Studio Masters – HDMusic.me

Olivier Vernet’s outstanding career has confirmed the hopes raised by the numerous awards he received over the course of his studies with Gaston Litaize at the Conservatoire National de Région in Saint-Maur-des-Fossés, Marie-Claire Alain at the Conservatoire National de Région in Rueil Malmaison, and Michel Chapuis in the class where he won first prize for organ at the Conservatoire National Supérieur de Musique de Paris.

After unanimously being given the First Prize with honours at the international competition arranged by the U.F.A.M. in Paris in 1984, he won First Prize in 1991 at the International Organ Competition in Bordeaux. He has also received awards from the foundations of Aram Khachaturian, Marcel Bleustein-Blanchet pour la Vocation, Marcelle and Robert de Lacour, and the Yehudi Menuhin Foundation.

Renowned as one of the most brilliant representatives of the French school of organ music, he is enjoying an international career and being invited to perform at the most prestigious festivals. In Nantes in January, 2000, he gave several recitals for “La Folle Journée Bach.” In February, 2010, he inaugurated the French-Russian cultural year at Saint Petersburg’s Mariinsky Theatre (formerly the Kirov).

To date, Olivier Vernet has recorded 100 CDs, including the complete works of Bach, Bruhns, Buxtehude, Clérambault, Couperin, De Grigny, Hanff, Kneller, Mozart, Mendelssohn, Gade, Schumann and Liszt, as well as the complete concertos for organ and orchestra by C.P.E. Bach, J.C. Bach, Corrette and Haydn; and a world premier organ recording of the 2, 3 and 4 keyboard concertos by Bach, where he is joined by Marie-Claire Alain. Many of these CDs have received distinguished awards including: the Diapason d’Or; the Choc du Monde de la Musique; and ffff from Télérama. Other awards include several 10 de Répertoire, Joker from Crescendo, and Recommandé by Classica. Four of the most sought-after honors have been bestowed on Mr. Vernet by the French language musical press: Le Grand Prix de la Nouvelle Académie du Disque for the complete works of Buxtehude, the Grand Prix de l’Académie Charles Cros, the Grand Prix de l’Académie des Beaux-Arts, and the 2000 Diapason d’Or for his complete works of Bach.

Olivier Vernet is the titular organist of the Cathedral of Monaco. As such, he played at the grand organ for the princely wedding in 2011. He teaches at the Académie de Musique Prince Rainier III in Monaco and at the Conservatoire National à Rayonnement Régional de Musique in Nice. He is the Artistic Director for the Monaco International Organ Festival and the Mougins Organ Festival. Olivier Vernet is Chevalier de l’Ordre des Arts et des Lettres.

Tracklist:
Jean Langlais (1907 -1991)
01. Cinq méditations sur l’apocalypse: I. Celui qui a des oreilles qu’il écoute
02. Cinq méditations sur l’apocalypse: II. Il était, Il est et Il vient
03. Cinq méditations sur l’apocalypse: III. Visions prophétiques
04. Cinq méditations sur l’apocalypse: IV. Oh oui, viens Seigneur Jésus
05. Cinq méditations sur l’apocalypse: V. La cinquième trompette
06. L’ange à la trompette: Prélude pour grand orgue
07. The Last Judgment

Personnel:
Olivier Vernet, organ

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Under the leadership of Craig Leon, the Orchestre de’Auvergne surveys ten centuries of Christmas music in this ambitious project. Well-known favourites such as Away in a Manger and Silent Night appear alongside new gems to be discovered like Corde Natus Ex Parentis and Nesciens mater virgo virum.

Tracklist:
01. Joy to the Wolrd (Handel after Anonymous)
02. Silent Night, H.145a-g
03. Corde Natus Ex Parentis
04. Adeste Fidelis
05. The Sussex Carol
06. In the Bleak Midwinter, H. 73
07. Angelus ad Virginem
08. Il est né le divin enfant
09. Est ist ein Ros entsprungen
10. Herz und Mund und tat und Leben , BWV 147: X. Jesu, Joy of Man’s Desire
11. In dulci jubilo Gaudette
12. Gaudette
13. Sleepers Wake, BWV 140
14. Cantique de Noël (O Holy Night)
15. Nesciens mater virgo virum
16. Veni, veni Emmanuel
17. Away in a Manger
18. Festgesang zum Gutenbergfest, WoO 9: II. Hark the Herald Angels Sing

Composers:
Adam, Adolphe Charles (1803-56)
Bach, Johann Sebastian (1685-1750)
Gruber, Franz (1826-71)
Gruber, Franz Xaver (1787-1863)
Handel, George Frideric (1685-1759)
Holst, Gustav Theodore (1874-1934)
Mendelssohn, Felix (1809-47)
Mouton, Jean (c.1459-1522)
Murray, James R (1841-1905)
Praetorius, Michael (1571-1621)
Wade, John Francis (c.1711-86)

Personnel:
Orchestre d’Auvergne
Craig Leon (arrangements & direction)

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A major artistic statement from renowned pianist Renee Rosnes featuring seven new original compositions performed with saxophonist Chris Potter, vibraphonist Steve Nelson, bassist Peter Washington and legendary drummer Lenny White. Also includes a touching rendition of Bobby Hutchersons Rosie in heartfelt tribute to Bobby and his wife Rosemary, as well as a poignant reading of Alec Wilders The Winter of My Discontent. The title track was inspired by the work of Canadian artist Emily Carr whose famous 1935 painting “Scorned as Timber, Beloved of the Sky” is featured on the albums artwork.

Tracklist:
1. Elephant Dust (7:25)
2. Scorned As Timber, Beloved Of The Sky (6:55)
3. Mirror Image (8:22)
4. Rosie (6:32)
5. Black Holes (6:21)
6. The Flame And The Lotus (6:22)
7. Rhythm Of The River (3:45)
8. The Winter Of My Discontent (7:20)
9. Let The Wild Rumpus Start (8:06)

Personnel:
Renee Rosnes, piano
Chris Potter, tenor sax, soprano sax, flute
Steve Nelson, vibes
Peter Washington, bass
Lenny White, drums

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Charles Dollé is not an anonymous composer since we know his name and works signed by him. Nevertheless, he remained in anonymity during his own time and until today, where very few records are devoted to him. Edited in 1737 and dedicated to the Prince of Carignan, famous patron appointed intendant of the Menus Plaisirs by Louis XV, the pieces for bass viol with continuo by Charles Dollé are among the last of its kind.
The facts of not belonging to one of the, through generations at the royal music employed, families and the non-achievement of a position at the court might be an answer why today so less is known about Charles Dollé. He remains mysterious, but his music, thanks to his publications transmitted, shows his musical talent and ability as a performer.

