Studio Masters – HDMusic.me

On THE PURPLE TOUR (LIVE), Whitesnake puts their distinctive spin on several songs from Coverdale’s studio albums with Deep Purple — Burn (1974), Stormbringer (1974), and Come Taste The Band (1975). Highlights include: “You Fool No One,” “The Gypsy” and “Soldier Of Fortune.” The double-disc collection also includes video footage of the concert mixed to 5.1 Surround Sound, plus a new music video for “Burn,” band interviews, and a number of bonus performances not available on the CD or vinyl versions. The Whitesnake line-up that appears on THE PURPLE TOUR (LIVE) includes: singer David Coverdale, guitarists Reb Beach and Joel Hoekstra, bassist Michael Devin, drummer Tommy Aldridge and keyboardist Michele Luppi. Coverdale says there was never any intention to compete against the original recordings. “We just wanted to play the damn songs…Each member of the band…brought their incredible individual talents and a real band identity to this music. We’ve all done the best we can with this project with respect to the music, and the legacy of Deep Purple Mk3 and Mk4.”

Tracklist:
1. Burn (Live)
2. Bad Boys (Live)
3. Love Ain’t No Stranger (Live)
4. The Gypsy (Live)
5. Give Me All Your Love (Live)
6. Ain’t No Love In The Heart Of The City (Live)
7. Mistreated (Live)
8. You Fool No One (Live)
9. Soldier Of Fortune (Live)
10. Is This Love (Live)
11. Fool For Your Loving (Live)
12. Here I Go Again (Live)
13. Still Of The Night (Live)

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Music is the very soul of Venice. ‘In every square, street, and canal, singing is to be heard,’ wrote Goldoni. Musical dilettantes were non-professionals who played for their own pleasure and enjoyment, to entertain themselves.

This programme is devoted to a number of composers who, without being professionals, left their own very personal mark on the history of music.

After ‘Bad Guys’, his first album for Aparté (2013), Xavier Sabata presents ‘I Dilettanti’, accompanied by the lively ensemble Latinitas Nostras. This recording, made in the singer’s native Spain, bears witness to the sincere friendship between these artists, brought together by a passion for music, and to their dilettante spirit.

„Then there’s Sabata’s singing, intelligent yet risky, and frequently deploying baritonal chest tones as well as his immaculate alto. There’s exceptional playing from Latinitas Nostra under Markellos Chryssikos, too. Outstanding.“ (The Guardian)

“A genuinely interesting concept … performed by Xavier Sabata and the continuo trio of Latinitas Nostra with complete emotional commitment and dramatic directness” (David Vickers, Gramophone)

“The main attraction of this disc is the repertoire, and especially the cantata by Marcello. There is much to enjoy here” (Johan van Veen, MusicWeb International)

Tracklist:
01. “Non mi si dica più”, cantata for alto and continuo: Non mi si dica più (Aria)
02. “Non mi si dica più”, cantata for alto and continuo: Speranza, unico e solo (Recitative)
03. “Non mi si dica più”, cantata for alto and continuo: Ti sovveniste almeno (Aria Padre)
04. “In queste amene selve”, cantata for alto and continuo: In queste amene selve (Recit)
05. “In queste amene selve”, cantata for alto and continuo: Da voi lungi, pupille serene (Aria)
06. “In queste amene selve”, cantata for alto and continuo: Senza di te, moi bene (Recit)
07. “In queste amene selve”, cantata for alto and continuo: Quando a te tornar dovrò (Aria)
08. La Gelosia, Cantata for Soprano and Orchestra: Son reo non mi difendo (Recit)
09. La Gelosia, Cantata for Soprano and Orchestra: Giura il nocchier h’al mare (Aria)
10. Deh m’adita ò bella Dea: Deh m’adita ò bella Dea (Aria from the opera “Armida abbandonata”)
11. “Più ch’io cerco del moi bene”, cantata for alto and continuo: Più ch’io cerco del moi bene (Aria)
12. “Più ch’io cerco del moi bene”, cantata for alto and continuo: Ma, che sordi a miei pianti (Recit)
13. “Più ch’io cerco del moi bene”, cantata for alto and continuo: Son come tortorella (Aria)
14. Vinto son della mia fede: Vinto son della mia fede (Aria from the opera “Armida abbandonata”)
15. Lucrezia, cantata for alto and continuo

Composers:
Astorga, Emanuele Gioacchino Cesare Rincon baron d’ (1680-1750)
Bigaglia, Diogenio (1676-1745)
Maccari, Giacomo (c.1700-44)
Marcello, Benedetto (1686-1739)
Ruggieri, Giovanni Maria (fl.1690-1720)

Personnel:
Xavier Sabata, countertenor
Latinitas Nostra
Markellos Chryssikos, harpsichord, direction

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Yann Beuron, Tassis Christoyannis, Markus Poschner, Orchestra della Svizzera Italiana – Saint-Saëns: Mélodies avec orchestre (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 58:05 minutes | 1,1 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Alpha

World premiere recording: Although the turn of the twentieth century marked the golden age of French song, the genre was generally accompanied on the piano and only rarely orchestrated by its composers. But Camille Saint-Saëns, a great lover of poetry, was also a champion of the orchestrated mélodie and the French coloristic style. He also wanted to counterbalance the overwhelming popularity of operatic arias in concert programmes. An immense admirer of Victor Hugo, Saint-Saëns set many of his poems to music, including L’Enlèvement, Rêverie, and Le Pas d’armes du Roi Jean, regarded as one of his masterpieces. Exoticism and a certain sense of the supernatural run through such songs as Danse macabre, one of the most popular pieces of classical music, but always heard nowadays either in its version for orchestra alone or performed by a singer with piano accompaniment. Of the twenty-five mélodies with orchestra listed in the catalogue of Saint-Saëns, nineteen are recorded here, all of them for the first time!

With interpreters of the calibre of Yann Beuron and Tassis Christoyannis, the words are perfectly served here and the composer’s coloristic talents heard from the very first bars. This disc is a genuine event that enables us to rediscover a whole segment of the history of vocal music, a renaissance made possible by the Fondation Bru Zane.

Tracklist:
Camille Saint-Saëns (1835-1921)
01. Angélus
02. L’attente
03. Rêverie
04. Mélodies persanes, Op. 26: I. La brise
05. Extase in B Major
06. La feuille de peuplier
07. L’enlèvement in A Major
08. Les fées
09. Souvenances
10. Désir d’amour
11. Les cloches de la mer
12. Mélodies Persanes, Op. 26: II. La splendeur vide
13. Le pas d’armes du roi Jean
14. La cloche in D-Flat Major
15. Papillons
16. Plainte
17. Aimons-nous in D-Flat Major
18. Mélodies persanes, Op. 26: V. Au cimetière
19. Danse macabre in G Minor, Op. 40

Personnel:
Yann Beuron, tenor
Tassis Christoyannis, baritone
Orchestra della Svizzera Italiana Markus Poschner, conductor

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This collection of previously unreleased live recordings celebrates the Rotterdam Philharmonic Orchestra’s centenary and the ten-year residency, from 2008 to 2018, of its principal conductor Yannick Nézet-Séguin.

