Studio Masters – HDMusic.me

Blues-rock is a tightrope and Mike Zito has never lost his footing. At times in his storied two-decade career, the Texas bandleader has rolled up the amps and rocked as hard as anyone. Yet his lifelong fascination with the blues has always reeled him back in. And now, having shaken the rafters with 2016s acclaimed Make Blues Not War, First Class Life finds Mike diving deep into the only genre that can do justice to his hard-won true stories of hardship and redemption. Make Blues was pretty extreme and rocking, he reflects. This time, I was definitely thinking more blues. Released in 2018 on Ruf Records, First Class Life is a fitting album title from a man who remembers the hard times. The title track is a nod to where Ive come from and where Im at, explains the songwriter whose promising early career was almost destroyed by addiction. Its a rags-to-riches story, and its certainly true. I grew up poor in St. Louis, and now I’m travelling the world to sing my songs. In the world of excess America, I may not look rich, but in my world, I most certainly am. I have a beautiful family, Im clean and sober, and I get to play music. And what music. Since Mikes debut album, Blue Room (1997), there have been countless creative peaks, from 2011s confessional Greyhound, through his world-conquering contributions to US supergroup the Royal Southern Brotherhood, right up to recent solo triumphs like Gone To Texas (2013), Keep Coming Back (2015) and Make Blues Not War (2016). Last November, as the band tracked live at Mikes new backyard recording facility dubbed Marz Studios there was an unspoken mission to raise the bar. We planned three days for the session, he reflects, but had all the tracks finished the first day. The band was really on fire and it just had this really fun vibe that we were in my backyard making a first class record. On his 14th album release, Mikes socially charged observations and candid soul-searching have never been sharper. Theres the punchy call-to-arms of Time For A Change and the exquisite one-note slow-blues, The World We Live In. The electrified blues bounce of Dying Day swears lifelong allegiance to his wife, while the sinister Old Black Graveyard growls with Hendrix-esque flourishes as it salutes the fallen. Thats about a forgotten cemetery of poor black Americans that has not been kept up near my home in Beaumont, Texas, he says. Blind Willie Johnson is buried there. Its a sure sign of racism in America and how the poor arent treated with dignity. That song is a ghost story that those buried there wreak havoc in the night. Yet the records darker moments are offset by cuts like Mama Don’t Like No Wah Wah, the crash-bang-wallop gem written with Bernard Allison. Bernard told me about his first gig as guitarist for Koko Taylor, laughs Mike. Koko didnt like any effects on the guitar, she wanted it to sound natural. She also didn’t know what effects were, she just called them wah wah. So when Bernard made an attempt to use an effect on his guitar after playing with her for months, he got caught. Mama don’t like no wah wah is what he was told. Thats a song to me! Of course, the most captivating story of all is the dazzling upward curve of Mike Zitos unfolding career. In 2018, First Class Life doesnt just capture the past glories and setbacks it points a signpost at the peaks to come. With this album, he concludes, I had this idea of stepping up. I want the world to know I can play this music with conviction and style. I think its really the next step…”

Tracklist:
1. Mississippi Nights 04:20
2. First Class Life 04:04
3. I Wouldn’t Treat a Dog (The Way You Treat Me) 03:59
4. The World We Live In 04:20
5. Mama Don’t Like No Wah Wah 03:56
6. Old Black Graveyard 05:32
7. Dying Day 02:56
8. Back Problems 04:26
9. Time for a Change 03:13
10.Damn Shame 05:33
11. Trying to Make a Living 02:30

Download:

https://subyshare.com/zynq1md2zxiz/MikeZit0FirstClassLife20182444.1.rar.html

The Italian guitarist and bandleader Nicola Conte has recorded his first album for the legendary, recently re-established MPS records. Conte has brought with him his cosmic-cosmopolitan ensemble of stars which includes trumpeter Theo Croker, saxophonists Logan Richardson and Magnus Lindgren, and singer Zara McFarlane. For the most part recorded in Bari, Italy and Johannesburg, South Africa, it is a sensitive work of art that crosses the border between soul and spiritual Afro-jazz.Nicola Conte has cast his vision of cosmic jazz into a seamless tonal design – without restricting his players’ freedom, leaving them open to the influences of the diverse cultures. “Everyone should be able to express themselves freely,” Conte says; “this album is much more open than my last one. Everything was recorded live and with a minimum of overdubs.”

The foundation of “Let Your Light Shine On” is Conte’s live band, Spiritual Galaxy. Conte plays guitar and is accompanied by such top international stars as trombonist Gianluca Petrella, who has been awarded “Best Emerging Artist” by the prestigious DownBeat jazz magazine, Swedish tenor saxophonist Magnus Lindgren, and Finnish drummer Teppo Mäkynen. They meet up with pianist Petro Lusso, bassist Luca Alemanno, and singer Bridgette Amofah. The band also includes two up-and-coming stars of the younger generation of jazz musicians from the USA, players who don’t shy away from Hip Hop, R&B, and electronic music – alto saxophonist Logan Richardson and trumpeter Theo Croker.

Tracklist:
1. Uhuru na umoja
2. Ogun
3. Cosmic peace
4. Universal rhythm
5. Mystic relevation of the gods
6. Let your light shine on
7. Space dimensions
8. Tribers from the unknown
9. Me do wo
10. Essence of the sun
11. Love power
12. Afro black

Download:

https://subyshare.com/2p8faum7p6tq/Nic0laC0nteLetY0urLightShine0n20182448.rar.html

Nicolas Dautricourt & Juho Pohjonen – Bach: 6 Sonatas for Violin and Keyboard, BWV 1014-1019 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 56:38 minutes | 2,27 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © La Dolce Volta

One of the most original features of the Sonatas for violin and piano BWV 1014-1019 is the imagination shown by Johann Sebastian Bach in harmonic, melodic and contrapuntal terms. The pianist’s right hand and the violin must constantly answer each other, while the basso continuo is entrusted to the pianist’s left hand. The exceptional degree of invention to be found in this musical dialogue – a felicitous harmony between melody and counterpoint – irremediably excludes any form of excessive soliloquising.

Bach’s music can adapt to practically any instrument. The source of sonority is relatively insignificant, since what counts for the composer is the philosophical and intellectual content: the form, the tonal structure and the melodic contours of the work are of greater importance than the instrument per se.