Tracklist:
Charles Dollé (1710 – 1755)
01. Première suite en Sol Majeur pour viole de gambe avec la basse continue: I. Prélude
02. Première suite en Sol Majeur pour viole de gambe avec la basse continue: II. Allemande La Mantrÿ
03. Première suite en Sol Majeur pour viole de gambe avec la basse continue: III. Le Tendre Engagement
04. Première suite en Sol Majeur pour viole de gambe avec la basse continue: IV. Rondeau le Gruer
05. Première suite en Sol Majeur pour viole de gambe avec la basse continue: V. Sarabande
06. Première suite en Sol Majeur pour viole de gambe avec la basse continue: VI. Fugue
07. Première suite en Sol Majeur pour viole de gambe avec la basse continue: VII. Musette La Favoritte
08. Première Suite En Sol Majeur Pour Viole De Gambe Avec La Basse Continue: VIII. La Badine
09. Deuxieme suite en Do Mineur pour viole de gambe avec la basse continue: I. Prélude
10. Deuxieme suite en Do Mineur pour viole de gambe avec la basse continue: II. Allemande La fière
11. Deuxieme suite en Do Mineur pour viole de gambe avec la basse continue: III. Rondeau L’amoureux
12. Deuxieme suite en Do Mineur pour viole de gambe avec la basse continue: IV. Fantaisie la Clausié
13. Deuxieme suite en Do Mineur pour viole de gambe avec la basse continue: V. Sarabande
14. Deuxieme suite en Do Mineur pour viole de gambe avec la basse continue: VI. Les Amusements
15. Deuxieme suite en Do Mineur pour viole de gambe avec la basse continue: VII. Tombeau de Marais le Père
16. Deuxieme Suite En Do Mineur Pour Viole De Gambe Avec La Basse Continue: VIII. La Weymar
17. Troisième suite en La Majeur pour viole de gambe avec la basse continue: I. Prélude
18. Troisième suite en La Majeur pour viole de gambe avec la basse continue: II. Allemande La Coudole
19. Troisième suite en La Majeur pour viole de gambe avec la basse continue: III. Tambourin
20. Troisième suite en La Majeur pour viole de gambe avec la basse continue: IV. Rondeau Le Turpaux
21. Troisième suite en La Majeur pour viole de gambe avec la basse continue: V. Musette
22. Troisième suite en La Majeur pour viole de gambe avec la basse continue: VI. Rondeau le Difficile
23. Troisième suite en La Majeur pour viole de gambe avec la basse continue: VII. Sarabande
24. Troisième Suite En La Majeur Pour Viole De Gambe Avec La Basse Continue: VIII. Carillon

Personnel:
Robin Pharo, viola de gamba

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It took the Steve Miller Band eight years and nine albums before they finally hit the big time. They got a taste of it in 1973 when the title track to The Joker reached No. 1. But Fly Like an Eagle, which was released in April 1976, took Miller and his group to a whole new level.

Miller forsook his love of the blues for this and its sister project Book Of Dreams. In turning to mainstream pop/rock he became a huge star and developed the knack of delivering high-quality three-minute songs that were perfect for FM radio.

The album is linked by Miller’s fascination with electronic sounds, sandwiched between the irresistible title track, the Bonnie and Clyde tale of ‘Take The Money And Run’, the irritatingly simple ‘Rock ‘n’ Me’ and the subdued ‘The Window’, with its quirky lyric ‘ask my baby what she wants to be, she says a monkey in a tree’. His baby replies ‘there’s nothing greater than love’, true enough. After all, it was Miller who rhymed ‘northern California’ with ‘girls are warm yeah’.

“Steve Miller had started to essay his classic sound with The Joker, but 1976’s Fly Like an Eagle is where he took flight, creating his definitive slice of space blues. The key is focus, even on an album as stylishly, self-consciously trippy as this, since the focus brings about his strongest set of songs (both originals and covers), plus a detailed atmospheric production where everything fits. It still can sound fairly dated – those whooshing keyboards and cavernous echoes are certainly of their time – but its essence hasn’t aged, as “Fly Like an Eagle” drifts like a cool breeze, while “Take the Money and Run” and “Rock ‘n Me” are fiendishly hooky, friendly rockers. The rest of the album may not be quite up to those standards, but there aren’t any duds, either, as “Wild Mountain Honey” and “Mercury Blues” give this a comfortable backdrop, thanks to Miller’s offhand, lazy charm. Though it may not quite transcend its time, it certainly is an album rock landmark of the mid-’70s and its best moments (namely, the aforementioned singles) are classics of the idiom.” (Stephen Thomas Erlewine, AMG)

Tracklist:
1. Space Intro 01:16
2. Fly Like An Eagle 04:43
3. Wild Mountain Honey 04:50
4. Serenade 03:11
5. Dance, Dance, Dance 02:17
6. Mercury Blues 03:43
7. Take The Money And Run 02:50
8. Rock’n Me 03:07
9. You Send Me 02:43
10. Blue Odyssey 00:49
11. Sweet Maree 04:22
12. The Window 04:21

Personnel:
Steve Miller, vocals, guitar, keyboards, sitar, ARP Odyssey
Lonnie Turner, bass (all but 12)
Gary Mallaber, drums (all but 12), percussion
Additional musicians:
James Cotton, harmonica (11)
Curley Cooke, guitar (12)
Les Dudek, guitar (12)
Charles Calamise, bass (12)
Kenny Johnson, drums (12)
Joe (JD) D’Andrea, percussion (12)
John McFee, dobro (5)
Joachim Young, B3 organ (2, 12)

Recorded 1975-1976 at CBS Studios, San Francisco, California
Engineered by Mike Fusaro
Produced by Steve Miller

Digitally remastered

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Although Steve Miller had been slugging it out since the late 60’s as a blues-rock guitarist, it wasn’t until his 1973 release, “The Joker”, that he finally found his most marketable niche in radio friendly rock. Here Miller abandoned his edge and his rootsy sensibilities, and leaned toward a lighter, more melodic approach. This is typified in the title track, a shuffling groover with an infectiously hooky chorus that went on to become a monstrous smash, and something of a signature song for Miller.

