Studio Masters – HDMusic.me

Auteur-compositeur-interprte franais n en 1977 et form au conservatoire de Dijon avant de signer en 1999 chez Island/Universal, Damien Saez impose sa marque de fabrique ds la parution de son premier album, Jours tranges, canalisant ses influences anglo-saxonnes (U2, Jeff Buckley, Radiohead) au service d’une chanson engage et viscrale empreinte d’une posie sombre. Fidle ses engagements, Saez bnficie d’un public tout aussi fidle qui lui permet de mener une carrire l’cart des grands mdias et des polmiques tout en conservant un impact important, chacun de ses albums trouvant le chemin des charts franais, mais aussi belges et suisses. En 2017, avec Lulu, c’est son dixime effort studio que livre Saez.

Tracklist:

1.Guantánamo – 4:44
2.Mon Européenne – 5:33
3.Peuple manifestant – 9:14
4.Bonnie – 4:22
5.Rue d’la soif – 4:20
6.Ma putain du show-biz – 5:16
7.Je suis – 4:53
8.Mon terroriste – 5:20
9.Ma gueule de terroriste – 4:43
10.Pierrot – 5:36

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Bergen Philharmonic Orchestra, Neeme Jarvi – Saint-Saëns: Cello Concertos Nos. 1 & 2; The Carnival of the Animals; Africa; Wedding-cake (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:15:17 minutes | 1,23 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Chandos

The Bergen Philharmonic Orchestra and Neeme Jrvi present this unusual collection of popular works by Saint-Sans, for orchestra and piano or cello.

Truls Mrk, this season Artist in Residence with the Orchestre Philharmonique de Radio France, is the soloist in the two contrasted cello concertos. His ‘seemingly flawless technical command’ is tested in the suave, expressive, famous No. 1 as well as in the many taxing solo passages, huge leaps, and double-stopping flourishes of No. 2.

The indefatigable duo Louis Lortie and Hlne Mercier join in the posthumously published Carnival of the Animals, after a highly successful recording of Concertos by Poulenc with Edward Gardner, Disc of the Week in The Sunday Times. They offer the original version, which features a glass harmonica (normally substituted by a glockenspiel). Louis Lortie is also the soloist in the entertaining fantasia Africa, which incorporates folk tunes of the different countries in which it was composed and which is brought off with consummate zest, as well as in the most characteristic and probably challenging of the composer’s keyboard pieces, the Caprice-Valse Wedding-cake, written for the second wedding of the composer’s virtuosic pianist friend Caroline Montigny-Rmaury. [Mrk’s] noble command is ideal in the darkly blazing, virtuosic second concerto. One of our great lyric instrumentalists, he gives a deeply-felt, but never over-dramatised performance, a piercing tenderness underlying what can sound sentimental in the hands of a lesser artist. Bergen’s beautifully-tuned winds create subtle intimacy in the idyllic Andante – BBC Music Magazine March 2016

This is one of those recordings where it seems invidious to look for faults and which just encourages you to sit back, relax, listen and wallow. Mrk brings his characteristic incisiveness and mountain-spring tone to the concertos…The Grande fantaisie zoologique receives one of its most successful performances on disc (sans narrator) with just the right balance of instrumental virtuosity, sensitive musicianship and, where the opportunity presents itself, fun. – Gramophone Magazine January 2016

Tracklist:

1.Cello Concerto No. 1 in A minor, Op. 33: I. Allegro non troppo – [ ] – Tempo I – Animato – Allegro molto – Tempo I – – 6:01
2.Cello Concerto No. 1 in A minor, Op. 33: II. Allegretto con moto – [Cadenza] – [ ] – – 5:06
3.Cello Concerto No. 1 in A minor, Op. 33: Tempo I – Un peu moins vite – Più allegro comme le Premier Mouvement – Molto allegro – 9:11
4.Cello Concerto No. 2 in D minor, Op. 119: I. Allegro moderato e maestoso – Andante sostenuto (Le double plus lent) – Più mosso – Tempo I – 11:44
5.Cello Concerto No. 2 in D minor, Op. 119: II. Allegro non troppo – Cadenza ad libitum – Mouvement du Premier Morceau – Molto allegro – 6:27
6.Le Carnaval des animaux: I. Introduction et Marche royale du Lion. Andante maestoso – Allegro non troppo – Più allegro – – 2:05
7.Le Carnaval des animaux: II. Poules et Coqs. Allegro – Animato – – 0:41
8.Le Carnaval des animaux: III. Hémiones (Animaux véloces). Presto furioso – – 0:37
9.Le Carnaval des animaux: IV. Tortues. Andante maestoso – – 1:43
10.Le Carnaval des animaux: V. L’Éléphant. Allegretto pomposo – – 1:24
11.Le Carnaval des animaux: VI. Kangourous. Moderato – – 0:54
12.Le Carnaval des animaux: VII. Aquarium. Andantino – – 2:18
13.Le Carnaval des animaux: VIII. Personnages à longues oreilles. Tempo ad libitum – – 0:49
14.Le Carnaval des animaux: IX. Le Coucou au fond des bois. Andante – – 2:08
15.Le Carnaval des animaux: X. Volière. Moderato grazioso – – 1:21
16.Le Carnaval des animaux: XI. Pianistes. Allegro moderato – – 1:15
17.Le Carnaval des animaux: XII. Fossiles. Allegro ridicolo – – 1:15
18.Le Carnaval des animaux: XIII. Le Cygne. Andantino grazioso – – 2:33
19.Le Carnaval des animaux: XIV. Finale. Molto allegro – 2:02
20.Caprice-Valse in A flat major, Op. 76 ‘Wedding-cake’: Vivace e grazioso – 5:58
21.Fantaisie for Piano and Orchestra in G minor, Op. 89 ‘Africa’: Molto allegro – Cadenza ad libitum – A tempo – Stringendo – Andante espressivo – Allegro – Meno allegro – Tranquillo – Animato – Molto allegro (Tempo I) – Animato – 9:55

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For her fourth album at Ruf Records, Samantha Fish anchored in Detroit, a melting pot of all kinds of sound, from the soul of Motown to the punk rock of Iggy Pop and his Stooges, and the lo-fi and punchy blues of the White Stripes. Chills & Fever was created in collaboration with members of the Detroit Cobras and producer Bobby Harlow (The GO/ Jack White). Sam Fish’s voice overflows with rage and soul, and commands with beautiful sincerity a very roots rock’n’roll filled with exceptional energy, as well as hints of garage and vintage soul (in fact more reminiscent of Memphis than Detroit). Classy and classic.

