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Marie-Elisabeth Hecker, Antwerp Symphony Orchestra & Edo de Waart – Elgar: Cello Concerto & Piano Quintet (2018)
FLAC (tracks) 24 bit/48 kHz | Time – 01:09:57 minutes | 678 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Alpha

After making several discs of chamber music by Brahms and Schubert, the cellist Marie-Elisabeth Hecker now records a large-scale concerto, showing the full range of her talent. Composed between 1918 and 1919, Elgar’s Concerto Op.85 was poorly received at its first performance but has since become established as one of the key works in the cello repertoire. To complete the programme, Marie-Elisabeth Hecker rejoins her chamber music partners, the violinists Carolin Widmann and David McCarroll, the violist Pauline Sachse and the pianist Martin Helmchen, in Elgar’s Piano Quintet, composed at the same time as the Concerto and premiered in London in 1919.

What if this album turned out to be the new standard version of Edward Elgar’s Cello Concerto in E Minor? Judging from what we get to see of the young cellist Marie-Elisabeth Hecker, it might well be, thanks to the sumptuous, smouldering sounds that fill this interpretation from beginning to end. It would be far too tempting to compare the young German to her distant colleague Jacqueline Du Pré, for whom this concerto was a signature piece. The publisher was on the right track when they took Marie-Elisabeth Hecker’s picture striking exactly the same pose as the English cellist does in one of her most famous photographs, taken when she was the young wife of Daniel Barenboim: but Hecker’s head is cocked the other way to throw the observer off.
Born in Zwickau in 1987, she was one of the youngest participants ever to win the Rostropovich Competition in Paris. In 2010, she enjoyed a thrilling success in her hometown, playing Concerto in A minor to mark the bicentenary of Robert Schumann’s birth (he was born in the same town), conducted by Daniel Barenboim, who would no doubt have felt very touched by a scene that recalled his own youth. The attentive and careful accompaniment by Edo de Waart shows off the sonic riches of the Antwerp Symphony Orchestra, which he led from 2011 to 2016. Yet more proof of the high quality achieved by so many orchestras around the world today. This is an interesting pairing with a short, ultra-romantic piece by Elgar, Sospiri, transcribed here for cello and strings, whose secrets are laid bare by cellist Sol Gabetta. The Quintet for Piano in A Minor is the other major piece by Elgar to feature on this new recording. Composed in 1918, it is a very refined work, which often takes on orchestral tones, in a very Brahmsian language.

Tracklist:
Edward Elgar (1857 – 1934)
01. Cello Concerto in E Minor, Op. 85: I. Adagio-Moderato – Marie-Elisabeth Hecker
02. Cello Concerto in E Minor, Op. 85: II. Lento-Allegro molto – Marie-Elisabeth Hecker
03. Cello Concerto in E Minor, Op. 85: III. Adagio – Marie-Elisabeth Hecker
04. Cello Concerto in E Minor, Op. 85: IV. Allegro-Moderato-Allegro ma non troppo – Marie-Elisabeth Hecker
Anonymous
05. Sospiri, Op. 70 (Arr. for Cello & Strings) – Marie-Elisabeth Hecker
Edward Elgar
06. Piano Quintet in A Minor, Op. 84: I. Moderato – Carolin Widmann
07. Piano Quintet in A Minor, Op. 84: II. Adagio – Carolin Widmann
08. Piano Quintet in A Minor, Op. 84: III. Andante-Allegro – Carolin Widmann

Personnel:
Marie-Elisabeth Hecker, cello
Carolin Widmann, violin
David McCarroll, violin
Pauline Sachse, viola
Martin Helmchen, piano
Antwerp Symphony Orchestra
Edo De Waart, conductor

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Mary Chapin Carpenter’s anticipated new album, ‘Sometimes Just The Sky’, is a celebration of her acclaimed 30-year recording career. The landmark record features new versions of some of Carpenter’s most beloved songs as well as one newly written song, which became the title track. Produced by Ethan Johns (Ryan Adams, Paul McCartney, Ray LaMontagne), the 13-track album was recorded entirely live at Peter Gabriel’s Real World Studios outside Bath, England. Over the course of her celebrated career, Carpenter has sold over 14 million records.

In 1987, the track Heroes And Heroines closed Hometown Girl, the first album from a new folk & country singer named Mary Chapin Carpenter. 30 years later, the New Jersey native presents to us Sometimes Just The Sky, a story from the same mould. Produced by Ethan Jones and recorded in Real World Studios by Peter Gabriel in Bath, England. This disc is in fact exclusively made up of old tracks, sometimes beyond recognition, that she took from her vast repertoire of twelve works. It’s all in a way that underlines their timelessness. Mary Chapin Carpenter never makes waves, never raises the tone. On the contrary, it’s with the proximity of her voice and with the simple things of everyday life that she is capable of really touching her audience. And obviously in the class of her composing.

Tracklist:
1. Heroes and Heroines 04:14
2. What Does It Mean to Travel 03:36
3. I Have a Need for Solitude 04:35
4. One Small Heart 05:18
5. The Moon and St. Christopher 04:25
6. Superman 06:08
7. Naked to the Eye 03:31
8. Rhythm of the Blues 03:59
9. This is Love 05:20
10. Jericho 04:43
11. The Calling 04:02
12. This Shirt 05:02
13. Sometimes Just the Sky 06:23

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After his debut solo album with music by Bach, Bartók and Boulez, Michael Barenboim’s second album is also dedicated to works for solo violin and features compositions by Salvatore Sciarrino, Giuseppe Tartini, Luciano Berio, and Niccolò Paganini, thereby sketching a short history of Italian solo violin literature. The four works seem very heterogenous at first glance but what unites them is their rich technical and stylistic spectrum. The juxtaposition of traditional and contemporary music works creates an inimitable sound cosmos and makes the works by Tartini and Paganini sound incredibly modern alongside 20th-century music. Michael Barenboim creatively navigates the sometimes obsessive and diabolical elements of the works and creates an inspired and unique interpretation.