Do we not see in the master of Leipzig a universal icon, a supreme instance through which, in a sense, all music has come into being? In the face of such immensity, it was therefore appropriate to observe a certain simplicity: this disc is anything but a ‘historical’ recording. It does not claim to be the depository of any particular learning and bears the seal of no particular heritage.

The performers play for the listeners of their time. On the one hand, there is Nicolas Dautricourt’s 1713 Stradivarius and, on the other, Juho Pohjonen’s modern Steinway & Sons D.

To listen to this double album is to immerse oneself in a world of abundance and to gain an insight into how such controlled music can still provoke such great emotion, thanks to the talents of these two magnificent artists. This is the amazing sonic adventure on which we are invited to join Florian Noack, one of today’s most exciting artists.

Tracklist:
Johann Sebastian Bach (1685-1750)
CD1
01. Mache dich, mein Geist, bereit, BWV 115: II. Aria (Arr. for Violin and Piano)
02. Sonata for Violin and Piano in B Minor, BWV 1014: I. Adagio
03. Sonata for Violin and Piano in B Minor, BWV 1014: II. Allegro
04. Sonata for Violin and Piano in B Minor, BWV 1014: III. Andante
05. Sonata for Violin and Piano in B Minor, BWV 1014: IV. Allegro
06. Sonata for Violin and Piano in A Major, BWV 1015: I. Andante
07. Sonata for Violin and Piano in A Major, BWV 1015: II. Allegro
08. Sonata for Violin and Piano in A Major, BWV 1015: III. Andante un poco
09. Sonata for Violin and Piano in A Major, BWV 1015: IV. Presto
10. Sonata for Violin and Piano in E Major, BWV 1016: I. Adagio
11. Sonata for Violin and Piano in E Major, BWV 1016: II. Allegro
12. Sonata for Violin and Piano in E Major, BWV 1016: III. Adagio ma non troppo
13. Sonata for Violin and Piano in E Major, BWV 1016: IV. Allegro
CD2
01. Sonata for Violin and Piano in C Minor, BWV 1017: I. Largo
02. Sonata for Violin and Piano in C Minor, BWV 1017: II. Allegro
03. Sonata for Violin and Piano in C Minor, BWV 1017: III. Adagio
04. Sonata for Violin and Piano in C Minor, BWV 1017: IV. Allegro
05. Sonata for Violin and Piano in F Minor, BWV 1018: I. Largo
06. Sonata for Violin and Piano in F Minor, BWV 1018: II. Allegro
07. Sonata for Violin and Piano in F Minor, BWV 1018: III. Adagio
08. Sonata for Violin and Piano in F Minor, BWV 1018: IV. Vivace
09. Sonata for Violin and Piano in G Major, BWV 1019: I. Allegro
10. Sonata for Violin and Piano in G Major, BWV 1019: II. Largo
11. Sonata for Violin and Piano in G Major, BWV 1019: III. Allegro
12. Sonata for Violin and Piano in G Major, BWV 1019: IV. Adagio
13. Sonata for Violin and Piano in G Major, BWV 1019: V. Allegro
14. Orchestral Suite No. 3, BWV 1068: II. Aria (Arr. for Violin and Piano)
15. Sonata for Violin and Piano in G Major, BWV 1019a: I. Cantabile, ma un poco adagio
16. Sonata for Violin and Piano in G Major, BWV 1019a: II. Adagio
17. Sonata for Violin and Piano in G Major, BWV 1019a: III. Allegro

Personnel:
Nicolas Dautricourt, violin
Juho Pohjonen, piano

Download:

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It is not so much a question of Nigel Kennedy meeting Gershwin with some “Maestro Gershwin, I presume” than of Gershwin hitting upon Kennedy in the New York jungle with a “Mister Kennedy, I presume, playing some Gershwin”. The present album is as much by the now classic explorer of jazz-cum-classical music as by Kennedy and, at that, by his jam session colleagues, to wit guitarists Howard Alden and Rolf ‘die Kobra’ Bussalb, bassist Tomasz ‘Insomnia’ Kupiec, as well as flutist David Heath. Hence the fact that though the booklet states all pieces are “arranged by Nigel Kennedy”, the input of all these jazz soloists is nothing less than seminal. Let us say he has arranged the accompaniment sections, written for strings and sometimes piano and harpsichord – both of which Kennedy plays himself, by the bye. His rewritings are epitomised by three main ingredients: the fusion of jazz and classical music, the beautiful melodic influences of Jewish culture and the unique energy of New York City – with a further (and obviously extemporaneous) exploration into Pink Floyd style rock for one of the numbers. A further ingredient is doubtless Kennedy’s personal acquaintanceship with Stéphane Grappelli when he was around 14 years old. Given “that this music evolved as a live project”, writes Kennedy in the liner notes, he “continued along these lines in the studio, thus: no glorious reverb, so that the music is and sounds like five cats playing live in a room. This is the old style of recording, more similar to some of [his] favourite recordings from the 30s and 40s.” Of course, Gershwin would not necessarily always recognise his pieces but certainly he’d have loved the way these musicians have jammed around the notes.

Tracklist:
1. Rhapsody in Claret & Blue (Arr. Kennedy) 02:36
2. Our Love Is Here to Stay (Arr. Kennedy) 04:37
3. The Man I Love (Arr. Kennedy) 08:19
4. Summertime (Arr. Kennedy) 05:46
5. Time 03:17
6. Porgy & Bess (Arr. Kennedy) 08:29
7. How Long Has This Been Going On (Arr. Kennedy) 05:54
8. Fantasy 10:06
9. They Can’t Take That Away from Me (Arr. Kennedy) 06:43
10. Oh, Lady Be Good! (Arr. Kennedy) 07:10

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https://subyshare.com/ojdtsbkk88ih/NigelKennedyKennedyMeetsGershwin20182496.part1.rar.html
https://subyshare.com/wcrnpms8ajt5/NigelKennedyKennedyMeetsGershwin20182496.part2.rar.html

“Awase”, a term from martial arts, means “moving together” in the sense of matching energies, a fitting metaphor for the dynamic precision, tessellated grooves and balletic minimalism of Nik Bärtsch’s Ronin. Six years have passed since the last release from the Swiss group. In the interim, trimmed from quintet to quartet size and with new bassist Thomy Jordi fully integrated, Ronin has become a subtly different band. Bärtsch speaks of a new-found freedom and flexibility in the approach to the material, with “greater transparency, more interaction, more joy in every performance”. The freedom here extends to revisiting early Bärtsch modules alongside new compositions including, for the first time on a Ronin record, a piece by reedman Sha. Awase was recorded at Studios La Buissonne in the south of France in October 2017 and produced by Manfred Eicher.

