Runaway Trio – Works for Accordion (2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 50:52 minutes | 805 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Orlando Records

Six different composers created six different composi­tions in different periods of development of this young chamber group — an accordion trio. Each of them, in its own way and technique, gives musical thoughts to the listener. However, both composers and musicians possess an extraordinary ability to produce interesting and rich sounds. These incredible contrasts encouraged us to place these compositions on our first CD. They range from minimalistic Åm and Lang, through the compact compositions of Haas and Hosokawa, to the fragmentary “running of the sounds“ of Rojko and the “obligatory” Mutta, whose work rep­resents one of the major milestones of music for this ensemble.

Tracklist:
1. Mi-Ko 10:17
2. Pobegli Trio 08:04
3. …Wie ein Nachtstück 10:42
4. On the Banks of the Eternal Second 09:42
5. Mutta 04:55
6. Der weißbärtige Mann, der Frosch am Mond 07:12

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Sabrina Claudio – No Rain, No Flowers (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 28:48 minutes | 318 MB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © SC Entertainment

For Sabrina Claudio, the past few years have not been without their fair share of triumphs and downfalls. The Miami-born R&B artist quickly amassed an avid following through a superb series of covers, which ranged the gamut from Frank Ocean to Beyoncé, in addition to her phenomenal debut album About Time. Despite Claudio’s vast amount of early promise, her career faced sudden backlash after a series of racist tweet surfaced. The artist has since apologized on multiple occasions and has sought to move forward as a person and grow from her younger self. Her latest project No Rain, No Flowers feels like the crystallization of Claudio evolving as a person and an artist.

A collection of eight airy, introspective R&B numbers, No Rain, No Flowers is the synthesis of an artist climbing upwards towards her peak. From the outset of the project, Claudio wastes no time at all demonstrating her intrinsic gift of infusing her music with a profound sense of longing. Her voice is one that cries out at the pains and longings of her heart, while never relinquishing an ounce of its underlying power.

On the thematic elements that brought the project to life, Claudio shared,

“‘No Rain, No Flowers’ is an inside look into my journey of healing and growth. Rain symbolizes darkness but also represents an essential part of rebirth. If there is no rain, there are no flowers.”

Completely vulnerable, Claudio leisurely moves through the expansive space of No Rain, No Flowers with a sense of grace and poise that seems transcendent. Letting her velvety vocals linger on and echo every word, one moment from the next becomes nearly indistinguishable. No Rain, No Flowers blends together as something greater than the sum of its gorgeous components.

Tracklist:
01. Come Here (4:02)
02. Naked (3:07)
03. Cycle (4:09)
04. Creation (3:01)
05. Numb (3:03)
06. Did We Lose Our Minds (3:24)
07. Control (3:13)
08. Messages From Her (4:50)

Download:

https://subyshare.com/hf8xedsufrk1/SabrinaClaudi0N0RainN0Fl0wers2018WEBFLAC2444.1.rar.html

Mariss Jansons – Schubert: Symphony No. 9 in C Major, D. 944 “Great” (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:00:18 minutes | 565 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

The “Great” C major Symphony was the last symphony that Schubert composed – a “Finished” to follow his “Unfinished”, the first two movements of which he had just completed before discontinuing work on it (for reasons unknown). Schubert began this composition in August 1824, or possibly even as late as March 1825. Most of the work on it took place in the summer of 1825, during the longest journey of his life. It took him from Vienna via Linz, Steyr, Gmunden (where he found the scenery “truly heavenly”), Salzburg and then up to Bad Gastein, where he saw some magnificent alpine peaks. The first page of the score manuscript is dated “March 1828” – possibly the month in which he finally completed the work. On November 19 of that same year, Schubert died at the age of only thirty-one. The symphony was premiered posthumously on March 21, 1839 in the Leipzig Gewandhaus, and conducted by the Gewandhaus Kapellmeister at that time – the 30-year-old Felix Mendelssohn. This is a star-studded and outstanding interpretation of one of the most important compositions of the Romantic symphonic repertoire.

Tracklist:
1. Symphony No. 9 in C Major, D. 944 “Great” : I. Andante – Allegro ma non troppo 15:29
2. Symphony No. 9 in C Major, D. 944 “Great” : II. Andante con moto 13:48
3. Symphony No. 9 in C Major, D. 944 “Great” : III. Scherzo: Allegro vivace 14:10
4. Symphony No. 9 in C Major, D. 944 “Great” : IV. Allegro vivace 16:51

Personnel:
Symphonieorchester des Bayerischen Rundfunks
Mariss Jansons, conductor

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Sergey Kostylev & Olga Solovieva – Shebalin: Complete Music for Violin & Piano (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 54:55 minutes | 510 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Toccata Classics

This is the first recording of the complete works for violin and piano by the Russian composer Vissarion Shebalin (190263). He was a close friend and colleague of Shostakovich, who said of him: ‘Shebalin was an outstanding man. His kindness, honesty and absolute adherence to principle always amazed me. His enormous talent and great mastery immediately earned him burning love and authority with friends and musical community’. Like Shostakovich, Shebalin was condemned at the infamous 1948 composers’ congress in Moscow and kicked out of his job at the Moscow Conservatoire.

This recording reveals a surprisingly high number of unsuspected gems: music immediate in its melodic appeal but plumbing real depths of feeling. Violinist Sergey Kostylev has appeared as soloist with the Tchaikovsky Symphony Orchestra, of which he is assistant leader, and leader of the Orchestra’s string quartet. The pianist Olga Solovieva, born in Moscow, graduated from the Russian Academy of Music in Moscow. Her discography consists of a number of recordings for Toccata Classics, with music by Galynin, Lyadov and Boris Tchaikovsky.