“A second beautiful disc from Barenboim, played with daring and warmth. The all-Italian music explores virtuosity in order to look beyond the notes.” (Sunday Times)

Tracklist:
Salvatore Sciarrino ( * 1947)
6 Capricci per violino (1976)
01. Vivace
02. Andante
03. Assai a gitato
04. Volubile
05. Presto
06. Con brio
Giuseppe Tartini (1692 – 1770)
Sonata V in G minor “The Devil’s Trill Sonata”
07. Larghetto affectuoso
08. Tempo giusto della Scuola Tartinista
09. Sogni dellautore – A ndante, Allegro assai
Luciano Berio (1925 – 2003)
10. Sequenza VIII per violino solo (1977)
Niccolò Paganini (1782 – 1840)
24 Capricci per violino solo, op. 1 (1817)
11. No. 1 – E major – Andante
12. No. 6 – G minor – Lento
13. No. 17 – E-flat major – Sostenuto andante
14. No. 16 – G minor – Presto
15. No. 9 – E major – Allegretto
16. No. 24 – A minor – Tema con variazioni. Quasi presto

Personnel:
Michael Barenboim, violin
Recorded June 2017 at the Jesus-Christus-Kirche Berlin

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“Miles Davis & John Coltrane – The Final Tour: The Bootleg Series, Vol. 6” brings together five mythic concert performances during the epochal Spring 1960 Jazz At The Philharmonic European Tour. The box set was produced by the multi-Grammy winning team of producers Steve Berkowitz, Michael Cuscuna and Richard Seidel. And mastered by multi-Grammy winning Sony Music engineer Mark Wilder. The Final Tour is essential listening, an invitation to travel through time to experience the enduring beauty and magic of Miles and Trane at the peak of their collective powers.

The sixth volume in Legacy’s Miles Davis Bootleg Series circles back to 1999’s Miles Davis and John Coltrane: The Complete Columbia Recordings 1955-1961, with an exclamation point. The four discs here are taken from five concerts in March 1960: Two sets from L’Olympia in Paris, two at Stockholm’s Konserthuset, and one from Copenhagen’s Tivolis Koncertsal. The three-week European tour was part of the Jazz at the Philharmonic series produced by George Wein. Accounts from Davis and drummer Jimmy Cobb claim certifiable tension surrounding John Coltrane. He left the band at the end of 1959 and reportedly had to be talked (hard) into taking the gig by Davis. It was the trumpeter’s first European tour as an international jazz star, and the band – with Cobb, pianist Wynton Kelly, and bassist Paul Chambers were among the cats who recorded 1959’s Kind of Blue.

From the opening moments of “All of You” in the first Paris show, it’s obvious that what’s happening on-stage wasn’t planned. It took everyone, with the possible exception of Coltrane, by surprise, and is more than 17-minutes long. The lengthy solo by the saxophonist greets the changes with dissonance, sharp angles, and a (then) atypical fury as he tries out new sounds, fingerings, and breathing techniques. Kelly brings it back inside with his own solo, light, fleet, expert, and swinging. “All of You” is followed by a blazing 13-minute “So What,” offered with the illuminating contrast that would underscore the tour: The reinvention of standards from the ’40s and ’50s with more open, less melodic modal jazz epitomized by the Kind of Blue material. In the first version of “All Blues,” Davis follows Chambers and Kelly by adding more physicality to his own playing without sacrificing his lyric invention. It foreshadows Coltrane’s wailing solo full of multiphonics, honks, and banks of layered scales that wove together East and West. The short reading of the bop standard “Oleo” is the only place in either of the Paris concerts where the saxophonist reigns himself in. “All Blues” from Copenhagen is also faster. Chambers’ short solo intro is picked up by Kelly’s fat vamp and Cobb’s stutter-step beat before Davis takes the lean melody and stretches it, opening a door for Coltrane, who commences slowly before breaking its structure wide open. Once more, it’s Kelly’s grooving solo with glorious right-hand flourishes that brings the hard swing back to the equation. All the music here is filled with these moments. The decision to rework the standards in order to make room for more openness was wise and all one needs to do is check the three versions of “On Green Dolphin Street” here for evidence. Interestingly, while the tour established Davis’ international rep for good, it was Coltrane who benefitted most from the tour – he was all but unknown before it, and unforgettable after. The tape sources are all official: The Copenhagen gig is remastered from a state radio broadcast and the other two concerts are from producers’ archives, making this historic set among the most essential in the Bootleg Series.

Tracklist:
01 – All Of You (Live from Olympia Theatre, Paris)
02 – So What (Live from Olympia Theatre, Paris)
03 – On Green Dolphin Street (Live from Olympia Theatre, Paris)
04 – Walkin’ (Live from Olympia Theatre, Paris)
05 – Bye Bye Blackbird (Live from Olympia Theatre, Paris)
06 – ‘Round Midnight (Live from Olympia Theatre, Paris)
07 – Oleo (Live from Olympia Theatre, Paris)
08 – The Theme (Live from Olympia Theatre, Paris)
09 – Introduction (Live from Tivoli Konsertsal, Copenhagen)
10 – So What (Live from Tivoli Konsertsal, Copenhagen)
11 – On Green Dolphin Street (Live from Tivoli Konsertsal, Copenhagen)
12 – All Blues (Live from Tivoli Konsertsal, Copenhagen)
13 – The Theme (incomplete) (Live from Tivoli Konsertsal, Copenhagen)
14 – Introduction by Norman Granz (Live from Konserthuset, Stockholm)
15 – So What (Live from Konserthuset, Stockholm)
16 – Fran Dance (Live from Konserthuset, Stockholm)
17 – Walkin’ (Live from Konserthuset, Stockholm)
18 – The Theme (Live from Konserthuset, Stockholm)
19 – So What (Second Concert) (Live from Konserthuset, Stockholm)
20 – On Green Dolphin Street (Live from Konserthuset, Stockholm)
21 – All Blues (Live from Konserthuset, Stockholm)
22 – The Theme (Second Concert) (Live from Konserthuset, Stockholm)
23 – John Coltrane Interview (Live from Konserthuset, Stockholm)

Musicians:
Miles Davis – trumpet
John Coltrane – tenor saxphone
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums

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Orchestre Philharmonique Royal de Liège & Jean-Jacques Kantorow – Ysaÿe: Harmonies du soir (2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:13:56 minutes | 1,26 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Musique en Wallonie

Over time, the memory of Eugène Ysaÿe (Liège, 1858‑ Brussels, 1931) the brilliant virtuoso gradually supplanted that of Ysaÿe the composer in the public consciousness. It should be reminded that Eugène Ysaÿe created in his poems for string instruments a totally new and original genre, distinguishing himself by a competence in writing and a harmonic richness that were far removed from the purely virtuosic merits of his early compositions.
These poems are therefore thoroughly deserving of rediscovery. The French conductor Jean-Jacques Kantorow, Ysaÿe’ʹs great specialist, leads the Liège Royal Philharmonic and soloists through works for violin and orchestra, for cello and orchestra, for two violins and orchestra and for string quartet and orchestra.