Tracklist:
01. Modul 60 05:08
02. Modul 58 18:19
03. A 08:23
04. Modul 36 13:37
05. Modul 34 08:51
06. Modul 59 11:01

Personnel:
Nik Bärtsch, piano
Sha, bass clarinet, alto saxophone
Thomy Jordi, bass
Kaspar Rast, drums

Download:

https://subyshare.com/c5rj6qox8d4u/NikBartschsR0ninAwase20182488.2.part1.rar.html
https://subyshare.com/kja62nv2hf06/NikBartschsR0ninAwase20182488.2.part2.rar.html

Lush, warm and markedly unique, this Nashville-by-way-of-Tulsa debut weaves folk, roots, and classic country influences into a fresh brand of Americana that’s as inventive as it is nostalgic. Recommended if you like Emmylou Harris, Norah Jones, or Loretta Lynn.

Tracklist:
01. Miss Neelye
02. Wewoka
03. Forgiveness
04. Old Town
05. Trick Pony
06. Robin’s Egg Blue
07. The Letter
08. Oh You
09. Songwriter’s Breakfast
10. Jump the Gun

Download:

https://subyshare.com/9iy0o7mbnays/Erin0D0wd0ldT0wn20182444.1.rar.html

The album represents a turning point for the quartet as not just musicians, but friends as well. The last few years would prove simultaneously maddening, marvelous, and ultimately majestic for Family of the Year. Started by brothers Joe and Sebastian Keefe, the group made writing retreats to Mount Washington and Bear Valley Springs in order to craft the new music during 2016. However, pressure increased, communication eroded, a once defined creative identity became obscured, and Joe and Sebastian endured the passing of their mom. The turmoil led to a breakthrough for the bandmates. Reinvigorated and re-inspired, they rebuilt their friendships and finished writing and recording with a new creative clarity, going deeper than before.

Produced by Greg Wells (Adele, Dua Lipa, The Greatest Showman), the 12-song set is earmarked by heartfelt introspective storytelling and rich instrumentality, re-emerging with their most hypnotic and heartfelt body of work to date, awash in dreamy hummable harmonies and robust percussion. At the same time, the Keefe’s took a moment to look back. The subject matter goes beyond the past few years and encompasses their upbringing in a working class broken home in Martha’s Vineyard. “Home” remains a resonant concept throughout. Drummer Sebastian Keefe explains, “We wanted to write something deeper… That had to happen for us to reach our potential for honesty, vulnerability, satisfaction, and creativity.”

Tracklist:
01. Let Her Go
02. Bitter Mind
03. Hold Me Down
04. I’m the One
05. Latchkey Kids
06. Girl Who Washed Ashore
07. Numb
08. The Coast
09. Where Was I
10. Two Kids
11. Raw Honey
12. Mexico

Download:

https://subyshare.com/jynk8mdr8sco/Family0ftheYearG00dbyeSunshineHell0Nighttime20182444.1.rar.html

An acclaimed jazz pianist, composer, and educator, Fred Hersch is a supremely gifted soloist with a sophisticated, yet unself-conscious approach to playing standards and his own original compositions. As a teacher, he counts both Brad Mehldau and the Bad Plus’ Ethan Iverson as former students. As a player, his nuanced style, influenced by such giants as Ahmad Jamal, Bill Evans, and Oscar Peterson, has garnered him multiple Grammy nominations, and made him a benchmark for modern jazz. Openly gay and diagnosed HIV-positive at age 30, Hersch is a vocal proponent for gay rights and AIDS research and education.

Fred Hersch’s 2009 recording, Whirl (Palmetto Records), was where pure magic first occurred in the pianist’s extensive and consistently superb discography. That particular outing introduced his now long-standing trio with bassist John Hebert and drummer Eric McPherson. Alive At the Vanguard (2012), Floating (2014), and Sunday Night At The Vanguard (2016) by the group followed, all on Palmetto Records.

For those who lauded Hersch’s solo outing, Open Book (Palmetto Records, 2017) as his finest, most incisive and finely-focused outing, the pianist offers up Live In Europe, featuring his Hebert/McPherson team, to garner votes for that “Hersch’s Best” slot.

Performed at Flagey Studio 4, in Brussels’s former National Institute for Radio Broadcasting, Hersch was initially unaware that the set—which he regarded as one of his best trio performances ever—had been recorded. Upon finding out that it had been—and upon hearing the tape and having his belief in its extraordinary quality confirmed—he decided to release the music.

Spinning through Hersch’s previous outings with this nine years and running trio says that they bring the “A” game every time. On Live In Europe it’s an “A+” game. The players are as flexibly synchronized and adept at presenting their three-way improvisational and emotional expressionism as they could be, on a set that begins with a jittery take on Thelonious Monk’s “We See.” The group follows with six Hersch originals, including tributes to British pianist John Taylor and a calypso-esque nod to saxophone legend Sonny Rollins, before slipping into the Herbie Hancock songbook with the achingly beautiful “Miyako,” that gives way to an effervescent take on a second Shorter tune, “Black Nile.” It’s a set where Hersch sounds freer, more open to possibilities, employing the same exploratory approach he presented on the epic “Though The Forest” on his Open Book outing.

And the sound must be addressed. It doesn’t get any better—a big plus, especially on piano trio outings. The piano is crisp, like a winter sunrise. Every nuance of McPherson’s intricate and energetic drumming has crystal clarity, and Hebert’s empathic and emphatic bass lines come through with a clean-cut lucidity.

The show wraps it up with a solo encore of “Blue Monk,” a sober and contemplative return to Monk-land, a place to which Hersch often travels.