Tracklist:
1. 4 Pieces : No. 1. Improvisation 02:45
2. 4 Pieces : No. 2. Gavotte 01:31
3. 4 Pieces : No. 3. Remembrance 04:12
4. 4 Pieces : No. 4. Scherzo 01:58
5. Orientalia : I. Moderato 02:26
6. Orientalia : II. Andante assai 02:26
7. Orientalia : III. Allegro molto 02:33
8. Violin Sonata, Op. 51 No. 1 : I. Allegro 07:10
9. Violin Sonata, Op. 51 No. 1 : II. Non troppo vivo. Scherzando 04:38
10. Violin Sonata, Op. 51 No. 1 : III. Andante 04:50
11. Violin Sonata, Op. 51 No. 1 : IV. Allegro 04:22
12. Violin Suite : I. Vivo 00:51
13. Violin Suite : II. Andante 02:08
14. Violin Suite : III. Allegretto 01:34
15. Violin Suite : IV. Presto possibile 01:31
16. 4 Light Pieces : No. 1. Minuet 00:59
17. 4 Light Pieces : No. 2. Berceuse 01:30
18. 4 Light Pieces : No. 3. Minuet 01:25
19. 4 Light Pieces : No. 4. Giga 01:43
20. Concert Piece : Concert Piece 04:23

Personnel:
Sergey Kostylev, violin
Olga Solovieva, piano

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Snorre Kirk – Beat (2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 39:18 minutes | 856 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | ©  Stunt Records

“Beat” contains eight of Snorre’s own tracks, as well as an anomaly in the form of a piece by bassist Juan Tizol (of Duke Ellington’s Orchestra) – the seldom heard and even more rarely performed piece, Zanzibar. “It’s certainly not a coincidence that the number is included,” Snorre explains. “I’ve been working on some of jazz’s more exotic pieces, so crossing paths with Tizol was inevitable. His ‘Caravan’ from 1936 created a school in itself, and his ability as one of the first to create music inspired by, for example – Latin music – is unparalleled.” Zanzibar had fallen by the wayside for incomprehensible reasons, but is, like Snorre’s own music, pure joy. Glowing with colorful ele- ments, Zanzibar is a gem of a composition, and Snorre has felt a responsibility to keep it alive, while also using it as inspiration.

The remarkably flexible musical talent sits behind the drums in bands with some of the finest names of the Scandinavian jazz scene, and is also often heard with prominent international names such as Diane Schuur, Eric Reed, and Stephen Riley. For this session, Snorre Kirk has gathered a team of some of the toughest Scandinavian musicians, whom he has brought together to honor and pay tribute to their unique voices.

Tracklist:
1. Exotica 04:36
2. 18th & Vine 02:36
3. Monaco 05:10
4. Blues Arabesque 04:58
5. Portrait 05:00
6. Blues Overture 04:33
7. Beat 04:35
8. Zanzibar 03:14
9. Bells, Bells, Bells 04:36

Personnel:
Tobias Wiklund, cornet
Jan Harbeck, tenor saxophone
Klas Lindquist, alto saxophone, clarinet
Magnus Hjorth, piano
Lasse Mørck, double bass
Snorre Kirk, drums

Download:

https://subyshare.com/a20s6knezanp/Sn0rreKirkBeat20182496.rar.html

Sopwith Camel – The Sopwith Camel (1967/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 26:05 minutes | 513 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | ©  Buddah – Legacy

Digitally remastered and expanded edition of this 1967 album including one bonus track. Sopwith Camel released their first and only album on the Kama Sutra Records label. The band’s only hit single, “Hello, Hello”, became the first hit title to emerge from the San Francisco rock scene. The band was unable to follow up the success of their album and hit single and disbanded later in 1967. Talking Elephant.

Energing from the fertile San Francisco ballroom scene in 1966 Sopwith Camel had a ferfreshingly melodic spin on the overamplified electric kool-aid coming from their psychadelic peers of The grateful dead, Jefferson Airplane and Quicksilver Messenger Service. Their hit song “Hello hello” reached the top ten with a style more akin to retro-schmaltz served up by Harpers Bizarre. The majority of their material is a variation of the well crafted pop songs that their Kama Sutra labelmates the Lovin’ Spoonful were turning out. The band has reformed several times and are still playing in the San Francisco area to this day.

“From the fertile San Francisco ballroom scene, the Sopwith Camel emerged in 1966 with a refreshingly melodic spin on the overamplified electric kool-aid coming from their psychedelic peers the Grateful Dead, Jefferson Airplane, and Quicksilver Messenger Service. The band’s name was almost snatched by Bay Area concert impresario Chet Helms, who was looking for a catchy moniker to promote the new blues-based group being fronted by Janis Joplin and eventually settled on Big Brother & the Holding Company. Unfortunately, the band has suffered the double indignation of either being cast in the same lot as its trippy hippie counterparts or as sunshine pop lightweights – neither of which is wholly accurate. Their one hit – the title track, “Hello, Hello” – did reach the Top Ten. However, its style was more akin to the retro-schmaltz served up by the New Vaudeville Band or Harpers Bizarre than any of the other tracks on the long-player. Sporting two- and three-minute pop songs, the Sopwith Camel had more in common with bands such as the Charlatans or Notes From the Underground than the Dead or the Airplane. They could rock out, as the acid blues “Cellophane Woman” and the guitar solo in “Frantic Desolation” prove. However, a majority of their material is a variation of the same well-crafted pop songs that their Kama Sutra labelmates the Lovin’ Spoonful were churning out. Both “You Always Tell Me Baby” and “Maybe in a Dream” contain some interesting chord changes and vocal harmonies that invite comparison to Curt Boettcher’s Sagittarius project. The band has reformed several times since the late ’60s. A 1972 reunion yielded the LP The Miraculous Hump Returns From the Moon – which was reissued on CD by the band in 2002.” (Lindsay Planer, AMG)