Tracklist:

1.He Did It – 3:00
2.Chills & Fever – 3:19
3.Hello Stranger – 4:22
4.It’s Your Voodoo Working – 3:39
5.Hurt’s All Gone – 3:43
6.You Can’t Go – 4:03
7.Either Way I Lose – 5:27
8.Never Gonna Cry – 4:12
9.Little Baby – 2:56
10.Nearer To You – 3:24
11.You’ll Never Change – 3:11
12.Crow Jane – 3:31
13.Somebody’s Always Trying – 6:03
14.I’ll Come Running Over – 3:24

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Daniel Shafran, Lydia Pecherskaya – Shostakovich: Cello Sonata in D Minor, Op. 40; Schubert: ‘Arpeggione’ Sonata in A Minor, D. 821 (1961/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 42:27 minutes | 1,68 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical

One of the greatest cellists of the twentieth century, a performer who combined technical brilliance with soulful expressiveness, Danil Shafran was born in 1923, in Leningrad (now St. Petersburg). Shafran’s first teacher was his father, who was the principal cellist of the Leningrad Philharmonic Orchestra. At the age of eight, Shafran started studying with Alexander Shtrimer, at the Special Music School for Children. Two years later, he was among a group of students selected to advance directly to the Leningrad Conservatory. When he was eleven, Shafran made his debut with the Leningrad Philharmonic, continuing his studies with Shtrimer, who taught the young cellist to appreciate music in the wider context of humanistic culture and of art in general. In 1937, Shafran won the All-Union competition for cellists and violinists. The prize was a magnificent 1630 Amati cello, which Shafran played until the end of his life. This instrument had a delicate, but gorgeous, tone, and Shafran was sometimes criticized for playing an instrument that was perceived as more appropriate for chamber music. In 1950, the year he graduated from the Leningrad Conservatory, Shafran won the Prague International Cello Competition. Although Shafran toured Europe, the U.S., and Japan, he shunned the glamour of international fame, preferring to perform and record in the U.S.S.R. His recordings, for the Melodiya label, include much of the standard cello repertoire, with particular emphasis on Romantic and -century Russian music. For example, he recorded Kabalevsky’s Cello Concerto No. 1 in 1954, creating, two years later, a legendary recording of the Cello Sonata by Shostakovich, with the composer at the piano. One of the high points of Shafran’s career was his 1967 performance of Kabalevsky’s Cello Concerto No. 2, one of the most demanding works of the cello repertoire. Written as a musical monument to the victims of World War II, and dedicated to Shafran, Kabalevsky’s extraordinarily difficult work provided the cellist with an opportunity to display his prodigious technique and profound musicality. Throughout his career, Shafran sought to enrich the cello repertoire by playing transcriptions of works for other instruments. Many of these transcriptions, which include the Franck Violin Sonata and the Shostakovich Viola Sonata, are miniatures by composers such as Schumann, Chopin, and Brahms, which he often offered as recital encores. Shafran’s performances of these familiar encore miniatures, such as Schumann’s “Trumerei,” from the Kinderszenen for piano, were truly magical, for his playing could transform a familiar piano piece into cello music of unearthly beauty. Shafran was particularly known for his rich, expressive tone; his vibrato was unique, and when he played without vibrato, Shafran used his prodigious bowing technique to enrich his tone. A hallmark of Shafran’s highly personal style, in addition to his finely nuanced and profoundly expressive tone, was his inimitablerubato. All in all, Shafran was a stupendous virtuoso whose breath-taking technical skill was totally subservient to a profound, overwhelmingly powerful musicality. Always in total control of the formal aspects of the music he played, Shafran constantly sought, as he revisited a particular piece, to probe deeper into its inner being, methodically striving to reveal the sometimes incomprehensible complexity of the music that he played. He died in 1998.

Tracklist:

1.Sonata for Cello and Piano in D Minor, Op. 40: I. Allegro non troppo – 8:40
2.Sonata for Cello and Piano in D Minor, Op. 40: II. Allegro – 3:08
3.Sonata for Cello and Piano in D Minor, Op. 40: III. Largo – 8:01
4.Sonata for Cello and Piano in D Minor, Op. 40: IV. Allegro – 4:06
5.Sonata for Cello and Piano in A Minor, D. 821 ‘Arpeggione’: I. Allegro moderato – 7:28
6.Sonata for Cello and Piano in A Minor, D. 821 ‘Arpeggione’: II. Adagio – 4:07
7.Sonata for Cello and Piano in A Minor, D. 821 ‘Arpeggione’: III. Allegretto – 6:59

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The first album attributed to Sly Stone rather than Sly & the Family Stone, High on You didn’t exactly resurrect the troubled artist’s sinking career, but it does remain one of the better straight-up funk albums of the ’70s. Released during the same mid-’70s era that spawned vibrant funk albums such as the Commodores’ Machine Gun, Parliament’s Up for the Down Stroke, and the Ohio Players’ Skin Tight, along with the first Graham Central Station albums, High on You seems like a genre exercise for Sly — rather than trailblazing new sounds like he did five years earlier, he’s now embracing the sound of the times. Still, even though Sly isn’t doing anything especially novel here, he performs an impressive series of succinct, well-crafted funk songs with plenty of pop accessibility. Indeed, High on You has the makings of a comeback album. It’s worth noting that the album’s title track was an impressive single, peaking at number three on the R&B chart and even making an appearance on the pop chart — though fairly obscure nowadays, “High on You,” remains one of Sly’s career highlights. Elsewhere, “Crossword Puzzle” stands out with its distinct horn hook and numerous background vocals (it’s become most famous for being sampled by De La Soul on 3 Feet High and Rising), while the gentle “That’s Lovin’ You,” the album’s sole ballad, cools down the proceedings for a moment. After these first three highlights, the album drops off a little, though the funk level remains well in the red. In fact, the upbeat nature of the album is perhaps its most satisfying attribute, given the downcast mood of Sly’s previous few albums. High on You doesn’t measure up to the best Sly & the Family Stone albums of the late ’60s and early ’70s, granted, but it’s a step up in quality from Small Talk and certainly all that would follow. Long written off and long out of print, High on You is an underrated album that deserves re-evaluation. ~ Jason Birchmeier