The Rotterdam Philharmonic, under its long-term Principal Conductor Yannick Nezet-Seguin, is widely recognised as one of Europe’s most distinguished orchestras. Celebrated for its winning combination of passionate commitment, boundless energy and scintillating virtuosity, the orchestra has come a long way since its relatively humble beginnings in 1918 as a private ensemble whose members initially paid for the privilege of joining its ranks.

The arrival of Canadian maestro Yannick Nezet-Seguin in 2008 signalled a new golden era for the Rotterdam Philharmonic, as is evidenced by this outstanding set of recordings, captured live in the Doelen concert hall between 2011 and 2016 and collected together here for the first time by Deutsche Grammophon. At the end of 2017/18 season Nezet-Seguin assumes the role of Honorary Conductor, handing over the post of Principal to 29-year-old Lahav Shani.

Rotterdam Philharmonic Orchestra & Yannick Nézet-Séguin – Shostakovich: Symphony No.4 in C Minor, Op.43 (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 63:20 minutes | 1.00 GB
Studio Master, Official Digital Download | Artwork: Front Cover

Tracklist:
1. Symphony No.4 in C minor, Op.43 : 1. Allegretto poco moderato 15:26
2. Symphony No.4 in C minor, Op.43 : 2. Presto 12:18
3. Symphony No.4 in C minor, Op.43 : 3. Moderato con moto 09:14
4. Symphony No.4 in C minor, Op.43 : 4. Largo 06:13
5. Symphony No.4 in C minor, Op.43 : 5. Allegro 20:09

Rotterdam Philharmonic Orchestra & Yannick Nézet-Séguin – Mahler: Symphony No.10 In F Sharp (Unfinished) – Ed. Deryck Cooke (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 78:09 minutes | 1.16 GB
Studio Master, Official Digital Download | Artwork: Front Cover

Tracklist:
1. Symphony No.10 in F sharp (unfinished) – Ed. Deryck Cooke : 1. Adagio 25:29
2. Symphony No.10 in F sharp (unfinished) – Ed. Deryck Cooke : 2. Scherzo 11:49
3. Symphony No.10 in F sharp (unfinished) – Ed. Deryck Cooke : 3. Purgatorio 04:17
4. Symphony No.10 in F sharp (unfinished) – Ed. Deryck Cooke : 4. Scherzo 11:43
5. Symphony No.10 in F sharp (unfinished) – Ed. Deryck Cooke : 5. Finale 24:51

Rotterdam Philharmonic Orchestra & Yannick Nézet-Séguin – Beethoven: Symphony No. 8 in F Major, Op. 93 / Tchaikovsky: Francesca da Rimini, Op.32, TH 46 / Turnage: Piano Concerto (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 71:39 minutes | 1.16 GB
Studio Master, Official Digital Download | Artwork: Front Cover

Tracklist:
1. Symphony No. 8 in F major, Op. 93 : 1. Allegro vivace e con brio 09:01
2. Symphony No. 8 in F major, Op. 93 : 2. Allegretto scherzando 03:51
3. Symphony No. 8 in F major, Op. 93 : 3. Tempo di menuetto 05:04
4. Symphony No. 8 in F major, Op. 93 : 4. Allegro vivace 07:35
5. Tchaikovsky: Francesca da Rimini, Op.32, TH 46 24:08
6. Piano concerto : 1. Rondo-Variations 05:01
7. Piano concerto : 2. Last Lullaby for Hans 09:01
8. Piano concerto : 3. A Grotesque Burlesque 07:58

Rotterdam Philharmonic Orchestra & Yannick Nézet-Séguin – Bartók: Concerto For Orchestra, BB 123, Sz.116 / Dvorák: Symphony No.8 in G Major, Op.88, B.163 / Debussy: Nocturnes, L. 91 / Haydn: Symphony No.44 in E Minor, Hob.I:44 -“Mourning” (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 122:00 minutes | 1.86 GB
Studio Master, Official Digital Download | Artwork: Front Cover

Tracklist:
1. Concerto For Orchestra, BB 123, Sz.116 : 1. Introduzione (Andante non troppo – Allegro vivace) 10:17
2. Concerto For Orchestra, BB 123, Sz.116 : 2. Giuoco della coppie (Allegretto scherzando) 06:47
3. Concerto For Orchestra, BB 123, Sz.116 : 3. Elegia (Andante, non troppo) 08:13
4. Concerto For Orchestra, BB 123, Sz.116 : 4. Intermezzo interrotto (Allegretto) 04:42
5. Concerto For Orchestra, BB 123, Sz.116 : 5. Finale (Pesante – Presto) 09:55
6. Symphony No.8 in G Major, Op.88, B.163 : 1. Allegro con brio 10:09
7. Symphony No.8 in G Major, Op.88, B.163 : 2. Adagio 11:23
8. Symphony No.8 in G Major, Op.88, B.163 : 3. Allegretto grazioso – Molto vivace 06:07
9. Symphony No.8 in G Major, Op.88, B.163 : 4. Allegro ma non troppo 09:57
10. Nocturnes, L. 91 : 1. Nuages. Modéré 07:51
11. Nocturnes, L. 91 : 2. Fêtes. Animé et très rythmé 06:26
12. Nocturnes, L. 91 : 3. Sirènes. Modérément animé 11:13
13. Symphony No.44 In E Minor, Hob.I:44 -“Mourning” : 1. Allegro con brio 06:06
14. Symphony No.44 In E Minor, Hob.I:44 -“Mourning” : 2. Menuetto (Allegretto) – Canone in Diapason 04:48
15. Symphony No.44 In E Minor, Hob.I:44 -“Mourning” : 3. Adagio 04:34
16. Symphony No.44 In E Minor, Hob.I:44 -“Mourning” : 4. Finale (Presto) 03:32

Rotterdam Philharmonic Orchestra & Yannick Nézet-Séguin – Bruckner: Symphony No.8 In C Minor, WAB 108 – Version Robert Haas 1939 (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 86:40 minutes | 1.39 GB
Studio Master, Official Digital Download | Artwork: Front Cover

Tracklist:
1. Symphony No.8 In C Minor, WAB 108 – Version Robert Haas 1939 : 1. Allegro moderato 16:30
2. Symphony No.8 In C Minor, WAB 108 – Version Robert Haas 1939 : 2. Scherzo: Allegro moderato 16:09
3. Symphony No.8 In C Minor, WAB 108 – Version Robert Haas 1939 : 3. Adagio: Feierlich langsam; doch nicht schleppend 28:16
4. Symphony No.8 In C Minor, WAB 108 – Version Robert Haas 1939 : 4. Finale: Feierlich, nicht schnell 25:45

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Yeol Eum Son, Sir Neville Marriner & Academy of St Martin in the Fields – Yeol Eum Son: Mozart (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:16 minutes | 1,15 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Onyx Classics

Second Prize winner at both the 2011 Tchaikovsky International Piano Competition and the 13th Van Cliburn International Piano Competition in 2009, Yeol Eum Son’s graceful interpretations, crystalline touch and versatile, thrilling performances have caught the attention of audiences worldwide. Praised for her widely eclectic repertoire, ranging from Bach and Mozart to Shchedrin and Gershwin, on this recording Son performs a selection of Mozart piano works with the Academy of St. Martin in the Fields led by the late Sir Neville Marriner in his final recording.