Tracklist:
1. Hello, Hello 02:27
2. Frantic Desolation 02:15
3. Saga of the Low Down Let Down 01:48
4. Little Orphan Annie 02:53
5. You Always Tell Me Baby 01:47
6. Maybe In a Dream 02:02
7. Cellophane Woman 02:27
8. The Things That I Could Do with You 02:12
9. Walk In the Park 02:25
10. The Great Morpheum 02:57
11. Postcard from Jamaica 02:25

Digitally remastered

Download:

https://subyshare.com/1p46btvue1my/S0pwithCamelTheS0pwithCamel196720182496.rar.html

Spider Bags – Someday Everything Will Be Fine (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 38:27 minutes | 449 MB | Genre: Alternative
Studio Masters, Official Digital Download – Source: Bandcamp | Front Cover | © Merge Records

Four years after releasing their Merge debut, Frozen Letter, Spider Bags return with an LP that ascends to new levels of aural punch and perspective. The years that elapsed between records were crucial in enabling that progress to take place.

Recorded in Memphis at Bunker Audio by Andrew McCalla, Someday Everything Will Be Fine leverages the limitations and glory of the Tascam 388, a vintage recording/mixing device that’s acquired a mythos via its association with legendary records by Dinosaur Jr. and others. Unlike the error-erasing editing software Spider Bags frontman Dan McGee has favored in the past, the Tascam’s charms are more immediate, and it has a visceral resonance all its own.

Someday Everything Will Be Fine, which is about the importance of saying f**k it and dancing to a rock and roll record, is an album only Spider Bags could make.

Five albums into their career, Spider Bags are sounding a little less punk and a bit more rock on 2018’s Someday Everything Will Be Fine. There’s a large helping of fuzzy, garage-leaning guitar-mauling here, these folks haven’t abandoned their occasional detours into formless noise, and the music continues to wear an audible sneer. But just as on 2014’s Frozen Letter, these sessions find the band sounding tighter and more confident than ever before, with just a dollop of slop to keep things swinging but a sharper overall focus that helps these tunes connect with a solid wallop. Dan McGee and Gregg Levy’s guitars boast plenty of swaggering force, while the rhythm section of bassist Steve Oliva and drummer Rock Forbes is full of drive, keeping the songs in fourth gear while adding just enough color and shade to the proceedings. (Andrew McCalla’s rich but unfussy audio is an excellent match for this material.) Judging from “Cop Dream/Black Eye (True Story),” Spider Bags still play their old hardcore singles every now and then, but the country-stained lament of “My Heart Is a Flame in Reverse,” the easy-drifting psychedelia of “Apocalypso,” and the bent-but-not-broken hard rock of “Reckless” give a clearer picture of the band’s range these days. The personality of this music retains its insouciant edge as it gains a bit more precision, and as a lyricist, Dan McGee has learned to write songs that deal with his own life rather than the misadventures of others, and “Oxcart Blues,” “Alligator,” and “Tonight, I Walk on the Water” are street-smart and revealing at the same time. (His melodies are nothing to sneeze at, either.) Someday Everything Will Be Fine is an object lesson in how maturity and progress don’t have to be the enemies of snarky, passionate rock & roll, and this is music that satisfies on several levels at once.

Tracklist:
1. Reckless
2. My Heart Is a Flame in Reverse
3. Oxcart Blues
4. Tonight, I Walk on the Water
5. Alligator
6. Ninety Day Dog
7. Burning Sand
8. Apocalypso
9. Cop Dream / Black Eye (True Story)
10. Rollin’ With the Flow

Download:

https://subyshare.com/g3zfa7u09m1u/SpiderBagsS0medayEverythingWillBeFine20182444.1.rar.html

Steven Osborne – Rachmaninoff: Études-tableaux (2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 54:03 minutes | 779 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: hyperion-records.co.uk | Booklet, Front Cover | © Hyperion Records

The universal critical plaudits which greeted Steven Osborne’s recording of the Rachmaninov Preludes are certain to be repeated even more enthusiastically on the release of this version of the wonderful Études-tableaux.

Tracklist:
Études-Tableaux, Op. 33
01. #1 In F Minor: Allegro Non Troppo
02. #2 In C: Allegro
03. #3 In C Minor: Grave
04. #5 In D Minor: Moderato
05. #6 In E Flat Minor: Non Allegro; Presto
06. #7 In E Flat: Allegro Con Fuoco
07. #8 In G Minor: Moderato
08. #9 In C Sharp Minor: Grave
Études-Tableaux, Op. 39
09. #1 In C Minor: Allegro Agitato
10. #2 In A Minor: Lento Assai
11. #3 In F Sharp Minor: Allegro Molto
12. #4 In B Minor: Allegro Assai
13. #5 In E Flat Minor: Appassionato
14. #6 In A Minor: Allegro
15. #7 In C Minor: Lento Lugubre
16. #8 In D Minor: Allegro Moderato
17. #9 In D: Allegro Moderato (Tempo Di Marcia)

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Esa-Pekka Salonen, Andrew Staples, Pauline Cheviller , Finnish National Opera – Stravinsky: Perséphone (2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 50:03 minutes | 894 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | ©  PentaTone

Stravinsky’s Perséphone (1934) is a dynamic musical-theatrical narration of the myth of Persephone’s abduction to the underworld and return to earth. The transparent, sober but evocative music epitomizes Stravinsky’s sensuous take on Neoclassicism, and the piece showcases Stravinsky’s eclectic, original and highly personal approach to music and musical drama through a playful mixture of several genres – melodrama, song, chorus, dance and pantomime. Ultimately, Perséphone offers Stravinsky’s second ode to spring, albeit without the brutal excesses of Le Sacre.

