Studio Masters – HDMusic.me

“Made up of three highly distinctive voices in the world of jazz and avant-garde music, Thumbscrew should probably collapse under the weight of its own star power but Tomas Fujiwara (drums), Mary Halvorson (electric guitar) and Michael Formanek (acoustic bass) are just too aware of the potential of this supertrio to let that happen.” – S. Victor Aaron, Something Else!

Thumbscrew demonstrates their unique collective musical vision in contrasting but complementary ways on two exciting new CDs. Ours and Theirs are the first to be released on a newly revamped Cuneiform Records, just returning from a hiatus. Comprised of longtime collaborators Michael Formanek, Tomas Fujiwara, and Mary Halvorson, Thumbscrew is a true collaborative effort with all three members contributing at an equal rate both in terms of composition and improvisation.

Born out of a residency at Pittsburgh’s City of Asylum where Thumbscrew created their striking second album Convallaria, Ours and Theirs showcase Thumbscrew in two different contexts performing all originals on Ours and all covers on Theirs. Both albums present a meticulous and intuitive original sound that could only be crafted during focused and intensive time as a collective in a place like City of Asylum. “When we arrived at City of Asylum for our second residency in June 2017, we immediately said, ’we’re home!’” says Fujiwara, “The feelings we get when being at City of Asylum, around the people that make it such a unique place doing great work…All of this contributes to a creative process that’s open and inclusive and experimental.”
Tomas, Michael, and Mary are no strangers to each other’s work, having performed in a multitude of projects together, including Michael Formanek’s Ensemble Kolossus, Tomas Fujiwara and the Hook Up’s After All is Said, and most recently, in Mary Halvorson’s critically-acclaimed Code Girl.

Theirs features covers penned by venerable composers, from North American jazz legends Benny Golson and Wayne Shorter, to South American composers Julio De Caro (Argentina) and Jacob Do Bandolim (Brazil), to songwriter Evelyn Danzig and Dutch avant-gardist Misha Mengelberg. Thumbscrew covers considerable ground in bringing their unique arrangements and ensemble sensibility to this transfixing set of other composers’ music. On the selection of covers, Fujiwara says, “Each of us brought in a number of covers–more than double what we ended up releasing–that we were curious for Thumbscrew to try. We played through each composition many times, trying different arrangements, and slowly started to focus in on which ones felt right for the group.” Formanek states that “for me it was mostly a matter of which tunes I thought would have strong enough bones to sustain a Thumbscrew interpretation. It was also a matter of imagining how certain pieces would work with Mary, Tomas, and my approaches that wouldn’t sound like just another version.”

On the contrast between the two records, Halvorson says, “The difference is that with the covers we’re aware of trying to honor the composer’s vision, and in many cases, classic versions of the song which serve as inspirations.”

Tracklist:
1. Stablemates (Benny Golson) 03:42
2. Benzinho (Jacob Do Bandolim) 03:27
3. House Party Starting (Herbie Nichols) 06:05
4. The Peacocks (Jimmy Rowles) 06:53
5. East of the Sun (Brooks Bowman) 03:21
6. Scarlet Ribbons (For Her Hair) (Evelyn Danzig) 04:34
7. Buen Amigo (Julio De Caro) 02:50
8. Dance Cadaverous (Wayne Shorter) 06:19
9. Effi (Stanley Cowell) 04:34
10. Weer is een dag voorbij (Misha Mengelberg) 04:12

Personnel:
Michael Formanek – bass
Tomas Fujiwara – drums
Mary Halvorson – guitar

Download:

https://subyshare.com/0pfhce0olx9x/ThumbscrewTheirs20182448.rar.html

Seattle all-female rock n’ roll band Thunderpussy to release debut self-titled album on 5/25 via Stardog / Republic Records. Album will include previously released tracks, ‘Speed Queen,’ ‘Velvet Noose,’ ‘Torpedo Love,’ and latest single ‘Gentle Frame.’ The band has captured endorsements from Rolling Stone and Pearl Jam’s Mike McCready. They recently wrapped up performances at SXSW and will support the launch of their album with a series of headlining performances throughout the US.

An unapologetically rowdy all-female rock band from the Pacific Northwest, Thunderpussy are a loud and proud quartet whose music combines a heavy dose of indie rock smarts and arena rock bombast with a dash of humor and plenty of showmanship. Thunderpussy were formed in Seattle, Washington in late 2013 by vocalist Molly Sides (formerly of This Bitch Don’t Fall Off), guitarist Whitney Petty (a veteran of the Grizzled Mighty), Leah Julius (ex-Cumulus and Sundries), and drummer Lena Simon (also a member of La Luz and Kairos). It didn’t take long for Thunderpussy to earn a reputation on the Seattle music scene – their second gig ever was reviewed by an local online music magazine that called it the best show of the year. The band continued to play out regularly in the Pacific Northwest, and in 2016 Ruby Dunphy joined the band after the departure of drummer Simon.

In September 2016, Thunderpussy began work on their first album, with producer Sylvia Massy at the controls. As the group members pondered offers from several labels, they were approached by Pearl Jam guitarist Mike McCready, who invited the band to cut a 7″ for his HockeyTalkter Records imprint. The single, “Velvet Noose” b/w “No Heaven,” featured guest guitar work from McCready, and the endorsement from one of the major figures on Seattle’s music scene helped spread the word about the group outside the Pacific Northwest. In late 2017, Thunderpussy struck a deal with the Universal-distributed Stardog label, and the label issued a seasonal single before the year was out, a suitably rockin’ cover of “Christmas (Baby Please Come Home).” In February 2018, Stardog dropped a four-song EP from Thunderpussy, Greatest Tits, featuring tunes that had previously been released as digital singles. ~ Mark Deming

Tracklist:
1. Speed Queen
2. Badlands
3. Fever
4. Torpedo Love
5. Velvet Noose
6. Gentle Frame
7. All In
8. The Cloud
9. Pick It Up
10. Utero Tango
11. Thunderpussy
12. Young & Pure

Download:

https://subyshare.com/nnpwfvvz9up7/ThunderpussyThunderpussy20182448.rar.html

Saxophonist, composer and bandleader Tia Fuller artistic capacity has blossomed tremendously, resulting in her fourth Mack Avenue Records release – the aptly titled ‘Diamond Cut’, her first album as leader since 2012’s ‘Angelic Warrior’.

Fuller uses the process of diamonds forming under four levels of extreme pressure and heat as a metaphor for the time she spent honing her artistic craft. When looking up the term ‘diamond cut,’ you’ll learn that it was not necessarily pertaining to the shape but to the proportioning and the balance as to which the highest amount of light is reflected through the diamond. The process serves as a direct correlation to her teaching and playing.

In those six years, she’s transitioned from being a member of Beyoncé’s touring band to becoming a full-time professor at Berklee College of Music, while still juggling a demanding career as a solo artist and touring with the likes of drummer Terri Lyne Carrington, bassist Esperanza Spalding and drummer Ralph Peterson Jr., among others.