While “The Joker” is the centerpiece of the album the be-bop ditty “Shu Ba Da Du Ma Ma Ma Ma,” the humorous “Your Cash Ain’t Nothin’ But Trash,” and the underrated Miller composition “Sugar Babe” are also noteworthy. “The Joker” is most interesting as a look at Miller in transition: it contains many of the elements that would go on to make him a superstar over the course of his next two releases, 1976’s “Fly Like An Eagle” and “77’s Books Of Dreams”.

“The Joker is, without question, the turning point in Steve Miller’s career, the album where he infused his blues with a big, bright dose of pop and got exactly what he deserved: Top Ten hits and stardom. He also lost a lot of fans, the ones who dug his winding improvs, because those spacy jams were driven by chops and revealed new worlds. The Joker isn’t mind-expanding, it’s party music, filled with good vibes, never laying a heavy trip, always keeping things light, relaxed and easygoing. Sometimes, the vibes are interrupted, but not in a harsh way – the second side slows a bit, largely due to the sludgy “Come in My Kitchen” and “Evil,” the two songs that were recorded live but lacking any kinetic energy – but for the most part, this is all bright and fun, occasionally truly silly, as on “Shu Ba Da Du Ma Ma Ma Ma.” This silliness, of course, alienated old fans all the more, but that sense of fun is both the most appealing thing about The Joker and it set a touchstone for the rest of his career. Here, it’s best heard on the terrific opener “Sugar Babe” and, of course, the timeless title track, which is sunny and ridiculous in equal measure. If nothing else is quite up to that standard in terms of songs – certainly, it’s not as jammed-pack as its successor, Fly Like an Eagle – The Joker nevertheless maintains its good-time vibe so well that it’s hard not to smile along…provided you’re on the same wavelength as Miller, of course.” (Stephen Thomas Erlewine, AMG)

Tracklist:
1. Sugar Babe 04:34
2. Mary Lou 02:26
3. Shu Ba Da Du Ma Ma Ma Ma 05:41
4. Your Cash Ain’t Nothin’ But Trash 03:23
5. The Joker 04:25
6. The Lovin’ Cup 02:10
7. Come On In My Kitchen (Live) 04:08
8. Evil (Live) 04:34
9. Something To Believe In 04:45

Personnel:
Steve Miller, guitar, vocals, harmonica
Gerald Johnson, bass, backing vocals
Dick Thompson, organ, keyboards, clavinet
John King, drums

Produced by Steve Miller

Digitally remastered

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Composed between 1909 and 1912, these 24 Preludes can be considered as a «pianistic sum» in the work of Claude Debussy, but also more generally in the literature for the instrument. They are part of a tradition which, since the 24 Preludes and fugues of the «well-tempered clavier» of Johann Sebastian Bach continued with Frédéric Chopin, then Serguei Rachmaninov, Alexander Scriabin, Olivier Messiaen.

Written in the period of maturity of the composer, they succeed to “Les Estampes”, “Les Images”, “L’Ile Joyeuse”, and precede the studies (somehow prefigured by “Les Tierces Alternées”, 2nd notebook). They are also contemporary of “Les Images” for orchestra, Claude Debussy who at the time already composed his large symphonic scores.

Seventy years after Frédéric Chopin Preludes on which they are based, these 24 varied parts reveal all the facets of Debussy art. Distinguished from his great romantic predecessor, who makes the prelude a free piece, Claude Debussy suggests to each of them a stealth title which freely refers us to multiple sources of inspiration which fertilize his musical production: nature and its elements, magical or imaginary creatures, antiquity, exoticism, whether Italian, Spanish or English. Beyond descriptive processes, Claude Debussy reveals, as Frédéric Chopin, his states of mind (joy, lightness, humour sometimes cartoonish, seriousness, melancholy, mystery, dreaming, dejection) without excess, using cleverly an art of halftone, and formal balance.

These partitions still surprise us today by their modernity. Debussy harmony frees itself from the laws of classical tonality by using modes, pedal-notes, pivot-notes; it is creative of chords and autonomous sound colorful complexes, venture to atonality but without completely freeing from fundamental harmonic relations (relation tonic/dominant, cadences). Extremely inventive and characterized, the melodies free themselves, heard without accompaniment, or separate from their harmonic context. Rhythms, freed from the regular bar lines, refer to the described object, to the places or situations mentioned.

The form is also open, poetry seeming only guide the composer in a sometimes surprising spontaneity. That music which could be improvised does not exclude the presence of figures, developments, repetitions; unit is present, construction is formal and the direction is noticeable. If the speech is mobile and unpredictable, the architecture (construction by sections, construction in arch form, tripartism) remains classic and stable. Surely a painter, but also a drawer, Claude Debussy also shows his mastery of polyphonic art and counterpoint. Himself a pianist, he has here a keen interest in sound (patterns, resonances, range of intensities), kneading his keyboard, approaching the instrument like an orchestra with multiple timbres.

Claude Debussy Preludes seem to have inherited the clarity, the balance, the descriptive sense, the attention to detail, the art of ornament and the taste for dance which characterized the French harpsichordists. They continue the romantic tradition by the brio, the virtuosity, the effects, the contrasts and the use of all the registers of the instrument. Writing in textures, rhythmic juxtapositions, the exploration of the sounds and the complex use of the pedals deliberately open the way to modern piano, which makes it so important to this work, become vital for pianists.