This album was recorded live during the Helsinki Festival 2017 with a star cast featuring English tenor Andrew Staples and French actress Pauline Cheviller. They join forces with the Finnish National Opera’s chorus, children’s chorus, and orchestra, conducted by Esa-Pekka Salonen, in a breathtaking performance that emphasizes the piece’s transformative power.

Tracklist:
01. Perséphone, Pt. 1: Déesse aux mille noms, puissante Déméter (Live)
02. Perséphone, Pt. 1: Reste avec nous, princesse Perséphone (Live)
03. Perséphone, Pt. 1: Perséphone, un peuple t’attend (Live)
04. Perséphone, Pt. 2: Ô peuple douloureux des ombres, tu m’attires (Live)
05. Perséphone, Pt. 2: Sur ce lit elle repose (Live)
06. Perséphone, Pt. 2: Ma mère Déméter, que la vie était belle (Live)
07. Perséphone, Pt. 2: Tu viens pour dominer (Live)
08. Perséphone, Pt. 2: Le printemps, c’est toi! (Live)
09. Perséphone, Pt. 2: Pauvres ombres désespérées (Live)
10. Perséphone, Pt. 3: C’est ainsi, nous raconte Homère (Live)
11. Perséphone, Pt. 3: Venez à nous, enfants des hommes (Live)
12. Perséphone, Pt. 3: Parle, Perséphone, raconte (Live)
13. Perséphone, Pt. 3: Ainsi vers l’ombre souterraine (Live)

Personnel:
Andrew Staples, tenor
Pauline Cheviller, narrator
Finnish National Opera Orchestra
Esa-Pekka Salonen, conductor

Download:

https://subyshare.com/gxbc2gpkiexw/StravinskyPersph0neLive20182496.rar.html

The Litter – Wretch (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 49:57 minutes | 530 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Purple Pyramid Records

Archive release. A very special album rescued from the vault – 12 previously unreleased 1970 recordings from American psychedelic garage rockers, The Litter! The Litter’s late ’60s output, including the all-time classic “Action Woman,” has been hailed as some of the finest psych garage rock to come out of the States and this lost album will be welcomed with open arms by fans of vintage rock! Packaged with liner notes from original Litter drummer Tom Murray. The Litter formed in 1966 in Minneapolis, Minnesota. The group recorded three albums in the late 1960s before disbanding. All of their Minneapolis recorded material was produced by Warren Kendrick, who owned the Scotty and Warick and Hexagon labels.

Tracklist:
1. Home (03:33)
2. Say You Don’t (03:59)
3. Ghost (03:08)
4. Let Her Know (03:34)
5. Lover (03:26)
6. Open (feat. Talib Kweli) (03:35)
7. Second Street (02:40)
8. Small Voices (02:59)
9. Survive on Love (03:40)
10. Lost in Bologna (03:57)
11. Floating (03:31)
12. Rising Up (03:19)
13. Who Am I Now (03:25)
14. The Beat (04:27)
15. When We Were Kids (03:48)
16. Wither on the Vine (03:38)
17. High Wire (03:14)

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https://subyshare.com/27diowc8ljkx/TheLitterWretch20182444.1.rar.html

Thelonious Monk – Always Know (1979/2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:28:34 minutes | 927 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy

The year 2017 will see the centenary of the birth of pianist and composer Thelonious Monk. And although his music was written between the 40s and 60s, it continues to fascinate jazzmen of all generations and all aesthetics. Born of this fascination, Always Know Monk is a kaleidoscopic variation of the repertoire of the composer, repertoire passed to the prism of the many interpretations he has aroused, from Bud Powell to Alexander Von Schlippenbach through Steve Lacy and Paul Motian. The compositions are treated like mobiles, which elements move, mingle, transform, and which unity resides in the force of attraction of the “monkisms” which cross them.

“Boo-Boo’s most ambitious plan was to establish a scholarship program and a theatrical workshop in Monk’s name…calling it Always Know, Two Is One: The Philosophy of Thelonious Sphere Monk. She hoped this ambitious work would draw links between black migration and settlement in the neighborhood, the struggle for civil and human rights and social justice, and the vision and music of Thelonious Monk. Most importantly, Boo-Boo’s dream was to establish a permanent foundation in her father’s name that could support and oversee these specific projects while keeping Monk’s legacy alive.”

“Thelonious Monk fans in particular are advised to search for this valuable two-LP set for it contains a variety of unissued material from the pianist/composer’s six-year period with Columbia. Monk is heard on three piano solos, with his regular working quartet, heading a trio on “Easy Street” and at his renowned Lincoln Center concert with a nonet on “Light Blue” and “Bye Ya.” The music on this two-fer is at the same consistent high level as his Columbia recordings of the 1960s and contains some surprising moments.” (Scott Yanow, AMG)

Tracklist:
1. This Is My Story, This Is My Song (Take 1) 01:41
2. Criss Cross 08:08
3. Light Blue (Live) 12:51
4. Monk’s Dream (Take 3) 05:14
5. Played Twice 07:33
6. Darn That Dream 03:39
7. Epistrophy 05:05
8. Coming On the Hudson (Take 3) 07:31
9. Bye-Ya 11:00
10. Introspection 02:12
11. Easy Street 07:49
12. Shuffle Boil 05:26
13. Honeysuckle Rose (Live) 10:00