Many will be emotionally invested in hearing the last recording to feature the much-missed conductor Sir Neville Marriner, and he does indeed disply typically sensitive control of his ensemble – but this takes nothing away from the ingenious performance of pianist Yeol Eum Son in one of Mozart’s most-played works. There are so many details to admire here, and the partnership of Son and Marriner proves to have been a very musically fruitful one.

Tracklist:
Wolfgang Amadeus Mozart
01. Piano Concerto No. 21 in C, K.467: I. (Allegro maestoso)
02. Piano Concerto No. 21 in C, K.467: II. Andante
03. Piano Concerto No. 21 in C, K.467: III. Allegro vivace assai
04. Variations in C on ‘Lison dormait’, K.264
05. Piano Sonata No. 10 in C, K.330: I. Allegro moderato
06. Piano Sonata No. 10 in C, K.330: II. Andante cantabile
07. Piano Sonata No. 10 in C, K.330: III. Allegretto
08. Fantasy in C Minor, K.475

Personnel:
Yeol Eum Son, piano
Academy of St Martin in the Fields
Sir Neville Marriner, conductor

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Music has been making a big influence on our lives in many different scenes when we are happy, angry, sad and joyful. Music is our common language globally. I believe that we can share the “Beauty of Music” with all the people in the world beyond boundaries. I am very interested in making collaborations with many people in various genres, and I am enthusiastic very much to expand my musical career further. No Life, No Music!

Tracklist:
1. Medley (From “Cinema Paradiso”) 03:31
2. Main Title (From “Beauty and the Beast”) 04:59
3. Playing Love (From “the Legend Of 1900”) 03:42
4. Main Title (From “Schindler’s List”) 04:01
5. Smile (From “Modern Times”) 04:18
6. Nocturne in C-Sharp Minor, Op. Posth., B. 49 03:58
7. Cavalleria rusticana: Preludio – Intermezzo 05:40
8. Another Day of Sun (From “La La Land”) 03:46
9. Around the World (From “Around the World in 80 Days”) 03:09
10. Prelude (From “the Sound of Music”) 04:56
11. Libertango 04:11
12. Ave Maria “Tanti anni prima” 05:32
13. Harpsichord Concerto in F Minor, BWV 1056: II. Largo 03:54
14. The Gadfly Suite, Op. 97a: VIII. Romance 02:55

Personnel:
Yoko Ara, cello
Takehiko Yamada, piano

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On Eternità d’amore, Josep María and I assembled a collection of vocal chamber music by Monteverdi and his musical inheritors as a point of departure. The music and decadent history of Venice of the 17th century seemed the perfect subject for the culmination of our respective musical experiences thus far as well as a base to cultivate our ideas. In our quest for repertoire, we opted for works that lend themselves idiomatically to the archlute (and tenor), seeking out exceptional pieces of music best served by performances that are very direct, rich, and detailed. The Venetians performed this music as social currency, as a means to show off their education and cleverness in an intimate setting amongst friends. We set off on this collaboration in a very similar conversational style and wanted the soundscape and performances to reflect this spirit; and so opted to record in a studio setting and with a set of recording techniques which hearkens to the traditions of jazz and popular music.

The largest and most operatic works of the disc, Rovetta’s “Lagrime d’Erminia” and (allegedly) Cavalli’s cantata “À piè d’un bel cipresso” demonstrate each composer’s mastery of their respective styles. “Lagrime…” a prime example of the solo madrigal, carries the torch of the recitar cantando we find in Monteverdi’s operas. The singer intones or recites the text with the melodic line and harmonic shifts serving as the inflection. This creates an intense theatricality and emotional immediacy that does not return until the likes of Wagner and Verismo. The provenance is questionable, but if indeed Cavalli composed “À piè…”, he would have written it in the twilight of his short life. We can see the beginnings of the da capo aria (A-B-A) and movement towards the alternation of aria and recitativo prominent in opera seria of the following century. The melodic material here becomes a much more important rhetorical and emotional driving force, and you can hear the deep influence of popular music from this period. The concluding aria shows a master melodian at his finest.

As for the popular music of the time, the other works on this disc include a mix of Arie and Canzone ranging from the more formal, but deliciously clever Canzone of Legrenzi to the strophic popular songs of Marini. However, the biggest surprises for us were Obizzi and Stefani’s guitar songs whose melodies really set our hair on fire. Stefani’s romanesca, “Eternità d’amore” pairs an emotionally direct poetry with a studied simplicity of style which we felt really embodies the nature of this project.

Tracklist:
01. Cantatas for solo voice: II. A piè d’un bel cipresso
02. Madrigali et arie a voce sola libro primo, Op. 2: Dimmi Filli, mio ben
03. Cantate e canzonette, Op. 12: VII. V’ho inteso abbastanza
04. Arie madrigali et corenti, Op. 3: III. Ricciutella Pargoletta
05. L’Orfeo, SV 318, Act I: Rosa del Ciel (Arr. Josep Maria Martí Duran)
06. Madrigali concertati, Op. 2: IX. Le lagrime d’Erminia
07. Cantate e canzonette, Op. 12: IX. Belle donne io tengo un core
08. Madrigali et arie a voce sola libro primo, Op. 2: O sospiro amoroso
09. Scherzi musicali, SV 246-251: IV. Ecco di dolci raggi il sol armato, SV 249
10. Madrigali et arie a voce sola libro primo, Op. 2: Udite, udite o selve
11. Eternità d’amore
12. Scherzi musicali, SV 246-251: III. Eri già tutta mia, SV 248
13. Scherzi musicali, SV 246-251: II. Quel sguardo sdegnosetto, SV 247

Composers:
Cavalli, Pietro Francesco (1602-76)
Legrenzi, Giovanni (1626-90)
Marini, Biagio (c.1597-1665)
Monteverdi, Claudio Giovanni Antonio (1567-1643)
Obizzi, Domenico (fl.1620s)
Rovetta, Giovanni (c.1595-1668)
Stefani, Giovanni (17th century)

Personnel:
Zachary Wilder, tenor
Josep Maria Marti Dura, archlute, baroque guitar

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ORA’s third album release, a collection of works by Thomas Tallis featuring six ORA commissioned reflections by six contemporary composers, will be released in early 2017.

Launched at the Cutty Sark in Greenwich, and with an appearance on In Tune, earlier this year, ORA’S third album for harmonia mundi pays tribute to the particular golden age of Thomas Tallis.