Produced by GRAMMY®-Award winner Terri Lyne Carrington, the album finds Fuller leading two superb rhythm sections, both of which contain some of jazz’s brightest luminaries – bassist Dave Holland and drummer Jack DeJohnette, then bassist James Genus and drummer Bill Stewart. Adding texture and harmonic support of several compositions are guitarist Adam Rogers and organist Sam Yahel.

Tracklist:
1. In the Trenches (6:17)
2. Save Your Love For Me (5:37)
3. I Love You (6:21)
4. Queen Intuition (5:58)
5. Joe’n Around (4:13)
6. Crowns of Grey (5:53)
7. The Coming (6:56)
8. Soul Eyes (5:39)
9. Delight (5:00)
10. Fury of Da’Mond (3:58)
11. Tears of Santa Barbara (4:22)
12. Joe’n Around (alternate take) (3:07)

Personnel:
Tia Fuller (as)
Adam Rogers (g all tracks)
Sam Yahel (org 2,7)
James Genus (b 1-3,6,10,12)
Dave Holland (b 4,5,7-9,11),
Jack DeJohnette (ds 4,5,7-9)
Bill Stewart (ds 1-3,6,10,12)
Terri Lyne Carrington (per 7,8)

Download:

https://subyshare.com/m2zqbxn42lob/TiaFullerDiam0ndCut20182488.2.part1.rar.html
https://subyshare.com/8kycz1mw7moa/TiaFullerDiam0ndCut20182488.2.part2.rar.html

Following his Alpha recording of sonatas by Prokofiev, Ravel and Strauss, the violinist Tobias Feldmann now turns to the concerto form, performing the two major works of the Finnish repertoire for the instrument: the violin concertos of Jean Sibelius and Einojuhani Rautavaara. Premiered in Helsinki in 1904, the Sibelius Concerto proved to be exceptionally difficult technically for the soloist.

Sibelius revised his score, but subsequently composed for violin and orchestra only in shorter forms, the serenade and the humoresque. It was not until nearly seventy years later that a Finnish composer wrote another large-scale work for violin and orchestra, with the Concerto of Rautavaara, which in all respects equals the degree of virtuosity demanded by the earlier work.

“Over the years I’ve fallen deeply in love with the both of these magical works …” Tobias has told The Violin Channel.

“Written by two of Finland’s most celebrated composers some 70 years apart, for me they both depict, in an equally magical way, the overwhelming beauty of the northern landscape …” he has said. (Tobias Feldmann)

“The first time I experienced the music of Rautavaara I was 12 years old playing in a youth orchestra … I was immediately fascinated by the lyricism and innovation – and when I found out he also composed a violin concerto, I couldn’t wait to explore it.” (Tobias Feldmann)

“Putting Finnish violin concertos side by side is a nice idea, but when one is Sibelius’s blazing masterpiece, the juxtaposition is bound to be invidious. Einojuhani Rautavaara’s two-part work (1977) is a colourful late-tonal excursion inspired by his alma mater, Manhattan obverse of the Finnish landscape. As in the Sibelius, cadenzas are integral, but the soloist is asked to improvise. The lustrous-toned Feldmann does so convincingly.” (The Sunday Times)

Tracklist:
1. Violin Concerto: I. Tranquillo 13:32
2. Violin Concerto: II. Energico 12:05
3. Violin Concerto in D Minor, Op. 47: I. Adagio moderato 16:04
4. Violin Concerto in D Minor, Op. 47: II. Adagio di molto 08:46
5. Violin Concerto in D Minor, Op. 47: III. Adagio, ma non tanto 07:59

Personnel:
Tobias Feldmann, violin
Orchestre Philharmonique Royal de Liège
Jean-Jacques Kantorow, conductor

Download:

https://subyshare.com/wsp8x5nqx6nf/T0biasFeldmannSibeliusRautavaaraVi0linC0ncert0s20182496.part1.rar.html
https://subyshare.com/rgh1m8sn3vqj/T0biasFeldmannSibeliusRautavaaraVi0linC0ncert0s20182496.part2.rar.html

Tower of Power – the most dynamic and distinctive band of survivors in Soul Music – is roaring into its unprecedented 50th anniversary with a dynamic disc of all new material. A labor of love, definitively titled Soul Side of Town, this package is charged with 14 filler-free songs. As always, the songs on Tower of Power’s Soul Side of Town were primarily composed by the hit-making team of founding members Emilio Castillo and Stephen “Doc” Kupka who also hold down the world famous 5-man Tower of Power Horns. For the special occasion of Tower of Power’s 50th anniversary, leader Emilio Castillo brought in a most-astute choice in co-producer, Joe Vannelli in addition to mastering engineer Bernie Grundman. Along with the legendary rhythm section drums and bass lock of David Garibaldi and Francis Rocco Prestia, respectively, T.O.P. consists of guitarist Jerry Cortez, Hammond B3 organist/keyboardist Roger Smith, 1st tenor saxophonist Tom Politzer, and trumpeters Adolfo Acosta and Sal Cracchiolo. Soul Side of Town is also blessed with not one but two lead singers: outgoing Ray Greene and incoming Marcus Scott (boldly introduced on several selections, including “Hangin’ With My Baby”). The 10-piece Tower of Power band is prepared to throw down with a celebratory tour that will include sweet spots around the globe.

Tracklist:
1. East Bay! All Day! (00:56)
2. Hangin’ with My Baby (05:27)
3. Do You Like That? (04:37)
4. On the Soul Side of Town (06:39)
5. Do It with Soul (03:53)
6. Love Must Be Patient and Kind (04:40)
7. Butter Fried (05:27)
8. Selah (04:48)
9. Let It Go (04:21)
10. Stop (04:24)
11. When Love Takes Control (04:11)
12. After Hours (03:33)
13. Can’t Stop Thinking About You (04:54)
14. East Bay! Oakland Style! (01:14)

Download:

https://subyshare.com/begfcynmbrrj/T0wer0fP0werS0ulSide0fT0wn20182496.part1.rar.html
https://subyshare.com/74q6zhz0e2v9/T0wer0fP0werS0ulSide0fT0wn20182496.part2.rar.html

Belgian group playing “civilized rock music”, with a career spanning the seventies to the nineties.

The album “The Split” was released in Belgium, Holland, Germany, Spain, Argentina, Switzerland, New-Zealand, Sweden, Finland and Denmark. According to the bio: “There was much more contrast in the music by incorporating synths (with Werner Pensaert, who would become a regular member soon afterwards). The point that was perhaps most unique was the vocals : two singers with a totally different sound and timbre made Toy stand out. With this album it was proven that a Flemish group was capable of putting together a balanced album that was up to international standards”.