Tracklist:
Claude Achille Debussy (1862-1918)
1. Préludes, Livre 1, L. 117: No. 1, Danseuses de Delphes 02:51
2. Préludes, Livre 1, L. 117: No. 2, Voiles 03:39
3. Préludes, Livre 1, L. 117: No. 3, Le vent dans la plaine 02:31
4. Préludes, Livre 1, L. 117: No. 4, Les sons et les parfums tournent dans l’air du soir 03:33
5. Préludes, Livre 1, L. 117: No. 5, Les collines d’Anacapri 03:11
6. Préludes, Livre 1, L. 117: No. 6, Des pas sur la neige 03:28
7. Préludes, Livre 1, L. 117: No. 7, Ce qu’a vu le vent d’Ouest 04:34
8. Préludes, Livre 1, L. 117: No. 8, La fille aux cheveux de lin 02:45
9. Préludes, Livre 1, L. 117: No. 9, La sérénade interrompue 03:02
10. Préludes, Livre 1, L. 117: No. 10, La cathédrale engloutie 06:46
11. Préludes, Livre 1, L. 117: No. 11, La danse de Puck 03:29
12. Préludes, Livre 1, L. 117: No. 12, Minstrels 02:51
13. 1Préludes, Livre 2, L. 123: No. 1, Brouillards 03:46
14. Préludes, Livre 2, L. 123: No. 2, Feuilles mortes 02:44
15. Préludes, Livre 2, L. 123: No. 3, La Puerta del Vino 03:33
16. Préludes, Livre 2, L. 123: No. 4, Les fées sont d’exquises danseuses 04:08
17. Préludes, Livre 2, L. 123: No. 5, Bruyères 03:07
18. Préludes, Livre 2, L. 123: No. 6, Général Lavine – eccentric 02:50
19. Préludes, Livre 2, L. 123: No. 7, La terrasse des audiences du clair de lune 05:04
20. Préludes, Livre 2, L. 123: No. 8, Ondine 03:48
21. Préludes, Livre 2, L. 123: No. 9, Hommage à S. Pickwick Esq. P.P.M.P.C. 02:55
22. Préludes, Livre 2, L. 123: No. 10, Canope 03:10
23. Préludes, Livre 2, L. 123: No. 11, Les tierces alternées 03:11
24. Préludes, Livre 2, L. 123: No. 12, Feux d’artifice 05:39

Personnel:
Sylvie Nicephor (piano)

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Orpheus and his lyre: how to better picture the power of music? Orpheus could move stones to tears, he even moved to pity the gates of death. Music overturns the world, this the composers of the English Renaissance knew very well. Even more, music is the soul of the world, a unifying force. Thomas Hobbs celebrates the many facets of music in lutesongs, in particular those of by T. Campion and J. Danyel. It is not solely the lute which accompanies the song, but also less frequently heard instruments such as the lyra viol, the bandora, the orpharion. With their generous strings, these instruments bring to the ears the sound of Orpheus’ magical lyre.

Tracklist:
01. Rest, sweet Nymphs
02. Prelude
03. Music dear solace
04. Come live with me, and be my love
05. Time, cruel Time
06. Almaine
07. Truth, trying Time
08. Like as the lute delights
09. Pavin
10. Come away, come, sweet love
11. Can doleful notes
12. No let chromatic tunes
13. Uncertain certain turns
14. Prelude
15. Mounsiers Almaine
16. Coranto
17. The virgines muse
18. Cease leaden slumber
19. Musickes delight
20. Prelude
21. To music bent is my retired mind
22. What greater grief
23. Mr. Dowland’s Midnight
24. Go nightly cares
25. Down, down, proud minde

Composers:
Campion, Thomas (1567-1620)
Corkine, William (fl.1610-17)
Danyel, John (1564-c.1626)
Dowland, John (1563-1626)
Ferrabosco, Alfonso (1543-88)
Holborne, Antony (?1545-1602)
Hume, Tobias (c.1579-1645)
Pilkington, Francis (c.1570-1638)

Personnel:
Thomas Hobbs, tenor
Romina Lischka, viola da gamba and lyra viol
Sofie Vanden Eynde, lute
Orpheus’ Noble Strings

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On ‘LOVEPLAYDANCE’, legendary Tokyo DJ and producer Toshio Matsuura charts a new direction. Casting musical cornerstones in a fresh light, the TOSHIO MATSUURA GROUP features Tom Skinner (drummer for Sons of Kemet and Owiny Sigoma Band amongst others) as its musical director, as well as some of the UK’s most exciting jazz-influenced musicians. Drawing on years of surveying and curating different corners of music, Matsuura deftly combines this talented pool of players into one singular, wide-ranging album.

A co-founder of Japan’s United Future Organisation (aka U.F.O.), this new record sees Matsuura reconnect with longstanding friend and collaborator Gilles Peterson. Releasing the album via Brownswood Recordings in the UK, it’s a continuation of a relationship which started as a bridge between London’s then-blossoming jazz scene and Tokyo’s new musical vanguard of the early ‘90s. This album continues that two-way dialogue between Japan and the UK.

The project is focused on covers, putting classic or influential tracks in a new context, spanning a cross-section of Matsuura’s taste. On ‘Black Gold of the Sun’, Cuban vocalist Daymé Arocena fronts a new take on the Rotary Connection classic, along with a band – guided by Tom Skinner – that features her prodigious Havana-based players. Elsewhere, Byron Morris and Unity’s ‘Kitty Bey’, a Dingwalls classic, is knocked into a tight, high energy new shape (by a band that includes Yussef Dayes, Yazz Ahmed and Nubya Garcia.)

The scope of the music reflects the breadth of Matsuura’s interests. It ranges from Bugges Wesseltoft’s Detroit-influenced, dancefloor-minded jazz, stretched out into a more meditative contemplation, to Flying Lotus’ LA-rooted, Brainfeeder beatmaking, translated from laptop-to-live, given a new, equally idiosyncratic lease of life. Elsewhere, Carl Craig’s iconic ‘At Les’ is taken in a looser direction, the overtones of euphoria cast in a different hue.

They’re touchpoints which hint at interests in the different, diffuse corners of electronic music, and how they connect to jazz and improvisation. Coming to this project from the perspective of a DJ, producer and curator, it’s an album that shows his grasp of the bigger picture. This album shows him finding the threads which connect those different scenes together, exploring a to-and-fro – between live, played instruments, and the possibilities found in laptops and samplers – which has long been a backdrop to music aimed at dancefloors.

Tracklist:
1. Change 07:39
2. High Noon 07:20
3. L.M. II 09:06
4. I Am the Black Gold of the Sun 05:01
5. Kitty Bey0 6:31
6. Brown Paper Bag 06:42
7. Do the Astral Plane 07:56
8. At Les 07:13

Personnel:
Tom Skinner: drums (tracks 1-4, 7,8);
Tom Herbert: double bass, bass guitar & chorus;
Danalogue: synthesizer, piano & chorus;
Yazz Ahmed: trumpet, flugelhorn & chorus (tracks 1, 2, 5, 7, 8);
Nubya Garcia: tenor saxophone & flute (tracks 5-8);
Mansur Brown: guitar (tracks 4-6, 8);
Crispin ‘Spry’ Robinson: percussion (tracks 2, 4-8);
Yussef Dayes: drums (tracks 5, 6);
Dayme Arocena: vocals (track 4);
Jorge Luis Lagarza Perez: piano (track 4);
Rafael Aldana: bass (track 4);
Raul Herrera Martinez: drums (track 4);
Robert Gallagher: vocals (track 7).