Personnel:
Thelonious Monk, piano
Steve Lacy, saxophone
Phil Woods, saxophone
Gene Allen, saxophone
Charlie Rouse, saxophone
Butch Warren, bass
Larry Gales, bass
John Ore, bass
Frankie Dunlop, drums
Ben Riley, drums

Produced Teo Macero

Digitally remastered

Download:

https://subyshare.com/9msnwugme0fr/Thel0ni0usM0nkAlwaysKn0w197920182444.1.rar.html

Theo Hill – Promethean (2017)
FLAC (tracks) 24 bit/88,2 kHz  | Time – 54:23 minutes | 1 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Posi-Tone Records

Pianist Theo Hill unleashes a coruscating burst of passionate creativity on Promethean, a hard hitting trio date that features the solid harmonic foundation of bassist Yasushi Nakamura and the bombastically explosive metrics of drummer Mark Whitfield Jr. Listeners are invited to fasten their seat belts and take a trip when the bandleader steers his group into an innovative exploration of the pantheon of musical inspirations. Bursting into flames and rising like the phoenix, Mr. Hill shares with us his stolen sparks of heaven to captivate our attention with his heartfelt musical tale of stunning melodicism. Featuring a soulfully interpretative program of compositions across a variety of styles, sounds, and moods, Promethean succeeds as a scintillating performance that will certainly spark flames of delight in the hearts of straight-forward jazz enthusiasts everywhere.

Tracklist:
01． This Here (B. Timmons)
02． Hey, It’ s Me You’ re Talking To (V. Lewis)
03． Finger Painting (H. Hancock)
04． I Love Music (H. Smith)
05． Pee Wee (T. Williams)
06． The Phoenix (T. Hill)
07． Blasphemy (K. Kirkland)
08． Is That So (D. Pearson)
09． Litha (C. Corea)
10． Chance (K. Kirkland)
11． Citadel (T. Williams)

Personnel:
Theo Hill – piano
Yasushi Nakamura – bass
Mark Whitfield Jr. – drums

Download:

https://subyshare.com/4q3cy5kldouy/The0HillPr0methean20172488.2.part1.rar.html
https://subyshare.com/5i56d5tp7lcd/The0HillPr0methean20172488.2.part2.rar.html

Tommie Young – Do You Still Feel the Same Way (1973/2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 28:33 minutes | 304 MB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © Soul Power Records

This is absolute manna from Southern soul heaven. On the strength of the one, long-unavailable 1973 LP that forms the core of this compilation, Tommie Young can stake a claim as perhaps the finest neo-Aretha Franklin stylist among the slew of early-’70s soul sisters. But she was a meteor flare, almost immediately retreating back to the gospel scene that nurtured her, save for singing lead on the soundtrack to A Woman Called Moses, Cicely Tyson’s 1978 film about Harriet Tubman. Granted, Young didn’t have the protean power of Franklin (like anyone did?), so her vocal tone is lighter; but the sensational, effortless, melodic leaps on the commanding title track does nothing to dispel the Franklin impression. “Do We Have a Future?” is punchier and might be rushed for a singer lacking Young’s immaculate phrasing; she’s simply a natural-born singer with the same appealing forthrightness as Irma Thomas. The liner notes say producer Bobby Patterson cut backing tracks to O.V. Wright’s “That’s How Strong My Love Is” and Percy Sledge’s “Take Time to Know Her” (gender-switched here) for her first session and Young just walked in and nailed ’em in one take — and it ain’t hard to believe at all. “You Came Just in Time” finds Young fighting through backing vocal clutter, but the ballads “She Don’t Have to See You (to See Through You)” and “You Brought It All on Yourself” thankfully free her voice back to unadorned basics, with great command of dynamics and phrasing on the latter. Brilliant phrasing also marks the very strong “You Can Only Do Wrong So Long” and she shines again on the more down-home funky “You Can’t Have Your Cake” with some Ann Peebles vocal sass in her delivery.

“This is absolute manna from Southern soul heaven. On the strength of the one, long-unavailable 1973 LP that forms the core of this compilation, Tommie Young can stake a claim as perhaps the finest neo-Aretha Franklin stylist among the slew of early-’70s soul sisters. But she was a meteor flare, almost immediately retreating back to the gospel scene that nurtured her, save for singing lead on the soundtrack to A Woman Called Moses, Cicely Tyson’s 1978 film about Harriet Tubman. (She recorded on Texas gospel labels in the ’90s as Tommye Young West.) Granted, Young didn’t have the protean power of Franklin (like anyone did?), so her vocal tone is lighter; but the sensational, effortless, melodic leaps on the commanding title track does nothing to dispel the Franklin impression. “Do We Have a Future?” is punchier and might be rushed for a singer lacking Young’s immaculate phrasing; she’s simply a natural-born singer with the same appealing forthrightness as Irma Thomas. The liner notes say producer Bobby Patterson cut backing tracks to O.V. Wright’s “That’s How Strong My Love Is” and Percy Sledge’s “Take Time to Know Her” (gender-switched here) for her first session and Young just walked in and nailed ’em in one take – and it ain’t hard to believe at all. “You Came Just in Time” finds Young fighting through backing vocal clutter, but the ballads “She Don’t Have to See You (to See Through You)” and “You Brought It All on Yourself” thankfully free her voice back to unadorned basics, with great command of dynamics and phrasing on the latter. Brilliant phrasing also marks the very strong “You Can Only Do Wrong So Long” and she shines again on the more down-home funky “You Can’t Have Your Cake” with some Ann Peebles vocal sass in her delivery. In addition, “Everybody’s Got a Little Devil in Their Soul” is just absolutely marvelous, a funk groove with a second-line, jump-up snap in the drums and nice horns – no real melodic changes, but who needs ’em with a wondrous singer testifying in neo-Aretha mode over a killer groove? But it does make you wonder if Young was short-changed by material and production that favored a lighter, neo-Motown soul-pop sound (“That’s All a Part of Loving Him” is pretty representative) when she had the voice for tougher, harder-hitting songs like this. The string and horn embellishments that were tasteful early on start to get overbearing on the non-LP extra tracks like “Get out of My Life.” It sounds as if they heard the disco boom coming and pumped it all up; but Young is too much of a singer to need any of the forced drama in the arrangement to “I’m Not Going to Cry Any More.” The forced histrionics do get pretty dire on “One-Sided Love Affair,” but the final five tracks shouldn’t throw anyone off Do You Still Feel the Same Way? Tommie Young was singing straight-up soul from a woman’s perspective as well as or better than Peebles, Thomas, Laura Lee, Candi Staton, or any other ’70s soul woman at that level one step down from Queen Aretha.” (Don Snowden, AMG)