However “The Split” didn’t become a landmark album : “Too much cut- and paste technique by Harry Woods and Theo Van Hemelryk, and not enough strong melodies.” was the verdict by Oor. “I think we suffered from the “Big Disappointment” among the media people” said singer Harry Woods later “Everyone was expecting a bit too much. When the “Big Breakthrough” didn’t happen, everybody was disappointed.”

Tracklist:
1. Survive 04:11
2. Magazine Sweetheart 04:24
3. Pin Striped Suits 03:37
4. Train of Thoughts 02:40
5. People with Funny Faces Never Move to Funny Places (Yeah) 02:34
6. Tanz Der Gilles 02:43
7. Empty Houses 04:07
8. Central Station Flowershop 03:07
9. Suspicion 03:21
10. Sex Makes Deaf 03:24
11. Mysterious 03:39

Personnel:
Harry Woods, vocals, guitar, keyboards
Theo Van Hemelrijk, vocals, guitar, keyboards
Paolo Damanti, piano, clavinet, synthesizer
Renaat Boeykens, bass
Marc Bonne, drums, percussion

Produced by Jürgen Krämer, Toy (4)

Digitally remastered

Download:

https://subyshare.com/q47xpj6c1m8a/T0YTheSplit198120182448.rar.html

Historical performance pioneer Trevor Pinnock conducts the Royal Academy of Music Soloists Ensemble in revealing chamber arrangements from Mahler to Zemlinksy.

Mahler: Lieder eines fahrenden Gesellen (arr.Schoenberg) is the third in the series which sees Trevor and the Academy perform and record works which are retrospectively reigniting Schoenberg’s vision of performing chamber reductions of symphonic repertoire.

The works in this recording transport us to a period of vast musical change: in Mahler we hear nostalgia welded with modernism; with Wagner, we hear the sunset of Romanticism; with Zemlinsky we hear the seeds of fin-de-siècle Vienna; and in all, the extremities of emotion distilled into non-symphonic forces.

Arnold Schoenberg’s own arrangement of Mahler’s intensely personal song cycle is followed by Erwin Stein’s arrangement of Busoni’s landmark composition Berceuse élégiaque.

Specially commissioned for this chamber series is Christopher Austin’s arrangement of Zemlinsky’s evocative Sechs Gesänge, which enjoys its premiere recording here.

Closing the disc is Wagner’s infamous Siegfried Idyll.

The arrangements for chamber forces serve to illuminate the original scores; the clarity achieved in these performances expose revealing new insights.

Trevor Pinnock is recognised worldwide as a harpsichordist and conductor who pioneered performance on historical instruments with his own orchestra, The English Concert.

2014 saw Pinnock return to conduct The English Concert in a fortieth anniversary celebration concert at Wigmore Hall, where he also gave a solo harpsichord recital. In ‘Pinnock’s Passions’, he curated four themed concerts with guest musicians and speakers at the new candlelit Sam Wanamaker Playhouse at The Globe.

Pinnock’s contribution to musical life at the Royal Academy of Music is considerable, with regular conducting commitments as Principal Guest Conductor of the Academy’s Concert Orchestra in addition to conducting Royal Academy Opera productions.
Tracklist:
1. Lieder eines fahrenden Gesellen – I. Wenn mein Schatz Hochzeit macht [04:08]2. Lieder eines fahrenden Gesellen – II. Ging heutТMorgen uberТs Feld [04:23]3. Lieder eines fahrenden Gesellen – III. Ich habТ ein gluhend Messer [03:12]4. Lieder eines fahrenden Gesellen – IV. Die zwei blauen Augen von meinem Schatz [05:40]5. Berceuse elegiaque, Op. 42 [07:13]6. Sechs Gesange, Op. 13 – I. Die drei Schwestern [04:08]7. Sechs Gesange, Op. 13 – II. Die Madchen mit den verbundenen Augen [03:04]8. Sechs Gesange, Op. 13 – III. Lied der Jungfrau [02:32]9. Sechs Gesange, Op. 13 – IV. Als ihr Geliebter schied [02:16]10. Sechs Gesange, Op. 13 – V. Und kehrt er einst heim [02:51]11. Sechs Gesange, Op. 13 – VI. Sie kam zum Schloss gegangen [04:47]12. Siegfried Idyll, WWV. 103 [17:16]

Composers:
Busoni, Ferruccio (1866-1924)
Mahler, Gustav (1860-1911)
Wagner, Richard (1813-83)
Zemlinsky, Alexander von (1871-1942)

Personnel:
Gareth Brynmor John (baritone)
Katie Bray (mezzo)
Royal Academy of Music Soloists Ensemble
Trevor Pinnock (conductor)

Download:

https://subyshare.com/exe3l4eb7iv1/Trev0rPinn0ckMahlerLiedereinesFahrendenGesellenarr.Sch0enberg2015Linn24192.part1.rar.html
https://subyshare.com/kda4ab9a0mcr/Trev0rPinn0ckMahlerLiedereinesFahrendenGesellenarr.Sch0enberg2015Linn24192.part2.rar.html
https://subyshare.com/smoh2ozgbbxj/Trev0rPinn0ckMahlerLiedereinesFahrendenGesellenarr.Sch0enberg2015Linn24192.part3.rar.html

At the point of intersection between Romanticism and modernism (Fauré); exotic accents, pastiches and neo-classicism (Tailleferre); a trio transformed into an orchestra and featuring the gentle rhythms of Basque dances (Ravel): these three trios, so close in time, all convey in very different ways the expression of the period they embody.

Tracklist:
01. Trio pour piano, violon et violoncelle en Ré Mineur, Op. 120: I. Allegro ma non troppo
02. Trio pour piano, violon et violoncelle en Ré Mineur, Op. 120: II. Andantino
03. Trio pour piano, violon et violoncelle en Ré Mineur, Op. 120: III. Allegro vivo
04. Trio en La Mineur, M. 67: I. Modéré
05. Trio en La Mineur, M. 67: II. Pantoum
06. Trio en La Mineur, M. 67: III. Passacaille
07. Trio en La Mineur, M. 67: IV. Final. Animé
08. Trio pour violon, violoncelle et piano: I. Allegro animato
09. Trio pour violon, violoncelle et piano: II. Allegro vivace
10. Trio pour violon, violoncelle et piano: III. Moderato
11. Trio pour violon, violoncelle et piano: IV. Très animé

Composers:
Fauré, Gabriel Urbain (1845-1924)
Ravel, Maurice (1875-1937)
Tailleferre, Germaine (1892-1983)

Download:

https://subyshare.com/tyd3ocnxy2et/Tri0KarnineFaurRavelTailleferre20182496.part1.rar.html
https://subyshare.com/nf7sr972ezmz/Tri0KarnineFaurRavelTailleferre20182496.part2.rar.html