„The opening years of the 21st century can justifiably lay claim to being a new golden age for choral music. I wanted to embark on a series of recordings to reflect this and to showcase some of today s best contemporary composers, placing their works in direct relief with masterpieces from previous ages. This recording, the second in our Renaissance gems and their reflections series, looks at the music of Thomas Tallis, and we are delighted to have commissioned a number of talented composers to offer their personal reflections on his works. I hope that these new pieces, like Tallis originals, will find their way into the repertoire of other vocal groups, delighting audiences both now and in the future.“ (Suzi Digby)

Tracklist

Thomas Tallis (1505-1585)
1 Archbishop Parker’s Psalter: I. Man Blest No Doubt 01:01
2 Archbishop Parker’s Psalter: II. Let God Arise 00:54
3 O sacrum convivium 03:24

Steven Stucky (1949-2016)
4 Three New Motets: II. O sacrum convivium 03:03
5 If ye love me 01:56

Frank Ferko (b. 1950)
6 Reflection on Thomas Tallis’ If Ye Love Me 02:36

Thomas Tallis
7 Archbishop Parker’s Psalter: III. Why Fum’th in Sight 00:58
8 Archbishop Parker’s Psalter: IV. O Come in One to Praise the Lord 01:09
9 Videte Miraculum (Vespers respond) 09:52

Richard Allain (b. 1965)
10 Videte miraculum 10:35

Thomas Tallis
11 Loquebantur 04:00

Ken Burton (1970)
12 Many are the Wonders 04:43

Thomas Tallis
13 Archbishop Parker’s Psalter: V. E’en Like the Hunted Hind 01:00
14 Archbishop Parker’s Psalter: VI. Expend, O Lord, my Plaint 01:16
15 O nata lux 01:56

Harry Escott (1976)
16 O Light of Light 02:30

Thomas Tallis
17 Te lucis ante terminum 02:02

Alec Roth (b. 1948)
18 Night Prayer 03:02

Thomas Tallis
19 Archbishop Parker’s Psalter: VII. Why Brag’st in Malice High 00:46
20 Archbishop Parker’s Psalter: VIII. God Grant with Grace 01:12

Kerry Andrew (b. 1978)
21 Archbishop Parker’s Psalm 150 04:19

Thomas Tallis
22 Archbishop Parker’s Psalter: Ordinal. Come Holy Ghost 00:37

Robert Chilcott (b. 1955)
23 Tallis Canon 02:32

Thomas Tallis
24Archbishop Parker’s Psalter: Appendix. Why Fum’th in Sight05:00

Personnel
ORA Singers
Suzi Digby, conductor

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Bach Stories explores a new way of thinking about classical music and improvisation; it presents historical music practice in a contemporary form. This double album from Warner Classics bears the fruits of a friendship and collaboration between two young but already much-awarded musicians. Aleksander Dębicz (piano) and Marcin Zdunik (cello) combine virtuosity and musical drama with the sheer joy and freshness of music-making in a unique programme of chamber works by Bach and improvisations inspired by those works.

These improvisations – in a classical style rather than jazz – create a bridge between two periods, bringing Bach’s music closer to the modern ear by using new means of expression. The ‘Stories’ evoked in the title could be a simple idea, a fleeting memory or a labyrinthine drama. “Bach’s music stirred and inspired our imagination, evoking both simple associations and complex narrative schemes”, explain the musicians.

Pianist Aleksander Dębicz, winner of the 2013 Transatlantyk Instant Composition Contest for improvising composer-musicians, made his Warner Classics debut with Cinematic Piano, an album of 12 of his own solo piano works inspired by film music. With Bach Stories, his first album in duo with Marcin Zdunik, this winner of numerous Bach competitions makes a powerful statement about the music of Johann Sebastian and its place in the modern world.

Marcin Zdunik is one of today’s leading young cellists and Warsaw Philharmonic artist-in-residence for the 2016/2017 season. It is also at the Warsaw Philharmonic that the Bach Stories recording sessions took place, and the acoustics of this magnificent concert hall served as additional inspiration for the musicians.

Tracklist

Johann Sebastian Bach (1685-1750)

CD 1
1-4 Sonata in G Major BWV 1027
5 Chorale Jesus bleibet meine Freunde from the cantata BWV 147
6-9 Sonata in D Major BWV 1028
10 Aria Schafe können sicher weiden from the cantata BWV 208
11-13 Sonata in G Minor BWV 1029
14 Aria Vergnügte Ruh, beliebte Seelenlust from the cantata BWV 170

CD 2
Bach. Chorales. Improvisations
1 Improvisation I
2 Von Gott will ich nicht lassen BWV 658
3 Improvisation II
4 O Lamm Gottes unschuldig BWV 656a
5 Erbarm’ dich, o Herre Gott BWV 721
6 Improvisation III
7 Herr Gott, nun schleuss den Himmel auf BWV
8 Nun freut euch, lieben Christen g’mein BWV 734
9 Improvisation IV
10 Nun komm der Heiden Heiland BWV 659
11 Herr Jesu Christ, dich zu uns wend BWV
12 Improvisation V
13 Wachet auf, ruft uns die Stimme BWV 645
14 O Mensch, bewein dein Sünde groß BWV 622
15 Improvisation VI
16 Ich ruf zu dir, Herr Jesu Christ BWV 639

Personnel
Aleksander Dębicz (piano)
Marcin Zdunik (cello)

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Living as he does between Paris and Los Angeles, pianist Andrew von Oeyen is the ideal interpreter for this enticing programme: flanking Ravel’s Piano Concerto in G with Saint-Saëns’ Piano Concerto No. 2 and Gershwin’s Second Rhapsody, it explores Franco-American cross-currents. Von Oeyen is partnered by the PFK Prague Philharmonia under its Music Director and Chief Conductor Emmanuel Villaume.

“Perhaps it is no coincidence that my debut album for Warner Classics presents a Franco-American theme,” says pianist Andrew von Oeyen of this programme of works by Saint-Saëns, Ravel and Gershwin. An American (of German and Dutch origin) who trained at New York’s Juilliard School, he lives between Los Angeles and Paris. He is partnered on the album by the PFK Prague Philharmonia under its Music Director and Chief Conductor Emmanuel Villaume – a Frenchman who is very much at home in the USA, as Music Director of the Dallas Opera and as a frequent guest conductor with America’s leading opera companies and orchestras.

“I am grateful for the opportunity to live between two continents,” continues Andrew von Oeyen, “and extremely fortunate that my profession allows for this situation. I often say that if someone were to put a gun to my head and make me choose between Europe and America, I would probably get shot! … As a musician of the 21st century, I’d like to think that my passport has little to do with the kind of artist I am; certainly, it doesn’t determine the repertoire I choose to play.”

The works he has chosen for this album are Saint-Saëns’ Piano Concerto No. 2 in G minor, dating from 1868, Ravel’s Piano Concerto in G, written between 1929 and 1931, and Gershwin’s Second Rhapsody, composed in 1931, seven years after the better-known Rhapsody in Blue.