Tracklist:
Eugène Ysaÿe (1858-1931)
01. Méditation pour violoncelle et orchestre, Op. 16
02. Harmonies du soir pour quatuor à cordes et orchestre, Op. 31
03. Poème élégiaque pour violon et orchestre, Op. 12
04. Sérénade pour violoncelle et orchestre, Op. 22
05. Amitié pour deux violons et orchestre, Op. 26
06. Exil pour orchestre à cordes, Op. 25

Personnel:
Liège Royal Philharmonic
Jean-Jacques Kantorow, conductor

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Pavel Gomziakov & Andrei Korobeinikov – Myaskovsky: Cello Sonatas 1 & 2 – Prokofiev: Ballade – Taneyev: Canzona (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:00:58 minutes | 0,99 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Onyx Classics

Myaskovsky’s two cello sonatas are woefully neglected works and deserve far wider circulation – romantic and passionate they make a worthy alternative to Rachmaninov’s famous sonata. Coming from the early and late years of the composer’s life, the 2nd sonata was written for Rostropovitch, who championed it and ensured all his pupils studied and learned it. Prokofiev’s Ballade op15 is an expansive work from his early years and like the Myaskovsky sonatas rarely heard. Pavel Gomziakov and Andrei Korobeinikov are persuasive advocates for these delightful works.

Tracklist:
01. Cello Sonata No. 1 in D Major, Op. 12: I. Adagio – Andante
02. Cello Sonata No. 1 in D Major, Op. 12: II. Allegro passionato
03. Ballade for Cello & Piano in C Minor, Op. 15
04. Cello Sonata No. 2 in A Minor, Op. 81: I. Allegro moderato
05. Cello Sonata No. 2 in A Minor, Op. 81: II. Andante cantabile
06. Cello Sonata No. 2 in A Minor, Op. 81: III. Allegro con spirito
07. Canzona for Cello & Piano

Composers:
Miaskovsky, Nicolai Yakovlevich (1881-1950)
Prokofiev, Sergei Sergeievitch (1891-1953)
Taneyev, Sergei Ivanovich (1856-1915)

Personnel:
Pavel Gomziakov, cello
Andre Korobeinikov, piano

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“If at first you don’t succeed, try, try again”. Philippe Herreweghe’s longlasting interest in the works of the Cantor of Leipzig has turned him into a man whose views evolve as he delves deeper into his subject matter. The joy that he feels – combined with a very legitimate sense of pride – in having forged musical tools that have today reached maturity, has led him to come back on a Missa that has never ceased to intrigue him: the catholic Missa of the protestant composer Bach.

Last spring, theJesus-Christus Kirche in Berlin came alive with the splendid sounds of Bach’s score as preceding recordings of the Missa no longer met the radiant vision that the Flemish maestro had of it. Together with a handful of excellent soloists – included in the choir – and a Collegium vocally and instrumentally at its best, Philippe Herreweghe delivers a work that must be savoured like a sweet or a last supper where rigor and hedonism, inner depth and outer seduction tenderly offer themselves to the listener.

Tracklist:
Johann Sebastian Bach (1685-1750)
CD1
01. Mass in B Minor, BWV 232: Kyrie eleison (Chorus)
02. Mass in B Minor, BWV 232: Christe eleison (Soprano 1 and 2)
03. Mass in B Minor, BWV 232: Kyrie eleison (Chorus)
04. Mass in B Minor, BWV 232: Gloria in excelsis Deo (Chorus)
05. Mass in B Minor, BWV 232: Et in terra pax (Chorus)
06. Mass in B Minor, BWV 232: Laudamus te (Soprano 2)
07. Mass in B Minor, BWV 232: Gratias agimus tibi (Chorus)
08. Mass in B Minor, BWV 232: Domine Deus (Soprano 1, Tenor)
09. Mass in B Minor, BWV 232: Qui tollis peccata mundi (Chorus)
10. Mass in B Minor, BWV 232: Qui sedes ad dextram Patris (Alto)
11. Mass in B Minor, BWV 232: Quoniam tu solus Sanctus (Bass)
12. Mass in B Minor, BWV 232: Cum Sancto Spiritu (Chorus)
CD2
01. Mass in B Minor, BWV 232: Credo in unum Deum (Chorus)
02. Mass in B Minor, BWV 232: Patrem omnipotentem (Chorus)
03. Mass in B Minor, BWV 232: Et in unum Dominum (Soprano 1, Alto)
04. Mass in B Minor, BWV 232: Et incarnatus est (Chorus)
05. Mass in B Minor, BWV 232: Crucifixus (Chorus)
06. Mass in B Minor, BWV 232: Et resurrexit (Chorus)
07. Mass in B Minor, BWV 232: Et in Spiritum Sanctum Dominum (Bass)
08. Mass in B Minor, BWV 232: Confiteor unum baptisma (Chorus)
09. Mass in B Minor, BWV 232: Et expecto resurrectionem mortuorum (Chorus)
10. Mass in B Minor, BWV 232: Sanctus (Chorus)
11. Mass in B Minor, BWV 232: Osanna (Double Chorus)
12. Mass in B Minor, BWV 232: Benedictus (Tenor)
13. Mass in B Minor, BWV 232: Osanna (Double Chorus)
14. Mass in B Minor, BWV 232: Agnus Dei (Alto)
15. Mass in B Minor, BWV 232: Dona nobis pacem (Double Chorus)

Personnel:
Collegium Vocale Gent
Philippe Herreweghe (conductor)

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Philippe Jaroussky turns once again to the poignant meditation on grief that is the Stabat Mater — this time in Vivaldi’s searingly beautiful 1712 setting — along with a selection of the Red Priest’s solo motets and sacred works. But it’s not all solemn fare: Clarae stellae scintillate is an uplifting, light-filled motet in praise of Mary, and the sweet-toned ‘Domine Deus’ from the Gloria RV589 has an almost pastoral lilt. There are, of course, the vocal pyrotechnics characteristic in which Jaroussky excels, as in the blazing Alleluia of Longe mala, umbrae, terrores RV629.

“After several recordings dedicated to lesser-known repertoire from composers such as J.C. Bach, Caldara and Porpora, I felt not only a musical need but also a physical yearning to return to Vivaldi,” says Jaroussky. “His famous Stabat Mater is one of the great masterpieces of the Baroque, but I also wanted to record the motet Longe mala, umbrae, terrores, a work I find utterly fascinating.”

For Pietà Jaroussky reunites with Ensemble Artaserse, the chamber orchestra he founded in 2005, and almost a decade later he has come full circle, completing an important triptych of Vivaldi recital albums.