Tracklist:

1.I Get High On You – 3:14
2.Crossword Puzzle – 2:57
3.That’s Lovin’ You – 2:57
4.Who Do You Love? – 3:42
5.Green Eyed Monster Girl – 3:53
6.Organize – 3:22
7.Le Lo Li – 3:20
8.My World – 3:35
9.So Good to Me – 3:24
10.Greed – 4:11

Download:

https://subyshare.com/sj7x8if3glf6/SlySt0neHigh0nY0u19759624.rar.html

The Sons of the Pioneers are one of the United States’ earliest Western singing groups. Known for their vocal performances, their musicianship, and their songwriting, they produced innovative recordings that have inspired many Western music performers and remained popular through the years.[3] Since 1933, through many changes in membership, the Sons of the Pioneers have remained one of the longest-surviving country music vocal groups.

Tracklist:

1.Buffalo – 2:34
2.Destiny – 2:24
3.The Strawberry Roan – 2:46
4.The Shifting, Whispering Sands – 2:40
5.Little Joe, the Wrangler – 3:51
6.O Bury Me Not on the Lone Prairie – 2:52
7.Ringo – 3:20
8.Me and My Burro – 2:28
9.Outlaws – 3:20
10.Billy the Kid – 3:01
11.Green Ice and Mountain Men – 2:17
12.Jesse James – 2:15

Download:

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Soundgarden’s major label debut, 1989’s Louder Than Love hints at things to come with songs like Loud Love, Hands All Over and Get On The Snake. Big Dumb Sex was made famous thanks to a cover version on the 1993 Guns N’ Roses album The Spaghetti Incident?.

“… Soundgarden pushes the envelope … like Danzig or the Cult, Soundgarden takes its cues from metal’s new primitivism, eschewing virtuosity for the brutish efficiency of simple aggression. That’s not to say these guys don’t have chops: Chris Cornell has the sort of soaring, muscular voice Ian Astbury can only dream of, while guitarist Kim Thayil comes across like the Edge with an attitude, but they do seem more inclined to beat a riff into submission than strut their stuff by playing rings around it … (the songs) are mean, lean and fighting fit … yet as basic as the band’s musical architecture seems on the surface, there’s a surprising finesse to these arrangements …”
– Rolling Stone

“… helped set the wheels of an alternative music revolution in motion … a significant leap from the underground punk rock trenches … not only a fork in the road for the band, but also a point of no return … this transition entailed a distinct but really quite organic evolution of the band’s sound … toward the incremental power and precision of heavy metal, without sacrificing any of their powerful, genre-melding fusions … the ultimate collision of Led Zeppelin and Black Sabbath … the creative risks first undertaken on Louder Than Love would soon find even greater focus on their next album, Badmotorfinger and then vault the band decisively over the platinum plateau and into the Superunknown of worldwide stardom.”
– UltimateClassicRock.com

Tracklist:

1.Ugly Truth – 5:26
2.Hands All Over – 6:00
3.Gun – 4:43
4.Power Trip – 4:12
5.Get On The Snake – 3:44
6.Full On Kevin’s Mom – 3:38
7.Loud Love – 4:57
8.I Awake – 4:21
9.No Wrong No Right – 4:49
10.Uncovered – 4:32
11.Big Dumb Sex – 4:11
12.Full On (Reprise) – 2:43

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https://subyshare.com/31knsmx5c6rw/S0undgardenL0uderThanL0ve198919224.part3.rar.html

Tracklist:

1.Seventy Six Trombones – 2:34
2.If I Were a Rich Man – 2:21
3.Sit Down You’re Rockin’ the Boat – 2:25
4.Anatevka – 2:19
5.Real Live Girl – 2:34
6.People – 2:21
7.I Believe in You – 2:45
8.She’s Just Another Girl – 2:20
9.Brotherhood of Man – 2:33
10.Gimme Some – 2:23
11.Heart – 2:36
12.Hello, Dolly! – 2:27

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Alexei Ogrintchouk, Winds of the Royal Concertgebouw Orchestra – Strauss: Oboe Concerto, Wind Serenade, Wind Sonatina No. 2 (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:14:08 minutes | 1,25 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS

Despite his advanced age and the chaos surrounding him, Richard Strauss remained highly productive well into the 1940s. As the Second World War was coming to an end in 1944-45, the eighty-year-old composer was working on his Oboe Concerto and Sonatina No. 2 for winds, as well as the Metamorphosen for strings. While the latter work was an explicit response to the destruction Strauss was witnessing, in the Concerto and the Sonatina the composer seemed to be turning his mind away from the events surrounding him. There is a pastoral quality to the oboe concerto, with a highly tuneful solo part and more than occasional touches of nostalgia for the 18th century. Similarly, Strauss headed the score of the sonatina with a dedication ‘to the spirit of the immortal Mozart at the end of a life full of thankfulness’.

To an extent, one might say that Strauss at the end of his life returned to the musical models of his youth. It is therefore fitting that these two works frame the Serenade in E flat major for wind ensemble, composed more than sixty years earlier in the tradition of entertainment music by Schubert and Mendelssohn. Alexei Ogrintchouk, one of today’s leading oboists, has proven himself in previous recordings for BIS ranging from Bach to Nikos Skalkottas and Antal Dorti. With sterling support from the Royal Concertgebouw Orchestra conducted by Andris Nelsons, he here makes light of the considerable difficulties of the solo part of the oboe concerto, and also directs his colleagues from the orchestra’s wind section in the works for wind ensemble.