After celebrating thirty years of life and work together with the Trios by Dvořak, our three wandering companions (Vincent Coq, piano, Jean-Marc Phillips-Varjabédian, violin and Raphaël Pidoux, cello) have brought out another round of Trios, this time by Joseph Haydn, the inventor of this form, which is an inheritor of the baroque trio sonata, with a cello part often providing the basso continuo. There are 39 authentic compositions by Haydn for this instrumental format, which he wrote at various points throughout his life. The music is of very high quality and it unites all the characteristic forms of his style, his vivacity, expression, freedom of tone and form, and the zest of his cheering humour. The Wanderers have judiciously selected their works from three different epochs for this new album which offers the Trios n° 14, 18, 21, 26 & 31 which offer plenty of surprises and rare tonalities from Haydn, like A-flat major, F-sharp minor, or E-flat minor. The performance is both fluent and lucid. – François Hudry

Tracklist:
Joseph Haydn (1732 – 1809)
1. Piano Trio in A-Flat Major, Hob. XV:14: I. Allegro moderato 07:47
2. Piano Trio in A-Flat Major, Hob. XV:14: II. Adagio 05:34
3. Piano Trio in A-Flat Major, Hob. XV:14: III. Rondo. Vivace 05:32
4. Piano Trio in A Major, Hob. XV:18: I. Allegro moderato 06:47
5. Piano Trio in A Major, Hob. XV:18: II. Andante 03:35
6. Piano Trio in A Major, Hob. XV:18: III. Allegro 03:31
7. Piano Trio in C Major, Hob. XV:21: I. Adagio pastorale. Vivace assai 04:25
8. Piano Trio in C Major, Hob. XV:21: II. Molto andante 04:19
9. Piano Trio in C Major, Hob. XV:21: III. Finale. Presto 03:46
10. Piano Trio in F-Sharp Minor, Hob. XV:26: I. Allegro 04:44
11. Piano Trio in F-Sharp Minor, Hob. XV:26: II. Adagio cantabile 02:56
12. Piano Trio in F-Sharp Minor, Hob. XV:26: III. Finale. Tempo di menuetto 04:40
13. Piano Trio in E-Flat Minor, Hob. XV:27: I. Andante cantabile 07:32
14. Piano Trio in E-Flat Minor, Hob. XV:27: II. Allegro [Jacob’s Dream] 03:26

Personnel:
Jean-Marc Phillips-Varjabédian, violin
Raphaël Pidoux, violoncello
Vincent Coq, piano

Download:

https://subyshare.com/26orqncchcy9/Tri0WandererHaydnPian0Tri0sH0B.XV141821263120182496.part1.rar.html
https://subyshare.com/29dk2mf15m29/Tri0WandererHaydnPian0Tri0sH0B.XV141821263120182496.part2.rar.html

The encore, an end-of-concert ritual, is a moment apart, highly appreciated by the audience. What piece will the performer play? The curtain call offers this more relaxed moment when everyone awaits the chosen titles with great curiosity. Upon discovering the works played, often of short duration, the listener has the impression of getting to know the artist a little better, as these reveal his tastes and therefore a bit more of his personality.

Thus, pianist Tristan Pfaff interprets above all pieces he loves. The common thread of this disc reflects his pleasure in playing works from diverse periods and provenance, by several composers – each represented by a single work – and different techniques. From the Baroque era with Bach to music of the 20th century with Prokofiev and Kabalevsky, a very broad musical horizon is proposed. The popular song is also present with Gershwin’s ‘The man I love’, in its piano version.

Here, after two discs – one devoted to Liszt, the other to Schubert –, the pianist shows that he is not the specialist of a single composer or limited to a particular style. Above all, he follows one of Schumann’s numerous bits of advice inscribed on the score of his Album für die Jugend: ‘Nothing great can be achieved in art without enthusiasm’ or ‘Have music not only in the fingers but also in the head and heart’. Of this composer, Tristan Pfaff is particularly fond of ‘The Poet Speaks’, the final tender miniature of the Kinderszenen, Op. 15. In this succession of pieces without precise construction, the eclecticism thus permits the listener to get closer to the musician and accompany him in that most sincere part of his inner being.

As a young child, he worked on some of these pieces (the fifth of Kabalevsky’s Happy Variations on a Russian Folk Song, Op. 51 or Schubert’s Moment musical, Op. 94 no.3). Others recall the innocence of childhood but are no less interesting (Mozart’s La Tartine de beurre, Bach’s sublime Prelude in C minor BWV 999 or Gounod’s Funeral March for a Marionette). Three works are larger in scale: Clair de lune, the dreamy third movement of Debussy’s Suite bergamasque, and two arrangements for piano by the composers themselves: Sibelius’s Valse triste and the Ritual Fire Dance, the virtuosic piece drawn from Falla’s ballet El amor brujo.

Tristan Pfaff performs famous works from the piano repertoire such as Brahms’s Hungarian Dance No.1, Satie’s Gymnopédie No.1, Prokofiev’s ‘The Montaigus and the Capulets’ from Romeo and Juliet and Chopin’s Nocturne Op. 9 no.2, but also offers less frequently heard pieces such as Wagner’s In das Album der Fürstin Metternich, Albéniz’s Tango, Tchaikovsky’s Valse sentimentale, Puccini’s Foglio d’Album and To Spring, one of Grieg’s 66 Lyric Pieces.

With this disc, recorded in very few takes, Tristan Pfaff, whose greatest pleasure is to play onstage, gives us a succession of encores… beloved works offered as gifts to the audience.

Tracklist:
01. The Man I love
02. Ungarischer Tänz No. 1, WoO 1
03. Valse triste, Op. 44
04. In das Album der Fürstin Metternich, WWV 94
05. El Amor Brujo: VIII. Danza Ritual Del Fuego
06. Variation on a Russian Folk Song No. 2, Op. 51
07. Keyboard Sonata in B Minor, Wq. 55/3, H. 245
08. España, Op. 165: II. Tango
09. 4 Songs, Op. 21: III. Jeg giver mit digt til våren
10. Marche funèbre pour une marionnette
11. Clair de lune, L. 32
12. Etude No. 1, Op. 2
13. Foglio d’album
14. Moment musical No. 3, Op. 94
15. 6 Pieces, Op. 51: VI. Valse sentimentale
16. Nocturne No. 2, Op. 9
17. Romeo and Juliet, Op. 64ter: I. Montagues and Capulets
18. Prelude, BWV 999
19. La Tartine de beurre, K.Anh.284n
20. Kinderszenen, Op. 15: XIII. Der Dichter Spricht
21. Gymnopédie No. 1

Composers:
Albéniz, Isaac (1860-1909)
Bach, Carl Philipp Emanuel (1714-88)
Bach, Johann Sebastian (1685-1750)
Brahms, Johannes (1833-97)
Chopin, Frédéric François (1810-49)
Debussy, Claude Achille (1862-1918)
Falla, Manuel de (1876-1946)
Gershwin, George (1898-1937)
Gounod, Charles François (1818-93)
Grieg, Edvard Hagerup (1843-1907)
Kabalevsky, Dmitry Borisovich (1904-87)
Mozart, Wolfgang Amadeus (1756-91)
Prokofiev, Sergei Sergeievitch (1891-1953)
Puccini, Giacomo Antonio Domenico Michele Secondo Maria (1858-1924)
Satie, Erik Alfred Leslie (1866-1925)
Schubert, Franz Peter (1797-1828)
Schumann, Robert (1810-56)
Scriabin, Alexander Nikolayevich (1872-1915)
Sibelius, Jean (1865-1957)
Tchaikovsky, Piotr Ilyich (1840-93)
Wagner, Richard (1813-83)

Personnel:
Tristan Pfaff, piano

Download:

https://subyshare.com/4x6f4n4wukkr/TristanPfaffPian0Enc0res20152488.2.rar.html

“Waiting in line for a melody, maybe this time I’ll be right where I’m supposed to be.”