Tracklist:
Antonio Vivaldi (1678-1741)
01. Clara stella e scintillate, RV 625: I. “Clarae stellae, scintillate”
02. Clara stella e scintillate, RV 625: II. “Coeli repleti iam novo splendore”
03. Clara stella e scintillate, RV 625: III. “Nunc iubilare”
04. Clara stella e scintillate, RV 625: IV. “Alleluia”
05. Stabat mater, RV 621: I. Stabat Mater dolorosa
06. Stabat Mater, RV 621: II. “Cuius animam gementem”
07. Stabat Mater, RV 621: III. “O quam tristis “
08. Stabat Mater, RV 621: IV. “Quis est homo”
09. Stabat Mater, RV 621: V. “Quis non posset “
10. Stabat Mater, RV 621: VI. “Pro peccatis”
11. Stabat Mater, RV 621: VII. “Eia Mater”
12. Stabat Mater, Rv 621: VIII. “Fac Ut Ardeat”
13. Stabat Mater, RV 621: IX. “Amen”
14. Filiae maestae Jerusalem, RV 638: I. “Filiae maestae Jerusalem”
15. Filiae maestae Jerusalem, RV 638: II. “Sileant Zephyri”
16. Filiae maestae Jerusalem, RV 638: III. “Sed tenebris diffusis”
17. Concerto in C Minor, RV 120: I. Allegro non molto
18. Concerto in C Minor, RV 120: II. Largo
19. Concerto in C Minor, RV 120: III. Allegro
20. Gloria in D Major, RV 589: VI. Domine Deus
21. Longe mala, umbrae, terrores, RV 629: I. “Longe mala, umbrae, terrores”
22. Longe mala, umbrae, terrores, RV 629: II. “Recedite, nubes et fulgura”
23. Longe mala, umbrae, terrores, RV 629: III. “Descende, o coeli vox”
24. Longe mala, umbrae, terrores, RV 629: IV. Alleluia
25. Salve Regina in G Minor, RV 618: I. “Salve Regina”
26. Salve Regina in G Minor, RV 618: II. “Ad te clamamus”
27. Salve Regina in G Minor, RV 618: III. “Ad te suspiramus”
28. Salve Regina in G Minor, RV 618: IV. “Eia ergo, advocata nostra”
29. Salve Regina in G Minor, RV 618: V. “Et Jesum benedictum fructum”
30. Salve Regina in G Minor, RV 618: VI. “O clemens”

Personnel:
Philippe Jaroussky, counter-tenor
Ensemble Artaserse
Recorded at Paroisse Notre-Dame du Liban, Paris on 20-28 March 2014
Engineered, edited and mixed by Michel Pierre
Produced by Étienne Collard
Executive producer: Alain Lanceron

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When Heartbeat City was released in March 1984, the Cars were already the proud owners of a few platinum-selling albums thanks to a rather original musical identity for their time. Acting as the missing link between the Ramones and Elvis Costello with a touch of Roxy Music, Ric Ocasek & Co. provided an ode to pop-punk music from their very first album in 1978. A sort of new wave made in America respectful of the rock’n’roll of yesteryear… The year 1984 also marked the birth of a new TV channel that would revolutionise pop and rock music by becoming an eminently influential media for music videos. The Cars were savvy enough to jump on this video bandwagon and their fifth album was strongly supported by MTV that played You Might Think and Magic on repeat, their two hit anthems that reached the top of rock charts. Undeniably talented for melodies that hit the spot and catchy choruses (their ballad Drive is a formidably languid slow), Ocasek once again releases a beautiful bubble-gum soundtrack of 1980s America.

Tracklist:
1. Hello Again 03:46
2. Looking For Love 03:51
3. Magic 03:57
4. Drive 03:54
5. Stranger Eyes 04:24
6. You Might Think 03:04
7. It’s Not The Night 03:48
8. Why Can’t I Have You 04:03
9. I Refuse 03:15
10. Heartbeat City 04:30
11. Hello Again (Remix Version) 05:56
12. Drive (Demo) 04:44
13. One More Time (Early Version of “Why Can’t I Have You”) 03:59
14. Baby I Refuse (Early Version of “I Refuse”) 03:51
15. Jacki (Early Version of “Heartbeat City”) 04:15
16. Breakaway (B-Side of “Why Can’t I Have You”) 03:47
17. Tonight She Comes 03:57

Personnel:
Ric Ocasek, guitar, synthesizer, lead vocals (on 1-3, 6, 8-10)
Elliot Easton, lead guitar, backing vocals
Greg Hawkes, keyboards, Fairlight programming, backing vocals
Benjamin Orr, bass, lead vocals (on 4-5, 7)
David Robinson, drums, percussion, Fairlight programming
Additional musicians:
Andy Topeka, Additional Fairlight programming

Produced by Robert John “Mutt” Lange, the Cars

Digitally remastered

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The Rock and Roll Hall of Fame will induct The Cars in April, honoring the legendary band’s incredible musical legacy and enormous commercial success. Rhino will kick off the celebration early with the expanded edition for Shake It Up.

Each release features the original album – remastered in 2016 – expanded with rare and unreleased bonus tracks. Illustrated booklets accompany the music and contain liner notes written by renowned rock journalist David Fricke, who details the history of each album with new interviews by band member David Robinson.
Ric Ocasek, Elliot Easton, Greg Hawkes, Benjamin Orr and David Robinson recorded Shake It Up in 1981 at Syncro Sound, the group’s new studio in Boston, with producer Roy Thomas Baker. Working in their own space afforded them the time to perfect the sound of the album, which became their third-straight Top 10 hit record and sold more than two million copies. It features the unforgettable singles “Since You’re Gone,” “Think It Over” and The Cars’ first Top 10 hit single, “Shake It Up.” Several unreleased tracks make their debut on SHAKE IT UP: EXPANDED EDITION, including an early version of “Since You’re Gone,” the demo for “Shake It Up” and an unreleased song called “Midnight Dancer.”

