowings Blue Note Bach – Nocturne (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 55:50 minutes | 1,02 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HighResAudio | Booklet, Front Cover | © Blacklisted Records
Recorded: June 2016, Studio Hire Tonstudio by Christian Mayntz

After two pure Bach albums, the trio now also devotes itself to works by Chopin, Debussy, Mozart and Beethoven. Nocturne stands both for the peace of night as well as for its power to inspire. The album grabs these moods and savors them with pleasure. It takes the listener on a journey from familiar reconnection with classical works to more remote areas of almost free design and interpretation, with arrangements that at times provide a surprising access to the repertoire. Blue Note Bach masters the various characteristics with playful ease thanks to their many years of performing together.

Nocturne – der Titel des dritten Albums von Jens Schöwings Blue Note Bach steht für die Ruhe der Nacht ebenso wie für die Inspirationskraft, die diese Zeit des Tages für kreatives Schaffen oft bereithält. Nocturne fängt die unterschiedlichen Stimmungen ein und kostet sie genüsslich aus. Es nimmt den Hörer mit auf die Reise von vertrauten Orten der Wiederbegegnung mit klassischen Werken zu weiter entfernten Gefilden ihrer fast freien Ausgestaltung und Interpretation.
Für Blue Note Bach-Vertraute wartet Nocturne mit einigen Neuerungen auf: Lag bei den ersten beiden Alben (Ein musicalisches Opfer, 2009, und Invention, 2014) der Fokus auf Johann Sebastian Bach, stehen nun auch Chopin, Debussy, Mozart und Beethoven auf dem Programm. Der Ausgangspunkt dafür war für Jens Schöwing ein Solo-Konzert, für das er fünf Bearbeitungen von Chopins Nocturnes konzipiert hatte und das beim Publikum wie bei ihm selbst Lust auf ein größeres Repertoire in dieser Richtung machte. Aber damit nicht genug: Premiere haben diesmal auch drei Eigenkompositionen Schöwings, die sich homogen in das Ausdrucks-Spektrum des Albums integrieren.
Die ausgesucht unterschiedlichen Arrangements auf Nocturne vermitteln einen teils leichten, teils überraschenden Zugang zum Albumrepertoire. Die Bandbreite reicht von einer dem Original deutlich verpflichteten Herangehensweise (Adagio) über typisch Jazz-gemäße Ausdeutungen (Nocturne 9.1 und 9.2) bis hin zu assoziativer Interpretation in zum Teil freien Kolloquien (Phrygian free knock turn, Images au Clair de Lune – Morendo). Aus dem Wechsel zwischen rhythmisch zupackenden und zarten, luftig gehaltenen Passagen ergibt sich eine Dramaturgie, die über das ganze Album für ein abwechslungsreiches Hörerlebnis sorgt.
Das Blue Note Bach-Trio meistert die unterschiedlichen Charaktäre dank seines langjährigen Zusammenspiels mit spielerischer Leichtigkeit. Christian Frank (Kontrabass) und Marc Prietzel (Schlagzeug) folgen Jens Schöwing dabei kongenial in einer Interaktion, die die Pfade zwischen kompositorischer Gebundenheit und Interpretations-Freiheit, Bewegung und Ruhe sowie kraftvoller Energie und Zurückhaltung ausdrucksvoll definiert. Besonders schön ist dies im Dreiergestirn der Images au Clair de Lune oder auch in Schöwings selbsterschaffenem Triptychon The Peasants zu erleben.
Die Fangemeinde des Blue Note Bach-Projekts ist im Laufe der Jahre gewachsen. Dies dokumentiert sich nicht nur im Publikumszuspruch bei live-Konzerten, sondern auch in den
weltweiten Streamings der beiden bisherigen Alben und deren Airplay in zahlreichen Ländern in Europa, Amerika und Australien. Mit Nocturne dürfte sich der Freundeskreis noch erweitern.