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“He who has heard my music, must free himself of all human miseries.” said Beethoven. When Trio Leos recorded Beethoven’s Trio Opus 1 more than two hundred years after their creation, they wished, of course, to join that long tradition of conservation and questioning of the great works of the history of music. Beethoven wanted to abolish the bounds of time. His past modernity is an impetus, a germinating strength which is still available. Christophe Hache, a musician with a wide cultural range (classical, jazz, contemporary music), bears witness to this original shock wave in his Désinstallation. His piece, built on the finale of the second trio, is both resonance and amplification of Beethoven’s energy.

Tracklist:
01. Trio No. 3, Op. 1: I. Allegro con brio
02. Trio No. 3, Op. 1: II. Andante cantabile con variazoni
03. Trio No. 3, Op. 1: III. Menuetto. Quasi allegro
04. Trio No. 3, Op. 1: IV. Finale. Prestissimo
05. Trio No. 2, Op. 1: I. Adagio allegro vivace
06. Trio No. 2, Op. 1: II. Largo con espressione
07. Trio No. 2, Op. 1: III. Scherzo. Allegro
08. Trio No. 2, Op. 1: IV. Finale. Presto
09. Désinstallation
10. Trio No. 1, Op. 1: I. Allegro (Bonus Track)
11. Trio No. 1, Op. 1: II. Andante cantabile (Bonus Track)
12. Trio No. 1, Op. 1: III. Scherzo. Allegro assai (Bonus Track)
13. Trio No. 1, Op. 1: IV. Finale. Presto (Bonus Track)

Composers:
Beethoven, Ludwig van (1770-1827)
Hache, Christophe (1962- )

Personnel:
Trio Leos:
Pablo Schatzman, violin
Guillaume Lafeuille, cello
Jean-Michel Dayez, piano

Please note: Tracks “10,11,12,13” are in 48kHz/24bit format.

Download:

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The Dutch composer Robin de Raaff has four symphonies to his name. Will De Raaff follow in the footsteps of tradition, or will he give the name, the form, a new meaning, a new direction?

His symphonies have little to do with the classical concept. Of course, his love for composing was partly derived from the symphonies of composers such as Brahms, Mahler, Shostakovich, Prokofiev and even Bernstein, but De Raaff is too much of a constructivist to write a symphony in the classical sense of the word. De Raaff became more and more convinced there was something to be gained in the concertante form, the orchestra and the soloist, the individual and the crowd. He shies away from prescribed forms and developments, a recapitulated theme followed by various movements with different characters. The symphony, the orchestral apparatus sounding together, telling its story for a period of at least 20 minutes, is what he took as his starting point. Working from there, this led to a reinterpretation of the symphonic form. De Raaff’s Second and Fourth Symphonies are the result of a reinterpretation of works for a soloist or soloist group with accompaniment. They are a revision of the material, reminiscent of the way in which Pierre Boulez let Incises for piano grow into Sur incises for ensemble and how Luciano Berio recomposed a number of his Sequenzas into Chemins.

Tracklist:
Robin de Raaff (b.1968)
1. Rascher Saxophone Quartet – Symphony No. 2 “Two Worlds Colliding” for Saxophone Quartet and Orchestra: I. (Live)
2. Rascher Saxophone Quartet – Symphony No. 2 “Two Worlds Colliding” for Saxophone Quartet and Orchestra: II. (Live)
3. Rascher Saxophone Quartet – Symphony No. 2 “Two Worlds Colliding” for Saxophone Quartet and Orchestra: Transition / III. (Live)
4. Doelen Ensemble – Symphony No. 1 “Tanglewood Tales” for Large Orchestra: I. (Untangled Tales) (Live)
5. Doelen Ensemble – Symphony No. 1 “Tanglewood Tales” for Large Orchestra: II. (Untangled Tales) (Live)
6. Doelen Ensemble – Symphony No. 1 “Tanglewood Tales” for Large Orchestra: Coda (Live)
7. Sophia Burgos – Symphony No. 4 “Melodies Unheard” a Symphony of Songs for Soprano (Or Mezzo) and Orchestra on Poems by Emily Dickinson: I. How Sti (Live)
8. Sophia Burgos – Symphony No. 4 “Melodies Unheard” a Symphony of Songs for Soprano (Or Mezzo) and Orchestra on Poems by Emily Dickinson: II. Orches (Live)
9. Sophia Burgos – Symphony No. 4 “Melodies Unheard” a Symphony of Songs for Soprano (Or Mezzo) and Orchestra on Poems by Emily Dickinson: III. Softe (Live)
10. Sophia Burgos – Symphony No. 4 “Melodies Unheard” a Symphony of Songs for Soprano (Or Mezzo) and Orchestra on Poems by Emily Dickinson: IV. The Fa (Live)
11. Sophia Burgos – Symphony No. 4 “Melodies Unheard” a Symphony of Songs for Soprano (Or Mezzo) and Orchestra on Poems by Emily Dickinson: V. The Nea (Live)
12. Sophia Burgos – Symphony No. 4 “Melodies Unheard” a Symphony of Songs for Soprano (Or Mezzo) and Orchestra on Poems by Emily Dickinson: VI. The So (Live)
13. Sophia Burgos – Symphony No. 4 “Melodies Unheard” a Symphony of Songs for Soprano (Or Mezzo) and Orchestra on Poems by Emily Dickinson: VII. Music (Live)

Download:

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Ondine is pleased to announce the debut release of charismatic mezzo-soprano Virpi Räisänen. Having already performed as a successful violinist, Virpi Räisänen has since appeared as a singer at the Staatsoper in Berlin, the Amsterdam Concertgebouw, the Netherlands Opera and the Salzburg Festival with the Vienna Philharmonic Orchestra under the baton of Ingo Metzmacher in Nono’s opera Al gran sole carico d’amore in 2009 and in the premiere of Wolfgang Rihms’s Dionysos in 2010.

Virpi Räisänen, one of the most sought after Finnish female singing talents at the moment, has garnered an impressive list of honours and achievements both as a mezzo soprano and earlier as a concert violinist. Next to her successful violin career singing was always her other passion, earning her singing diploma with the highest distinction. Her warm mezzo voice and her strong musicality is leading her from one success to another.