“By augmenting their sound with more synthesizers, electronics, and drum machines, the Cars’ fourth release, Shake It Up, helped bridge their hard rock-based early work (1978’s The Cars) with the futuristic-pop direction of 1984’s Heartbeat City. The band’s sound may have been evolving with each succeeding album, but Ric Ocasek was still writing compelling new wave compositions despite all the change, many of which would ultimately become rock & roll standards. The up-tempo title track remains a party favorite to this day (reaching number four on the singles charts), while the melancholic “Since You’re Gone” remains one of Ocasek’s best-ever tales of heartbreak. Intriguing videos were made for both songs, officially introducing the band to the MTV age. Like its predecessor, 1980’s Panorama, filler is present (“This Could Be Love,” “Maybe Baby”), but many lesser-known album tracks prove to be highlights: the almost entirely synth-oriented tracks “Think It Over” and “A Dream Away,” the rocking “Cruiser,” plus the more pop-oriented “I’m Not the One” and “Victim of Love.” Although Shake It Up was another resounding commercial success, their next album would be the one that made the Cars one of rock’s quintessential acts of the ’80s.” (Greg Prato, AMG)

Tracklist:
1. Since You’re Gone (Remastered) 03:31
2. Shake It Up (Remastered) 03:31
3. I’m Not The One (Remastered) 04:09
4. Victim Of Love (Remastered) 04:24
5. Cruiser (Remastered) 04:56
6. A Dream Away (Remastered) 05:40
7. This Could Be Love (Remastered) 04:26
8. Think It Over (Remastered) 04:56
9. Maybe Baby (Remastered) 05:05
10. Since You’re Gone (Early Version) 05:56
11. Shake It Up (Demo) 04:10
12. I’m Not The One (Remix) [Remastered] 04:10
13. Cruiser (Early Version) 04:59
14. Take It On The Run (Early Version of “A Dream Away”) 06:18
15. Coming Up You Again (1981 Version of “Coming Up You”) 05:21
16. Little Black Egg (Remastered) 02:54
17. Midnight Dancer 04:22

Personnel:
Ric Ocasek, rhythm guitar, lead vocals (on 1, 2, 3, 4, 6, 9)
Elliot Easton, lead guitar, backing vocals
Greg Hawkes, keyboards, backing vocals
Benjamin Orr, bass, lead vocals (on 5, 7, 8)
David Robinson, drums, percussion
Produced by Roy Thomas Baker
Digitally remastered

Download:

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HighRes-ReMaster of this 1969 album from the iconic British Rock band led by brothers Ray and Dave Davies. “Arthur (Or the Decline and Fall of the British Empire)” is the seventh studio album by The Kinks, released in October 1969. Kinks frontman Ray Davies constructed the concept album as the soundtrack to a Granada Television play and developed the storyline with novelist Julian Mitchell; however, the television programme was cancelled and never produced. The rough plot revolved around Arthur Morgan, a carpet-layer, who was based on Ray Davies’ brother-in-law Arthur Anning.

“Arthur (Or the Decline and Fall of the British Empire) extends the British-oriented themes of Village Green Preservation Society, telling the story of a London man’s decision to move to Australia during the aftermath of World War II. It’s a detailed and loving song cycle, capturing the minutiae of suburban life, the numbing effect of bureaucracy, and the horrors of war. On paper, Arthur sounds like a pretentious mess, but Ray Davies’ lyrics and insights have rarely been so graceful or deftly executed, and the music is remarkable. An edgier and harder-rocking affair than Village Green, Arthur is as multi-layered musically as it is lyrically. “Shangri-La” evolves from English folk to hard rock, “Drivin'” has a lazy grace, “Young and Innocent Days” is a lovely, wistful ballad, “Some Mother’s Son” is one of the most uncompromising antiwar songs ever recorded, while “Victoria” and “Arthur” rock with simple glee. The music makes the words cut deeper, and the songs never stray too far from the album’s subject, making Arthur one of the most effective concept albums in rock history, as well as one of the best and most influential British pop records of its era.” (Stephen Thomas Erlewine, AMG)

Tracklist:
1. Victoria 03:40
2. Yes Sir, No Sir 03:48
3. Some Mother’s Son 03:28
4. Drivin’ 03:21
5. Brainwashed 02:36
6. Australia 06:47
7. Shangri-La 05:23
8. Mr. Churchill Says 04:42
9. She’s Bought a Hat Like Princess Marina 03:07
10. Young and Innocent Days 03:20
11. Nothing to Say 03:11
12. Arthur 05:26

Personnel:
John Dalton, bass, background vocals
Dave Davies, lead guitar, background vocals, co-lead vocal on “Australia” and “Arthur”
Ray Davies, lead and background vocals, rhythm guitar, keyboards (harpsichord and piano)
Pete Quaife, bass, background vocals
Mick Avory, drums, percussion

Recorded May–July 1969 at Pye Studios, London
Produced by Ray Davies

Digitally remastered

Download:

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The brothers Davies were in fantastic form on this 1967 album; the songs range from the witty to the wistful: their classics Waterloo Sunset; Death of a Clown , and David Watts plus Two Sisters; Lazy Old Sun , and more! Having closed out their hard-rock period, the Kinks went pastoral on “Something Else”. It’s an album of folk and pop songs about the quiet pleasures of family life and the English countryside, dotted with harpsichords, acoustic guitars, and ethereal harmonies. A radical rejection of the Age of Aquarius, it was one of the boldest pop albums of its time, a commercial failure but an artistic landmark. In “Two Sisters,” Ray Davies sings about a wild, swinging woman and her homemaking sister, and dares to side with the latter. Other songs include “Afternoon Tea,” surely the first rock song ever written on that subject, and the majestic “Waterloo Sunset,” which has been described as the most beautiful song ever written in the English language.

“Face to Face was a remarkable record, but its follow-up, Something Else, expands its accomplishments, offering 13 classic British pop songs. As Ray Davies’ songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world. Indeed, Something Else sounds like nothing else from 1967. The Kinks never rock very hard on the album, preferring acoustic ballads, music hall numbers, and tempered R&B to full-out guitar attacks. Part of the album’s power lies in its calm music, since it provides an elegant support for Davies’ character portraits and vignettes. From the martial stomp of “David Watts” to the lovely, shimmering “Waterloo Sunset,” there’s not a weak song on the record, and several – such as the allegorical “Two Sisters,” the Noël Coward-esque “End of the Season,” the rolling “Lazy Old Sun,” and the wry “Situation Vacant” – are stunners. And just as impressive is the emergence of Dave Davies as a songwriter. His Dylanesque “Death of a Clown” and bluesy rocker “Love Me Till the Sun Shines” hold their own against Ray’s masterpieces, and help make Something Else the endlessly fascinating album that it is.” (Stephen Thomas Erlewine, AMG)

Tracklist:
1. David Watts 02:42
2. Death of a Clown 03:16
3. Two Sisters 02:04
4. No Return 02:04
5. Harry Rag 02:18
6. Tin Soldier Man 02:53
7. Situation Vacant 03:14
8. Love Me Till the Sun Shines 03:24
9. Lazy Old Sun 02:49
10. Afternoon Tea 03:26
11. Funny Face 02:29
12. End of the Season 03:00
13. Waterloo Sunset 03:17