Tracklist:
Frédéric Chopin (1810-1849) arr. Jens Schöwing
1. Nocturne No. 20 (Nocturne No. 20 in C-Sharp Minor) 03:00
2. Phrygian Free Knock Turn (Nocturne No. 20 in C-Sharp Minor) 02:37
Wolfgang Amadeus Mozart (1756-1791) arr. Jens Schöwing
Piano Sonata No. 12 in F Major, K. 332
3. Adagio 04:09
Ludwig van Beethoven (1770-1827) arr. Jens Schöwing
Piano Sonata No. 8 in C Minor “Pathetique”, Op. 13
4. Simply Pathetique 05:38
Jens Schöwing (b.1960)
5. I Remember Joe 04:46
Johann Sebastian Bach (1685-1750) arr. Jens Schöwing
Goldberg Variations No.1 in G Major, BWV 988
6. Goldberg Entree 01:36
7. Goldberg Encore 03:20
Jens Schöwing (b.1960)
8. Con Game 00:56
9. Peasants’ Weather Maxim 01:31
10. Crafty 03:17
11. Kommt er noch? 01:18
12. Schach statt Bach 03:50
Frédéric Chopin (1810-1849) arr. Jens Schöwing
13. Nocturne 9.1 (Nocturne Op. 9, No. 1 in B-Flat Minor) 04:24
14. Nocturne 9.2 (Nocturne Op. 9, No. 2 in E-Flat Minor) 04:02
Claude Debussy (1862-1918) arr. Jens Schöwing
Suite bergamasque; III. “Clair de Lune”
15. Crescendo et anime 01:34
16. Mode mineurs 01:40
17. Morendo 02:48
Ludwig van Beethoven (1770-1827) arr. Jens Schöwing
Piano Sonata No. 8 in C Minor “Pathetique”, Op. 13: III.
18. Finally Pathetique 05:24

Personnel:
Jens Schöwings, piano, arranger, composer
Christian Frank, bass
Marc Prietzel, drums

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Jacques Brel – Quand on n’a que l’amour (1957/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 28:22 minutes | 655 MB | Genre: Chanson
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Barclay
Recorded: 11 au 17 mars 1955, du 18 au 19 septembre 1956 et le 22 mars 1957, Théâtre de l’Apollo, Paris

This second album from Jacques Brel, released in 1957, includes two songs conducted by Michel Legrand. The title track, released as an advance single, reached number three on the French charts. The song has remained a popular cover song with versions having being recorded by Celine Dion, Patricia Kaas, Dalida and others.

Tracklist:
1 Quand on n’a que l’amour 02:26
2 Qu’avons-nous fait, bonnes gens 01:50
3 Les pieds dans le ruisseau 02:54
4 Pardons 02:22
5 La bourree du celibataire 02:26
6 L’air de la betise 04:26
7 Saint-Pierre 02:20
8 J’en appelle 02:45
9 Heureux 02:52
10 Les bles 01:49
11 Quand on n’a que l’amour (Arrangements Différents) 02:33

Personnel:
Jacques Brel – Vocals
André Popp (#1,4–10), Michel Legrand (#2,3), François Rauber (#11) – arranger, conductor

Download:

https://subyshare.com/y3q8i5daicnh/JacquesBrelQuand0nnaquelam0ur19572013Q0buz2496.rar.html

Helmut Eisel & JEM – Don Juan a la Klez (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 56:13 minutes | 1,09 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HighResAudio | Front Cover | © Neuklang / Bauer Studios GmbH

Helmut Eisel does not stop to surprise his listeners! After his own version of a clarinet concert by Wolfgang Amadeus Mozart (TIME CHANGE, 2011), he and his trio Helmut Eisel & JEM take a closer look at this classical master again, with their very personal interpretation of the well-known melodies of Mozart’s opera “Don Giovanni”.

Faithful to the protagonist, Helmut Eisel tells the story of „Don Juan à la Klez“, enchants and fascinates his listeners by using the unique and colourful sound of the clarinet. Together with Stefan Engelmann (double bass) and Michael Marx (guitar and vocals) the trio presents a joyful and seducing program, which switches between own compositions and arias from Mozart’s opera.

Classical music, jazz or klezmer – Helmut Eisel & JEM does not fit into a category and presents his new project in a very charming way.

Tracklist:
1. Notte e giorno faticar 04:09
2. Don’t Speak… Play! 04:11
3. Deh, Vieni 05:39
4. Ah! chi Mi dice mai 05:22
5. Der Komtur 05:26
6. Sachikos Tune 03:32
7. Zeitenreise 04:30
8. My Jiddische Mamme 03:31
9. Flitzflitz 03:28
10. Champagner Freilach 02:20
11. La ci darem la mano 05:57
12. The Klezmer’s Freilach 03:33
13. Pinos Abschied 04:35

Personnel:
Helmut Eisel – clarinet
Michael Marx – guitar, vocals
Stefan Engelmann – double bass

Download:

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Franz Joseph Haydn – Symphonies Nos. 53, 64 & 96 – Oregon Symphony Orchestra, Carlos Kalmar (2017)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 01:01:51 minutes | 2,44 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: pentatonemusic.com | Booklet, Front Cover | © Pentatone Music B.V.
Recorded: Arlene Schnitzer Concert Hall, Portland, Oregon, in 2013 (Symphony No. 64) and 2016 (Symphonies Nos. 53 and 96).