‘There are lovely, even bewitching songs here … Räisänen can command a wide range of vocal colours as well as fine accuracy and control … the accompaniment is consistently excellent and unobtrusive.’ (American Record Guide)

‘It was fascinating to hear this debut recital disc from Virpi Räisänen. She performs with great enthusiasm and assurance. I admired the emotion she brings to bear in her mid-to-lower register. Viitasalo does sterling work throughout and deserves praise. Räisänen is very talented …’ (MusicWeb International)

The Legacy of Mahler from mezzo-soprano Virpi Räisänen is a collection of late Romanticism Lieder by Mahler as well as Alban Berg, Arnold Schoenberg, Dmitri Shostakovich and Benjamin Britten, who were all strongly inspired by Mahler. Räisänen’s duo partner at the piano is the highly-acclaimed Marita Viitasalo.

Tracklist:
Gustav Mahler (1860-1911)
01. Ablösung im Sommer 1:48
02. Frühlingsmorgen 2:00
03. Erinnerung 2:59
04. Hans und Grete 2:26
05. Serenade 1:48
06. Phantasie 2:30
Alban Berg (1885–1935)
07. Sehnsucht I 1:14
08. Er klagt, daß der Frühling so kurz blüht 1:04
09. Regen 1:30
10. Schließe mir die Augen beide (1907) 1:04
11. Schließe mir die Augen beide (1925) 1:39
12. Schlafen, schlafen 2:56
13. Leukon 1:18
Arnold Schoenberg (1874–1951)
from: Brettl-Lieder (Cabaret Songs)
14. Galathea 3:17
15. Einfältiges Lied 2:34
16. Der genügsame Liebhaber 2:47
Dmitri Shostakovich (1906-1975)
Two Fables, Op. 4
17. The Dragonfly and the Ant 2:41
18. The Ass and the Nightingale 4:47
Benjamin Britten (1913-1976)
A Charm of Lullabies
19. A Cradle Song 2:25
20. The Highland Balou 2:00
21. Sephestia’s Lullaby 2:01
22. A Charm 1:45
23. The Nurse’s Song 3:55

Personnel:
Virpi Räisänen, mezzo-soprano
Marita Viitasalo, piano

Download:

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DSD128

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John The Revelator – 50 & Beyond: Volume 1 & Volume 2 (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:19:46 minutes | 1,02 GB | Genre: Blues
Studio Masters, Official Digital Download – Source: Bandcamp | Booklet

Back in 1970 the Dutch blues band John The Revelator won the prestigious Loosdrecht Jazz Concours. Record label Decca immediately offered them a recording contract, which resulted in the release of the legendary album “Wild Blues”. Now, approaching the 50th anniversary the band toying with the idea of releasing a box set to celebrate this special occasion. For the new album were invited the original Wild Blues guys from 1970: Charles van den Heuvel (piano), Fred Huissen (drums), Charles van der Steeg (tenor saxophone) and co-founder Jos de Wilde (slide). Even after all those years it felt like they never left the band. Most of the tracks were recorded live in one take, just like the good old “Wild Blues” days. The results can be heard on the new double album “50 & Beyond”.

Tracklist:
01 – John the Revelator
02 – Another kinda love
03 – One night blow
04 – Mojo devil#1
05 – One sided love
06 – Madison blues
07 – Looking for a free ride
08 – Boogie man
09 – Nobody’s fault but mine
10 – Hawaiian boogie
11 – Slow down
12 – Hand in hand
13 – Mojo devil#2
14 – Too many to bail
15 – Without you
16 – Shake your moneymaker
17 – Sugar mama
18 – Mojo devil#3
19 – Traveling riverside blues
20 – She’s got the eye

Recorded at The Bunker Studio, Ijmuiden, Holland.
Recorded, Mixed and Mastered by Henk Suurling.

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Karim Sulayman, Apollo’s Fire, Jeannette Sorrell – Songs Of Orpheus (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:11 minutes | 1,23 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Avie Records

Karim Sulayman is a Lebanese-American tenor pays tribute to his favorite myth ” Orpheus” on this debut album. He brings to life Orpheus’s character through his sensitivity to dynamics and emotional delivery of this beautifully composed music. Sulayman is accompanied by leading baroque interpreters Jeannette Sorrell and Apollo’s Fire.

The American tenor Karim Sulayman, of Lebanese background, has previously been heard on recordings with the Cleveland-based historical-performance group Apollo’s Fire. He is backed by members of that group here in his solo debut, with the larger Apollo’s Fire heard on the instrumental sonatas distributed through the program. Those point to the real strength of this release. Sulayman has a wonderfully resonant voice, and he contributes, in his singing and in an elegant note, a sense of personal involvement with the story of Orpheus, mythology’s most famous vocalist. A collection of 17th century pieces related to Orpheus, a story intimately entwined with the development of opera, was a good idea in itself, but where Sulayman really excels is in forging a little “I love you to hell and back” narrative to tie together these pieces by Monteverdi, Giulio Caccini, Dario Castello, Giovanni Paulo Cima, Sigismondo d’India, Stefano Landi, Antonio Brunelli, and Tarquinio Merula. Some of the instrumental sonatas are quite unusual, and all relate vividly to the stage of the story under discussion. Sample Castello’s Sonata No. 2 in D minor, proceeding into Sulayman’s rendition of Tu se’ morta from Orfeo. (An audience of the 17th century, one suspects, would have loved both the idea and its execution by Sulayman, who manages to produce a big yet intimate sound. The engineering loses some of that intimacy; the suburban Cleveland church where the music was recorded is wrong for the repertory. But this a fine early Baroque vocal release from the American Midwest, where early music is still not a terribly common find.

Tracklist:
01 – Monteverdi: Quarto scherzo delle ariose vaghezze, 1624: Si dolce è ‘l tormento
02 – Monteverdi: L’Orfeo, SV 318: Vi ricorda o bosch’ ombrosi
03 – Monteverdi: L’Orfeo, SV 318: Rosa del ciel
04 – Monteverdi: Le nuove musiche, 1602: Dolcissimo sospiro
05 – Dario Castello: Sonate concertate in stil moderno, Libro II, 1629: Sonata No. 2 in D Minor
06 – Monteverdi: L’Orfeo, SV 318: Tu se’ morta-Sinfonia
07 – Giulio Caccini: L’Euridice: Funeste piaggie
08 – Giovanni Paolo Cima: Sonata No. 1 in G Minor for Violin & Continuo
09 – Monteverdi: L’Orfeo, SV 318: Qual honor di te sia degno-Sinfonia
10 – Castello: Sonata concertata XV, a Quattro voci
11 – Sigismondo d’India: Le musiche da cantar solo, Milan 1609: Piangono al pianger mio
12 – Stefano Landi: Quinto libro di arie da cantarsi ad una voce, 1637: Canta la cicaletta
13 – Stefano Landi: Secondo libro di arie da cantarsi ad una voce, 1627: T’amai gran tempo
14 – Antonio Brunelli: Arie, scherzi, canzonette e madrigali a cantare e suonare, 1613: Non havea Febo ancora
15 – Tarquinio Merula: Curtio precipitato et altri capricii,1638: Folle è ben che si crede

Recorded on August 20-23, 2017 at Saint Paul’s Episcopal Church, Cleveland Heights, Ohio.
Produced & Edited by Erica Brenner. Engineered by Ian Dobie. Mastered by Daniel Shores.