Personnel:
Ray Davies, lead vocals, rhythm guitar, harmonica, harp, harpsichord, organ, tuba, maracas
Dave Davies, lead guitar, 12 string guitar, backing vocals, lead vocals (on tracks 2, 8, 11)
Pete Quaife, bass, backing vocals
Mick Avory, drums, percussion
Nicky Hopkins, keyboards, piano
Rasa Davies, backing vocals

Recorded April 1966 – July 1967 at Pye Studios, London
Produced by Shel Talmy, Ray Davies

Digitally remastered

Download:

https://subyshare.com/tgsljc885902/TheKinksS0methingElseByTheKinks196720182496.rar.html

The Moody Blues classic 1967 album Days Of Future Passed is regarded as one of the foundation stones of the progressive rock genre. In 2017, the band headed out on the album’s 50th Anniversary Tour including the wonderful show captured at the Sony Centre For The Performing Arts in Toronto accompanied by a full orchestra. The concert begins with the band by themselves performing a selection of classic Moody Blues tracks before they are joined by the orchestra to perform Days Of Future Passed in its entirety plus a couple of fantastic encore tracks. This is without doubt the definitive live version of this much loved album and will be treasured by fans of The Moody Blues for years to come.

Tracklist:
1. I’m Just a Singer (In a Rock and Roll Band)
2. The Voice
3. Steppin’ In A Slide Zone
4. Say It With Love
5. Nervous
6. Your Wildest Dreams
7. Isn’t Life Strange
8. I Know You’re Out There Somewhere
9. The Story In Your Eyes
10. The Day Begins
11. Morning Glory
12. Dawn (Prelude)
13. Dawn Is A Feeling
14. The Morning (Prelude)
15. Another Morning
16. Lunch Break (Prelude)
17. Peak Hour
18. Tuesday Afternoon (Forever Afternoon)
19. Evening (Time To Get Away)
20. The Sun Set (Prelude)
21. The Sun Set
22. Twilight (Prelude)
23. Twilight Time
24. Late Lament
25. Nights In White Satin
26. The Night (Finale)
27. Question
28. Ride My See-Saw

Personnel:
The Moody Blues: Justin Hayward (guitar, vocals); John Lodge (bass, vocals); Graeme Edge (drums, percussion)
With: Norda Mullen (flute, guitar, percussion, vocals); Julie Ragins (keyboards, percussion, guitar, saxophone, vocals); Alan Hewitt (keyboards, vocals); Billy Ashbaugh (drums, percussion)
And: Elliot Davis (musical director, conductor and co-arranger)

Download:

https://subyshare.com/hhzx9p8vw8i7/TheM00dyBluesDays0fFuturePassedLive20182444.1.part1.rar.html
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This is an album produced carefully selected 10 original songs from John Coltrane earnestly respected by Jazz Trumpeter Tomonao Hara and bassist Hiroshi Ikejiri who were played called Duo. To prepare for one year, The album recording at Meguro Mori Artwork studio, where a groundbreaking Japanese studio, was selected for recording. The high tension and musicality produced by both players embodies a new worldview in John Coltrane’s compositions by recording UNAMAS.

Tracklist:
01.Lonnie’s Lament 05:27
02.Equinox 04:21
03.Naima 07:48
04.Moment’s Notice 03:20
05.Dear Lord 06:17
06.Syeeda’s Song Flute 04:17
07.Spiral 07:11
08.Central Park West 07:01
09.Count Down 03:32
10. Chasin’ The Train 02:10

Personnel:
Tomonao Hara, trumpet
Hiroshi Ikejiri, double bass

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Trinity College Choir Cambridge, Orchestra of the Age of Enlightenment & Stephen Layton – Bach: Mass in B Minor (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:47:30 minutes | 2,01 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: hyperion-records | Booklet, Front Cover | © Hyperion Records

Following much-praised accounts of the St John Passion and Christmas Oratorio, Stephen Layton now turns to the B minor Mass. With Trinity College Cambridge forces and a fine roster of soloists, the results are guaranteed to prove equally spectacular.

‘Katherine Watson, already a busy soloist, has a delightful baroque soprano voice … but it is Iestyn Davies who serves up this recording’s jewel in his first recorded Agnus Dei, a masterclass in technique, vocal beauty and moving musicality that it is hard to imagine surpassed … this is a fresh and attractive B minor Mass, with plenty in it to enjoy’ (Gramophone)

‘Layton’s Bach is rightly prized for its clear-headed vision and lack of eccentricity. He has a fine team of soloists: Katherine Watson and Helen Charlston’s bright voices blend ideally in the Christe eleison, and Gwilym Bowen and Neal Davies are both stalwarts in their solos. But it is Iestyn Davies’s singing of Qui sedes that takes this release into the realms of greatness. The OAE, with trumpets and drums in full cry in the Gloria, Osanna and Dona nobis pacem, make a splendid sound. Highly recommended’ (The Sunday Times)»

‘We’re treated to lively tempos, exemplified in the Cum Sancto Spiritu, … unusually transparent textures (you hear every voice, every instrumental line in the opening Kyrie, for example), first-rate soloists, and one of the more articulate and singer-sensitive orchestras you’ll hear in this music … as one who’s revisited more than a dozen recorded versions of the B minor Mass while preparing this review, my conclusion is that this one offers stylistically sound, true-to-Bach performances that are both modern yet historically informed, whose interpretive point of view and technical details will stand the test of time—and whose choral vocalism is a marvel’ (Classics Today)

Tracklist:
Johann Sebastian Bach (1685-1750)
01. Part 1 No 1, Chorus: Kyrie eleison
02. Part 1 No 2, Duet: Christe eleison
03. Part 1 No 3, Chorus: Kyrie eleison
04. Part 1 No 4, Chorus: Gloria in excelsis Deo
05. Part 1 No 5, Chorus: Et in terra pax hominibus
06. Part 1 No 6, Aria: Laudamus te
07. Part 1 No 7, Chorus: Gratias agimus tibi
08. Part 1 No 8, Duet: Domine Deus
09. Part 1 No 9, Chorus: Qui tollis peccata mundi
10. Part 1 No 10, Aria: Qui sedes ad dexteram Patris
11. Part 1 No 11, Aria: Quoniam tu solus sanctus
12. Part 1 No 12, Chorus: Cum Sancto Spiritu
13. Part 2 No 1, Chorus: Credo in unum Deum
14. Part 2 No 2, Chorus: Patrem omnipotentem
15. Part 2 No 3, Duet: Et in unum Dominum
16. Part 2 No 4, Chorus: Et incarnatus est
17. Part 2 No 5, Chorus: Crucifixus etiam pro nobis
18. Part 2 No 6, Chorus: Et resurrexit tertia die
19. Part 2 No 7, Aria: Et in Spiritum Sanctum
20. Part 2 No 8, Chorus: Confiteor unum baptisma
21. Part 2 No 9, Chorus: Et exspecto resurrectionem
22. Part 3, Chorus: Sanctus
23. Part 4 No 1, Chorus: Osanna in excelsis
24. Part 4 No 2, Aria: Benedictus
25. Part 4 No 3, Chorus: Osanna in excelsis
26. Part 4 No 4, Aria: Agnus Dei
27. Part 4 No 5, Chorus: Dona nobis pacem