“…This is, make no mistake, a fine performance with orchestral playing that’s strikingly crisp and alert but spacious too…”
Richard Bratby – Gramophone magazine – October 2017

Tracklist:

1.Concerto in D major for oboe and small orchestra, TrV292: I. Allegro moderato – – 8:29
2.Concerto in D major for oboe and small orchestra, TrV292: II. Andante – – 9:24
3.Concerto in D major for oboe and small orchestra, TrV292: III. Vivace – – 4:34
4.Concerto in D major for oboe and small orchestra, TrV292: IV. Allegro – 2:57
5.Serenade in E flat major for 13 wind instruments Op. 7, TrV 106: Andante – 9:30
6.Sonatina No. 2 in E flat major ‘Fröhliche Werkstatt’ for 16 wind instruments, TrV291: I. Allegro con brio – 12:35
7.Sonatina No. 2 in E flat major ‘Fröhliche Werkstatt’ for 16 wind instruments, TrV291: II. Andantino, sehr gemächlich – 5:33
8.Sonatina No. 2 in E flat major ‘Fröhliche Werkstatt’ for 16 wind instruments, TrV291: III. Menuet. Etwas lebhaft – 4:28
9.Sonatina No. 2 in E flat major ‘Fröhliche Werkstatt’ for 16 wind instruments, TrV291: IV. Einleitung und Allegro – 16:43

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London Symphony Orchestra, Sir John Eliot Gardiner – Stravinsky: Oedipus Rex, Apollon musagète (2014)
FLAC (tracks) 24-bit/96 kHz | Time – 01:19:04 minutes | 1,38 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front cover | © LSO Live

Sir John Eliot Gardiner conducts the LSO on this his first release for LSO Live, Stravinsky’s ‘Oedipus Rex’ and ‘Apollon musagte’. Also featured on the release are the gentlemen of the Monteverdi Choir, considered one of the world’s leading choirs, and a mix of international and home-grown soloists including Jennifer Johnston and Stuart Skelton. French actress Fanny Ardant, who has appeared in more than 50 motion pictures, takes the rle of narrator.

‘Oedipus Rex’ and ‘Apollon musagte’ are both ancient Greek-themed works by Stravinsky. The rich string harmonies and textures in the ballet score of ‘Apollon musagte’ are pleasantly mesmerising, expressive and calmly indulgent. In contrast, the dramatic and hauntingly compelling opera-oratorio ‘Oedipus Rex’ is composed of an assemblage of monumental and powerful sounds, such as playful woodwinds, robust brass and agile strings, with magnificent vocals from the choir and soloists.

Sir John Eliot Gardiner is touring a programme of Mendelssohn Symphonies with the LSO to France and Switzerland during January and March, after which the orchestra head, with Daniel Harding, to the Far East. Gardiner’s Monteverdi Choir celebrate their 50th anniversary in 2014 in March with concerts in France and Spain, performing Monteverdi’s ‘Vespers’.

Recorded in April 2013 at the Barbican in London, these live performances of Igor Stravinsky’s oratorio Oedipus Rex and the ballet Apollon musagte are among the most vivid on SACD, thanks to the energizing conducting of John Eliot Gardiner, the hypnotic singing of the Monteverdi Choir, and the vibrant playing of the London Symphony Orchestra. Granitic and block-like, Oedipus Rex is cast in a monumental style, and Stravinsky’s setting of Sophocles’ tragedy is severe and grim. Yet the Monteverdi Choir’s incantatory singing and the rhythmic playing of the LSO keep the piece exciting, and Gardiner’s urgent tempos keep the music pulsing. Apollon musagte, written for string orchestra, provides a clear contrast in sound and expression, and where Oedipus is stark and off-putting, this neo-classical ballet is elegant and poignant. Yet Gardiner’s interpretation emphasizes the athletic aspect of the dance, and the strong rhythmic impulse propels the music forward, without unnecessarily rushing the pace. The most enjoyable aspect of this audiophile recording is the luscious sound of the orchestra, surprisingly so in Apollon musagte, which is often played by other ensembles on the dry side. But the orchestra’s full textures and gorgeous string sonorities give a warmth that benefits the piece. – AllMusic Review by Blair Sanderson

Tracklist:

1.Oedipus Rex, Prologue and Act I: I. ‘Spectateurs, vous allez entendre…’ – 7:11
2.Oedipus Rex, Act I: II. ‘Voici Creon, beau-frère d’Oedipe…’ – 6:53
3.Oedipus Rex, Act I: III. ‘Oedipe interroge la fontaine de verite…’ – 8:19
4.Oedipus Rex, Act II: I. ‘Gloria, gloria, gloria!’ – 11:52
5.Oedipus Rex, Act II: II. ‘Le temoin du meurtre sort de l’ombre…’ – 7:36
6.Oedipus Rex, Act II: III. ‘Et maintenant, vous allez entendre…’ – 7:10
7.Apollon musagète: I. Naissance d’Apollon – 4:10
8.Apollon musagète: II. Variation d’Apollon – 2:57
9.Apollon musagète: III. Pas d’action – 4:27
10.Apollon musagète: IV. Variation de Calliope – 1:32
11.Apollon musagète: V. Variation de Polymnie – 1:19
12.Apollon musagète: VI. Variation de Terpsichore – 1:41
13.Apollon musagète: VII. Variation d’Apollon – 2:39
14.Apollon musagète: VIII. Pas de deux – 4:38
15.Apollon musagète: IX. Coda – 3:16
16.Apollon musagète: X. Apothéose – 3:33

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Tracklist:

1.Bracero – 2:43
2.Kathy Keep Playing – 2:49
3.Ask and You Will Receive – 2:27
4.Crystal Chandelier – 3:01
5.That’s the Chance I’ll Have to Take – 2:03
6.Some of Me – 2:33
7.The Great El Tigre – 2:54
8.Think I’ll Go Somewhere and Cry Myself To Sleep – 3:01
9.Another Day Has Gone – 2:02
10.The Old French Quarter – 2:27
11.I Will – 2:24
12.Four Strong Winds – 2:39

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The three members of Supersonic Blues Machine — drummer Kenny Aronoff, bassist Fabrizio Grossi, and singer/guitarist Lance Lopez — share a love of blues that’s nearly as large as their love of classic rock. This means their 2016 debut, West of Flushing South of Frisco, is by no means traditional blues but it is traditional blues-rock, goosed by bits of funk and soul, all wrapped up in a muscular arena rock gloss. Songs are secondary here: it’s all about the players, including a long, impressive list of guests, highlighted by Billy Gibbons, Warren Haynes, Chris Duarte, and Robben Ford. This very list of luminaries reveals how West of Flushing South of Frisco is targeted at guitarists who love to hear other guitarists play — listeners who love to hear and feel monster tone. If the songs never really stick — they all feel like vehicles for vamps and solos — that doesn’t matter much because each track delivers the kind of oversized blooze jams so many guitarists love to play and, occasionally, hear.

Tracklist:

1.Miracle Man – 4:23
2.I Ain’t Fallin’ Again – 3:30
3.Running Whiskey (feat. Billy F. Gibbons) – 2:40
4.Remedy (feat. Warren Haynes) – 5:43
5.Bone Bucket Blues – 3:13
6.Let It Be – 5:26
7.That’s My Way (feat. Chris Duarte) – 4:52
8.Ain’t No Love (In The Heart Of The City) – 5:26
9.Nightmares And Dreams (feat. Eric Gales) – 4:44
10.Can’t Take It No More (feat. Walter Trout) – 6:12
11.Whiskey Time (Running Whiskey’s Extended Ending) – 2:14
12.Let’s Call It A Day (feat. Robben Ford) – 3:32
13.Watchagonnado – 3:49

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With Philippe Jaroussky’s new album, Storia di Orfeo, the French countertenor realises a long-held dream: to portray the mythic Orpheus – divine musician who ventures into the underworld to retrieve his beloved wife Eurydice from the clutches of death – in his many guises, an inspiration for the very first opera and beyond.

“This project, which was inspired by three key 17th-century operas, was conceived as a kind of opera in miniature or as a cantata for two solo voices and chorus, and features just two characters: Orpheus and Eurydice,” explains Jaroussky. “The three operas focus on different aspects of the story: Sartorio and Rossi depict the happiness of the young lovers and the scene in which Eurydice is bitten by the snake; Monteverdi, on the other hand, concentrates more on Orpheus’ search for Eurydice in the underworld, and the highpoint of his work is an aria that has remained without parallel in the history of opera: the magical ‘Possente spirto’, which I have the temerity to perform here as a countertenor, for the first time on record.”

He is joined by sublime soprano Emőke Baráth and period-instrument ensemble par excellence I Barocchisti with Diego Fasolis at the helm. A journey to the beginnings of opera, to the Italian Baroque, to the underworld and back.

Tracklist
01. L’Orfeo: Sinfonia
02. L’Orfeo: “Cara e amabile catena” (Euridice, Orfeo)
03. L’Orfeo, SV 318: “Vieni, Imeneo… Lasciate i monti” (Chorus)
04. L’Orfeo, SV 318: “Rosa del Ciel” (Euridice, Orfeo)
05. L’Orfeo: “Mio ben, teco il tormento” (Euridice)
06. L’Orfeo: “Che dolcezza è la certezza” (Euridice, Orfeo)
07. L’Orfeo: “Deh, più lucente” (Chorus)
08. L’Orfeo, SV 318: “Vi ricorda, o boschi ombrosi” (Orfeo)
09. L’Orfeo, SV 318: “Vieni, Imeneo” (Chorus)
10. L’Orfeo: “M’ami tu?… Se così dunque Amor fà… Deh, pietà!” (Euridice, Orfeo, Chorus)
11. L’Orfeo: “A l’imperio d’Amore” (Chorus, Euridice)
12. L’Orfeo: “Ahimè, Numi, son morta” (Euridice, Orfeo)
13. L’Orfeo: “Ah, piangete!” (Chorus)
14. L’Orfeo: “Lagrime, dove sete?” (Orfeo)
15. L’Orfeo: “È morta Euridice” (Orfeo)
16. L’Orfeo: “Dormite, begl’occhi, dormite” (Chorus)
17. L’Orfeo: “Orfeo tu dormi?” (Euridice)
18. L’Orfeo: “Se desti pietà” (Euridice)
19. L’Orfeo: “Risvegliati, sù” (Euridice, Orfeo) – Monteverdi: Sinfonia
20. L’Orfeo, SV 318: “Possente spirto” (Orfeo)
21. L’Orfeo, SV 318: “Pietade oggi e Amore” (Chorus)
22. L’Orfeo: “Numi, che veggio… Non ti volger ” (Euridice, Orfeo)
23. L’Orfeo: “Chiuso, ahimè, di Cocito… Rendetemi Euridice” (Orfeo)
24. L’Orfeo: “Lasciate Averno” (Orfeo)
25. L’Orfeo: “Amor vero e salda fé” (Chorus)

Personnel
Philippe Jaroussky, countertenor
Emőke Baráth, soprano
I Barocchisti
Coro della Radiotelevisione svizzera
Diego Fasolis, conductor