Praise for von Oeyen’s playing in the US has come from such media as the Los Angeles Times, which spoke of his “indisputable gifts [and] an extravagantly thorough and effortless technique,” concluding that “von Oeyen seems incapable of misarticulating a musical sentence.” In France, meanwhile, Le Monde de la Musique has said that: “Andrew von Oeyen has a technique remarkable in its fluidity, a precise and balanced way of playing, but most of all a disarming elegance and charisma that allows him to communicate with the greatest of ease.”

When it came to putting this album together, Ravel was, as von Oeyen explains, “the unifying thread in the programme – he knew both Saint-Saëns and Gershwin.” Saint-Saëns died in 1921 at the age of 86, just at the time Gershwin was achieving huge success. Ravel cited the older composer’s five piano concertos, works full of colour and elegance, as an influence on his G major concerto, but today’s listeners will inevitably be struck by its fusion of characteristic Gallic refinement (epitomised in a central movement of delicate poetry and discreet melancholy) with jazzy bluesiness and angularity. “No music from outside the European Continent would influence Ravel more than American jazz,” says von Oeyen. “In 1928 he even wrote ‘I like jazz far more than grand opera’. His use of jazz in his Concerto in G is probably the most discussed and obvious aspect of the work. But what most impresses me is that the piece doesn’t reflect a classically trained French musician trying to write in the style, thereby diluting, simplifying or mimicking jazz’s core features … Rather it reflects a creator who makes the genre his own, masterfully employing its harmonic and rhythmic idioms and without resorting to cliché.

“No French composer was more influenced by the music of Gershwin than Ravel, and probably no American composer was more influenced by the music of Ravel than Gershwin,” continues von Oeyen. The two composers met in Paris in 1926 when Gershwin was on the trip that led to the composition of An American in Paris. In 1928, when Ravel visited the US, he saw Gershwin’s musical Funny Face on Broadway, the two composers visited a jazz club in Harlem and Gershwin played Ravel his Rhapsody in Blue. Andrew von Oeyen recounts the famous anecdote – perhaps apocryphal – of Gershwin’s request to study with Ravel. The Frenchman replied: “Why would you want to be a second-rate Ravel when you are already a first-rate Gershwin? Plus, you make more money than me, so I should take lessons from you!”

Ravel’s Concerto in G and Second Rhapsody received their premieres within weeks of each other. While Ravel’s concerto has become one of his best-loved works, Gershwin’s Second Rhapsody has not achieved the phenomenal popularity of Rhapsody in Blue. Andrew von Oeyen finds that hard to explain: “It bears all the qualities of Gershwin’s genius and, in my estimation, at times even surpasses its prototype. Certainly, it deserves to be played more often.”

A short piece that is an undoubted favourite completes Andrew von Oeyen’s album. It is an arrangement for piano of the soaring Méditation from the opera Thaïs by Massenet. Here too there is a Franco-American connection. The title role of the opera, first seen in 1894, was written for the charismatic soprano Sybil Sanderson, who was born in California, but enjoyed her greatest successes in Paris.

Tracklist

Camille Saint-Saëns (1835 – 1921)
Saint-Saëns: Piano Concerto No. 2, Op. 22
1 I. Andante sostenuto 11:31
2 II. Allegro scherzando 05:59
3 III. Presto 06:28

Maurice Ravel (1875 – 1937)
Piano Concerto in G Major, M. 83
4 I. Allegramente 08:37
5 II. Adagio assai 09:23
6 III. Presto 04:05

George Gershwin (1898 – 1937)
7 Second Rhapsody 14:42

Jules Massenet (1842 – 1912)
8 Méditation (from Thaïs) 05:17

Personnel
Andrew von Oeyen, piano
PFK Prague Philharmonia
Emmanuel Villaume, conductor

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Dorfmann was the daughter of a merchant. Her elder brother and sister both played the piano and Ania received her early musical education in Odessa, giving her first solo public concert at the age of eleven. The success of this concert led to plans being made for her to travel to Paris to study with Isidor Philipp; however, her father died at this time and the journey was postponed. When she did finally arrive in Paris with her mother, she was to stay for just under a year, returning to find her native land already in the throes of revolution. In 1920 she and her mother settled in France and during the next decade Dorfmann played frequently in Europe, collaborating with conductors such as Willem Mengelberg, Thomas Beecham and Henry Wood.

In 1936 Dorfmann made her debut at New York’s Town Hall with works by Beethoven, Schumann, Liadov and Chopin. Critics had reservations about the strength of her musicality, but admired the ‘rapidity and clarity’ of her technique. Further recitals at the same venue in 1938 and 1939 brought Dorfmann to the attention of Arturo Toscanini who engaged her to play Beethoven’s Choral Fantasia with him; she was apparently the first female soloist to be conducted by him. She subsequently played the Beethoven concertos with Toscanini and in 1945 recorded the Piano Concerto No. 1 Op. 15 with him. Dorfmann continued a performing and recording career in America during the 1950s and spent her later years on the piano faculty of New York’s Juilliard School of Music.

As a result of her success in England in the early 1930s, Dorfmann made a series of recordings for Columbia throughout this decade. Many encore pieces by Chopin, Liszt, Debussy and Weber were recorded, but she also recorded Mendelssohn’s Piano Concerto No. 1 in G minor Op. 25 with the London Symphony Orchestra and Walter Goehr. These discs show that Dorfmann had a fine technique that was certainly ‘rapid and clear’ as one critic had noted. However, her Debussy is rather inflexible and her Liszt Hungarian Rhapsody No. 10 extremely mannered.

For RCA Victor in America Dorfmann recorded the same Mendelssohn concerto, this time with Erich Leinsdorf and the Robin Hood Dell Orchestra; it was coupled with a recording of the Grieg Piano Concerto Op. 16. Her recording of Mendelssohn’s Lieder ohne Worte shows much sensitivity and fine tonal playing. Other recordings from the LP era include sonatas by Beethoven, a recital disc which includes Ravel’s Sonatine, and Schumann’s Carnaval Op. 9 and Fantasiestücke Op. 12.

Tracklist

Ludwig van Beethoven (1770-1827)
01. Piano Concerto No. 1 in C Major, Op. 15: I. Allegro con brio
02. Piano Concerto No. 1 in C Major, Op. 15: II. Largo
03. Piano Concerto No. 1 in C Major, Op. 15: III. Rondo: Allegro scherzando
04. Choral Fantasy, Op. 80: I. Adagio
05. Choral Fantasy, Op. 80: II. Finale-Allegro
06. Choral Fantasy, Op. 80: II. Allegro molto
07. Choral Fantasy, Op. 80: II. Adagio ma non troppo
08. Choral Fantasy, Op. 80: II. Marcia assai vivace-Allegro
09. Choral Fantasy, Op. 80: II. Allegro ma non troppo-Presto
10. 3 Études de concert, S. 144: No. 3 “Un Sospiro”
11. Fantasiestücke, Op. 12: II. Aufschwung
12. Fantasiestücke, Op. 12: III. Warum?
13. Fantasiestücke, Op. 12: IV. Grillen
14. Fantasiestücke, Op. 12: VII. Traumes Wirren
15. 6 Ecossaises for Piano, WoO 83
16. Rondo Capriccioso, Op. 14

Personnel
Ania Dorfmann (piano),
NBC Symphony Orchestra
Westminster Choir
Arturo Toscanini (conductor)

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Austra is the recording project led by Canadian vocalist and producer Katie Stelmanis. Future Politics, Austra’s third, and most ambitious album to date, is a collection of urgent, disciplined anthems for dancefloors and headphones alike, that asks each of us to remember that apocalypse is not an inevitability, but the product of human decision-making. It aims for a world without borders, where human compassion and curiosity drive technological innovation rather than profit, where the necessity of labour is replaced with time for creativity and personal growth, and the terror and destruction wrought by colonialism and white supremacy is recognized as a dark age in human history. The album is radicalism distilled: to galvanic beats, gorgeous, kinetic melodies, and the vulnerable majesty of Stelmanis’s voice.

