Studio Masters – HDMusic.me

Aureliano in Palmira is unique in Rossini’s oeuvre for its inclusion of the only role, Arsace, that Rossini wrote for the castrato voice. Its tale of tragic defeat and the ultimate nobility and triumph of love in seemingly impossible circumstances is a refined and highly innovative example of his style.

Set amidst turbulent times in the Roman Empire, Aureliano in Palmira is packed with sublime arias, duets of haunting beauty (notably the three given to Arsace and Zenobia) and excellent choruses, Rossini himself considering this work as ‘divine music’. Even after initial success he re-used many of its melodies in later operas, most famously in Il barbiere di Siviglia.

Tracklist:

CD1
01. Aureliano in Palmira: Sinfonia (Live)
02. Aureliano in Palmira, Act I: Sposa del grande Osiride (Live)
03. Aureliano in Palmira, Act I: Secondino gli dei (Live)
04. Aureliano in Palmira, Act I: Stava, dirà la terra (Live)
05. Aureliano in Palmira, Act I: Marcia (Live)
06. Aureliano in Palmira, Act I: Vivi eterno, oh grande Augusto (Live)
07. Aureliano in Palmira, Act I: Romani, a voi soltanto-Cara patria! (Live)
08. Aureliano in Palmira, Act I: Olà. Venga, e si ascolti (Live)
09. Aureliano in Palmira, Act I: Pensa che festi a Roma (Live)
10. Aureliano in Palmira, Act I: Giorno di gloria è questo (Live)
11. Aureliano in Palmira, Act I: Venga Zenobia, oh Cesare (Live)
12. Aureliano in Palmira, Act I: Cesare, a te mi guida (Live)
13. Aureliano in Palmira, Act I: Cedi, cedi; a lui t’arrendi… (Live)
14. Aureliano in Palmira, Act I: Ah! no; voi lo sperate invano (Live)
15. Aureliano in Palmira, Act I: Là pugnai; la sorte arrise (Live)
16. Aureliano in Palmira, Act I: Chi mai creduto avria (Live)

CD2
01. Aureliano in Palmira, Act I: Eccomi, ingiusti numi (Live)
02. Aureliano in Palmira, Act II: Del cielo, ahi! miseri! (Live)
03. Aureliano in Palmira, Act II: Tutto è perduto (Live)
04. Aureliano in Palmira, Act II: Se udir volessi, ingrata (Live)
05. Aureliano in Palmira, Act II: Se libertà t’è cara (Live)
06. Aureliano in Palmira, Act II: Corri Augusto (Live)
07. Aureliano in Palmira, Act II: L’Asia in faville è volta (Live)

CD3
01. Aureliano in Palmira, Act II: Dolci silvestri orrori (Live)
02. Aureliano in Palmira, Act II: Perché mai le luci aprimmo (Live)
03. Aureliano in Palmira, Act II: Qual lieto suono!… (Live)
04. Aureliano in Palmira, Act II: Ah! non posso (Live)
05. Aureliano in Palmira, Act II: Non lasciarmi in tal momento (Live)
06. Aureliano in Palmira, Act II: La sicurezza tua (Live)
07. Aureliano in Palmira, Act II: Corrasi… (Live)
08. Aureliano in Palmira, Act II: Più non vedrà quel perfido (Live)
09. Aureliano in Palmira, Act II: Vedesti? Oh come irato (Live)
10. Aureliano in Palmira, Act II: Inutil ferro!… (Live)
11. Aureliano in Palmira, Act II: Mille sospiri e lagrime (Live)
12. Aureliano in Palmira, Act II: Giunge Augusto… (Live)
13. Aureliano in Palmira, Act II: È deciso il destino (Live)
14. Aureliano in Palmira, Act II: Non mi lagno, che il mio bene (Live)
15. Aureliano in Palmira, Act II: Scacciar mi è forza alfine (Live)
16. Aureliano in Palmira, Act II: Nel tuo core unita sia (Live)
17. Aureliano in Palmira, Act II: I prigionieri a me (Live)
18. Aureliano in Palmira, Act II: Copra un eterno oblìo (Live)

Personnel:
Silvia Dalla Benetta, soprano
Marina Viotti, mezzo-soprano
Xiang Xu, tenor
Ana Victória Pitts, mezzo-soprano
Baurzhan Anderzhanov, bass
Juan Francisco Gatell, tenor
Virtuosi Brunensis
Camerata Bach Choir
Poznan
José Miguel Pérez-Sierra, conductor

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Judy Blank recorded her second album at Zac Brown’s Southern Ground studios in Nashville, Tennessee. Get ready for brand new Americana, rootsy guitar work, well-crafted lyrics and a heartfelt voice that will take you on a whirling road-trip through the Deep South.

‘Mary Jane’ is the first single from the long-awaited new album ‘Morning Sun’. The song is about musicians who are firmly convinced that they are going to make it, while in reality they prefer to do as little as possible, are on the couch and in the meantime, empty the bank account of mom and dad.