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Takuya Kuroda’s follow-up to his breakthrough 2014 album, Rising Son, 2016’s colorful Zigzagger finds the trumpeter digging even deeper into his hip-hop and Afrobeat-influenced jazz sound. Whereas last time Kuroda benefitted from the production of one-time boss and collaborator/singer Jose James, here he mans the production chair himself. It’s a bold, if natural choice for the Japan-born/New York-based performer and brings his journey from James’ talented sideman to jazz star and captain of his own funk-jazz ship full-circle. Although steeped in acoustic jazz tradition, Kuroda (who studied at both Berklee and the New School) has gravitated toward more jam-oriented sounds in recent years. Blessed with a warm, robust trumpet sound and a knack for delivering lithe, soulful solos that bring to mind both Roy Hargrove and Hugh Masekela, Kuroda is truly a 21st century performer. Another shift from Rising Son is Kuroda’s choice to use his longtime backing ensemble, featuring trombonist/vocalist Corey King, keyboardist Takeshi Ohbayashi, bassist Rashaan Carter, and drummer Adam Jackson. It’s the same group that appeared on 2012’s superb Six Aces, and lends this album a familiarity and interplay that only musicians who’ve played together for a long time have. Together, Kuroda and his band make a kinetic blend of harmonically rich jazz that’s equal parts organic hip-hop, angular post-bop, and buoyant, rhythmically infectious Afro-beat. As if to reinforce the latter, Kuroda also brings on board longstanding New York Afro-beat ensemble Antibalas for the ’90s trip-hop-meets-’70s Fela Kuti-sounding “Think Twice.” Elsewhere, cuts like the title track, “R.S.B.D.,” and “Actor” find Kuroda framing his searching trumpet lines in quivering R&B-style synths, laser-tone bass, and pulse-pounding beats pushed way to the front of the mix. Similarly, on tracks like the bass-heavy “No Sign” and the Maceo Parker-esque “Thirteen,” he pulls the groove way back, underlining his hard funk aesthetic with puckered horn lines, loping drum beats, and shimmering wet keyboards. He even takes an inventive approach to jazz balladry, bringing to mind the ’70s work of trumpeter Eddie Henderson on his fractured, languidly melodic “Little Words.” As the title implies, with Zigzagger, Kuroda continues to push his distinctive jazz-funk explorations in ever more engaging and unexpected directions.

Tracklist:

1.R.S.B.D – 3:55
2.Zigzagger – 6:35
3.I Don’t Remember How It Began – 6:40
4.No Sign – 7:12
5.Do They Know – 3:25
6.Thirteen – 7:10
7.Little Words – 6:12
8.Actors – 7:01
9.Good Day Bad Habit – 5:12
10.Think Twice (feat. Antibalas) – 5:49

Download:

https://subyshare.com/1r39yn1ub6cv/TakuyaKur0daZigzagger20164824.rar.html

Chicago Symphony Orchestra, Seiji Ozawa – Tchaikovsky: Symphony No. 5; Mussorgsky: A Night on Bare Mountain (1969/2017)
FLAC (tracks) 24 bit/192 kHz | Time – 55:10 minutes | 2,24 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical

He is “one of those rarities, a natural conductor”, exclaimed one reviewer after Seiji Ozawa’s Chicago Symphony debut on July 16, 1963 at the orchestra’s Ravinia Festival. “His technical facility is phenomenal, his sense of rhythm both solid and subtle, and his knowledge of scores… detailed and intimate.” Another Chicago critic concurred: “His conducting technique reminds you of his teacher, Herbert von Karajan, in that it lays the score in the lap of the orchestra with transparency of gesture and human communication, then commands acceptance.” At the end of the season, the 27-year-old podium sensation was appointed the festival’s first-ever music director, and in the years that followed Ozawa also became a regular CSO guest at Orchestra Hall, its downtown home.

Between 1965 and 1968, he and the orchestra made a series of remarkable albums for RCA. Selected releases are now remastered form the original master tapes and releases for the first time on HighResAudio. They represent an early high-point — perhaps unsurpassed — in the Japanese maestro’s long and distinguished recording career. Featured among these dynamic Ozawa/Chicago performances are three cornerstones of the symphonic repertoire: the Beethoven and Tchaikovsky Fifth Symphonies and the Schubert “Unfinished”, all remastered from the original analogue tapes for this edition.

“The Chicago Symphony is one of the greatest orchestras I have ever conducted, and I have had no greater glory in music than I have experienced here.” With those words, Seiji Ozawa singled out the significance of his Ravinia tenure and ensuing collaboration with the CSO.

Tracklist:

1.Symphony No. 5 in E Minor, Op. 64: I. Andante – Allegro con anima – 14:06
2.Symphony No. 5 in E Minor, Op. 64: II. Andante cantabile con alcuna licenza – 12:20
3.Symphony No. 5 in E Minor, Op. 64: III. Valse. Allegro moderato – 5:54
4.Symphony No. 5 in E Minor, Op. 64: IV. Finale. Andante maestoso – Allegro vivace – 12:03
5.Night on Bald Mountain – 10:50

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On his first solo album, violinist Fabio Biondi presents Telemann’s 12 Fantasias for Solo Violin, works that reflect both the composer’s full maturity and his proficiency as a violinist himself. The dozen fantasias on the programme were written for an unaccompanied instrument and manage to embrace both the long established style for polyphony in German violin music, with fugues and multipart writing for the soloist, as well as more modern trends. For this recording Biondi played an 18th century Ferdinando Gagliano violin.