After Austra’s Olympia tour finished, Katie Stelmanis moved to Montreal for a change of pace that ended up feeling more like solitary confinement than solitude. However, the unexpected isolation may have been a blessing in disguise for her music: Future Politics is a direct, affecting set of songs about intimacy, technology, and above all, hope. The group strips back a bit from Olympia’s lavish sounds, trimming down from a six-piece to the trio of Stelmanis, drummer Maya Postepski, and bassist/sound designer Dorian Wolf. Though there’s nothing superfluous here, Austra’s influences are wide-ranging, spanning Star Trek, Naomi Klein, and electro cumbia (a discovery Stelmanis made after leaving Montreal for Mexico City), which leaves its stamp on the haunting finale, “43,” a song inspired by the 2014 kidnapping and massacre of 43 men in the Mexican city of Iguala. By acknowledging darkness, Stelmanis makes her idealism that much brighter — a duality she uses brilliantly on Future Politics. She channels it through her vocals and beats, the forces driving Austra’s music since “The Beat and the Pulse.” The delicate waver in her voice does a lot of heavy lifting, carrying the pain of the present and hope for the future on songs like the slow-burning opener “We Were Alive” and “Utopia,” where her tentative optimism is more poignant and powerful than a straightforward anthem. Later, the operatic purity of her high notes adds to the uncanniness of “I’m a Monster,” while her tender delivery on “I Love You More Than You Love Yourself” reaffirms that no matter how conceptual it gets, Austra’s music always has a personal element. The rhythms that animate Future Politics are just as expressive, adding defiant danceability to the title track, a crisp edge to “Gaia”‘s swooning chorus, and an alluringly mechanical sensuality to “Angel in Your Eye.” Austra may have traded some of Feel It Break’s compelling rawness for a more polished approach on Olympia, but Future Politics’ rare balance of poise and intensity makes it their most accomplished and emotionally satisfying album yet. ~~ AllMusic Review by Heather Phares

Tracklist:

1. We Were Alive 4:35
2. Future Politics 4:09
3. Utopia 4:03
4. I’m A Monster 4:38
5. I Love You More Than You Love Yourself 4:58
6. Angel In Your Eye 3:14
7. Freepower 5:09
8. Gaia 3:08
9. Beyond A Mortal 5:45
10. Deep Thought 1:10
11. 43 4:28

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Serge and Bardot Together on this Great High-Res-Reissue. First time available in 24bit high-resolution audio. Digitally Remastered from the original analog mastertapes.

„Bonnie and Clyde isn’t actually a full-fledged collaboration between Serge Gainsbourg and Brigitte Bardot; during their storied mid-’60s fling the two French cultural icons recorded just a handful of tracks together, only a couple of which appear here. Nevertheless, this is a worthwhile collection. In addition to the pair’s ‘Bonnie and Clyde’ and ‘Comic Strip,’ this album features earlier Gainsbourg numbers, as well as Bardot recordings of compositions by Gainsbourg and others. The moody title track alone justifies the price of admission. Bardot’s vocals inject a wistful melodic dimension into Gainsbourg’s sung-spoken account of the ill-fated gangsters, producing one of pop music’s great duets. Gainsbourg was enthralled by American pop culture and the cabaret-style ‘Comic Strip’ memorably exemplifies that orientation. His lyrics lure Bardot into his cartoon world and she provides the requisite onomatopoeic interjections (‘Shebam! Pow! Blop! Wizz!’). In a similarly American vein, on ‘Bubble Gum,’ a Gainsbourg-penned Bardot single, she sings about love and candy over a plinky-plonk saloon piano evoking the silent film era. Elsewhere, Gainsbourg’s Hollywood fascination takes a B-Movie turn, the camp ‘Docteur Jekyll et Monsieur Hyde’ suggesting the Monks at the Eurovision Song Contest. There was always more to Gainsbourg’s work than his love of Americana, though, and his incorporation of Afro-Caribbean rhythms was especially striking: ‘Pauvre Lola,’ for instance, percolates with an infectious beat. Despite much of this material’s playful character, listeners also glimpse another side of Gainsbourg. During his career, he sang about Harley motorcycles and incest and composed a song that involved simulated farting, but he was also deeply cultured. In that vein, ‘Baudelaire’ places the 19th century poet’s ‘Le Serpent Qui Danse’ in an unlikely tropical lounge setting. Of course, no Gainsbourg collection would be complete without a nod to his dissolute side, and ‘Intoxicated Man’ fits the bill with its appropriately louche, swaggering groove.“

Tracklist:
01. Brigitte Bardot & Serge Gainsbourg – Bonnie And Clyde (04:16)
02. Brigitte Bardot – Bubble Gum (01:45)
03. Brigitte Bardot & Serge Gainsbourg – Comic Strip (02:10)
04. Brigitte Bardot – Un jour comme un autre (02:21)
05. Serge Gainsbourg – Pauvre Lola (02:28)
06. Serge Gainsbourg – L’eau à la bouche (BOF “L’eau à la bouche”) (02:30)
07. Serge Gainsbourg – La javanaise (02:30)
08. Brigitte Bardot – La madrague (02:33)
09. Serge Gainsbourg – Intoxicated Man (02:37)
10. Brigitte Bardot – Everybody Loves My Baby (02:11)
11. Serge Gainsbourg – Baudelaire (02:27)
12. Serge Gainsbourg – Docteur Jekyll et monsieur Hyde (01:56)

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Sonya Bach & English Chamber Orchestra – Bach: Keyboard Concertos & Italian Concerto (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:42:49 minutes | 1,72 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Rubicon Classics

A virtuoso harpsichordist and organist, it is remarkable that J.S. Bach composed only one original work for keyboard and orchestra. The fifth Brandenburg Concerto, with its huge sixty-five bar cadenza in the first movement, created the blueprint for all piano concertos that followed. However, Bach the great arranger mined his other concertos to create seven more keyboard works (No.6, omitted here, is for keyboard, flutes and strings). Bach performed these concertos at social gatherings of the Collegium Musicum in Leipzig, directing from the keyboard. This program from Korean pianist Sonya Bach and the English Chamber Orchestra showcases not only Bach’s ability as a player, but also the composer’s genius as an arranger.