Tracklist:
01. We See
02. Snape Maltings
03. Scuttlers
04. Skipping
05. Bristol Fog (For John Taylor)
06. Newklypso (For Sonny Rollins)
07. The Big Easy (For Tom Piazza)
08. Miyako
09. Black Nile
10. Solo Encore-Bluemonk

Personnel:
Fred Hersch – piano
John Hebert – bass
Eric McPherson – drums

Download:

https://subyshare.com/f17djwtmljpd/FredHerschTri0LiveInEur0pe20182444.1.rar.html

Through the careful and delicate music of his first album “Moon River”, Fred Pasqua demonstrates his attachment to the pieces that accompanied his life as an artist. Surrounded by musicians with whom he has already shared musical adventures, the drummer develops a very personal, sensitive and nuanced music whose aesthetic is similar to a light and delicate poetry in line with the image of Laeticia Bourgeois’s photo.

The discreet media exposure of Fred Pasqua hides a very active musical career. Indeed, the drummer multiplies meetings and collaborations on the French territory and well beyond. Present with Yoann Loustalot, in the trio Aerophone, associated with Elina Duni in his quintet Aksham, member of the quartet Lucky Dog, he also works with guitarists Romain Pilon and Simon Martineau, with Walter Smith III and Ben Wendel, Seamus Blake without forget French pianists and keyboardists Tony Paeleman and Pierre de Bethmann and many other musicians including Louis Winsberg, Emmanuel Beix, Benita Michel, Santi Debriano, Kirk Lightsey …

Like its leader, “Moon River” puts more on the expression of the collective than on that of egos. For the recording Fred Pasqua varied the orchestrations. Seven titles are recorded in a quartet, with guitarist Nelson Veras, trumpet player Yoann Loustalot and bassist Yoni Zelnik at his side. Fred Pasqua also invites Laurent Coq (piano), Jean-Luc Di Fraya (vocals), Adrien Sanchez (saxophone) and Robin Nicaise (saxophone) for other pieces engraved solo, trio, quartet without guitar, quintet or sextet.

In suppleness and nuance, the sun drums and the felted guitar dispense expressive rhythms and luminous harmonies. The poetic and sometimes lyrical lines of the bugle draw delicate tracery that crosses the soft, discreet but solid curves of the double bass.

Tracklist:
01. Soupir
02. The Peacocks (feat. Yoann Loustalot, Nelson Veras & Yoni Zelnik)
03. Gentle Piece (feat. Yoann Loustalot, Nelson Veras & Yoni Zelnik)
04. Circle (feat. Yoann Loustalot, Nelson Veras & Yoni Zelnik)
05. Riot
06. Something Sweet Something
07. Black Narcissus
08. Nascente
09. Moon River (feat. Nelson Veras, Laurent Coq & Jean-Luc Di Fraya)
10. Timeless (feat. Nelson Veras & Yoni Zelnik)
11. Yellow Violet
12. Central Park West
13. Louisiana Fairytale

Download:

https://subyshare.com/6w3grxz1l9x2/FredPasquaM00nRiver20182488.2.part1.rar.html
https://subyshare.com/lyr29cm8yzag/FredPasquaM00nRiver20182488.2.part2.rar.html

FUSK is 100% contemporary jazz, catapulted forward by the creative ingenuity of the band members; these are players who have something to say! The music is intensive, joyous. It grabs you, as it expands out of its musical roots and takes off and into the open air. Kasper Tom Christiansen is no purist; instead, he tastefully mixes genres, as much at home with the techniques required in contemporary new music as with the improvisational surprises of free jazz.

FUSK takes up a wide field of play, and this adventurous quartet doesn’t like to be fenced in. It all begins with the members of a band that has been in existence for some ten years. “The Jig Is Up” is FUSK’s fourth album. Trumpet (now with a new band member, the amazing Polish musician, Tomasz Dabrowski), bass clarinet/clarinet (Rudi Mahall), bass (Andreas Lang), and drums: It’s a band that reminds you of such breakthrough bands of the early 1960’s as the classic Ornette Coleman Quartet, the New York Art Quartet, or Archie Shepp’s early quartet with trumpeter Bill Dixon. At first listen they sound a bit retro, indicative of the revolutionary fervor of the time. But straightaway you sense there’s something deeper here, something playful, with an understated humor that transports history into the present.

Despite their complexity, the compositions are far from obtrusive. FUSK evinces an amazing lightness in their play – there’s an edge to the tempos and a synergy between the two horns. That may sound like blue light (high speed) driving, like a club in which you’d love to spend the evening, like big city street scenes, like an enchanted past with imprints in the here and now. It is intensive, joyous music with a melodic incisiveness. It grabs you. Expanding out of its musical roots, it takes off into the open air, as it constructs and deconstructs the musical material in the same breath.

This acoustic band has fun with the album’s feel of freewheeling swing. There’s often a tongue-in-cheek attitude to the music’s mercurial, gripping shifts and turns. It’s fresh music that plays around with the sounds we are used to hearing, as the musicians tip their hats to the past while at the same time blasting through traditional styles.

There’s a balance within the turbulence that oscillates between the compositions and the continual leaps of creative furor. Nothing takes a life of its own here, since everything is dedicated to the service of the musical situation. And there’s the band’s whimsical name, FUSK, which could be translated as “messing around”. With the band’s ironic musical allusions and subtle humor, the name fits. Yet, the irony never degenerates into cheap tricks; there is never a lack of creative ideas.

The music of “FUSK” is full of contrasts and dynamic stylistic changes. The four interesting and creative avant-garde jazz masters are playing together for a long time now – their collective improvisation is a marvelous synthesis between expressive and passionate improvising, spontaneous musical decisions, original and interesting stylistic waves, sudden turns and colorful contrasts. The main attention is paid to the expressive, free and vivacious improvising and the search of new and unusual ways of playing. Kasper Tom Christiansen’s compositions are arranged very inventively and expressively – each musician can explore new ways of playing and show his own style, abilities of playing and interesting playing manners. […] This album has a bright, innovative and touching sound.