We have been saying it in various ways over the past twenty years, but let our actions speak for us today as we present another new album to affirm that it’s truly not us, but rather you, our fans.

After completing the latest recording sessions and digesting the volume of material we had tracked, it grew increasingly clear that a single album wasn’t realistic. The collective level of enthusiasm around the majority of these tunes made us reluctant to leave much on the cutting room floor (rarely the case). And that is why today we’re elated to continue our 20th Anniversary celebration by unveiling the new, new album from Umphrey’s McGee, it’s you.

Not everyone likes surprises but we hope you don’t mind this one. #itsyou

“You’re only here for a moment, and you know that it won’t last. Another day is given back to you, don’t be so ungrateful if you know you’ll never use it at all.”

Tracklist:
1. Triangle Tear 4:55
2. What We Could Get 4:35
3. Push Pull 3:30
4. In the Black 4:42
5. Xmas at Wartime 3:44
6. Seasons 6:37
7. Nether 4:13
8. Hanging Chads 1:20
9. Attachments 6:05
10.Upwards 5:45

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After perfecting his seedy beatnik image on albums like “Small Charge” and “Nighthawks At The Diner”, Waits refined and expanded on it until the 1983 breakthrough of “Swordfishtrombones”. “Blue Valentine” is full of low-rent nightlife imagery and arrangements that leave Waits’ jazz leanings behind in favor of a more direct, blues-oriented approach. Lyrically, he’s at his most straightforward and narrative, with tunes like “$29.00” and “Christmas Card From a Hooker in Minneapolis” reading like dimestore detective novels. In a customary nod to tradition, he delivers a marvelously stentorian version of Bernstein’s “Somewhere.” Blue Valentine songs. Things close in a low-key fashion with the spare, heart-rending title song, a ballad of shattered love.

“Two welcome changes in style made Blue Valentine a fresh listening experience for Tom Waits fans. First, Waits alters the instrumentation, bringing in electric guitar and keyboards and largely dispensing with the strings for a more blues-oriented, hard-edged sound. Second, though his world view remains fixed on the lowlifes of the late night, he expands beyond the musings of the barstool philosopher who previously had acted as the first-person character of most of his songs. When Waits does use the first-person, it’s to write a “Christmas Card From a Hooker in Minneapolis,” not the figure most listeners had associated with the singer himself. The result is a broadening of subject matter, a narrative discipline that makes most of the tunes story songs, and a coherent framing for Waits’ typically colorful and intriguing imagery. These are not radical reinventions, but Waits had followed such a rigidly stylized approach on his previous albums that for anyone who had followed him so far, the course correction was big news.”(William Ruhlmann, AMG)

Tracklist:
01. Somewhere (From “West Side Story”) 03:53
02. Red Shoes By The Drugstore 03:14
03. Christmas Card From A Hooker In Minneapolis 04:33
04. Romeo Is Bleeding 04:52
05. $29.00 08:15
06. Wrong Side Of The Road 05:14
07. Whistlin’ Past The Graveyard 03:17
08. Kentucky Avenue 04:49
09. A Sweet Little Bullet From A Pretty Blue Gun 05:36
10. Blue Valentine 05:50

Personnel:
Tom Waits, vocals, electric guitar, piano
Ray Crawford, guitar
Roland Bautista, guitar
Alvin “Shine” Robinson, guitar
Scott Edwards, bass
Jim Hughart, bass
Byron Miller, bass
Da Willie Gonga (George Duke), piano
Harold Battiste, piano
Charles Kynard, organ
Herbert Hardesty, tenor saxophone
Frank Vicari, tenor saxophone
Rick Lawson, drums
Earl Palmer, drums
Chip White, drums
congas on (“Romeo Is Bleeding”)
Bob Alcivar, orchestra

Recorded July 24 until August 26, 1978 at Filmways/Heider Recording, San Francisco, California
Produced by Bones Howe

Digitally remastered

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The 1973 album that introduced a young singer-songwriter to the world at large is a far cry from the wonderfully twisted sonic landscape that would define “Swordfishtrombones” a decade later. The Waits of “Closing Time” was a barroom balladeer too, but one who fit neatly into the early-’70s folk-rock, singer-songwriter paradigm (“Closing Time’s opener “Ol’ ’55,” in fact, was covered by the Eagles on their first album). The arrangements here are straightforward, piano-based affairs that present the songs with a minimum of fuss.

Waits’s voice isn’t the deep, gravelly instrument that would bellow its way through RAIN DOGS, but a smoky, measured one, devoid of artifice. Accordingly, the song structures are simpler, and the best (“Martha,” “I Hope That I Don’t Fall in Love With You”) attain a timeless feel. For all his relative conventionality on this debut, though, Waits is still closer in spirit to the great American songwriters of the ’40s than any ’70s California rocker. Listeners looking for the eccentric, carnivalesque atmosphere that typifies Waits’s work from the ’80s and ’90s will be surprised by the relative straightforwardness of “Closing Time”, yet the album announces an important talent.