Tracklist:
1. Do You Still Feel the Same Way 03:40
2. You Came Just in Time 02:38
3. She Don’t Have to See You (To See Through You) 03:08
4. You Can Only Do Wrong so Long 02:40
5. You Brought It All on Yourself 03:49
6. That’s All a Part of Loving Him 03:15
7. That’s How Strong My Love Is 03:14
8. Hit and Run Lover 02:32
9. Everybody’s Got a Little Devil in Their Soul 03:37

Personnel:
Tommie Young, vocals
Benny White, guitar
Dino Zimmerman, guitar
Richard Meek, guitar
Ron Dilulio, piano, organ
Jimmy Honeycutt, saxophone
Tyrone Dotson, saxophone
Bob Marshall, saxophone, flute
Keith Jourdan, trumpet
Randy King, trumpet
Louis Villery, bass
Roy Yeager, drums
Al Pagnato, strings
Larrie Ann Fike, strings
Ruth Caldwell, strings
Sam Caldwell, strings
Doris Smith, backing vocals
Dorothy Moore, backing vocals
Jackie Dorsey, backing vocals
Jackie McKinney, backing vocals
Jewel Bass, backing vocals

Digitally remastered

Download:

https://subyshare.com/5olo5ah7yyxb/T0mmieY0ungD0Y0uStillFeeltheSameWay197320182444.1.rar.html

Tommy Kotter – Kotter: Poem (2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 58:08 minutes | 957 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | ©  Nilento Records

This is an album of lyrical piano music written mostly by Tommy Kotter. It contains beautiful melodies in the tradition of jazz, classical and folk music. The season-poems (all composed in their corresponding season) are small classical piano compositions that are samplings of impressionistic piano writing. Most of the pieces are ballads and waltzes colored with “jazz and cocktails” and sometimes maybe you can hear inspiration from Erik Satie or other impressionistic composers. Composer and piano player Tommy Kotter likes to work with rare rhythms and mixes influences from many sources. The melodies are often played quietly but intensity increases gradually. The piano solos have ardor and devotion. He regularly performs with his septet, Tommy Kotter Unit.

Tracklist:
1. Visa vid midsommartid (Arr. for Piano) 03:11
2. Summerpoem 02:33
3. La mer (Arr. for Piano) 07:15
4. Heartland 02:36
5. Speldosan 04:03
6. Autumnpoem 02:38
7. Skyddsängel 06:28
8. Ljuset från Krubban 03:08
9. Winterpoem 06:06
10. Tulpaner från Amsterdam (Arr. for Piano) 04:06
11. Springpoem 03:42
12. Cherry Blossom 07:52
13. Mori Song (Haru ga Kita) 04:30

Personnel:
Tommy Kotter, piano

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https://subyshare.com/hbcs2daesmsv/T0mmyK0tterK0tterP0em20182496.rar.html

Trio Arché – Wolf-Ferrari: The Two Piano Trios (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:10:10 minutes | 641 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Brilliant Classics

There are some composers who just defy classification; often, they are equidistant from two great revolutions, not belonging to either. These people are often encumbered with a label preceded by “neo-“, permitting them to be pigeonholed somewhere, boxed-off, and forgotten. That was the sad case with Ermanno Wolf-Ferrari, who, what’s more, had the temerity to not belong to a single country, as his allegiances were divided between Italy (Venice, specifically) and Germany, or rather Bavaria, which isn’t the same thing. His career unfolded in either country, with a little time spent in Switzerland to escape the trials of war. The majority of his output was lyrical, but at the start of his career, and again towards the end of his life, he took to writing some chamber music. The two Trios date from 1896, the era of his studies and his first sallies in Munich with Rheinberger, from whom there runs a straight line to Mendelssohn. That said, he is no neo-Mendelssohn, and while Brahms is never far away, the melodic language remains firmly that of bel canto. The Second Trio, more particularly, is not short on stunning harmonic flights, and a level of invention redolent of his contemporary Debussy: but also other traits which can be clearly seen in the young Strauss, and in particular his great symphonic poems. the Trio Archè, founded in Turin in 2001, takes charge. The name refers to the Ancient Greek αρχη, meaning origin, or founding principle. One of its main aims is to bring back to life original, foundational works from the Italian repertoire, such as Bossi, Busoni, Casella, Martucci and of course Wolf-Ferrari.