Tracklist:
01. Circles
02. The Jig Is Up
03. Happy New Year
04. Blacklisted
05. Pennies
06. Politics
07. I Play Tennis and Blues
08. Song for Otto
09. Dyrk Dild
10. Minervois

Personnel:
Kasper Tom Christiansen – drums
Tomasz Dąbrowski – trumpet
Andreas Lang – bass
Rudi Mahall – bass clarinet

Download:

https://subyshare.com/lx65dx8sz70z/FuskTheJigIsUp20182444.1.rar.html

The former leader of Supergrass, Gareth Michael Coombes a.k.a. Gaz Coombes, went back into hibernation in his Oxford studio to record his third solo album, in co-production with Ian Davenport, with whom he had already collaborated on Matador. Following his half-melancholic half-psychedelic pop exaltations cradled between Goat and Radiohead, World’s Strongest Man features eleven tracks of lavish yet nebulous orchestration (Wounded Egos, Weird Dreams), even strange at times (The Oaks). On Oxygen Mask, Gaz Coombes reminds us he can also produce a classy, minimalist ballad. Relying on an emasculated lyricism close to Cascadeur’s or Woodkid’s, where galloping rhythms jolt into other loops, Gaz Coombes continues his formidable solo breakthrough. And deals with his anxieties and chronic depression. While at first hard to apprehend, the opus reveals his richness over multiple listens. Complex and radiant. – Charlotte Saintoin

Tracklist:
01. World’s Strongest Man
02. Deep Pockets
03. Walk the Walk
04. S**t (I’ve Done It Again)
05. Slow Motion Life
06. Wounded Egos
07. Oxygen Mask
08. In Waves
09. The Oaks
10. Vanishing Act
11. Weird Dreams

Download:

https://subyshare.com/ploxi7m1ppzt/GazC00mbesW0rldsStr0ngestMan20182444.1.rar.html

Universal Music will issue Above The Clouds: The Collection, a new four-disc deluxe box set that focuses on the solo career of Glenn Frey.

The second CD digs deeper into Frey’s back catalogue and includes tracks from his last studio album, 2012’s After Hours, 1985’s Allnighter, new tracks from 1995’s Solo Collection and more.

The one and only album (self-titled) by Frey’s and JD Souther’s Longbranch / Pennywhistle is officially released on CD for the first time on disc three. This was recorded in 1969 in California (after the pair had moved from Detroit to California) and issued on the Amos label. While the country rock/folk outfit were short-lived, Souther would go on to co-write loads of great Eagles songs, such as Best of My Love, New Kid in Town and Heartache Tonight.

Tracklist
Disc: 1
1. The Heat Is On
2. Call On Me
3. Part Of Me, Part Of You
4. You Belong To The City
5. Smuggler’s Blues
6. Sexy Girl
7. The Allnighter
8. Soul Searchin’
9. Same Girl
10. The One You Love
11. Strange Weather
12. I’ve Got Mine
13. River Of Dreams
14. Love In The 21st Century
15. Lyin’ Eyes / Take It Easy (Medley – Live at the National Stadium, Dublin, Ireland / 1992)

Disc: 2
1. Let’s Go Home
2. I Got Love
3. This Way To Happiness
4. Common Ground
5. After Hours
6. Rising Sun (Instrumental)
7. The Shadow Of Your Smile
8. Better In The U.S.A.
9. Brave New World
10. Caroline, No
11. For Sentimental Reasons
12. It’s Too Soon To Know
13. Worried Mind
14. Lover’s Moon
15. Route 66
16. True Love

Disc: 3
1. Jubilee Anne
2. Run Boy, Run
3. Rebecca
4. Lucky Love
5. Kite Woman
6. Bring Back Funky Women
7. Star – Spangled Bus
8. Mister, Mister
9. Don’t Talk Now
10. Never Have Enough

Download:

https://subyshare.com/hpnjkkpfeod1/GlennFreyAb0veTheCl0udsTheC0llecti0nDeluxeEditi0n20182444.1.part1.rar.html
https://subyshare.com/3vq733meo42v/GlennFreyAb0veTheCl0udsTheC0llecti0nDeluxeEditi0n20182444.1.part2.rar.html

Six-time Grammy Award winner and iconic guitarist of The Eagles, Glenn Frey, releases his first solo album in over seventeen years. After Hours is a tapestry of influential love songs from the 40s to present day. This smooth and rich collection focuses on the core essence of each song, showcasing Frey’s growth both as a vocalist and an interpreter. The album highlighted by Frey’s effortless swooning includes the pop standards, “Route 66,” “The Look of Love,” “Caroline, No” and more.

Like so many of his baby boomer peers, Glenn Frey is getting a little misty as he’s reaching his golden years so he’s chosen to look back to the past — all the way past rock & roll and to the standards of the days before Elvis, picking a bunch of classics for the mellow covers album After Hours. Aging rebel that he is, Frey bends the rules a bit so he can shoehorn in songs by Brian Wilson (“Caroline, No”) and Randy Newman (“Same Girl”) along with Burt Bacharach’s “The Look of Love,” the latter suggesting the true vibe of After Hours. It’s halfway between cabaret and lounge, smooth and relaxed and just this side of cornball. Frey has never been a vocal powerhouse, but his subdued singing is a strength here as he eases into the gossamer arrangements, letting everything glide by with poise. It’s music for smoky, romantic late nights — nothing more and nothing less.

Tracklist:
01 – For Sentimental Reason
02 – My Buddy
03 – The Good Life
04 – Route 66
05 – The Shadow Of Your Smile
06 – Here’s To Life
07 – It’s Too Soon To Know
08 – Caroline, No
09 – The Look Of Love
10 – I’m Getting Old Before My Time
11 – Worried Mind
12 – I Wanna Be Around
13 – Same Girl
14 – After Hours

About the Mastering: Glenn Frey’s After Hours album was recorded at 24/96 through a Neve VR. The orchestra was recorded at Bill Schnee’s studio through a custom console. The mixing process was through the Neve VR directly to a 1/2″ ATR analog machine running at 15ips with Dolby SR. Bob Ludwig mastered the album at Gateway Studios utilizing the analog masters.