Musicians:
Karim Sulayman – tenor
Apollo’s Fire – Directed by Jeannette Sorrell

Download:

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Marie Key Kristiansen better known as Marie Key is a Danish pop singer and songwriter. On her new album, Marie Key has replaced her naive and curly everyday puppet for the benefit of synthetic R&B, as we know from Medina and Nik & Jay. This is not a random comparison, as both appear on “Giganter”, which is Keys fourth solo album.

Tracklist:
01 – Succes
02 – Bruge Dig
03 – Det Vi Sagde
04 – Et Nyt Liv
05 – Regn
06 – Stjernerne Falder
07 – Giganter
08 – Kæden
09 – Korn
10 – Spot
11 – At Dele Ud Af Sig Selv
12 – Ik’ Alene i Verden
13 – Gode Dage
14 – Frie

Download:

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Italian reggae band Mellow Mood first started in 2005, while Jacopo, Lorenzo and Giulio were in high school in their home town of Pordenone (North-East Italy). Over the years, the band has had many versions, but the trio always remained. They are set to release their fifth album “Large” on April 6 via LA TEMPESTA DUB. Mellow Mood is led by identical twin brothers, Jacopo and Lorenzo Garzia, along with Filippo Buresta (keyboards), Antonio M. Cicci (drums), Giulio Frausin (bass, backing vocals, guitar, percussions).

With Mellow Mood’s newest release “Large”, the band is ready to make a global statement. Large is a comment on today’s global market economy, which is constantly pushing us to produce more, consume more and live as the title track states “Large” rather than nurturing human relations, taking care of each other and appreciating what we already have. Large is a straightforward roots reggae album focusing on honest, heartfelt song-writing and heavyweight rhythms. Although Mellow Mood doesn’t sing strictly Rastafarian lyrics, their music is consistently conscious and positive. Stand out tracks like “Call Back The Love”, “Tuff Rocky Road” and “Another Day” call on the listeners to open their hearts and embrace life with a positive attitude despite the inevitable difficulties. While, “Daddy” welcomes guidance from elders, relatives and parents, and “Sound Of A War, “It Can’t Work” takes a stand by pushing back on misinformation, fake news and delusional politics. “String Up A Sound” dips into the realm of Afro-beat and features a sample taken from Sierra Leone’s Refugees All Stars’ repertoire to praise the power of music as universal healing. “Ms. Mary” is a particularly rude landlord scorning reggae music and levity, and “Heart To No One” is a painful breakup followed by “Eye Waata,” the temptation to dwell in self-pity. For Mellow Mood, music and spiritual awareness remain the “greatest weapons” to overcome tough times and keep walking on the right path as heard on “Place Called Home”. The writing of the songs took place during the summer of 2017 and was characterized by a more “live” approach as it was mostly arranged by the band in their rehearsal room and recorded live in Paolo Baldini’s studio. The use of vintage instruments dating back to the ’80s sets the sounds of the album, which was mastered in Dallas, TX by renowed Chris Athens (Drake, Nas & Damian Marley, Erykah Badu, DJ Khaled, Alborosie).

Tracklist:
01 – Call Back the Love
02 – Tuff Rocky Road
03 – Ms. Mary
04 – Sound of a War
05 – Large
06 – Heart to No One
07 – It Can’t Work
08 – Another Day
09 – Daddy
10 – String Up a Sound
11 – Eye Waata
12 – Place Called Home

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Michael Wookey is an English singer-songwriter and composer, born in Southampton and based in Paris. Wookey is known for using toy instruments in his music, and in 2013 he arranged a 10-person toy orchestra to play his compositions at Paris’s Théâtre du Châtelet; a second performance followed in 2014. He collaborated with Margaret Leng Tan and wrote a concerto for her named “Coney Island Sous l’Eau.” The U.S. premiere of Wookey’s concerto was in 2013 at the Washington Square Music Festival in New York City, with The New York Times calling it “the most rewarding of the pieces for toys on the program”. “Hollywood Hex” is his sixth studio album.

Tracklist:
01 – Sailor
02 – Red Hot Dollas
03 – Living by the Sea
04 – Bane
05 – Long Live the Meadows
06 – Hollywood Hex
07 – Do Right Fear No Man
08 – Motherfucker
09 – Shut Your Mouth and Dance with Me
10 – Pistol Whipped
11 – Small Voice of Calm

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Rare live album recorded at New York’s Village Gate. Includes a 10 minute jamming version of Mongo’s classic number Afro Blue. The band include: Marty Sheller, Ray Maldonado, Rogers Grant, Bobby Capers, Hubert Laws and others. Lots of greats solos from Mongo and his band.

Mongo bores at the Village Gate until “Afro Blue.” His ten-minute Afro-Cuban smoker recovers all the melodic impact, engaging solos, and general feel that have been missing from his work for years. The early Chants album on Tico never sounded this good. Still, the song might have been slowed and stretched a bit further. Side two opens with the album’s only uptempo number, but more interesting are the lazier “Springtime” and “Elephant Pants,” a laid-back cousin of “Baby Elephant Walk” complete with trumpeted elephant sounds. Live is probably how most of the earlier Columbia material ought to have been recorded. Explodes at the Village Gate has the intensity and sound, but most of the tunes are not especially strong. ~ Tony Wilds

Tracklist:
01 – Philadelphia
02 – Juan Jose
03 – Bloodshot
04 – Afro Blue
05 – Yes It Do
06 – Mongoettes
07 – Springtime
08 – No More
09 – Elephant Pants

Musicians:
Mongo Santamaria – congas, bongas
Hubert Laws – saxophone, flute, piccolo flute
Bobby Porcelli – saxophone, flute
Ray Maldonado – trumpet
Rodgers Grant – piano
Victor Venegas – bass
Hungria Garcia – drums, cimbales

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Ramón “Mongo” Santamaría Rodríguez was a rumba quinto master and an Afro-Cuban Latin jazz percussionist. He is most famous for being the composer of the jazz standard “Afro Blue”, recorded by John Coltrane among others. He was an integral figure in the fusion of Afro-Cuban rhythms with R&B and soul, paving the way for the boogaloo era of the late 1960s. This album has been released in 1967 via Columbia Records. Heavyweight West Coast latin boogaloo/jazz album from Mongo Santamaria featuring Hubert Laws, Marty Sheller, Bobby Capers and loads more killer latin and jazz musicians.