Tracklist:
1. Lay Me Down (03:39)
2. Mary Jane (03:55)
3. Tiger Eye Stone (02:30)
4. Tangled up in You (03:10)
5. Sweet Love (03:25)
6. 1995 (03:17)
7. Unbroken (04:26)
8. I Got a Man (02:10)
9. Who’ve You Been Loving Lately (05:33)
10. Riverbed (03:23)
11. Play Pretend (03:44)

Download:

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“Our first album was this imagined world that we created for ourselves,” Josh Lloyd-Watson tells Apple Music. “It was lyrically vague and metaphorical. This album definitely deals with things that have actually happened to us.” There’s been rich content to mine for Lloyd-Watson and Jungle co-founder Tom McFarland since their 2013 emergence. The pair’s modern soul collective swiftly went from viral curiosity to legit chart heavyweights—then absentee stars with their follow-up taking four years to materialize. “We were so keen to write the second record,” McFarland says, “but we were completely unaware of that first period that needs to happen: You actually need something to write about. We didn’t have the experience. We had to go out and live. Touring is not really experience.”

The stately “House in LA” knowingly nods to the album’s generous gestation period (“Two whole years on the rewrite/Tell my friends I’m gonna be right there”), and the music here is tangibly more personal and lived-in. “It’s a healing record for both of us,” says McFarland, and it reflects their experiences while living and working in Los Angeles. “I met somebody outside the Hollywood Bowl one day—you fall in love with somebody and get drawn to that area. It could’ve been anywhere and it just happened to be California, which is great because it’s sunny.” Their gilded, could-soundtrack-any-premium-TV-ad soul remains, but there’s an appealing vulnerability here, and a recognition that the world has changed since their last album.

“You’ve got to trust your taste ultimately,” Lloyd-Watson says. “We might be completely out of vogue and people might say, ‘Oh, that midtempo funk band’s back with another album.’ And that’s fine.” McFarland is similarly unflustered. “I think there’s a lot of honesty on the record and a lot of beauty—beauty that’s broken. It was painful to put on the record, and somebody will get it. Somebody, somewhere, in some country.”

Tracklist:
1. Smile (03:07)
2. Heavy, California (03:04)
3. Beat 54 (All Good Now) (04:06)
4. Cherry (03:16)
5. Happy Man (03:11)
6. Casio (03:54)
7. Mama Oh No (03:17)
8. House in LA (04:43)
9. Give Over (03:33)
10. Cosurmyne (03:39)
11. Home (02:12)
12. (More and More) It Ain’t Easy (03:11)
13. Pray (04:40)

Download:

https://subyshare.com/ihg31k067tx4/JungleF0rEver20182496.rar.html

This unique 1958 recording is a collaboration between Coleman Hawkins and the Oscar Peterson Trio. Hawkins’s voluminous, supple tenor sax sound, which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard on Honey Flower. The album features Ben Webster on tenor sax, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, Roy Eldridge on trumpet, Hank Jones on piano, George Duvivier on double bass and drummers Alvin Stoller and Mickey Sheen.

Tracklist:

02 – Sunday
04 – Honey Flower

DSD64

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FLAC 24-192

http://hdmusic.xyz/coleman-hawkins-coleman-hawkins-and-his-confreres-19582014-official-digital-download-24bit192khz/

This album is inspired by the stories that create meaning in our lives. The stories we passionately co-construct that enable us to find our pathways through the excitingly swampy and complex wetlands of our reality, the stories that transform and represent our life experiences.

This trio explores the rich world and art of improvisation in many forms. The kind of transformative improvisation that allows us to shape stories together. Each improvisation, in itself, acts as an U-shaped hero’s journey, responding to the creative call to action, embarking on the adventure, crossing the threshold from the known to the unknown, passing the point of no return, dealing with artistic challenges, climbing the road back up, returning with the elixir, transformed and enriched.

Some stories have a preplanned structure with melodies and harmonies united in rhythm. Other stories have a minimal structure or no preplanned score at all. Some of our stories emerge from a simple idea or a contrasting theme such as ‘fast and slow’, or ‘high and low’. Some are completely freely emerging from the playful interconnection between the storytelling musicians.

The original compositions and improvisations on this album explore the possibilities of moving from the score to the core, balancing the prearranged musical material with spontaneous improvised fluid expressions; balancing sound with silence. Balancing randomness with order, game with play. The only song with origins from another composer is ‘Just Friends’ by John
Klenner (1931). The pattern of the first bars of the song provide the trio with a minimal structure to construct their own interpretation and representation loosely coupled to the original.

Each player, from his own unique perspective, is adding to the construction of a meaningful whole. He is enabling the trio to flexibly adjust to its constantly changing surroundings in the most fluid and creative way, guided by the wisdom of the heart and knowledge of the mind. This fluidity and trust allows a musical conversation filled with open questions, strong remarks, punchy lines and reflective observations. The special dynamic residing in the creative process of playing these improvisations can serve as an illustration or inspiring metaphor, of a meaningful way to deal with — and adapt to — the unpredictability and plurality of life. We hope the music here inspires people to open up to the multitude of ways in which we can live life — embracing group improvisation, playfulness and storytelling in our daily lives and activities; tapping into a deep creative source in the moment as a way to expand, organize and create meaningful stories in relationship with others. We hope thatmusic in any shape or form can be a teacher, showing us all how to dance with the symphony of life, to be with it as it unfolds; catching life’s melodies as they arise.

Recording in our home country, playing our own instruments (including my Steinway Grand) and in the amazing acoustics of the old Luthern Church in the City of Haarlem made this experience truly inspiring. For us, being able to record our stories and improvisations in such a high quality and pure way without any filtering allowed us a true creative experience. We hope our music will touch the hearts, minds and souls of our listeners.