Download:

https://subyshare.com/zl19wakw3o7f/GlennFreyAfterH0urs2012HDTracks2496.rar.html

We owe it to William Shakespeare to have us together. It was in November 2013: inspired by the plays of the famous English playwright, we had conceived together a course mixing texts and music. Our trio found here the ferments of his poetic universe. Through the concerts, we found a sound identity and a way of dialogue that belonged to us, a balance between improvisation and writing where everyone proposes and listens simultaneously. After 3 years of existence and a record, our Shakespeare Songs were now well-honed. It was during a tour of the trio in Ireland, that Andy posed openly the question: “What comes next, guys? “. We were in March 2016, at a time when the disastrous resurgences of nationalism and populism were spreading across Europe and the United States. We were looking for a way to share our concerns and affirm our values with the best weapon we had: music. Andy suggested that Marlene Dietrich would be a particularly inspiring muse for our next creation. Actress and legendary singer, icon of the 20th century, she was also a free woman with an iron will and courageous convictions, a citizen of the world committed body and soul – against Nazism, for peace, Europe and feminism . We decided to send him these musical letters: letters of admiration and gratitude in tribute to his exceptional career as an artist and a woman who brought hope; musics to interrogate otherwise two troubled times: the years 1930-1940 and our years 2010-2020.

Tracklist:
01. Lili Marleen
02. Letter to Marlene
03. America
04. Et in Terra Pax Homnibus Bonae Voluntatis
05. The Dress
06. Les Ardennes
07. Seule
08. A Dinner at Marlene’s Place
09. Ein Koffer in Berlin
10. Falling in Love Again
11. Last Dance

Personnel:
Guillaume de Chassy – piano
Christophe Marguet – batterie
Andy Sheppard – saxophones

Download:

https://subyshare.com/9i6r0mnn0go5/GuillaumedeChassyChrist0pheMarguetfeat.AndySheppardLetterst0Marlene20182444.1.rar.html

Dancing with the Beast, the new album from Gretchen Peters, puts female characters at the fore, from teenage girls to old women. And intentionally so. With the 2017 Women’s March and the #MeToo Movement as bookends to her writing time, Peters knew that a feminist perspective would be the critical core of the record. She admits, “You can trace the feminist DNA in my songwriting back to ‘Independence Day’ and probably before. The thing that 2017 did is just put it front and center.” Though Peters doesn’t consider herself a political writer, she is politically minded and, therefore, knew she had to address the 2016 election and all that has happened since… but in her own way.

There’s a bittersweet beauty to the passing of time – the changes it brings are just as often heartbreaking as they are heartwarming. The inevitable tension that arises from that sway is Gretchen Peters’ most trusted muse. With melody supporting that melancholy, the songs on the new album combine to lift the effort over the high artistic bar set by her last outing, 2015’s award-winning Blackbirds.

Whether a single sentence or a simple setting, once planted, even the tiniest seed can grow into a vision unto itself. Strung together and populated with strong and broken female heroines, those vignettes make up Dancing with the Beast and, indeed, Peters’ entire discography.

Beauty tempered by dread, sorrow buoyed by hope, these are the ever-present tugs of war that make life worth living and songs worth writing. And they are the over-riding themes that make Gretchen Peters one of her generation’s most compelling singer/songwriters.

Tracklist:
01. Arguing With Ghosts
02. Wichita
03. The Boy From Rye
04. Disappearing Act
05. Lowlands
06. The Show
07. Dancing With The Beast
08. Truckstop Angel
09. Say Grace
10. Lay Low
11. Love That Makes A Cup Of Tea

Download:

https://subyshare.com/hxrdusw4ris6/GretchenPetersDancingwiththeBeast20182444.1.rar.html

The discovery of the music of Leadbelly was transformative for young Adam Nussbaum. The only child of artistic parents in Norwalk, Connecticut, Nussbaum was exposed to many recordings, from classical and folk to jazz and blues. It was the image of Huddie Ledbetter on the original Folkways 10-inch record covers that fascinated the five year old. The celebrated blues and folk musician’s music seared itself into his ears, as it does in young listeners, informing the future drummer’s musical approach for years to come, most explicitly on his new recording, “The Leadbelly Project”.

From jazz and soul to rock and country, the blues are the bedrock and a uniting feature for much of the popular music originating in the United Sates. The simple and repetitive structures are easy to grasp and perform, making the blues extremely approachable. Under the command of brilliant writers like the legendary Lead Belly, the blues maintains a unique place between high art and common expression.

The blues is simple music. What do they call it? Three chords and the truth? They say the same about country music and rock, but that’s another article. But for much of American music, blues is the bedrock, be it rock, soul, funk, a good slice of country western, and, yes, jazz.

Drummer Adam Nussbaum zeros in on the blues with the Lead Belly Project, exploring the seminal delta blues of Huddie Ledbetter (1888-1949), aka, Lead Belly. An inspirational artist, Lead Belly has found its way into jazz explorations often. Saxophonist Clifford Jordan went there in a big way with These Are Our Roots: The Music of Lead Belly (Atlantic Records, 1965); and saxophonist Geof Bradfield—inspired by Lead Belly via Jordan, presented in 2015 the excellent Our Roots (Origin Records). Lead Belly was one of the smoother, more polished of the delta blues artists (it is, of course, relative), his sound less raw than that of Robert Johnson, Charlie Patton or Son House. Interestingly, Nussbaum and his cohorts lean toward the raw side with their takes on Some of Lead Belly’s best known tunes. It’s two guitars, Steve Cardenas and Nate Radley, joined by saxophonist Ohad Talmor and drummer/leader Nussbaum, immersed in the glorious simplicity of the music. Talmor’s sax has restrained, rough-around-the-edges sound at times, and a big, holy, resonant tone at others. The guitar-manship is refined, luminous—a country twang sneaks in on “Bring Me A Little Water, Sylvie.” They have a rockabilly feel on “Black Girl (Where Did You Sleep Last Night).” As rough hewn as this quartet’s renderings are, there is also a deft exquisiteness to them. A loose, spontaneous, soundtrack-to-America feeling, with top level musicianship involved in the serving up elemental sounds.