Georg Philipp Telemann’s 12 Fantasias for solo violin were written in 1735, when he was perhaps at the height of his fame. He also wrote sets of 12 solo works for other instruments, and these violin pieces were above all commercial enterprises. They are not fantasias in the usual sense, but multi-movement works in the Italian sonata manner, although the fast-slow-fast pattern is just one of several employed. They split the differences among Italianate sonata styles, the rising galant sound, and German fugal polyphony, each of which is artfully boiled down to violin lines that are considerably closer to the reach of amateur violinists than were the Bach sonatas and partitas for solo violin, composed 15 years earlier. This kind of smoothing down of styles into something easy to grasp and broadly accessible is pure Telemann, and you could jump in and sample anywhere to get the flavor of the whole. The music is not really in the tradition of virtuoso solo violin that Bach drew on, and there’s a bit of tension in hearing it played by a violinist, such as Fabio Biondi, who’s known for satisfyingly flashy performances of Italian repertory. Recordings of these works are not too common, and those played on a period instrument are rarer still, so it’s worth your while to hear Biondi’s Neapolitan Gagliano instrument of 1767 in this music. Biondi perhaps overpowers the music a bit, and the chilly church sound makes the music feel remote when it should have been pleasant and domestic. Your mileage may vary, however, and Biondi fans will welcome the chance to hear him play unaccompanied. – AllMusic Review by James Manheim

Tracklist:

1.Fantasia for Solo Violin No. 1 in B-Flat Major, TWV 40:14: I. Largo – 1:50
2.Fantasia for Solo Violin No. 1 in B-Flat Major, TWV 40:14: II. Allegro – 1:53
3.Fantasia for Solo Violin No. 1 in B-Flat Major, TWV 40:14: III. Grave – 0:54
4.Fantasia for Solo Violin No. 1 in B-Flat Major, TWV 40:14: IV. Si replica l’Allegro – 1:58
5.Fantasia for Solo Violin No. 2 in G Major, TWV 40:15: I. Largo – 1:12
6.Fantasia for Solo Violin No. 2 in G Major, TWV 40:15: II. Allegro – 1:56
7.Fantasia for Solo Violin No. 2 in G Major, TWV 40:15: III. Allegro – 0:47
8.Fantasia for Solo Violin No. 3 in F Minor, TWV 40:16: I. Adagio – 1:31
9.Fantasia for Solo Violin No. 3 in F Minor, TWV 40:16: II. Presto – Grave – 1:56
10.Fantasia for Solo Violin No. 3 in F Minor, TWV 40:16: III. Vivace – 0:58
11.Fantasia for Solo Violin No. 4 in D Major, TWV 40:17: I. Vivace – 1:47
12.Fantasia for Solo Violin No. 4 in D Major, TWV 40:17: II. Grave – 0:37
13.Fantasia for Solo Violin No. 4 in D Major, TWV 40:17: III. Allegro – 2:12
14.Fantasia for Solo Violin No. 5 in A Major, TWV 40:18: I. Allegro – Presto – 1:09
15.Fantasia for Solo Violin No. 5 in A Major, TWV 40:18: II. Allegro – Presto – 1:10
16.Fantasia for Solo Violin No. 5 in A Major, TWV 40:18: III. Andante – 0:29
17.Fantasia for Solo Violin No. 5 in A Major, TWV 40:18: IV. Allegro – 2:07
18.Fantasia for Solo Violin No. 6 in E Minor, TWV 40:19: I. Grave – 1:48
19.Fantasia for Solo Violin No. 6 in E Minor, TWV 40:19: II. Presto – 1:34
20.Fantasia for Solo Violin No. 6 in E Minor, TWV 40:19: III. Siciliana – 1:31
21.Fantasia for Solo Violin No. 6 in E Minor, TWV 40:19: IV. Allegro – 2:28
22.Fantasia for Solo Violin No. 7 in E-Flat Major, TWV 40:20: I. Dolce – 1:29
23.Fantasia for Solo Violin No. 7 in E-Flat Major, TWV 40:20: II. Allegro – 2:48
24.Fantasia for Solo Violin No. 7 in E-Flat Major, TWV 40:20: III. Largo – 1:37
25.Fantasia for Solo Violin No. 7 in E-Flat Major, TWV 40:20: IV. Presto – 0:50
26.Fantasia for Solo Violin No. 8 in E Major, TWV 40:21: I. Piacevolmente – 1:26
27.Fantasia for Solo Violin No. 8 in E Major, TWV 40:21: II. Spirituoso – 2:31
28.Fantasia for Solo Violin No. 8 in E Major, TWV 40:21: III. Allegro – 1:11
29.Fantasia for Solo Violin No. 9 in B Minor, TWV 40:22: I. Siciliana – 1:32
30.Fantasia for Solo Violin No. 9 in B Minor, TWV 40:22: II. Vivace – 2:17
31.Fantasia for Solo Violin No. 9 in B Minor, TWV 40:22: III. Allegro – 1:31
32.Fantasia for Solo Violin No. 10 in D Major, TWV 40:23: I. Presto – 1:36
33.Fantasia for Solo Violin No. 10 in D Major, TWV 40:23: II. Largo – 1:34
34.Fantasia for Solo Violin No. 10 in D Major, TWV 40:23: III. Allegro – 0:51
35.Fantasia for Solo Violin No. 11 in F Major, TWV 40:24: I. Un poco vivace – 1:41
36.Fantasia for Solo Violin No. 11 in F Major, TWV 40:24: II. Soave – 0:55
37.Fantasia for Solo Violin No. 11 in F Major, TWV 40:24: II. Un poco vivace – 1:42
38.Fantasia for Solo Violin No. 11 in F Major, TWV 40:24: III. Allegro – 0:47
39.Fantasia for Solo Violin No. 12 in A Minor, TWV 40:25: I. Moderato – 2:00
40.Fantasia for Solo Violin No. 12 in A Minor, TWV 40:25: II. Vivace – 1:18
41.Fantasia for Solo Violin No. 12 in A Minor, TWV 40:25: III. Presto – 1:06

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The New Society take baroque pop to a whole new level. The cover photo of them dressed ridiculously in Renaissance clothing is not a joke. They seriously wanted to merge baroque culture with rock culture…Which they call “barock”. I can’t even count how many times they say stuff like “methinks, thou, willist, shalt” in their lyrics. Sometimes it sounds genuine, but it usually sounds like one big bubblegummy act.

The music really isn’t that bad. Its typical baroque pop/rock with lots of electric guitar and harpsichord. Plenty of folk is on hand as well. If I was to compare them to anyone, I’d say they’re like all those west coast sunshine and folk bands like: The Mamas & The Papas, Jefferson Airplane, New Christy Minstrals, etc.

You can tell this was a failed experiment. But hey, they’re good for a laugh and the music’s alright.