Tracklist:

01 – Invocation
02 – Backdropping
03 – Quantum Story # 01 (Slow-Fast)
04 – Just Friends (Loosely Coupled)
05 – A Minor Second
06 – Noodle Effect (in F)
08 – Quantum Story # 02 (Pop)
09 – In the Air
10 – Quantum Story # 03 (Ballad)
11 – Quantum Story # 04 (Long one)
12 – Deservi

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Erin Helyard, Stephanie McCallum – Le Prophete: Works for Four Hands (2016)
DSF Stereo DSD64/2.82 MHz | Time – 02:15:58 minutes | 2,68 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © trptk

The only way to listen to the latest symphony or opera in the nineteenth century was to either seek out a live performance or perform it at home with a piano partner, quatre mains. Thus, an enormous amount of four-hand literature abounds from the 1820s to the 1930s. Works in transcription largely dominate this repertoire: operas, symphonies, and chamber works were adapted en masse for four hands by skilled and not so skilled musicians alike. But there were also works freshly composed in the medium, and four-handed playing could be heard in the home (its natural environment) but also on the relatively new environment of the concert stage

Tracklist:

01 – Le Prophte- Ouverture
02 – Prlude No. 1- Moderamente
03 – Prlude No. 2- Andantino
04 – Prlude No. 3- Allegro Moderato
05 – Prlude No. 4- Tempo Giusto
06 – Prlude No. 5- Quasi Adagio
07 – Prlude No. 6- Andantino
08 – Prlude No. 7- Alla Giudesca
09 – Prlude No. 8- Lento
10 – Prlude No. 9- Adagio
11 – Hommage Weber, Op. 102- Allegro Vivace
12 – Hommage Weber, Op. 102- Andantino Con Moto
13 – Hommage Weber, Op. 102- Allegro Vivace

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Lisa Jacobs, The String Soloists – Locatelli: L’Arte del Violino Op. 3 (2016)
DSF Stereo DSD128/5.64 MHz | Time – 01:03:53 minutes | 5 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Digital Bookelt, Front Cover | © Cobra

In his music, Locatelli pushes the boundaries of the violin technique with an unprecedented virtuoso and at times romantic vision.

The frequent use of exceptional high positions on the violin, many daredevil antics in the left hand including double stops and extended stretches, and the exploration of hitherto rarely used bow techniques, makes him a true pioneer for the violin and the development of violin technique in general.
Despite his obvious fascination for virtuosity, Locatelli ensures that one is captivated first and foremost by charming original melodies and bold characterization. His music never develops into a tour de force but remains sympathetic to both the listener and the performer.
It is therefore a dream come true to proudly present to you my new album Locatelli: L’Arte del violino.
Along with The String Soloists, an exciting young and dynamic international ensemble, I have immersed myself the past few months with great enthusiasm in Locatelli’s world of sound, colour and playfulness which ultimately resulted in the recording of his Violin Concertos opus 3 no. 1, 2 and 4.

On behalf of all of us, I wish you pleasure and joy in your exploration of Locatelli’s amazing violin repertoire!

– Lisa Jacobs

Tracklist:

01 – Violin Concerto No. 2 in C Minor, Op. 3.2- I. Andante
02 – Violin Concerto No. 2 in C Minor, Op. 3.2- II. Largo
03 – Violin Concerto No. 2 in C Minor, Op. 3.2- III. Andante
04 – Violin Concerto No. 1 in D Major, Op. 3.1- I. Allegro
05 – Violin Concerto No. 1 in D Major, Op. 3.1- II. Largo
06 – Violin Concerto No. 1 in D Major, Op. 3.1- III. Allegro
07 – Violin Concerto No. 4 in E Major, Op. 3.4- I. Largo Andante
08 – Violin Concerto No. 4 in E Major, Op. 3.4- II. Largo
09 – Violin Concerto No. 4 in E Major, Op. 3.4- III. Andante

Download:

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“…if you haven’t picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you’re really missing out!” – David W. Robinson, Positive Feedback, Issue 52

“…mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin – as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue.” Stereophile Records To Die For – Michael Fremer, Stereophile, February 2010

This has been a totally no-expenses-spared project. Using the original three-track work tapes from Capitol’s vaults, mastering engineers Kevin Gray and Steve Hoffman along with DSD specialist Gus Skinas bring you an entirely incomparable SACD experience. In addition to the stereo mixes, this SACD includes a three-track transfer for multichannel playback. In order to master from the three-track masters, AcousTech had to be outfitted for three-channel playback. That meant Kevin Gray had to find a third identical monitoring channel chain (including mixing board, amplifier and speaker) as well as a three-track playback headstack and also a three-track preview head for the vinyl cutting system. It was a massive assignment. We’ve spent a fortune to include these extra bells and whistles and to make this a truly historic reissue.

This double CD finds Cole revisiting his earlier hits with new versions. The 36 selections mostly focus on his pop successes of the 1950s, although there are a few wistful looks back at his trio days. Not as essential as the original renditions of these popular recordings, the remakes nevertheless find Cole in peak form and comprise a highly enjoyable retrospective of his vocal career.