Tracklist:
01 – Old Riley
02 – Green Corn
03 – Black Girl (Where Did You Sleep Last Night)
04 – Bottle Up and Go
05 – Black Betty
06 – Grey Goose
07 – Bring Me a Little Water, Sylvie
08 – You Can’t Loose Me Cholly
09 – Insight, Enlight
10 – Sure Would Baby
11 – Goodnight Irene

Musicians:
Adam Nussbaum – drums
Ohad Talmor – saxophone
Steve Cardenas – guitar
Nate Radley – guitar

Download:

https://subyshare.com/hrpqsrqn7mqc/AdamNussbaumTheLeadBellyPr0ject2018HDTracks24882.rar.html

German trombonist Albert Mangelsdorff was a major innovator who has had an influence on jazz instrumentalists worldwide. His use of multiphonics, which utilizes vocalizing into the horn to produce chords and overtone effects, was ground-breaking. This 1973 album presented his newest group, with German saxophone great Heinz Sauer the one remaining member from Albert’s legendary 1960’s quartet. Saxophonist Gerd Dudek, lauded for his play with the likes of Manfred Schoof, Lester Bowie, and Joachim Kuhn, joins the front line. Buschi Niedergall was one of the most sought-after bassists on the avant-garde scene, and drummer Peter Giger is known best for his renowned group Family of Percussion. The exclusion of a chordal instrument allowed for a more open, exploratory approach. Wobbling notes and Fluted Crackle traverses through rip-roaring solos, muted segues, free-bop sections, and of course, Mangelsdorff’s astounding multiphonic gymnastics. Grive Musicienne finds the group in a communal exploration of the outer limits of sound. That collective exploration continues for the first few minutes of Birds of Underground before it resolves into a fantastic theme and swinging solos. 4-Xenobiosis concludes the group’s uncanny intuitive interplay. This exotic multi-colored flock of musicians are definitely birds of a feather. An intense exploration of form and freedom.

Tracklist:
01 – Wobbling Notes and Fluted Crackle
02 – Grive Musicienne
03 – Birds of Underground
04 – Xenobiosis

Produced by MPS Records.
Recorded September and December 1972 at Walldorf-Studio, Frankfurt.
Digitally Remastered.

Musicians:
Albert Mangelsdorff – trombone
Gerd Dudek – tenor saxophone, soprano saxophone, flute
Heinz Sauer – alto saxophone, tenor saxophone
Buschi Niebergall – double bass
Peter Giger – drums

Download:

https://subyshare.com/5h0qkb8y3rua/AlbertMangelsd0rffBirds0fUndergr0und19732016Q0buz24882.rar.html

Albert Mangelsdorff stands alongside the likes of Jack Teagarten and J. J. Johnson in the pantheon of trombone greats. Recorded in 1976, this album affords the listener the opportunity to hear Albert solo in all his wondrous multiphonic diversity. It starts with the down-home singing harmonies on Do Your Own Thing. Trombonliness and Brief Inventions are essentially pieces improvised on the spot – ‘spontaneous compositions’.

Duke Ellington’s Creole Love Call is the only non-Mangelsdorff piece, “part of my feeling for the tradition of jazz. Ellington is very important to me”. Bonn “is a theme I thought of one day while strolling through the streets after a concert.” Questions to Come explores the trombone’s harmonics in more of a balladic form, whereas Mark Suetterlyn’s Boogie features Albert’s solo sped up to sound like a trumpet and dubbed over his trombone background, and Für Peter was dedicated to bassist Peter Trunk. Not only is this album a display of astounding invention and technique; it swings. Albert emphasized that, “to me, jazz is a rhythmic music – if you want to keep your playing exciting.”

A full album of unaccompanied solo trombone might seem a bit tedious, but Albert Mangelsdorff is on a different level than most trombonists. For one thing he is a master of multi-phonics (playing chords on a horn) and his use of a wah-wah mute is also quite expert. Although an avant-garde master, Mangelsdorff’s version of ‘Creole Love Call’ on this solo album is brilliant, as are his seven diverse originals. In addition, there is plenty of humor on these rambunctious performances.

Tracklist:
01 – Do Your Own Thing
02 – Tromboneliness
03 – Creole Love Call
04 – Bonn
05 – Questions to Come
06 – Marc Sutterlyn’s Boogie
07 – Für Peter
08 – Brief Inventions

Recorded January and March 1976 at Biton Studio Frankfurt, Germany. Engineered by Paul Landfidel
Digitally Remastered.

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https://subyshare.com/1c9xw02ugor9/AlbertMangelsd0rffTr0mb0neliness19772016Q0buz24882.rar.html

Alexis Kossenko, Les Ambassadeurs – Telemann: Ouverture & Concerti pour Darmstadt (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:10:04 minutes | 1,2 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: eClassical | Booklet, Front Cover | © Alpha

Alexis Kossenko returns to centre stage with a project focussing on works by Georg Philipp Telemann, one of the most prolific composers in the history of music, with more than 6,000 works to his name! From them, Alexis Kossenko has chosen two concertos with orchestra: one for flute, the other for flute and violin, preceded by an overture. This programme is perfectly composed to demonstrate what a great Baroque conductor he has become as well as, of course, showcasing his impressive qualities as a flautist. It is also the occasion to again find Zefira Valova as Konzertmeister and soloist in one of the concertos.

Tracklist:
01 – Overture (Suite) in F Major, TWV 55:F3 – I. Ouverture
02 – Overture (Suite) in F Major, TWV 55:F3 – II. Rondeau
03 – Overture (Suite) in F Major, TWV 55:F3 – III. Sarabande
04 – Overture (Suite) in F Major, TWV 55:F3 – IV. Menuet – Trio
05 – Overture (Suite) in F Major, TWV 55:F3 – V. La Badinerie
06 – Overture (Suite) in F Major, TWV 55:F3 – VI. Gigue
07 – Overture (Suite) in F Major, TWV 55:F3 – VII. Rejouissance – Trio
08 – Overture (Suite) in F Major, TWV 55:F3 – VIII. Fanfare
09 – Violin Concerto in A minor, TWV 51:a1 – I. Adagio
10 – Violin Concerto in A minor, TWV 51:a1 – II. Allegro
11 – Violin Concerto in A minor, TWV 51:a1 – III. Presto
12 – Flute Concerto in D Major, TWV 51:D1 – I. Andante
13 – Flute Concerto in D Major, TWV 51:D1 – II. Vivace
14 – Flute Concerto in D Major, TWV 51:D1 – III. Largo
15 – Flute Concerto in D Major, TWV 51:D1 – IV. Allegro
16 – Concerto for Flute and Violin in E minor, TWV 52:e3 – I. Allegro
17 – Concerto for Flute and Violin in E minor, TWV 52:e3 – II. Adagio
18 – Concerto for Flute and Violin in E minor, TWV 52:e3 – III. Presto – Adagio – Allegro
19 – Concerto for Flute and Violin in E minor, TWV 52:e3 – IV. Adagio
20 – Concerto for Flute and Violin in E minor, TWV 52:e3 – V. Allegro
21 – Flute Concerto in D Major, TWV 51:D2 – I. Moderato
22 – Flute Concerto in D Major, TWV 51:D2 – II. Allegro
23 – Flute Concerto in D Major, TWV 51:D2 – III. Largo
24 – Flute Concerto in D Major, TWV 51:D2 – IV. Vivace