Tracklist:
Johann Sebastian Bach (1685-1750)
1 Concerto No. 5 in F Minor, BWV 1056: I. (Allegro) 03:21
2 Concerto No. 5 in F Minor, BWV 1056: II. Largo 02:56
3 Concerto No. 5 in F Minor, BWV 1056: III. Presto 03:29
4 Concerto No. 1 in D Minor, BWV 1052: I. Allegro 07:38
5 Concerto No. 1 in D Minor, BWV 1052: II. Adagio 05:45
6 Concerto No. 1 in D Minor, BWV 1052: II. Allegro 07:25
7 Concerto No. 2 in E Major, BWV 1053: I. (Allegro) 07:47
8 Concerto No. 2 in E Major, BWV 1053: II. Siciliano 04:15
9 Concerto No. 2 in E Major, BWV 1053: III. Allegro 06:17
10 Concerto No. 7 in G Minor, BWV 1058: I. (Allegro) 03:31
11 Concerto No. 7 in G Minor, BWV 1058: II. Andante 05:25
12 Concerto No. 7 in G Minor, BWV 1058: III. Allegro assai 03:12
13 Concerto No. 4 in A Major, BWV 1055: I. Allegro 03:56
14 Concerto No. 4 in A Major, BWV 1055: II. Larghetto 04:38
15 Concerto No. 4 in A Major, BWV 1055: III. Allegro ma non tanto 04:26
16 Concerto No. 3 in D Major, BWV 1054: I. (Allegro) 06:50
17 Concerto No. 3 in D Major, BWV 1054: II. Adagio e piano sempre 05:34
18 Concerto No. 3 in D Major, BWV 1054: III. Allegro 02:36
19 Italian Concerto in F Major, BWV 971 (Klavierübung II): I. Allegro 04:06
20 Italian Concerto in F Major, BWV 971 (Klavierübung II): II. Andante 06:08
21 Italian Concerto in F Major, BWV 971 (Klavierübung II): III. Presto 03:34

Personnel:
Sonya Bach, piano
Jennifer Pike, violin
John Anderson, oboe
Paul Edmund-Davies, flute
Kate Hill, flute
English Chamber Orchestra

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Any new recording from Stephen Hough is a keenly awaited musical event. Here his customary scintillating technique and imaginative intelligence (The Guardian) are deployed in the service of an all-Debussy recital which sets the bar high at this, the start of the composers centenary year.

A well-balanced selection embraces most of Debussy’s larger works for solo piano outside the two books of Préludes and the Études. The triptych of Estampes sets the tone with clear, atmospheric playing, given an extra warmth in Hyperion’s perfectly judged recording. –Financial Times, January’17

Tracklist:
Claude Debussy (1862-1918)
1 Estampes L108: Pagodes
2 Estampes L108: La soirée dans Grenade
3 Estampes L108: Jardins sous la pluie
4 Images I L105: Reflets dans l’eau
5 Images I L105: Hommage à Rameau
6 Images I L105: Mouvement
7 Images II L120: Cloches à travers les feuilles
8 Images II L120: Et la lune descend sur le temple qui fut
9 Images II L120: Poissons d’or
10 Children’s Corner L119: Doctor Gradus ad Parnassum
11 Children’s Corner L119: Jimbo’s lullaby
12 Children’s Corner L119: Serenade for the doll
13 Children’s Corner L119: The snow is dancing
14 Children’s Corner L119: The little shepherd
15 Children’s Corner L119: Golliwogg’s cake-walk
16 La plus que lente L128
17 L’isle joyeuse L109

Personnel:
Stephen Hough (piano)

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In April 1969 Billboard announced that RCA had signed a ‘progressive blues-rock band called The Deirdre Wilson Tabac This was a misleading description of the group, who in fact played a funky brand of jazzy pop, akin to the Rotary Connection. From Philadelphia, they were in fact a trio discovered, managed and produced by Sonny Casella, who’d earlier managed garage band The Magic Mushrooms.

The Tabac featured Deirdre Wilson. Stu Freeman (formerly of The Magic Mushrooms) and Barbara Payne (formerly with the James Brown Revue), backed by session players including jazz guitarist Chuck Anderson (who played the solos), bassist Hugh McDonald (currently with Bon Jovi) and keyboardist Roy Bittan (who went on to be a long-term Bruce Springsteen sideman). The Tabac’s first single coupled two fine Casella compositions, Other Side Of This Life and Look In My Face.

Billboard wrote on April 26 that a driving funky blues beat backs a powerhouse vocal workout that is loaded with top 40. underground and sales potential. Good Sound. The disc picked enough airplay to merit an album, which duly appeared early the following year, but received barely any press.

Sales where low and the trio didn’t last long, though in May 1971 Casella launched a 45 in Canada’s Dafodil label credited to Tabac, “Pairing Turn Around” and “Children Behave” which unfortunately is not included (rather because of some technical oversight I presume) even if they’re both credit on track list.

Tracklist:
01. The Other Side of Life
02. (Sittin’ On) The Dock of the Bay
03. Let’s All Join Together
04. Get BackThe Dierdre Wilson Tabac
05. Angel Baby
06. The Last Thing on His Mind
07. I Can’t Keep from Cryin’ Sometimes
08. Look in My Face
09. Magic One
10. I Go to You

Personnel:
Barbara, vocals
Chuck Anderson, guitar
Steve Rundel, guitar
Huey McDonald, bass
Sony Casella, drums, vocals
Stu Freeman, keyboard, vocals
Mike Natale, trumpet
Gary Miller, trumpet
Vince Trompeta, saxophone
Peter Cioschi, bass trombone

Digitally remastered

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The Poppies were a 1960s girl group formed and headed by Dorothy Moore and Fern Kinney. In early 1966, ‘Lullaby of Love’ by the Poppies peaked at #56 pop in the United States, and was a Top 30 single in Canada. An LP of the same title was released on Epic records. Later that year the group had another, but smaller, hit with ‘He’s Ready’ which reached #106 pop. Two more singles were released but they did nothing. The last of their four Epic singles was ‘There’s A Pain in My Heart’ which became a Northern soul classic and is heavily played in UK/Australian clubs.

Tracklist:
01. Lullaby of Love
02. The Love We Knew
03. Don’t Throw Our Love Away
04. Spellbound
05. Sure Is Worth It
06. He’s Ready
07. Wonderful World of Love
08. I Wonder Why
09. The Love Song
10. He’s Got Real Love

Produced by Billy Sherrill

Digitally remastered

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The Antwerp, Belgium based trio (Ruben Block, vocals & guitar; Paul Van Bruystegem, bass; Mario Goossens, drums) have built a solid reputation across Europe, the US and Canada as one of the hardest-driving and sharpest dressing bands around. After four studio albums and the massive touring that came with it, it was time for a change. While writing Colossus, Triggerfinger wanted to add a few new flavors to the mix. “Acoustic instruments, samples, keyboards, percussion, two bass guitars: as long as they served the song, we were happy.”, states vocalist Ruben Block.