Tracklist:

01 – Straighten Up And Fly Right
02 – Sweet Lorraine
03 – It’s Only A Paper Moon
04 – (Get Your Kicks On) Route 66
05 – (I Love You) For Sentimental Reasons
06 – The Christmas Song (Merry Christmas To You)
07 – Nature Boy
08 – Lush Life
09 – Calypso Blues
10 – Mona Lisa
11 – Orange Colored Sky
12 – Too Young
13 – Unforgettable
14 – Somewhere Along The Way
15 – Walkin’ My Baby Back Home
16 – Pretend
17 – Blue Gardenia
18 – I Am In Love
19 – Answer Me, My Love
21 – Darling, Je Vous Aime Beaucoup
22 – The Sand And The Sea
23 – If I May
24 – A Blossom Fell
25 – To The Ends Of The Earth
26 – Night Lights
27 – Ballerina
28 – Stardust
29 – Send For Me
30 – St. Louis Blues
31 – Looking Back
32 – Non Dimenticar (Don’t Forget)
33 – Paradise
34 – Oh, Mary, Don’t You Weep
35 – Ay, Cosita Linda
36 – Wild Is Love
37 – Ramblin’ Rose
38 – Those Lazy-Hazy-Crazy Days Of Summer

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“…exquisite standards, Gordon Jenkins and his orchestra, and that achingly beautiful Capitol sound…this disc’s multiple layers offer mono, stereo and three-channel.” Sound Quality = 92% out of 100% – Ken Kessler, HiFi News, January 2011

“…Thanks to the gorgeous remastering and improved quality afforded by the format, you’ll hear every breath, as if you were in the studio alongside Cole himself during a recording session.” – The Second Disc, December 2010

Nat King Cole possessed one of the most accessible and appealing voices of any singer in the 1950s. This ballad-oriented set puts the emphasis completely on his voice (there is no piano playing or any hint of his jazz-oriented past) and features Cole accompanied by Gordon Jenkins’ sweet arrangements for a string orchestra. Many other singers might find it difficult to overcome, much less uplift this type of accompaniment, but Cole’s basic and honest delivery works quite well in this setting. Highlights include “The Very Thought of You,” “But Beautiful,” “This Is All I Ask,” “For All We Know,” and “The More I See You.” ~~ AllMusic Review by Scott Yanow

Tracklist:

01 – The Very Thought Of You (stereo)
02 – But Beautiful (stereo)
03 – Impossible (stereo)
04 – I Wish I Knew The Way To Your Heart (stereo)
05 – I Found A Million Dollar Baby (In A Five And Ten Cent Store) (stereo)
06 – Magnificent Obsession (stereo)
07 – My Heart Tells Me (stereo)
08 – Paradise (stereo)
09 – This Is All I Ask (stereo)
10 – Cherie, I Love You (stereo)
11 – Making Believe You’re Here (stereo)
12 – Cherchez La Femme (stereo)
13 – For All We Know (stereo)
14 – The More I See You (stereo)
15 – Don’t Blame Me (stereo)
16 – There Is No Greater Love (stereo)
17 – The Very Thought Of You (mono)
18 – But Beautiful (mono)
19 – Impossible (mono)
20 – I Wish I Knew The Way To Your Heart (mono)
21 – I Found A Million Dollar Baby (In A Five And Ten Cent Store) (mono)
22 – Magnificent Obsession (mono)
23 – My Heart Tells Me (mono)
24 – Paradise (mono)
25 – This Is All I Ask (mono)
26 – Cherie, I Love You (mono)
27 – Making Believe You’re Here (mono)
28 – Cherchez La Femme (mono)
29 – For All We Know (mono)
30 – The More I See You (mono)
31 – Don’t Blame Me (mono)
32 – There Is No Greater Love (mono)

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Modern Cool was recorded at Chicago Recording Company in early 1998. For many, Modern Cool is the record that brought Patricia Barber to their attention. Its success with critics and jazz fans led Blue Note Records to enter into a “joint imprint” production deal with Premonition Records, the first time they had ever done such a deal in their storied history. Done on the Sony 3348, a 32-track (16/48) digital tape recorder, and mixed down to 2-track, half-inch tape with Dolby SR, this was Barber’s first album of mostly original material. Anderson utilized mostly tube microphones (Brauner and Neumann) and John Hardy M-1 preamps, whose signal was patched to the tape bypassing the console.

Analog 2-track mixes transferred to 24/192 kHz by Doug Sax. Converted to DSD from the 24/192 by Gus Skinas.

Five Stars! – DownBeat Magazine

“This is the kind of art we should all pay close attention to, the 21st century has started.” – The New York Times

“One of the best jazz records of the 20th century.” – AUDIO Magazine (Germany)

Grammy Award winner for “Best Surround Sound Album” (2013)

A Stereophile Recording of the Month!

Tracklist:

01 – Touch Of Trash
02 – Winter
03 – You & The Night & The Music
04 – Constantinople
05 – Light My Fire
06 – Silent Partner
07 – Company
08 – Let It Rain
09 – She’s A Lady
10 – Love, Put On Your Faces
11 – Postmodern Blues
12 – Let It Rain – Vamp

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Nightclub was recorded at Chicago Recording Company in mid-2000 by recording engineer Jim Anderson. Done on the Sony 3348, a 32-track (16/48) digital tape recorder, and mixed down to 2-track, half-inch analog tape with Dolby SR, this was Barber’s first album consisting entirely of standards. Anderson utilized mostly tube microphones (Brauner and Neumann) and John Hardy M-1 preamps, whose signal was patched directly to the tape bypassing the console. Nightclub also prominently features the CRC stairwell as a natural reverb chamber. The album was mastered by David Glasser of Airshow Mastering from the original analog mixes.