Musicians:
Orchestra: Les Ambassadeurs
Conductor: Alexis Kossenko
Violin: Zefira Valova
Flute: Alexis Kossenko

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https://subyshare.com/nkhnr0gmxpm3/AlexisK0ssenk0LesAmbassadeursTelemann.0uvertureC0ncertip0urDarmstadt2015eClassical24882.part2.rar.html

Allan Harris is the outstanding and internationally renowned vocalist, guitarist and composer. With his gruff, gravelly voice, his penchant for hep cat diction, and the serpentine bebop turns of his vocalese creations, the late Eddie Jefferson might not seem the ideal match for a classic romantic crooner like Allan Harris. The Brooklyn-born singer has previously paid homage to the songs of Billy Strayhorn and Nat King Cole, repertoire that seems like a more ideal fit. “The Genius of Eddie Jefferson” is an ideal blend of Harris’ rich, beguiling baritone and Jefferson’s bantering cool. The album follows Harris into adventurous new territory, at once embracing the challenge and making these bop classics as embracing and celebratory as his takes on jazz standards and swooning ballads. The album features alto saxophonist and long-time Eddie Jefferson partner, Richie Cole.

Over the past 20 years, Harris has steadily developed his reputation as one of the finest vocalists of his era. Brooklyn-born and Harlem-based, he has forged his sterling credentials through his ten previous albums, covering a broad range of contexts, all netted together within the rich territory of the jazz tradition. In addition to his recordings, he has performed on a worldwide stage that has taken him to prestigious international festivals and halls in Europe, the Middle East, and Asia, as well as the 2012 Olympics in London. At home, he has toured nationally at festivals and top venues, including New York’s Lincoln Center and D.C.’s Kennedy Center. He has received numerous awards, including the New York Nightlife Award for “Outstanding Jazz Vocalist” (which he won three times), the Backstage Bistro Award for “Ongoing Achievement in Jazz,” the Harlem Speaks “Jazz Museum of Harlem Award,” and the DownBeat Critic’s Poll Award for “Rising Star Vocalist.” Nobody’s Gonna Love You Better (Black Bar Jukebox Redux) will continue to build his legacy as another milestone in the extraordinary artistic aesthetic of Allan Harris.

Vocalese, the art of applying original lyrics to the contours of previously recorded jazz improvisations, was perfected by the vocalist Eddie Jefferson, an irrepressible performer who was killed at age sixty, in 1979. Harris pays tribute to this pioneering singer, bringing his own lustre to such touchstones as “Moody’s Mood for Love,” a Jefferson concoction that’s been interpreted by everyone from Aretha Franklin to Amy Winehouse.

Tracklist:
01 – So What
02 – Sister Sadie
03 – Dexter Digs In
04 – Billy’s Bounce
05 – Body and Soul
06 – Jeannine
07 – Filthy McNasty
08 – Lester’s Trip to the Moon
09 – Memphis
10 – Waltz for a Rainy Bebop Evening

Musicians:
Allan Harris – vocals
Richie Cole – alto saxophone
Pascal Le Boeuf – acoustic piano
Nimrod Speaks – bass
Shirazette Tinnin – drums/cajon

Download:

https://subyshare.com/ngo2vw49lauz/AllanHarrisTheGenius0fEddieJeffers0n2018Q0buz24441.rar.html

Mike Zito – First Class Life (2018) [Official Digital Download 24bit/44,1kHz]

Nicola Conte – Let Your Light Shine On (2018) [Official Digital Download 24bit/48kHz]

Nicolas Dautricourt & Juho Pohjonen – Bach: 6 Sonatas for Violin and Keyboard, BWV 1014-1019 (2018) [Official Digital Download 24bit/96kHz]

Nigel Kennedy – Kennedy Meets Gershwin (2018) [Official Digital Download 24bit/96kHz]

Nik Bartsch’s Ronin – Awase (2018) [Official Digital Download 24bit/48kHz]

Erin O’Dowd – Old Town (2018) [Official Digital Download 24bit/44,1kHz]

Family of the Year – Goodbye Sunshine, Hello Nighttime (2018) [Official Digital Download 24bit/44,1kHz]

Fred Hersch Trio – Live In Europe (2018) [Official Digital Download 24bit/44,1kHz]

Fred Pasqua – Moon River (2018) [Official Digital Download 24bit/88,2kHz]

Fusk – The Jig Is Up (2018) [Official Digital Download 24bit/44,1kHz]

Gaz Coombes – World’s Strongest Man (2018) [Official Digital Download 24bit/44,1kHz]

Glenn Frey – Above The Clouds – The Collection (Deluxe Edition) (2018) [Official Digital Download 24bit/44,1kHz]

Glenn Frey – After Hours (2012) [Official Digital Download 24bit/96kHz]

Guillaume de Chassy & Christophe Marguet feat. Andy Sheppard – Letters to Marlene (2018) [Official Digital Download 24bit/44,1kHz]

Gretchen Peters – Dancing with the Beast (2018) [Official Digital Download 24bit/44,1kHz]

Adam Nussbaum – The Lead Belly Project (2018) [Official Digital Download 24bit/88,2kHz]

Albert Mangelsdorff – Birds Of Underground (1973/2016) [Official Digital Download 24bit/88,2kHz]

Albert Mangelsdorff – Tromboneliness (1977/2016) [Official Digital Download 24bit/88,2kHz]

Alexis Kossenko, Les Ambassadeurs – Telemann: Ouverture & Concerti pour Darmstadt (2015) [Official Digital Download 24bit/88,2kHz]

Allan Harris – The Genius Of Eddie Jefferson (2018) [Official Digital Download 24bit/44,1kHz]