“Tom Waits’ debut album is a minor-key masterpiece filled with songs of late-night loneliness. Within the apparently narrow range of the cocktail bar pianistics and muttered vocals, Waits and producer Jerry Yester manage a surprisingly broad collection of styles, from the jazzy “Virginia Avenue” to the up-tempo funk of “Ice Cream Man” and from the acoustic guitar folkiness of “I Hope That I Don’t Fall in Love With You” to the saloon song “Midnight Lullaby,” which would have been a perfect addition to the repertoires of Frank Sinatra or Tony Bennett. Waits’ entire musical approach is stylized, of course, and at times derivative – “Lonely” borrows a little too much from Randy Newman’s “I Think It’s Going to Rain Today” – and his lovelorn lyrics can be sentimental without being penetrating. But he also has a gift for gently rolling pop melodies, and he can come up with striking, original scenarios, as on the best songs, “Ol’ 55” and “Martha,” which Yester discreetly augments with strings. Closing Time announces the arrival of a talented songwriter whose self-conscious melancholy can be surprisingly moving.” (William Ruhlmann, AMG)

Tracklist:
01. Ol’ 55 03:56
02. I Hope That I Don’t Fall In Love With You 03:53
03. Virginia Avenue 03:09
04. Old Shoes (& Picture Postcards) 03:39
05. Midnight Lullaby 03:25
06. Martha 04:28
07. Rosie 04:02
08. Lonely 03:12
09. Ice Cream Man 03:04
10. Little Trip To Heaven (On The Wings Of Your Love) 03:40
11. Grapefruit Moon 04:45
12. Closing Time 04:20

Personnel:
Tom Waits, vocals, piano, guitar, harmonium, harpsichord, celeste
Delbert Bennett, trumpet
Shep Cooke, guitar, backing vocals on “Old Shoes (& Picture Postcards)”
Peter Klimes, guitar, pedal steel guitar on “Rosie”
Bill Plummer, double bass
John Seiter, drums, backing vocals on “Ol’ 55” and “Rosie”
Additional musicians:
Arni Egilsson, bass guitar on “Closing Time” (Instrumental)
Jesse Ehrlich, cello on “Martha”
Tony Terran, trumpet on “Closing Time” (Instrumental)

Recorded Early 1972 at Sunset Sound Recorders and United Western Recorders, Hollywood, California
Produced by Jerry Yester

Digitally remastered

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Absolutely essential. ANTI- are releasing mastered reissues of Tom Waits first seven albums, originally released through Elektra Asylum Records in the 1970’s.

1977’s Foreign Affairs takes the jazz and poetry that Tom Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the 80s. Opening with the instrumental Cinny’s Waltz and featuring some new standards like Muriel and I Never Talk To Strangers, his dramatic duet with Bette Midler, this album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colourful Jack and Neil and the sweeping, dramatic Potters Field as well as classic Waits ballads Burma Shave and Sight for Sore Eyes.

Foreign Affairs is possibly Waits’ most consistently “Chandlerian” album, a series of vignettes from “dimestore novels” and “penny arcades” that could all take place in the same seedy block of skid row Los Angeles (or New York, in the case of “Potter’s Field”). Features Waits’ duet with Bette Midler on the singles-bar dialogue “I Never Talk to Strangers” and his take on his Beat predecessors Jack Kerouac and Neal Cassidy on “Jack & Neal.”

“Tom Waits gives one side of his fifth album, Foreign Affairs, to his more structured, bluesy ballads and the other to his jazz raps. On side one, you get his duet with Bette Midler on the singles-bar dialogue “I Never Talk to Strangers” and his take on his Beat predecessors Jack Kerouac and Neal Cassidy on “Jack & Neal.” On side two, you find the extended observations of “Potter’s Field” and “Burma-shave.” Waits’ voice is becoming ever more gravelly, but his basic musical approach remaines the same, and by this point he’d attracted a steady cult audience that enjoyed his verbal flights and boozy philosopher persona, even as critics began to complain that he was repeating himself.” (William Ruhlmann, AMG)

Tracklist:
01. Cinny’s Waltz 2:17
02. Muriel 3:34
03. I Never Talk To Strangers 3:38
04. Medley: Jack & Neal / California, Here I Come 5:01
05. A Sight For Sore Eyes 4:41
06. Potter’s Field 8:40
07. Burma-Shave 6:35
08. Barber Shop 3:55
09. Foreign Affair 3:46

Personnel:
Tom Waits, piano, vocals
Gene Cipriano, clarinet solos on “Potter’s Field”
Jim Hughart, bass
Shelly Manne, drums
Bette Midler, vocals on “I Never Talk to Strangers”
Jack Sheldon, trumpet solos
Frank Vicari, tenor saxophone solos

Produced by Bones Howe

Digitally remastered

Download:

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The final Asylum album from 1980 couldn’t be more different than Waits’ ’73 debut – his voice sounds like the marvellous ruin that we know and love today, the ballads remain (On the Nickel is beautiful and even Springsteen took a crack at Jersey Girl) but it’s the twisted warped blues of the title track that points the way to the extraordinary world of Swordfishtrombones.

“Heartattack and Vine, Tom Waits’ first album in two years and his last of seven for Asylum Records, is a transitional album, with tracks like the rhythm-heavy title song and “‘Til the Money Runs Out” foreshadowing the sonic experiments of the Island albums, while piano-with-orchestra tracks like “Saving All My Love for You” and “On the Nickel” (written as a motion-picture title tune) hark back to Waits’ Randy Newman-influenced early days. It is just as well that Waits never entirely gave up on the ballad material; “Jersey Girl,” a Drifters-style song, is a winner, and it was appropriated by Bruce Springsteen on his 1981 tour. Also, at least at this point, the rougher tunes all tended to sound the same.” (William Ruhlmann, AMG)

Tracklist:
01. Heartattack And Vine 4:50
02. In Shades 4:25
03. Saving All My Love For You 3:42
04. Downtown 4:45
05. Jersey Girl 5:12
06. ‘Til The Money Runs Out 4:26
07. On The Nickel 6:20
08. Mr. Siegal 5:15
09. Ruby’s Arms 5:36

Personnel:
Tom Waits, vocals, electric guitar, piano
Ronnie Barron, Hammond organ, piano
Roland Bautista, guitar, twelve-string guitar
Plas Johnson, tenor saxophone, baritone saxophone
Michael Lang, piano
Larry Taylor, bass
Greg Cohen, bass
Jim Hughart, bass
“Big John” Thomassie, drums
Victor Feldman, percussion, chimes, glockenspiel
Bob Alcivar, string arrangement, orchestral arrangement, conductor
Jerry Yester, orchestral arrangement, conductor

Recorded June 16-July 15, 1980 at Filmways/Heider Studio B, Hollywood, California
Produced by Bones Howe

Digitally remastered

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Backed by a jazz trio comprising of tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, Waits finds the most sympathetic backing of his career to that point and creates his early masterpiece. Small Change is the home of Waits’ favorites like “The Piano Has Been Drinking (Not Me),” the moving soldier’s ballad “Tom Traubert’s Blues,” and the manic slide-show of “Step Right Up.”

After signing with Asylum in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humour and profound longing. Nearly 40 years and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans.

Released in 1976, Waits recorded Small Change at Wally Heider’s studio in Hollywood. The album opens with ‘Tom Traubert’s Blues’, one of the singer’s most enduring songs, and features memorable cuts such as ‘I Wish I Was In New Orleans’, ‘Bad Liver And A Broken Heart’ and ‘The Piano Has Been Drinking (Not Me)’.