Personnel:
Trinity College Choir Cambridge
Orchestra of the Age of Enlightenment
Stephen Layton (conductor)

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I heard Trio Nuori in concert for the first time in 2011. Amongst other pieces, it was the performance anthology of the wonderful Trio Opus 83 by George Onslow which made a lasting impression on everybody that evening. They came back several times to the Concerts de Vollore Music Festival, performing Alexis de Castillon, whose Trios they recorded on the Ligia label, followed by Alkan’s Trio. So, when I discovered the marvellous piano compositions of Henriette Renié, it seemed obvious to me to suggest to them that they record these pieces which have so regrettably remained in the shadows.

Henriette Renié was a compassionate woman who turned down Toscanini’s offer of a tour in the United States to stay with her family. Music lovers can now listen to this composer of genius in a repertoire for which she is not known. Laurent Martin.

“Who was Henriette Renié?” By and large, only harpists know. Renié (1875-1956), a great harp virtuoso, is to harpists what Liszt is for pianists. In her time, she was an extremely well-known teacher, who made the harp’s reputation as a soloist’s instrument. Matriculating into the Conservatoire de Paris at the age of nine, she left three years later, the unanimously-selected winner of the first prize, and then became assistant to her teacher. A year later, she joined the composition and writing classes at Dubois, which, along with Massenet, encouraged her to compose. Then aged thirteen, she really stood out: the only woman in a class of 18 men! Throughout her life she had a number of students, including Lily Laskine, Marcel Grandjany and… Harpo Marx. She composed around 30 pieces for harp and transcribed an impressive number of works by Debussy, Bach, Ravel, Beethoven, Grieg, and Rameau – to name but a few – and thereby substantially renewed the repertoire of the modern seven-pedal double-movement harp perfected by Érard at the start of the 19th century. Her works betray the influence of late Romanticism. In her Trio for Violin, Cello and Harp (or piano, in the piano version here), from the 1910s, we also find the cyclical form which was so dear to Franck. She cites Franck more clearly in her Sonata for Cello and Piano, the only work which she didn’t dedicate one way or another to the harp. The Trio Nuori aim to bring Henriette Renié out from the world of harpists, as her chamber music work deserves a much larger audience. The trio has indeed been recorded with harp, but never in its piano version, even though it was explicitly composed for either instrument: it is very interesting to approach the work having given some thought to the possibilities deriving from the differences between harp and piano in terms of volume, timbre, intensity, articulation and so on. As for the Sonata for Cello and Piano, this recording marks a discographic world first.

Tracklist:
Henriette Renié (1875-1956)
01. Sonate pour violoncelle et piano: I. Allegro appassionato
02. Sonate pour violoncelle et piano: II. Andante
03. Sonate pour violoncelle et piano: III. Allegro con fuoco
04. Pièce symphonique (En trois épisodes)
05. Trio pour violon, violoncelle et piano: I. Allegro risoluto
06. Trio pour violon, violoncelle et piano: II. Scherzo
07. Trio pour violon, violoncelle et piano: III. Andante
08. Trio pour violon, violoncelle et piano: IV. Final

Download:

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Victor Julien-Laferrière – Live at the Queen Elisabeth Competition 2017 (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:20:35 minutes | 1,25 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Queen Elisabeth Competition

Cellist Victor Julien-Laferrière (born 1990) was a follower of René Benedetti, Roland Pidoux and Heinrich Schiff, in a dazzling career which saw him take the 1st Prize at the 2017 Queen Elisabeth Competition in Brussels, after also having won 1st Prize at the 2012 Prague Spring International Music Competition. Since, his career has seen him play with the Orchestre Philharmonique de Radio France, the Orchestre National de Belgique, the Brussels Philharmonic, the Orchestre Royal de Chambre de Wallonie, the National d’Ile de France and many others, as well as partnering with chamber musicians like Renaud Capuçon, Augustin Dumay, Adam Laloum, Jonas Vitaud, Raphaël Sévère and Lise Berthaud. This is the recording, made in public, naturally, of the semi-final and final of the famous Belgian competition: the Second Concerto by Haydn, the Sonata in F Majorby Brahms alongside pianist Théo Fouchenneret, and then the formidable First Concertoby Shostakovitch, to which he brings an extraordinary energy and diabolical tension from the first to the last note.

Tracklist:
Joseph Haydn (1732-1809)
1. Cello Concerto No. 2 in D Major, Hob. VIIb:2 : I. Allegro moderato 15:13
2. Cello Concerto No. 2 in D Major, Hob. VIIb:2 : II. Adagio 04:54
3. Cello Concerto No. 2 in D Major, Hob. VIIb:2 : III. Allegro 05:38
Johannes Brahms (1833-1897)
4. Cello Sonata No. 2 in F Major, Op. 99 : I. Allegro vivace 06:39
5. Cello Sonata No. 2 in F Major, Op. 99 : II. Adagio affettuoso 06:33
6. Cello Sonata No. 2 in F Major, Op. 99 : III. Allegro passionato 06:22
7. Cello Sonata No. 2 in F Major, Op. 99 : IV. Allegro 04:45
Dimitri Shostakovich (1906-1975)
8. Cello Concerto No. 1 in E-Flat Major, Op. 107 : I. Allegretto 06:18
9. Cello Concerto No. 1 in E-Flat Major, Op. 107 : II. Moderato 12:29
10. Cello Concerto No. 1 in E-Flat Major, Op. 107 : III. Cadenza 06:28
11. Cello Concerto No. 1 in E-Flat Major, Op. 107 : IV. Finale. Allegro con moto 05:16

Personnel:
Victor Julien-Laferriere, cello
Orchestre royal de chambre de Wallonie

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It’s one of those fairy stories that the world of lyrical music likes to keep secret. Still an unknown and barely emerged from the La Scala Lyrical Academy, Georgian mezzo-soprano Anita Rachvelishvili was given the title role in Carmen by Baremboim, alongside Jonas Kaufman: an international career seemed to beckon for the young singer. And so here we will hear some of opera’s great tunes, including, of course, the hits from Carmen, but also the two great arias from Samson et Dalila by Saint-Saëns, a pair from Verdi, a touch of Mascagni, some Rimski – less-frequently performed, it is true – and a rarity from his compatriot Dimitri Arakishvili (1873-1953) whose style is solidly anchored in the Russia of his day, with several, probably regional, twists. Since 2009, she has sung Carmen’s role around three hundred times, and we can only hope that she never gets bogged down in it – and takes on Santuzza, Eboli, Dalil: in other words, the great characters of the dramatic mezzo repertoire.