From the very begining of her career, devoted fans were asking Patricia Barber to dedicate a record to standards. “These songs have always been a part of my repertoire and are a big part of who I am, but I wanted to try and define myself in a different way before making a record like this,” says Barber. It is hard to argue with her approach. Armed with a press kit to die for, strong national radio support and two Top 10 Billboard Jazz recordings in a row, the timing couldn’t have been better for one of her most accessible records. Fans will recognize and appreciate that within simple approaches, Barber maintains her fierce individuality. Jazz vocal traditionalists will hear an astonishing voice inside well-known melodies, giving itself over to the song. And, aficionados of the American popular songbook cannot help but appreciate hearing their music given by one of the most expressive voices in contemporary music.

“Throaty, come-hither vocals and cooly incisive piano. Barber’s hushed, sensuous version of ‘Bye Bye Blackbird,’ hasn’t been bettered since Miles Davis last took the old standby out for a spin.” — Time

“Nightclub is an extraordinary recording by an extraordinary artist.” — Stereophile

“A singer who takes romance seriously.” — The New York Times

Tracklist:

01 – Bye Bye Blackbird
02 – Invitation
03 – Yesterdays
04 – Just For A Thrill
05 – You Don’t Know Me
07 – Autumn Leaves
08 – Summer Samba (Samba de Vero)
09 – All Or Nothing At All
10 – So In Love
11 – A Man & A Woman
12 – I Fall In Love Too Easily

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Arthur Rubinstein – Rachmaninoff: Rhapsody On A Theme Of Paganini – Falla: Nights In The Gardens Of Spain (1978/2016)
DSF Stereo DSD64/2.82 MHz | Time – 45:22 minutes | 1,79 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Digital Booklet, Front Cover | © Analogue Productions (RCA Living Stereo)

RCA Living Stereo — the gold standard for top quality orchestral performance and sound!

Remastered by Ryan Smith at Sterling Sound from the original analog masters, DSD file created by Gus Skinas of the Super Audio Center

One of the most popular and successful pieces of music written for piano. This album also has the benefit of being one of the best sounding LPs ever made. Side 2 is a very fine Nights In The Gardens Of Spain.

This DSD includes the following music:

Sergey Rachmaninoff:
Rhapsody On A Theme Of Paganini, Op. 43; conducted by Fritz Reiner and performed by the Chicago Symphony Orchestra.

Manuel de Falla:
Nights In The Garden of Spain; conducted by Enrique Jorda and performed by the San Francisco Symphony Orchestra.

Tracklist:

01 – Rhapsody on a Theme of Paganini in A minor, Op. 43 (Introduction and 24 Variations)
02 – Noches en los jardines de Espaa, G. 49- I. En el Generalife
03 – Noches en los jardines de Espaa, G. 49- II. Danza lejana
04 – Noches en los jardines de Espaa, G. 49- III. En los jardines de la Sierra de Crdoba

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Ataulfo Argenta – Rimsky-Korsakov, Granados, Chabrier, Moszkowski – Espana (1958/2017)
DSF Stereo DSD64/2.82 MHz | Time – 39:19 minutes | 1,55 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Digital Booklet, Front Cover | © Decca

Most classical devotees know that Espana! features legendary Spanish conductor Ataulfo Argenta leading the London Symphony Orchestra in a program of so-called “Spanish” blockbusters. But, ironically, only one piece is penned by a Spanish composer (Granados, “Danza Espanola”) while the others are by a Russian (Rimsky Korsakov, “Capriccio Espagnol”), German (Moszkowski, “5 Spanish Dances”), and Frenchman (Chabrier, “Espaa”). The LP version was initially issued in the United States as one of the index recordings of London Records’ vaunted “blueback” series, known for its demonstration-quality sound.

Tracklist:

01 – Capriccio Espagnol, Op. 34
02 – Danzas espaolas No. 5 in E Minor, Op. 37- Aldaluza
03 – Espaa, Rhapsody for Orchestra
04 – Spanish Dances, Book 1, Op. 12

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Kazuki Yamada, Orchestre de la Suisse Romande – Russian Dances (2016)
DSF Stereo DSD64/2.82 MHz | Time – 01:10:44 minutes | 2,8 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Digital Bookelt, Front Cover | © Pentatone

In an ideal situation, football players perform their “dance” on a grass pitch — as once did the “white ballet” of Real Madrid, led by its soloists Pusks and Di Stfano. But surely not on the ballet stage! Definitely not. However, not only was Dmitri Shostakovich (1906 — 1975) passionate about music, he was also a great football fan. More specifically, a fan of his hometown club Zenit St. Petersburg. The Russian language has a more intense description for the concept of the “fan” — one is considered “bolejet” (literally = ill) for one’s team: one shares the fever. And as a fan of Zenit, Shostakovich had his fair share of downright hard times: “Being a supporter is at times more frustrating than pleasurable.” He was often a guest at the stadium: even when Leningrad was under siege from the German army, he attended lower-league matches whenever possible. In 1929, Shostakovich composed his first, three-act ballet to a scenic design by film director Alexander Ivanovsky. Entitled The Golden Age, it portrays an away-game of a Soviet football team in an unnamed western city at the time of an industrial exhibition. During the away-game of the Soviet team, plenty of bizarre events take place in the ideologically “false” world, which allow for the inclusion of numerous dance interludes and parodies