Tracklist:
01. Tom Traubert’s Blues (Four Sheets To The Wind In Copenhagen) 6:39
02. Step Right Up 5:43
03. Jitterbug Boy (Sharing A Curbstone With Chuck E. Weiss, Robert Marchese, Paul Body and The Mug and Artie) 3:44
04. I Wish I Was In New Orleans (In The Ninth Ward) 4:53
05. The Piano Has Been Drinking (Not Me) (An Evening With Pete King) 3:40
06. Invitation To The Blues 5:25
07. Pasties And A G-String (At The Two O’Clock Club) 2:32
08. Bad Liver And A Broken Heart (In Lowell) 4:50
09. The One That Got Away 4:08
10. Small Change (Got Rained On With His Own .38) 5:07
11. I Can’t Wait To Get Off Work (And See My Baby On Montgomery Avenue) 3:18

Personnel:
Tom Waits, vocals, piano
Lew Tabackin, tenor saxophone
Jim Hughart, bass
Shelly Manne, drums
Harry Bluestone, violin, concertmaster strings
Ed Lustgarten, cello, orchestra manager strings
Jerry Yester, arranger & conductor of string section

Recorded July 15, 1976 – July 29, 1976 at Wally Heider Studios, Hollywood, California
Produced by Bones Howe

Digitally remastered

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The Heart of Saturday Night, largely dispenses with the romance in favor of poetic depictions of the same setting. The album contains the same mixture of folk, blues, and jazz as its predecessor, with producer Bones Howe occasionally bringing in an orchestra to underscore the loping melodies.

On his second album, Waits moved beyond the simple folk-rock arrangements of his debut to explore jazzier realms. Though artistically Waits was still in his infancy, it was here that he began to develop the bedraggled, chain-smoking, whiskey-swilling, beat poetry-spouting street character image that he expanded on throughout the ’70s. The arrangements are based around Waits’ voice (beginning to develop that famous rasp) and piano, supported ’50s-style West Coast jazz touches. Since Waits was still struggling through the imitation phase of his fascination with the writing of Kerouac, Bukowski, etc., some of the lyrics seem callow, but even at this early stage he could still produce gems. “The Heart of Saturday Night” (sort of a low-key sequel to “Ol’ ’55”) and the late-night lonesome blues of “Please Call Me Baby” are worth the price of entry in and of themselves.

“If Closing Time, Tom Waits’ debut album, consisted of love songs set in a late-night world of bars and neon signs, its follow-up, The Heart of Saturday Night, largely dispenses with the romance in favor of poetic depictions of the same setting. On “Diamonds on My Windshield” and “The Ghosts of Saturday Night,” Waits doesn’t even sing, instead reciting his verse rhythmically against bass and drums like a Beat hipster. Musically, the album contains the same mixture of folk, blues, and jazz as its predecessor, with producer Bones Howe occasionally bringing in an orchestra to underscore the loping melodies. Waits’ songs are sometimes sketchier in addition to being more impersonal, but “(Looking For) The Heart of Saturday Night” and “Semi Suite” are the equal of anything on Closing Time. Still, with lines such as “…the clouds are like headlines/Upon a new front page sky” and references to “a 24-hour moon” and “champagne stars,” Waits’ imagery is beginning to get florid, and in material this stylized, the danger of self-parody is always present.” (William Ruhlmann, AMG)
Tracklist:
01. New Coat Of Paint 3:23
02. San Diego Serenade 3:30
03. Semi Suite 3:29
04. Shiver Me Timbers 4:27
05. Diamonds On My Windshield 3:12
06. (Looking For) The Heart Of Saturday Night 3:53
07. Fumblin’ With The Blues 3:03
08. Please Call Me, Baby 4:26
09. Depot, Depot 3:47
10. Drunk On The Moon 5:07
11. The Ghosts Of Saturday Night (After Hours At Napoleone’s Pizza House) 3:17

Personnel:
Tom Waits, vocals, guitar, piano
Gene Cipriano, clarinet
Frank Vicari, tenor saxophone
Jack Sheldon, trumpet
Shelly Manne, drums
Bones Howe, percussion

Recorded at Wally Heider Studio, Hollywood, California
Engineered by Geoff Howe, Bones Howe
Produced by Bones Howe

Digitally remastered

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On this release, as the title suggests, renowned pianist Vyacheslav Gryaznov approaches transcriptions of Russian chamber and orchestral works. He writes: “The art of transcription is a genre that is an integral part of my creative life. It’s an opportunity to look at some well-known pages of the past and feel modernity and novelty in them and express this dialog of epochs and styles.” Vyacheslav graduated with honors from the Central Music School of the Moscow State Conservatory where he studied with Professor Manana Kandelaki. He proceeded with undergraduate studies at the Moscow Conservatory (class of Professor Yuri Slesarev), once again completing his degree with honors. He continued at the Moscow Conservatory as a post-graduate student, and is on the teaching faculty of the Moscow Conservatory’s Piano Department. Vyacheslav Gryaznov is a member of the Moscow Philharmonic Society, which represents him in Russia, and is an Artist-in-Residence with The Drozdoff Society in the United States.

Tracklist:
1. String Quartet No. 2 in D major : III. Notturno (arr. V. Gryaznov for piano) 08:32
2. The Nutcracker, Op. 71, TH 14 : The Nutcracker Suite, Op. 71a: III. Valse des fleurs (arr. V. Gryaznov for piano) 07:43
3. 15 Romances, op. 26 : 15 Songs, Op. 26: No. 12. Noch’ pechal’na (Night is Mournful) (arr. V. Gryaznov for piano) 03:26
4. 12 Romances, op. 21 : 12 Songs, Op. 21: No. 7. Zdes’ khorosho (How Fair this Spot) (arr. V. Gryaznov for piano) 02:03
5. 14 Romances, op. 34 : 14 Songs in E Minor, Op. 34: No. 14. Vocalise (arr. V. Gryaznov for piano) 05:20
6. Polka italienne (arr. V. Gryaznov for piano) : Polka italienne (arr. V. Gryaznov for piano) 03:28
7. On the Dnieper Suite (Arr. V. Gryaznov for Piano) : Introduction 02:54
8. On the Dnieper Suite (Arr. V. Gryaznov for Piano) : Scene 1: Mime Scene 02:04
9. On the Dnieper Suite (Arr. V. Gryaznov for Piano) : Scene 2: The Betrothal 03:37
10. On the Dnieper Suite (Arr. V. Gryaznov for Piano) : Scene 2: Fiancé’s Dance 02:00
11. On the Dnieper Suite (Arr. V. Gryaznov for Piano) : Scene 2: Fiancée’s Dance 03:55
12. On the Dnieper Suite (Arr. V. Gryaznov for Piano) : Variation of the Main Dancer, Finale and Coda 06:14
13. Valse-fantasie in B Minor (arr. V. Gryaznov for piano) : Valse-fantasie in B Minor (arr. V. Gryaznov for piano) 09:09