Tracklist:
1. Piano Trio No. 1 in D Major, Op. 5: I. Allegro molto moderato 14:54
2. Piano Trio No. 1 in D Major, Op. 5: II. Presto – Vivace – Meno mosso – Vivace – Presto 05:50
3. Piano Trio No. 1 in D Major, Op. 5: III. Larghetto – Poco mosso – più mosso – Larghetto 09:22
4. Piano Trio No. 1 in D Major, Op. 5: IV. Allegro vivace assai – Andante mosso – Tempo I – Andante Sostenuto – Tempo I 09:40
5. Piano Trio No. 2 in F-Sharp Major, Op. 7: I. Sostenuto – Adagio – Agitato – Sostenuto – Agitato 19:27
6. Piano Trio No. 2 in F-Sharp Major, Op. 7: II. Largo 06:30
7. Piano Trio No. 2 in F-Sharp Major, Op. 7: III. Lievemente mosso e tranquillo sempre 04:27

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https://subyshare.com/p5r6m90eh30a/Tri0ArchW0lfFerrariTheTw0Pian0Tri0s20182444.1.rar.html

Underworld & Iggy Pop – Teatime Dub Encounters EP (2018)
FLAC (tracks) 24 bit/48 kHz  | Time – 27:28 minutes | 333 MB | Genre: Electronic
Studio Masters, Official Digital Download | Front Cover | ©  Caroline International

Underworld and Iggy Pop announce Teatime Dub Encounters due for release on July 27th via Caroline. The 4 track EP is the result of a few clandestine hotel room recording sessions that began a few weeks after Underworld and Iggy Pop each released their last albums on the same day (3/18/16). It is neither historical nor a tribute to past work; it is the work of artists in motion, engaged in a process that they both bring to all of their work – one that uses spontaneity as a spur for creativity.

It is said that this collaboration between one of the first punk artists in history, Iggy Pop, and the electronic trio 90’s Underworld, is the most exciting of the year. Surprising, for sure, given what he said at the release of an electronic music set at Caprices Festival in 2007 (“I fucking hate this fucking techno shit. It’s fake.”). But it seems that the Stooges’ leader must have changed his mind, and so much the better because the result of this improbable fusion lives up to their reputation. Recorded in a hotel room transformed into a real studio by one of Underworld’s members, Rick Smith, this four-track EP is the result of spontaneity and a combination of circumstances caused by the production of the soundtrack for the film T2 Trainspotting. In fact, it is a question here of setting out new cutlery but this time eating at the same table; the two names had already appeared in the credits of the first of Danny Boyle’s films (“Lust for Life” for Iggy Pop and “Born Slippy (Nuxx)” for Underworld, of which the latter contributed mostly to the fame of the trio). “I turned up thinking, ‘I’ve got one chance here to convince this gentleman that we should work together” said Rick Smith about the record. “So I turned up with basically half my studio, hired a hotel room, set up and sat waiting.” Iggy Pop continues “When you are confronted with somebody who has a whole bloody studio there in the hotel room, a Skyped director who has won the Oscar recently and a fucking microphone in front of you and 30 finished pieces of very polished music, you don’t want to be the wimp that goes, ‘Uh-uhhh’, so my mind was racing”. – Sylvain Di Cristo

Tracklist:
1. Bells & Circles (07:29)
2. Trapped (07:43)
3. I’ll See Big (04:46)
4. Get Your Shirt (07:30)

Download:

https://subyshare.com/wvodpfqcdnrc/Underw0rldIggyP0pTeatimeDubEnc0untersEP20182448.rar.html

Vandalia & Ars Atlántica – Hirviendo el Mar: Spanish Baroque Vocal Music (2018)
FLAC (tracks) 24 bit/48 kHz  | Time – 57:31 minutes | 599 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | ©  IBS Classical

They are sung pieces, in verse and vernacular language, known in that period as human tones (or just tones) when they were profane, and divine tones when they were religious. Those composed in the first half of the 17th century were mostly polyphonic, which reveals that, in this period, polyphony was still thought to be the highest and most prestigious. The Book of Human Tones, preserved at present at the National Library of Spain under the signature M 1262, constitutes, with its 222 works, a privileged sample of all the aspects. Who might be interested in these works has now the possibility to listen to them in a retrained performance on four voices with harp accompaniment, one of the instruments used in this repertoire. If, on the one hand, the vocal quartet shows that the “grace notes” (“quiebros”) and voice effects do not constitute an impediment for the care of tuning, on the other hand the harp adds to the score beautiful introductory and transition passages based on the features of passacaglias and 17th century dances.

Tracklist:
1. En una Concha de Venus 04:52
2. Heridas en un Rendido 07:32
3. Venid a Ver una Boda 05:38
4. Huyendo Baja un Arroyo 05:08
5. Qué Festivo el Arroyuelo 04:52
6. No Quiero Más Burlas, Juana 04:47
7. Florecitas Que al Alba Salís 06:08
8. Los Ojos Negros de Juana 04:51
9. Hirviendo el Mar de Enemigos 03:12
10. No Cantéis, Dulce Ruiseñor 03:52
11. Salió a la Fuente Jacinta 07:00

Personnel:
Rocío de Frutos, treble
Verónica Plata, treble
Gabriel Díaz, alto
Víctor Sordo, tenor
Javier Cuevas, bass
Manuel Vilas, double harp (arpa de dos órdenes)

Download:

https://subyshare.com/yib2sb0tdscb/VandaliaArsAtlanticaHirviend0elMarSpanishBar0queV0calMusic20182448.rar.html

Vittorio Forte – Chopin: Waltzes (2018)
FLAC (tracks) 24 bit/88,2 kHz  | Time – 01:16:09 minutes | 1,13 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | ©  Aevea Classics

The Waltzes are perhaps Chopin’s lighter works, even though they remain distant from the world of dance-music written for the ball room. Just as his mazurkas, Chopin’s waltzes were not conceived for dancing. Chopin’s first waltz dates to 1824, when he was fourteen; the last he wrote was the last piece for solo piano he published, in 1847.