Tracklist:

01 – Swan Lake Suite, Op. 20a, TH 219 – I. Scene- Moderato.
02 – Swan Lake Suite, Op. 20a, TH 219 – II. Waltz.
03 – Swan Lake Suite, Op. 20a, TH 219 – III. Dance of the Swans- Allegro moderato.
04 – Swan Lake Suite, Op. 20a, TH 219 – IV. Scene- Andante.
05 – Swan Lake Suite, Op. 20a, TH 219 – V. Hungarian Dance (Czardas)- Moderato assai-.
06 – Swan Lake Suite, Op. 20a, TH 219 – VI. Spanish Dance- Allegro non troppo.
07 – Swan Lake Suite, Op. 20a, TH 219 – VII. Neapolitan Dance- Allegro moderato-.
08 – Swan Lake Suite, Op. 20a, TH 219 – VIII. Mazurka.
09 – Concert Waltz No. 1 in D Major, Op. 47.
10 – Concert Waltz No. 2 in F Major, Op. 51.
11 – The Golden Age Suite, Op. 22a – I. Introduction- Allegro non troppo.
12 – The Golden Age Suite, Op. 22a – II. Adagio.
13 – The Golden Age Suite, Op. 22a – III. Polka- Allegretto.
14 – The Golden Age Suite, Op. 22a – IV. Dance- Allegro.
15 – Circus Polka.

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Furr is Blitzen Trapper’s fourth studio album and first for Sub Pop. The deluxe edition is accompanied by 10 extra tracks from the same sessions that yielded Furr as well as a pair of songs laid down “Live At KCRW” during a tour in support of the LP. Seven of the tracks were previously unreleased while “War Is Placebo” and “Booksmart Baby” were issued as the band’s 2009 Record Store Day single and “Maybe Baby” was the A-side of their 2011 Record Store Day single. In addition, the deluxe set includes a Q&A with actor and BT supporter Rainn Wilson of The Office as well as new liner notes and a track-by-track description from lead singer-songwriter Eric Earley.

Tracklist:
01. Sleepy Time in the Western World
02. Gold for Bread
03. Furr
04. God & Suicide
05. Fire & Fast Bullets
06. Saturday Nite
07. Black River Killer
08. Not Your Lover
09. Love U
10. War on Machines
11. Stolen Shoes & a Rifle
12. Echo / Always On / Easy Con
13. Lady on the Water
14. War Is Placebo
15. Simple Tree
16. Booksmart Baby
17. Heroes of Doubt
18. Maybe Baby
19. Ballad of Bird Love
20. Hard Heart
21. Other People’s Money
22. On My Way to the Bay
23. Rent-a-Cop
24. God & Suicide (Live At Kcrw)
25. Furr (Live At Kcrw)

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Long after establishing himself as one of America’s most accomplished composers, arrangers, and instrumentalists, multiple-Grammy winner Bob James achieves his longtime ambition to return to the trio format he embraced as as up and coming artist.

Bob James-Grammy Award-winning Jazz keyboardist, arranger, record producer, record executive, and founding member of Fourplay, returns with a new album, Espresso, his first solo-led project in 12 years. Album tunes, penned by James, reflect the same inventiveness and musical fluency that persuaded Quincy Joines to become his mentor and champion back in 1963. His expressiveness through both writing and performance permeates the rocking minor-key blues of “Bulgogi,” the definitive cool jazz of “Topside,” the funk strut of “Submarine,” the whispered beauty of “Promenade,” the turbulent, more complex yet supremely listenable “Mojito Ride” and every other moment on Espresso. The Bob James Trio is complete with drummer Billy Kilson and bassist Michael Palazzolo.

Tracklist:
01. Bulgogi
02. Shadow Dance
03. Ain’t Misbehavin’
04. One Afternoon
05. Mister Magic
06. Topside
07. Il Boccalone
08. Mojito Ride
09. Promenade
10. Boss Lady
11. Submarine

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Before there was Bob Seger and The Silver Bullet Band, there was a pre-fame band called The Last Heard. As Bob Seger ramped up to the release of his break-through first single, “Ramblin’ Gamblin’ Man”, his focus was, even then, great music for everyone. With The Last Heard, Bob Seger has a recorded set of singles for the Cameo label. Abkco Records has opted to release a collected set of these singles as Heavy Music: The Complete Cameo Recordings 1966-1967.

While serving as keyboard player and occasional singer in Doug Brown & The Omens, Seger met his future manager Edward “Punch” Andrews who co-owned the Hideout Records label. After The Omens split up, Seger formed his own group and while writing for The Underdogs, another band on Hideout, he co-authored their single “Get Down On Your Knees.” After a failed attempt by The Underdogs to record the Seger-penned “East Side Story,” Seger was encouraged to record it himself and it was released by Hideout in June of 1966 under the name Bob Seger. The fantastic single was quickly reissued by Cameo Records just 6 months later, with Bob Seger & The Last Heard on the label, cementing the band’s name.

With the help of former bandmate Doug Brown, the group recorded four more singles for the Cameo label over the course of the next year culminating with “Heavy Music” in July 1967. Launched with a simple but catchy bassline with snaps and claps to get the groove going, “Heavy Music” became a hit locally in Detroit, and the band appeared on the local Detroit TV show Swingin’ Time. The 45 of “Heavy Music (Part 1)” backed with “Heavy Music (Part2)” charting at #103 in Billboard and #70 in Cashbox.