Mongomania maintains a solid, upbeat jazz groove, with several interesting departures from his usual approach (such as the percussion on the album’s two bossa novas). Whereas his previous Columbia albums may have had only one or two great tracks amid gratuitous covers of pop tunes, this one is at least half good. Although the band finally seems to be shaking the yoke of needing a hit single to follow “Watermelon Man,” “I Wanna Know” (not to be confused with Francisco Aguabella’s later masterpiece) may fit the bill nicely. Songs such as “Funny Man” are solidly in Mongo’s Columbia vein. This Mongo material may not be worthy of mania, but it does provide a solid foundation for live performances, and is always great for blasting out the windows on a sunny day. ~ Tony Wilds

Tracklist:
01 – I Wanna Know
02 – Mongo-Nova
03 – Old Clothes
04 – The Goose
05 – Mamacita Lisa
06 – Mongo’s Boogaloo
07 – Bossa-Negra
08 – Funny Man
09 – Melons
10 – Cuco and Olga

Musicians:
Mongo Santamaria – percussion
Bobby Capers – alto & baritone saxophone
Hubert Laws – flute, tenor saxophone
Marty Sheller – cowbell, trumpet
Wayne Henderson – trombone
Fred Hill – trumpet
Ray Maldonado – trumpet
Rodgers Grant – piano
Victor Venegas – bass
Carmelo Garcia – drums
Cuco Martinez – percussion
Sandra Crouch – tambourine

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The jazz supergroup of the year is right here – SHEroes, convened by pianist-composer Monika Herzig for a second recording by distinguished improvising virtuosos who are all, not just incidentally, women. Monika’s deft, always supportive pianism and her warm, joyous, practical sensibility marks every tune with SHEroes. Each song is engaging, the playing accomplished and inspiring.

One could argue that there is no better time than now to release this remarkable recording. Sheroes, brought together by pianist/composer Monika Herzig, features an international cast of virtuous players—all women, all first-call talents—including Reut Regev (trombone, Israel), Jennifer Vincent (trumpet, USA) Jamie Baum (flute, USA), Leni Stern (guitar, Germany/US), and drummer Rosa Avila (Mexico). Others, including Jennifer Vincent on bass, Mayra Casales on percussion and trumpeter Ingrid Jensen—round out the theme as well as the serious pedigree. Herzig does much of the writing, but Regev, Baum, and Stern all contribute compositions, alongside a few covers, including “Ain’t No Mountain High Enough” and “House of the Rising Sun.” Together, on this second recording, they are, in the broadest sense, a model of empowerment. As an ensemble, they stand unequivocally as a musical force, with deftness, invention, enthusiasm and ambition. This is an album full of extraordinary stuff that deserves your attention.

Tracklist:
01 – Time Again, D.B.
02 – Bubbles
03 – Ain’t No Mountain High Enough
04 – Nancy Wilson Portrait
05 – Song for C.C.
06 – Just Another Day at the Office
07 – The House of the Rising Sun
08 – Wayning
09 – Cantos
10 – I Am a Superstar

Musicians:
Monika Herzig – piano
Jamie Baum – flute
Ingrid Jensen – trumpet
Reut Regev – trombone
Ada Rovatti – tenor saxophone
Leni Stern – guitar
Jennifer Vincent – bass
Rosa Avila – drums
Myra Casales – percussion

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Olivier Vernet – Apocalypse (2016) [Official Digital Download 24bit/48kHz]

Orchestre d’Auvergne & Craig Leon – Celebration: 10 Centuries of Christmas Music (2016) [Official Digital Download 24bit/96kHz]

Renee Rosnes – Beloved Of The Sky (2018) [Official Digital Download 24bit/96kHz]

Robin Pharo – L’Anonyme Parisien (2016) [Official Digital Download 24bit/88,2kHz]

Steve Miller Band – Fly Like An Eagle (1976/2018) [Official Digital Download 24bit/96kHz]

Steve Miller Band – The Joker (1973/2018) [Official Digital Download 24bit/96kHz]

Sylvie Nicephor – Debussy: 24 preludes (2018) [Official Digital Download 24bit/44,1kHz]

Thomas Hobbs, Romina Lischka & Sofie Vanden Eynde – Orpheus’ Noble Strings (2016) [Official Digital Download 24bit/96kHz]

Toshio Matsuura Group – LOVEPLAYDANCE: 8 Scenes from the Floor (2018) [Official Digital Download 24bit/96kHz]

Trio Leos – Beethoven: Piano Trios, Op. 1 – Hache: Desinstalation (2016) [Official Digital Download 24bit/44,1kHz]

Various Artists – Robin de Raaff: Melodies Unheard (2018) [Official Digital Download 24bit/44,1kHz]

Virpi Raisanen, Marita Viitasalo – The Legacy of Mahler (2012/2016) [Official Digital Download 24bit/192kHz]

John The Revelator – 50 & Beyond: Volume 1 & Volume 2 (2018) [Official Digital Download 24bit/44,1kHz]

Karim Sulayman, Apollo’s Fire, Jeannette Sorrell – Songs Of Orpheus (2018) [Official Digital Download 24bit/96kHz]

Marie Key – Giganter (2018) [Official Digital Download 24bit/44,1kHz]

Mellow Mood – Large (2018) [Official Digital Download 24bit/48kHz]

Michael Wookey – Hollywood Hex (2018) [Official Digital Download 24bit/44,1kHz]

Mongo Santamaria – Explodes at The Village Gate (1967/2017) [Official Digital Download 24bit/192kHz]

Mongo Santamaria – Mongomania (1967/2017) [Official Digital Download 24bit/192kHz]

Monika Herzig – Sheroes (2018) [Official Digital Download 24bit/44,1kHz]