Tracklist:
1. Carmen, WD 31: Act I: Près des ramparts de Seville (“Seguidilla”) 02:02
2. Samson et Dalila, Op. 47, Act I: Printemps qui commence 05:37
3. Il Trovatore, Act II: Condotta ell’era in ceppi 04:31
4. Don Carlo, Act II: Nei giardin del bello (Canzone del velo) 04:14
5. Werther, Act III: Je vous écris de ma petite chambre (“Letter Aria”) 07:00
6. The Legend of Shota Rustaveli: Cavatina of Queen Tamar 02:23
7. Samson et Dalila, Op. 47, Act II: Mon coeur s’ouvre à ta voix 05:19
8. The Tsar’s Bride, Act I: You Wil Pay (“Lyubasha’s Aria”) 04:24
9. Carmen, WD 31: Act I: L’amour est un oiseau rebelle (“Habanera”) 04:14
10. Cavalleria rusticana: Voi lo sapete, o mamma 03:01
11. Sapho, Act III: O ma lyre immortelle 06:49
12. Don Carlo, Act IV: O don fatale 04:16

Composers:
Arakishvili, Dimitri (1878-1953)
Bizet, Georges (1838-75)
Gounod, Charles François (1818-93)
Mascagni, Pietro (1863-1945)
Massenet, Jules Emile Frederic (1842-1912)
Rimsky Korsakov, Nikolay Andreyevich (1844-1908)
Saint-Saëns, Charles Camille (1835-1921)
Verdi, Giuseppe (1813-1901)

Personnel:
Anita Rachvelishvili, mezzo-soprano
Barbara Massaro, soprano
Orchestra Sinfonica Nazionale della Rai
Coro del Teatro Municipale di Piacenza
Giacomo Sagripanti, conductor

Download:

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Code Girl is the latest project of guitarist and composer Mary Halvorson, and her first project for which she has composed both lyrics and music. The band has already been described as “…a bold experiment in song form” by The New York Times. Deftly interpreted by Amirtha Kidambi (vocals), Ambrose Akinmusire (trumpet), Michael Formanek (bass) and Tomas Fujiwara (drums), the music synthesizes influences of jazz, folk and improvisation to create an original take on songwriting. The debut album will be released on Firehouse 12 Records March 2018.

Halvorson has set her sights high with Code Girl. It is the first time she has worked with a vocalist, not to mention writing lyrics for another member of an ensemble. The group exhibited some characteristic features of a Halvorson ensemble tight associations between members where each musician develops their voice, responds directly and confidently with each other, connects at multiple points simultaneously. Meanwhile, the compositions also brew a rare cohesion that never feels forced and draws each member toward their greatest potential. Trumpet and voice mixed quite profoundly, at times, and the vocal styling of Kidambi drawing from a broad range of influences ranging from the Carnatic tradition to old blues created a haunting and emotionally rich panorama of colors, shapes, and images that made for both tangible and abstract consumption by the attentive audience.

Tracklist:
01. My Mind I Find in Time
02. Possibility of Lightning
03. Storm Cloud
04. Pretty Mountain
05. Off the Record
06. In the Second Before
07. Accurate Hit
08. The Beast
09. The Unexpected Natural Phenomenon
10. Thunderhead
11. And
12. Armory Beams
13. Deepest Similar
14. Drop the Needle

Personnel:
Mary Halvorson – guitar
Amirtha Kidambi – vocals
Ambrose Akinmusire – trumpet
Michael Formanek – bass
Tomas Fujiwara – drums

Download:

https://subyshare.com/pk3r9l51hs59/MaryHalv0rs0nC0deGirl20182496.part1.rar.html
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We’ve lost count of the virtuosos on the Israeli contemporary jazz scene… Except Omri Mor isn’t a newcomer. Fans of Avishai Cohen have discovered the brilliant, Jerusalem-born pianist playing by the side of their favourite double bassist. Hiring him, the star quickly caught a glimpse of his virtuosity as well as his enormous musical knowledge, ranging from classical music to Arabian-Andalusian music, not forgetting Chaabi and of course jazz. Recorded under the art direction of Algerian drummer and percussionist Karim Ziad, his first album – aptly titled It’s About Time! (indeed, at 35 years of age, it was about time), features his mentor Avishai Cohen on six of the nine tracks, as well as Michel Alibo on the electric bass, M’aalem Abdelkbir Merchan on vocals, and Donald Kontomanou and Karim Ziad on the drums. While Omri Mor’s repertoire consists mostly of original pieces in which his talent as a composer and incredible sense for music and melody shine through, the track Marrakech by Hamid Zahir takes the listener into new territories and furious rhythms, giving Mor’s piano majestic wings of swing and freedom.

Tracklist:
01. Ramel Maya (feat. Avishai Cohen, Karim Ziad)
02. Atlas (feat. Avishai Cohen, Karim Ziad)
03. Tears (feat. Avishai Cohen)
04. Sica (feat. Avishai Cohen, Karim Ziad)
05. Zarka (feat. Michel Alibo, Karim Ziad)
06. Dawn (feat. Avishai Cohen, Donald Kontomanou)
07. Marrakech (feat. Michel Alibo, Karim Ziad, Maâlem Abdelkébir Merchane, Oulad Sidi H’mou Band, Mehdi Askeur)
08. Sefarad (feat. Avishai Cohen)0
09. You & the Night & the Music
10. Caravan (Bonus Track)
11. Istikhbar Ramel Maya (Bonus Track)

Personnel:
Omri Mor – piano
Avishaï Cohen – contrebasse
Michel Alibo – basse électrique
Karim Ziad – batterie
Donald Kontomanou – batterie
M’aalem Abdelkbir Merchan – chant

Download:

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