Stylistically, Bob Seger & The Last Heard went beyond the simple garage rock stomp and stammer formula and spread their wings lyrically and sonically in a few short years. “Persecution Smith” pokes fun at half-hearted revolutionaries in a style reminiscent of “Bob Dylan’s 115th Dream,” “Sock It To Me Santa” (released for Christmas, 1966) references James Brown’s “Papa’s Got a Brand New Bag,” and “Heavy Music (Part 1)” carries a Spencer Davis Group swagger before “heavy” music was even a term in the popular vernacular. “East Side Story” is an urban saga that tells the story of a woman in a tenement apartment begging her man not to head uptown with his knife; placed akin to a tune reminiscent of “Gloria” by them.

Tracklist:
01. Heavy Music (Pt. 1)
02. East Side Story (Vocal)
03. Chain Smokin’
04. Persecution Smith
05. Vagrant Winter
06. Very Few
07. Florida Time
08. Sock It To Me Santa
09. Heavy Music (Pt. 2)
10. East Side Sound (Instrumental)

Personnel:
Bob Seger – lead vocal, organ, piano guitar
Dan Honaker – bass
Carl Lagassa – guitar
Pep Perrine – drums, percussion
Doug Brown – additional vocals
David Whitehouse – additional vocals
Personnel on tracks 2 and 10:
Bob Seger – vocal, guitar
Doug Brown – guitar, organ
Dan Honaker – bass
Pep Perrine – bongos
Bob Evans – drums

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What can you say about George Szell and the Cleveland Orchestra? No other conductor and orchestra has ever turned in performances of such discipline and transparency of sound–not Karajan and Berlin, not Solti and Chicago–no one! In Brahms, where the natural thickness of the orchestral writing is always a peril, they never put a foot wrong. And all of this at budget price, too! Simply amazing.”
(David Hurwitz)

“This is classic George Szell. In fact, this performance of the Brahms 1st takes its place near the top of the heap amongst some very stiff competition: it is a great performance and an excellent addition to any collection, especially at mid-price. All the Szell discipline is on full display here- if you’re looking for the a bit more overt emotion, try Bruno Walter or Otto Klemperer, as they both turn in ectsatic and soulful readings. Szell’s take has a quicker, drier, and more immediate feel to it, but he totally makes it work: in my opinion that goes for just about everything he performed (there was a reason he is known for his precision). The Ormandy performances of the Hungarian Dances are equally rewarding, played with Philadephia’s shining flourish. Classic.”

Tracklist:
01. I. Un poco sostenuto – Allegro
02. II. Andante sostenuto
03. III. Un poco allegretto e grazioso
04. IV. Adagio – Allegro non troppo ma con brio

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During the 1990s and 2000s, all the stars paraded in front of the cameras of MTV to perform live acoustic. From Oasis to Jay-Z, not forgetting Nirvana, Neil Young, Alicia Keys, Lauryn Hill, Hole, Alice In Chains, Maxwell or even Kiss, everyone came to prove that by unplugging the amps they can still hold their own… Bruce Springsteen could hardly avoid this challenge. On September 22, 1992, at Warner Hollywood Studios in Los Angeles, while he was about to start his tour Human Touch/Lucky Town without the then separate E Street Band, he boxed up his own MTV Unplugged. Apart from the Boss cheated: his unplugged is in fact… plugged in! It begins with an acoustic of Red Headed Womanbut the twelve tracks that follow are very much electric. Eight of them come from Human Touch and Lucky Town which he published on the same day, March 31, 1992 (two honest albums but not among his most impressive). The classics Atlantic City (from Nebraska), Darkness on the Edge of Town (from the eponymous album) and Thunder Road (from Born To Run) complete the track listing of this solid live album, though this record is probably reserved for hardcore Bruce Springsteen fans. – Max Dembo

Tracklist
01. Red Headed Woman (Album Version)
02. Better Days (Live at Warner Hollywood Studios, Los Angeles, CA – September 1992)
03. Atlantic City (Album Version)
04. Darkness On The Edge Of Town (Album Version)
05. Man’s Job (Album Version)
06. Human Touch (Album Version)
07. Lucky Town (Album Version)
08. I Wish I Were Blind (Album Version)
09. Thunder Road (Album Version)
10. Light Of Day (Album Version)
11. If I Should Fall Behind (Album Version)
12. Living Proof (Album Version)
13. My Beautiful Reward (Album Version)

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This live recording brings together an extraordinary combination of artistic abundance: Remy Ballot conducting the music of Anton Bruckner, enacted at Bruckner’s place of work, the basilica of St. Florian in Upper Austria. Captured at the annual festival Brucknertage, the musical youth of the Upper Austrian Symphonic Youth Orchestra enjoyed the great honour to give a celebrated performance in a one-of-a-kind setting. The vigour and professionalism joined by the intuition of Ballot provide for some goosebumps and appends another worthy opus to a series which has been critically acclaimed and lavished with prestigious international awards.

This the fourth in a series of Bruckner recordings from conductor Rémy Ballot on the Gramola label, and the second to feature the Upper Austrian Youth Symphony Orchestra, following an Eighth Symphony with them in 2014 (Gramola 99054). All were recorded at the Brucknertage, a festival of the composer’s music held annually at the St. Florian monastery where he spent the early years of his career, and where he is buried—the basilica there obviously having strong connections with the composer’s work, but also providing a “cathedral of sound” atmosphere, conducive, in theory at least, with the scale of his symphonies.