Whether it’s a confident swagger or a balletic grace, a beguiling folk-melody or a quicksilver rondo, there is always something new to discover in the endlessly inventive symphonies of Haydn, especially in these firm favourites played by the Oregon Symphony under Carlos Kalmar in this new release.
While Haydn wrote only one “Surprise” symphony, there are surprises to be enjoyed aplenty here. From the bewildering Largo in Symphony No. 64 with its unexpected turns and derailments, to the ceremonial elegance and ear-tickling melodies of Symphony No. 53 or the mock-heroics and propulsive rhythms of Symphony No. 96, Haydn’s irrepressible and dazzling ingenuity constantly delights and astonishes. “There is no one who can do it all,” wrote Mozart, “to joke and to terrify, to evoke laughter and profound sentiment – and all equally well, except Joseph Haydn.”
This is Carlos Kalmar’s fourth album for PENTATONE with the Oregon Symphony. Their album Music for a Time of War, earned two Grammy nominations (Best Orchestral Performance and Best Engineered Album, Classical) and was widely praised by music critics.
Gramophone said of their album This England “Kalmar’s Oregon performance certainly pulls no punches … a total success, gripping in mood and hot on specific instrumental detail,” adding, “sound-wise, you couldn’t ask for more; nor could anyone expect finer recording from PENTATONE.” And in 2016, their critically acclaimed album of 20th century American orchestral works The Spirit of the American Range earned a Grammy nomination for Best Orchestral Performance.
Carlos Kalmar, a Uruguayan national, is in his fourteenth season as Music Director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago. His Carnegie Hall debut in May 2011 with the Oregon Symphony, was noted by New York critic Alex Ross as “one of the most gripping events of the current season”.

Tracklist:
Franz Joseph Haydn (1732-1809)
Symphony No. 53 in D Major ‘The Imperial’
1 I Largo maestoso; Vivace
2 II Andante
3 III Menuetto
4 IV Finale: Capriccio, Moderato
Symphony No. 64 in A Major ‘Tempora Mutantur’
5 I Allegro con spirito
6 II Largo
7 III Menuetto: Allegretto
8 IV Finale: Presto
Symphony No. 96 in D Major ‘The Miracle’
9 I Adagio; Allegro
10 II Andante
11 III Menuetto: Allegretto
12 IV Finale: Vivace assai

Personnel:
Oregon Symphony Orchestra
Carlos Kalmar, conductor

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Harry Belafonte – Love Is a Gentle Thing (1959/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 40:45 minutes | 1,24 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: 1958, New York and Hollywood

Tracklist:
1 Fifteen (Theme of the World, the Flesh and the Devil) 02:52
2 I Never Will Marry 02:46
3 I’m Goin’ Away 03:09
4 Small One 02:55
5 Bella Rosa 03:26
6 All My Trials 04:38
7 Green Grow the Lilacs 03:55
8 Times Are Gettin’ Hard 03:38
9 Turn Around 02:24
10 Go ‘Way from My Window 03:09
11 Delia’s Gone 04:35
12 Walkin’ On the Green Grass 03:18

Personnel:
Harry Belafonte, vocals
The Belafonte Folk Singers, backing vocals
Bob Corman, Alan Greene, arranger, conductor

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Gale Garnett – New Adventures (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 28:48 minutes | 1,06 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: RCA Victor’s Studio A, New York City

Tracklist:
1 Oh, There’ll Be Laughter 2:25
2 Calm And Collected 2:26
3 Where Did You Go? 2:15
4 Angle Song 1:52
5 Scarlet Ribbons (For Her Hair) 3:02
6 After The Show 2:57
7 That Was Me You Ran Over 1:50
8 So Long 1:46
9 Let The Lonely Go 2:12
10 Followin’ The Rain 2:21
11 Back With Me 2:04
12 It Ain’t Necessarily So 2:55

Personnel:
Gale Garnett, vocals
Dick Hyman, aranger, conductor

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Friar Alessandro – Voice Of Peace (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 51:36 minutes | 957 MB | Genre: Classical, Vocal
Studio Master, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © Universal Music
Recorded: February 15-20, 2015, Teatro Civico, Vercelli; April 20-24, 2015, St. Mary’s Parochial Chilham Church