Although Chopin seems to have written many waltzes, in reality only eight were published during his lifetime (Opp. 18, 34, 42, 64); several others were lost, and some are still – sadly – in private hands.

In this album the listener will find the alternative versions of the Waltzes Op. 69 and Op. 70 No. 2. The piece marked “Sostenuto,” in 3/4, can also be considered a waltz, despite its less complex development, and was included. Italian pianist Vittorio Forte is a well-known name in France, where he has an active performance activity. His pianism is characterized by elegance, excellent control, and a marked virtuosic character.

The recording, fully natural, took place using two pairs of Brüel & Kjær microphones.

Tracklist:
1. Waltz in E-Flat Major, Op. 18 “Grande valse brillante” 05:50
2. 3 Grandes valses brillantes, Op. 34: No. 1 in A-Flat Major 05:07
3. 3 Grandes valses brillantes, Op. 34: No. 2 in A Minor 05:58
4. 3 Grandes valses brillantes, Op. 34: No. 3 in F Major 02:24
5. Waltz in A-Flat Major, Op. 42 04:07
6. Waltz in D-Flat Major, Op. 64 No. 1 “Minute” 02:02
7. Waltz in C-Sharp Minor, Op. 64 No. 2 03:47
8. Waltz in A-Flat Major, Op. 64 No. 3 03:12
9. Waltz in A-Flat Major, Op. 69 No. 1 “L’adieu” (Ed. J. Fontana) 04:34
10. Waltz in B Minor, Op. 69 No. 2 (Ed. J. Fontana) 04:30
11. Waltz in G-Flat Major, Op. 70 No. 1 (Ed. J. Fontana) 02:12
12. Waltz in F Minor, Op. 70 No. 2 (Ed. J. Fontana) 03:19
13. Waltz in D-Flat Major, Op. 70 No. 3 (Ed. J. Fontana) 03:13
14. Waltz in A-Flat Major, Op. Posth., B. 21 01:35
15. Waltz in E-Flat Major, Op. Posth., B. 46 03:00
16. Waltz in E Major, Op. Posth., B. 44 02:31
17. Waltz in E Minor, Op. Posth., B. 56 03:06
18. Waltz in A Minor, Op. Posth., B. 150 02:28
19. Waltz in F Minor, Op. 70 No. 2 (Alternative Version) 01:58
20. Sostenuto in E-Flat Major, Op. Posth., B. 133 01:42
21. Waltz in A-Flat Major, Op. 69 No. 1 “L’adieu” (Alternative Version) 03:26
22. Waltz in B Minor, Op. 69 No. 2 (Alternative Version) 04:34
23. Cantabile in B-Flat Major, B. 84 01:34

Personnel:
Vittorio Forte, piano

Download:

https://subyshare.com/sd93sjjvvg06/Vitt0ri0F0rteCh0pinWaltzes20182488.2.part1.rar.html
https://subyshare.com/lqazmqpwmu0a/Vitt0ri0F0rteCh0pinWaltzes20182488.2.part2.rar.html

Whiskey Shivers – Some Part Of Something (2017/2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 38:32 minutes | 446 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | ©  DevilDuck Records

Whiskey Shivers once described their sound as “trashgrass.” That’s putting it lightly: Some Part of Something is rugged, blunt, and unpolished, but underneath all the grit is an old-school sound that’s as accessible as it is sweet. “Red Rocking Chair” is a loose take on a country standard, while the good-natured romp of “Liquor, Beer, Wine & Ice” deserves to become a standard in its own right. They even tackle Daniel Johnston, turning his song “True Love” into a harmony-laden campfire sing-along.

Tracklist:
1. Cluck Ol’ Hen (2:53)
2. Like A Stone (2:44)
3. Long Gone (3:31)
4. Southern Sisyphus (3:10)
5. Gave Away (3:29)
6. Red Rocking Chair (2:51)
7. No Pity In The Rose City (2:26)
8. Reckless (2:11)
9. Friday I’m In Love (2:23)
10. Angelina Baker (1:51)
11. Fuck You (3:19)
12. Liquor, Beer, Wine & Ice (3:58)
13. True Love (Will Find You In The End) (3:38)

Download:

https://subyshare.com/zdx5uir3yoit/WhiskeyShiversS0mePart0fS0mething20182444.1.rar.html

Whole Wheat – Heart of the Mountai (1977/2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 31:21 minutes | 335 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | ©  SnailWorx

There is little to no information on this band save the back of the album cover. They did two LPs and this is the debut. They do thank some well-known artists in the credits: Glen Campbell for hanging around, Fleetwood Mac for lending equipment, Lindsey Buckingham for banjo and Liberace for the use of one of his pianos.

Tracklist:
1. Ice, Fire and Desire 03:50
2. Window Pane 03:59
3. Stealin’ My Thunder 03:24
4. The Tables Are Turned 03:39
5. Slow Healer 04:45
6. Daybreak 03:43
7. Head on Out 04:20
8. Heart of the Mountain 03:41

Personnel:
Chris Bristol, guitar
Michael Fleetwood, vocals, guitar
Nick Peper, keyboards
W. Michael Lewis, synthesizer
Jerry B. Field, bass
Blair Andersen, vocals, drums
Gary Coleman, percussion

Produced by Ed Cobb, James Pike
Engineered by Ed Cobb, David La Barre, Galen Senogles, Rick Hart
Mastered by Mike Reese

Digitally remastered

Download:

https://subyshare.com/x2hw9oz8s69d/Wh0leWheatHeart0ftheM0untai197720182444.1.rar.html