Composers:
Borodin, Alexander Profirevich (1833-87)
Glinka, Mikhail Ivanovich (1804-57)
Prokofiev, Sergei Sergeievitch (1891-1953)
Rachmaninov, Sergey Vassilievich (1873-1943)
Tchaikovsky, Piotr Ilyich (1840-93)

Personnel:
Vyacheslav Gryaznov, piano

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Two of Beethoven’s most magnificent symphonies are featured on this new release from Jukka-Pekka Saraste and the WDR Sinfonieorchester. Jukka–Pekka Saraste writes of this new album: “I endeavor to disclose Beethoven’s emotions. That is the key to understanding his music. One has to constantly keep those currents of optimism and pessimism in balance. For that, you need to have access to an orchestra’s full sound spectrum in a highly flexible, dynamic manner. I believe that Beethoven’s impact is paramount because his message can be felt everywhere. Not just in Europe. A message of strength, of humanity – and one that places human culture in the forefront. There is so much destruction in the world; we need to hold on to things that enrich the spirit.” Jukka-Pekka Saraste has established himself as one of the outstanding conductors of his generation, demonstrating remarkable musical depth and integrity. Born in Heinola, Finland, he began his career as a violinist before training as a conductor with Jorma Panula at the Sibelius Academy in Helsinki. He has held positions with the Scottish Chamber Orchestra, Finnish Radio Symphony Orchestra, Toronto Symphony Orchestra, and the BBC Symphony Orchestra.

Tracklist:
1. Symphony No. 4 in B-Flat Major, Op. 60: I. Adagio – Allegro vivace 11:23
2. Symphony No. 4 in B-Flat Major, Op. 60: II. Adagio 09:28
3. Symphony No. 4 in B-Flat Major, Op. 60: III. Menuetto. Allegro vivace 05:42
4. Symphony No. 4 in B-Flat Major, Op. 60: IV. Allegro, ma non troppo 06:56
5. Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio 07:15
6. Symphony No. 5 in C Minor, Op. 67: II. Andante con moto 09:15
7. Symphony No. 5 in C Minor, Op. 67: III. Allegro 05:23
8. Symphony No. 5 in C Minor, Op. 67: IV. Allegro 10:36

Personnel:
WDR Sinfonieorchester Köln
Jukka-Pekka Saraste, conductor

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Trouble was Whitesnake’s first “real” album, setting the template for virtually all of the band’s ensuing career, pre-1987 American sellout. (Snakebite, released earlier that year, was split between David Coverdale solo sessions and actual group recordings.) This was a group made up of seasoned veterans after all, and they knew exactly what it was they wanted: edgy hard rock based on R&B. They also knew who was boss: Coverdale, who after enduring a minority stake in the mighty Deep Purple, was now clearly established as top dog and de facto leader of the new outfit. (When he relinquishes lead vocal duties to guitarist Bernie Marsden on “Free Flight,” it’s because he wants to.) And what a slick, powerful outfit it was, too, with guitarists Marsden and Micky Moody compensating whatever visual shortcomings they may have had with their rock-solid six-string partnership, and former Purple organist Jon Lord holding it all together in the back. “Take Me with You”‘s nonstop boogie and persistent slide guitar hook sets things into motion on a frenetic note, but it’s the next song, “Love to Keep You Warm,” which earns its stripes as a bona fide Whitesnake classic, largely due to its seductive, deliberate strut. In retrospect, concert fave “Lie Down (A Modern Day Love Song)” is a tad too simplistic and has not aged well at all, but the pairing of “Nighthawk (Vampire Blues)” and “The Time Is Right for Love” provides an amazingly succinct look back (the first is built upon a very Purple-esque stop-start riff) and ahead (the second introduces a cool melodic recipe which would characterize the band’s later-day sound). The title track represents the album’s high-water mark, its rollicking blues shuffle declaring it a worthy successor to Coverdale’s original tour de force with Purple, “Mistreated.” A few unexpected oddities throw the album off-balance here and there, not least of which the instrumental jam “Belgian Tom’s Hat Trick” and an unexpected, stuttering cover of the Beatles’ “Daytripper,” but all things considered, it is easy to understand why Trouble turned out to be the first step in a long, and very successful career. – Eduardo Rivadavia

Tracklist:
01. Take Me With You (04:48)
02. Love to Keep You Warm (03:46)
03. Lie Down (A Modern Love Song) (03:15)
04. Day Tripper (03:48)
05. Night Hawk (Vampire Blues) (03:39)
06. The Time Is Right for Love (03:29)
07. Trouble (04:49)
08. Belgian Tom’s Hat Trick (03:27)
09. Free Flight (04:06)
10. Don’t Mess With Me (03:18)

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Thumbscrew – Theirs (2018) [Official Digital Download 24bit/48kHz]

Thunderpussy – Thunderpussy (2018) [Official Digital Download 24bit/48kHz]

Tia Fuller – Diamond Cut (2018) [Official Digital Download 24bit/88,2kHz]

Tobias Feldmann – Sibelius & Rautavaara: Violin Concertos (2018) [Official Digital Download 24bit/96kHz]

Tower of Power – Soul Side of Town (2018) [Official Digital Download 24bit/96kHz]

TOY – The Split (1981/2018) [Official Digital Download 24bit/48kHz]

Trevor Pinnock – Mahler: Lieder Eines Fahrenden Gesellen (Arr. Schoenberg) (2015) [Official Digital Download 24bit/192kHz]

Trio Karenine – Faure, Ravel & Tailleferre (2018) [Official Digital Download 24bit/96kHz]

Trio Wanderer – Haydn: Piano Trios, HOB. XV:14, 18, 21, 26 & 31 (2018) [Official Digital Download 24bit/96kHz]

Tristan Pfaff – Piano Encores (2015) [Official Digital Download 24bit/88,2kHz]

Umphrey’s McGee – it’s you (2018) [Official Digital Download 24bit/96kHz]

Tom Waits – Blue Valentine (1978/2018) [Official Digital Download 24bit/192kHz]

Tom Waits – Closing Time (1973/2018) [Official Digital Download 24bit/192kHz]

Tom Waits – Foreign Affairs (1977/2018) [Official Digital Download 24bit/192kHz]

Tom Waits – Heartattack And Vine (1980/2018) [Official Digital Download 24bit/192kHz]

Tom Waits – Small Change (1976/2018) [Official Digital Download 24bit/192kHz]

Tom Waits – The Heart Of Saturday Night (1974/2018) [Official Digital Download 24bit/192kHz]

Vyacheslav Gryaznov – Russian Transcriptions (2018) [Official Digital Download 24bit/192kHz]

WDR Sinfonieorchester Koln & Jukka-Pekka Saraste – Beethoven: Symphonies Nos. 4 & 5 (2018) [Official Digital Download 24bit/48kHz]

Whitesnake – Trouble (1978/2014) [Official Digital Download 24bit/96kHz]