The “churchman (or churchwoman) with a golden voice” formula has been increasingly often applied by European labels, but for those who enjoy the genre here’s a release with a difference. Friar Alessandro is Alessandro Brustenghi, an Italian Franciscan friar and tenor who came to music after a long personal struggle to integrate it into his religious vocation. Voice of Peace marks an advance over his earlier Voice from Assisi album, and it has much to offer besides the charm of hearing Amazing Grace sung in an Italian accent. The inclusion of that song might seem a blatant bid for American sales, but in fact, the appeal of the program here lies in the relative lack of familiarity of most of the material, in America or anywhere else. Friar Alessandro has a few hits, like the Bach tune generally known as Jesu, Joy of Man’s Desiring, and the Bach-Gounod Ave Maria, but mostly he delves into some odder items from the past. Two of these, and possibly a third, are forgeries of Baroque works from the early years when Baroque music was being discovered: the Ave Maria written by a Soviet guitarist and attributed to Giulio Caccini, and the famed Albinoni Adagio for strings, actually the product of a musicologist named Remo Giazotto. To the second of these Friar Alessandro adds his own text, and the whole thing is nicely arranged to place his distinctively gravelly voice into a texture that evokes the antique without actually being antique. The arrangements for the Camerata Ducale orchestra also work well in this respect, as does the sound. Curiously, the friar’s website lists rock producer Mike Hedges (U2, Manic Street Preachers, the Cure) as producer, but the album notes give John Fraser instead. Whoever it was, there’s a flat, bright sound that emphasizes the shades in Friar Alessandro’s voice. An attractive release of vocal tunes for the holiday season. –AllMusic Review by James Manheim

Tracklist:
John Newton (1725-1807)
1. Amazing Grace 05:28
Domenico Machetta (1936)
2. Resta con noi, Signore, la sera 04:17
Georges Bizet (1838-1875)
3. Agnus Dei 03:35
Jean Sibelius (1865-1957)
4. Con te, Gesù 03:55
Giulio Romano Caccini (1551-1618)
5. Ave Maria 04:05
Alessandro Stradella (1639-1682)
6. Aria da chiesa (Pietà Signore) 05:45
Johann Sebastian Bach (1685-1750)
7. Jesus bleibet meine Freude 03:08
Camille Saint-Saëns (1835-1921)
8. Ave Maria 03:05
Remo Giazotto (1910-1998)
9. Adagio 05:38
Van Dijk
10. Santo Francesco 04:55
Charles Gounod (1818-1893)
11. Ave Maria 02:50
Daniel L. Schutte (1947)
12. Here I am, Lord 04:55

Personnel:
Friar Alessandro
Guido Rimonda
Camerata Ducale

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Friar Alessandro – Voice Of Joy (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 1:06:00 minutes | 1,34 GB | Genre: Classical, Holiday
Official Digital Download – Source: HDTracks.com | Front cover | © Decca Records

Since the release of his debut album Voice from Assisi in 2012, Friar Alessandro has captured the hearts of people around the world with his beautiful voice and enormous warmth. His new album is now set to fill those same hearts and many, many more with the purest of joy. Voice of Joy is a collection of traditional Christmas carols, seasonal melodies and sacred arias, recorded in two very different locations: the United Kingdom and Bethlehem, the latter in the heart of the Holy Land.

Franciscan Friar Alessandro (also known as Alessandro Brustenghi) has achieved considerable fame on the strength of his first album, Voice from Assisi, and he is likely to win over new listeners with his second release, a Christmas album titled Voice of Joy. The program of religious-themed songs is well-suited to Friar Alessandro’s light tenor voice, and though there are some stretches to high notes, notably in O Santa Notte (O Holy Night), Agnus Dei, the Ave Marias by Bartolucci and Bach/Gounod, and A Gaelic Blessing, his voice isn’t taxed with truly operatic challenges. While Friar Alessandro has natural vocal ability and obvious personal charm, his uneven tone and exertions are sometimes apparent, suggesting a lack of support from his diaphragm and a tendency to sing from the throat. Nonetheless, his fans will appreciate the warmth and smoothness of his singing without needing any displays of virtuosity or technical prowess, and the mellow, easy-listening arrangements will appeal to his mostly crossover audience.

Tracklist:
01 – Tu Scendi Dalle Stelle
02 – O Santa Notte (O Holy Night)
03 – Adeste Fideles
04 – Veni, Veni Emmanuel (O come, O come Emmanuel)
05 – Agnus Dei
06 – O Tannenbaum
07 – Ave Maria
08 – Madonna De Claritate
09 – Joy To The World
10 – Alto E Glorioso Dio
11 – Ave Maria
12 – Silent Night
13 – Caro Gesu Bambino
14 – Madre En La Puerta
15 – A Gaelic Blessing
16 – Cantique De Noel (O Holy Night)
17 – O Mio Signor
18 – Douce Nuit
19 – Jul, Jul, Strålande Jul

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