The first thing to say about this interpretation is that it is long. Very long. At over 69 minutes it is well within Celibidache territory. In fact, it is even longer than the one currently available Celibidache recording, with the Munich Philharmonic from 1991 (Warner 56694), which times in at 66 minutes. That makes Ballot a strong contender for the slowest reading on record, a dubious honor indeed.

So why the snail’s pace? My guess is that Ballot is negotiating a resonant church acoustic and feels he needs space to bring out the details. But if so, I’d expect to hear tightly shaped phrases and long pauses after climaxes, neither of which he offers. Also, the acoustic doesn’t sound too resonant on the recording, bar a slight and distant echo on the lower brass after some tuttis, although close-up miking may be the issue here.
The comparison with Celibidache is instructive, as it demonstrates how fluid the older conductor’s stately tempos were. Ballot, by contrast, rarely uses significant tempo changes to shape the music significantly, and only speeds up when the score obliges him, and even then it seems under duress. The youth orchestra, to its credit, copes well with the inevitably drawn-out phrases, with the woodwinds in particular holding their tone across the long lines. The unity of the string sound is impressive for a youth orchestra, although their tone lacks character, and it would be nice to hear a bit more punch from them on the few occasions that Bruckner has them lead the charge into a climax. The brass sound is impressively controlled, with the narrow-bore instruments giving a good measure of central European color. Typically for a youth orchestra, the brass section is bolstered, with six horns playing four parts, and four trumpets and trombones playing three parts each. But the results balance well with the rest of the ensemble and never overpower.

The SACD audio favors precision over atmosphere, for reasons surmised above, and does full justice to all of the young players. Ultimately, though, Ballot’s slow and unimaginative conducting makes this release little more than a souvenir or a curiosity. A few seconds of applause is included at the end, but it doesn’t sound very enthusiastic. –
Gavin Dixon

Tracklist:
01. Symphony No. 6 in A Major, WAB 106: I. Majestoso (Live)
02. Symphony No. 6 in A Major, WAB 106: II. Adagio. Sehr feierlich (Live)
03. Symphony No. 6 in A Major, WAB 106: III. Scherzo. Nicht schnell – Trio. Langsam (Live)
04. Symphony No. 6 in A Major, WAB 106: V. Finale. Bewegt, doch nicht zu schnell (Live)

Composers:
Anton Bruckner ‎

Performers:
Oberosterreichisches Jugendsinfonieorchester ‎

Conducted by:
Rémy Ballot

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Juan Francisco Gatell – Rossini: Aureliano in Palmira (Live) (2018) [Official Digital Download 24bit/96kHz]

Judy Blank – Morning Sun (2018) [Official Digital Download 24bit/44,1kHz]

Jungle – For Ever (2018) [Official Digital Download 24bit/96kHz]

Coleman Hawkins – Coleman Hawkins and Confreres (1958/2014) [Official Digital Download DSF DSD64/2.82MHz]

Marc van Roon Trio – Quantum Stories (2013) [Official Digital Download DSF DSD128/5.64MHz]

Erin Helyard, Stephanie McCallum – Le Prophete: Works for Four Hands (2016) [Official Digital Download DSF DSD64/2.82MHz]

Lisa Jacobs, The String Soloists – Locatelli: L’Arte del Violino Op. 3 (2016) [Official Digital Download DSF DSD128/5.64MHz]

Nat King Cole – The Nat King Cole Story (1961/2013) [Official Digital Download DSF DSD64/2.82MHz]

Nat King Cole – The Very Thought of You (1958/2010) [Official Digital Download DSF DSD64/2.82MHz]

Patricia Barber – Modern Cool (1998/2002) [Official Digital Download DSF DSD64/2.82MHz]

Patricia Barber – NightClub (2000/2004) [Official Digital Download DSF DSD64/2.82MHz]

Arthur Rubinstein – Rachmaninoff: Rhapsody On A Theme Of Paganini – Falla: Nights In The Gardens Of Spain (1978/2016) [Official Digital Download DSF DSD64/2.82MHz]

Ataulfo Argenta – Rimsky-Korsakov, Granados, Chabrier, Moszkowski – Espana (1958/2017) [Official Digital Download DSF DSD64/2.82MHz]

Kazuki Yamada, Orchestre de la Suisse Romande – Russian Dances (2016) [Official Digital Download DSF DSD64/2.82MHz]

Blitzen Trapper – Furr (10th Anniversary Deluxe Edition) (2018) [Official Digital Download 24bit/44,1kHz]

Bob James – Espresso (2018) [Official Digital Download 24bit/44,1kHz]

Bob Seger & the Last Heard – Heavy Music: The Complete Cameo Recordings 1966-1967 (2018) [Official Digital Download 24bit/192kHz]

George Szell – Brahms: Symphony No. 1, Op. 68 (Remastered) (1957/2018) [Official Digital Download 24bit/192kHz]

Bruce Springsteen – In Concert/MTV Plugged (Live) (1992/2018) [Official Digital Download 24bit/96kHz]

Remy Ballot – Bruckner: Symphony No. 6 in A Major, WAB 106 (Live) (2017) [Official Digital Download 24bit/192kHz]