So if you like your rock down and dirty, played by impeccably dressed Belgian gentlemen, then Colossus is right up your alley.

Tracklist:
01. Colossus
02. Flesh Tight
03. Candy Killer
04. Upstairs Box
05. Afterglow
06. Breathlessness
07. That’ll Be The Day
08. Bring Me Back a Live Wild One
09. Steady Me
10. Wollensak Walk

Personnel:
Ruben Block, vocals, guitar
Monsieur Paul, bass
Mario Goossens, drums

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Umphrey’s McGee entered I.V. Labs Studio in Chicago in November of 2016 to record what would become the band’s eleventh full-length studio album. The result was it’s not us, the most vibrant, mature expression of the band’s growing studio prowess to date. “We decided to go in for a week, live, eat, and breathe Umphrey’s McGee,” recalls Joel, “we’re known as a strong live band, but we take so much pride in our writing. [In this album] the focus is on that writing.”

The first single “The Silent Type” is powered by a bombastic beat, funkified rhythms, fiery fretwork, and a chantable refrain, introducing it’s not us with a bright and brilliant bang. “Half Delayed” builds from airy guitar into an iridescent refrain, meanwhile, the bass strut anthemic beat production and percussive wallop of “Looks” could be the love child of Nine Inch Nails and Talking Heads. The metallic shredfest outro of “Remind Me” bleeds effortlessly into the gorgeous acoustic love song “You & You Alone.”

Tracklist:
1. The Silent Type (3:30)
2. Looks (3:05)
3. Whistle Kids (3:36)
4. Half Delayed (3:36)
5. Maybe Someday (6:36)
6. Remind Me (7:37)
7. You & You Alone (3:59)
8. Forks (4:28)
9. Speak Up (feat. Joshua Redman) (6:05)
10. Piranhas (4:20)
11. Dark Brush (6:04)

Personnel:
Brendan Bayliss / guitar, vocals
Joel Cummins / keyboards, vocals
Ryan Stasik / bass
Andy Farag / percussion
Jake Cinninger / guitar, vocals
Kris Myers / drums, vocals

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Pristine vocals are the ultimate goal of every audiophile listener. You want to hear every breath, note, and nuance of the vocal performance. We’ve assembled for you on this compilation the greatest collection of audiophile vocal recordings ever made.

Whether you like Jazz, Folk, World, or Latin music, there is something here that will speak to you. With songs from Macy Gray, Rebecca Pidgeon, Sara K, Marta Gomez, and many others, we’ve dug into the meat of our catalog to provide you with carefully selected songs that haven’t been featured on many of our other samplers or compilations. This experience was tailor made for you, the true audiophile. So kick back, turn up the volume, and get lost in the sound.

Tracklist:
01. Rosa Passos, Ron Carter – Insensatez (05:54)
02. Christy Baron – Spooky (03:16)
03. Higher Ground (04:26)
04. Macy Gray – First Time (04:11)
05. Melissa Menago – Burning Away (04:46)
06. Noah Wall – Death Don’t Have No Mercy (05:11)
07. Sara K – Oh Well (02:44)
08. Marta Gomez – Canta (04:00)
09. Camille Thurman – Detour Ahead (07:43)
10. Louise Rogers – Comes Love (04:27)
11. Rebecca Pidgeon – Bring It On Home To Me (04:14)
12. Alexis Cole – Indian Summer (04:10)
13. Amber Rubarth – Ball And Chain (02:16)
14. Xiomara – Moliendo Cafe (04:13)
15. CC Colletti – When The Levee Breaks (04:04)
16. Badi Assad – Joana Francesa (04:21)
17. Ana Caram – O Amor em Paz (Once I Loved) (05:14)
18. Valerie Joyce – Close To You (04:28)
19. Rachel Z – Moon In Your Hair (05:27)
20. Laverne Butler – Day Dreamin (03:41)
21. Natasha – Walking By Myself (04:31)
22. Carla Lother – Flow My Tears (04:04)

Please note: Tracks “16,17,20” are in 44.1kHz/24bit format.

Producer: David Chesky
Executive Producer: Norman Chesky
Engineers: Bob Katz, Barry Wolifson, Nicholas Prout
A&R: Jeff Lanier

Download:

https://subyshare.com/aux2ijmhd9y4/Vari0usArtistsCheskyRec0rdsFemaleV0calC0llecti0n.part1.rar.html
https://subyshare.com/ivw72p11umef/Vari0usArtistsCheskyRec0rdsFemaleV0calC0llecti0n.part2.rar.html

Whitesnake – The Purple Tour (Live) (2018) [Official Digital Download 24bit/44,1kHz]

Xavier Sabata, Latinitas Nostra & Markellos Chryssikos – I Dilettanti (2014) [Official Digital Download 24bit/96kHz]

Yann Beuron, Tassis Christoyannis, Markus Poschner, Orchestra della Svizzera Italiana – Saint-Saens: Melodies avec orchestre (2017) [Official Digital Download 24bit/96kHz]

Yannick Nezet-Seguin – The Rotterdam Philharmonic Orchestra Collection (2018) [Official Digital Download 24bit/96kHz]

Yeol Eum Son, Sir Neville Marriner & Academy of St Martin in the Fields – Yeol Eum Son: Mozart (2018) [Official Digital Download 24bit/96kHz]

Yoko Ara & Takehiko Yamada – Smile (2018) [Official Digital Download 24bit/192kHz]

Zachary Wilder & Josep Maria Marti Duran – Eternita d’amore (2018) [Official Digital Download 24bit/96kHz]

ORA – Many are the Wonders (2017) [Official Digital Download 24bit/44,1kHz]

Aleksander Debicz & Marcin Zdunik – Bach Stories (2017) [Official Digital Download 24bit/96kHz]

Andrew von Oeyen – Saint-Saens, Ravel & Gershwin: Piano Concertos (2017) [Official Digital Download 24bit/48kHz]

Ania Dorfmann – Beethoven: Piano Concerto No. 1 in C Major, Op. 15 (2017) [Official Digital Download 24bit/48kHz]

Austra – Future Politics (2017) [Official Digital Download 24bit/44,1kHz]

Serge Gainsbourg & Brigitte Bardot – Bonnie and Clyde (1968/2016) [Official Digital Download 24bit/48kHz]

Sonya Bach & English Chamber Orchestra – Bach: Keyboard Concertos & Italian Concerto (2017) [Official Digital Download 24bit/96kHz]

Stephen Hough – Debussy: Piano Music (2018) [Official Digital Download 24bit/96kHz]

The Deirdre Wilson Tabac – The Deirdre Wilson Tabac (1969/2014) [Official Digital Download 24bit/96kHz]

The Poppies – Lullaby of Love (1966/2014) [Official Digital Download 24bit/96kHz]

Triggerfinger – Colossus (2017) [Official Digital Download 24bit/44,1kHz]

Umphrey’s McGee – It’s Not Us (2018) [Official Digital Download 24bit/96kHz]

Various Artists – Female Vocal Collection (2017) [Official Digital Download 24bit/96kHz]