Tracklist:

1.Dawn of Sorrow – 2:44
2.Of You – 2:40
3.Methinks Thou Doth Protest Too Much – 2:02
4.The Good Times – 2:35
5.Paradox of Love – 2:52
6.Child of Summer – 2:02
7.Love Thee Till I Die (All the King’s Horses) – 2:42
8.Long Live Our Love – 1:51
9.Words of a Fool – 2:30
10.Jamie – 2:27
11.(I Prithee) Do Not Ask for Love – 3:33
12.We Have so Little Time – 2:58

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Monday, Monday is an album by the Paul Horn Quintet with an orchestra arranged and conducted by Oliver Nelson which was originally released on the RCA Victor label in 1966.

Tracklist:

1.Monday, Monday – 2:22
2.Norweigan Wood (This Bird Has Flown) – 3:45
3.Acapulco Gold – 1:45
4.Girl – 3:12
5.Paramahansa – 3:24
6.(I Can’t Get No) Satisfaction – 2:52
7.Karen’s World – 3:21
8.You’ve Got Your Troubles – 2:26
9.Elusive Butterfly – 1:51
10.Guv-Gubi – 2:10
11.Eight Miles High – 4:03

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Sir Roland Hanna’s 1971 sessions for MPS pairs the veteran pianist with bassist David Holland and drummer Daniel Humair, focusing exclusively on the leader’s originals that were originally intended as a suite, though they stand very well individually, too. The first four selections display the influence of the classical portion of Hanna’s studies, especially the Bach-flavored “Prelude-So You’ll Know My Name” and the lovely “Courrante-Blue.” The lively blues “Ha-Ho-Da” showcases each of the three musicians in turn. Hanna switches to an electric piano (set to sound like a harp) for the ballad “Blue Lilly” and wraps the sessions with “A Statement of the Truth,” a complex bop line with a nod to Lennie Tristano. Overall, the music is not quite up to the level of other recordings under Hanna’s leadership, though it is still a worthwhile LP. Since MPS ceased operations not long after the 1972 release of this album, it may be somewhat difficult to find.

Tracklist:

1.Prelude – So You’ll Know My Name – 3:17
2.Allemande – Dance – 5:49
3.Courrante – Blue – 2:47
4.Child of Gemini – 3:47
5.Arsenic and New Lace – 4:19
6.Ha-Ho-Da – 7:04
7.Blue Lilly – 3:08
8.A Statement for the Truth – 8:56

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A collection of Bob Nolan songs that are far less well known than, but only slightly less compelling than “Tumbling Tumbleweeds” or his other standards. Any real fan will want it, and RCA or Special Music should reissue it.

Tracklist:

1.The Boss Is Hangin’ Out a Rainbow – 2:10
2.Night Falls on the Prairie – 1:59
3.A Sandman Lullaby – 2:22
4.A Summer Night’s Rain – 2:05
5.Song of the Prairie – 2:51
6.You Are My Eyes – 4:25
7.I Follow the Stream – 2:31
8.At the Rainbow’s End – 2:35
9.One More Ride – 2:27
10.Following the Sun All Day – 2:50
11.Cottage in the Clouds – 2:10
12.Half Way Round the World – 2:42

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Damien Saez – Le Manifeste, Vol. 1 – Mon Europeenne (2017) [Official Digital Download 24bit/44,1kHz]

Bergen Philharmonic Orchestra, Neeme Jarvi – Saint-Saens: Cello Concertos Nos. 1 & 2; The Carnival of the Animals; Africa; Wedding-cake (2016) [Official Digital Download 24bit/96kHz]

Samantha Fish – Chills & Fever (2017) [Official Digital Download 24bit/96kHz]

Daniel Shafran, Lydia Pecherskaya – Shostakovich: Cello Sonata in D Minor, Op. 40; Schubert: ‘Arpeggione’ Sonata in A Minor, D. 821 (1961/2016) [Official Digital Download 24bit/192kHz]

Sly Stone – High On You (1975/2017) [Official Digital Download 24bit/96kHz]

Sons Of The Pioneers – Sing Legends of the West (1965/2015) [Official Digital Download 24bit/96kHz]

Soundgarden – Louder Than Love (1989/2016) [Official Digital Download 24bit/192kHz]

Stan Worth – Broadway Beat (1965/2015) [Official Digital Download 24bit/96kHz]

Alexei Ogrintchouk, Winds of the Royal Concertgebouw Orchestra – Strauss: Oboe Concerto, Wind Serenade, Wind Sonatina No. 2 (2017) [Official Digital Download 24bit/96kHz]

London Symphony Orchestra, Sir John Eliot Gardiner – Stravinsky: Oedipus Rex, Apollon musagete (2014) [Official Digital Download 24bit/96kHz]

Stu Phillips – Singin’ Stu Phillips (1966/2016) [Official Digital Download 24bit/192kHz]

Supersonic Blues Machine – West of Flushing, South of Frisco (2016) [Official Digital Download 24bit/96kHz]

Philippe Jaroussky – La storia di Orfeo (2017) [Official Digital Download 24bit/96kHz]

Takuya Kuroda – Zigzagger (2016) [Official Digital Download 24bit/96kHz]

Chicago Symphony Orchestra, Seiji Ozawa – Tchaikovsky: Symphony No. 5; Mussorgsky: A Night on Bare Mountain (1969/2017) [Official Digital Download 24bit/192kHz]

Fabio Biondi – Telemann: 12 Fantasias for Solo Violin, TWV 40 (2016) [Official Digital Download 24bit/88,2kHz]

The New Society – The Barock Sound of the New Society (1966/2016) [Official Digital Download 24bit/192kHz]

The Paul Horn Quintet – Monday, Monday (1966/2016) [Official Digital Download 24bit/192kHz]

The Roland Hanna Trio – Child of Gemini (1971/2015) [Official Digital Download 24bit/88,2kHz]

The Sons of the Pioneers – The Sons of the Pioneers Sing the Songs of Bob Nolan (1966/2016) [Official Digital Download 24bit/192kHz]