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Netherlands Radio Philharmonic Orchestra, James Gaffigan – Prokofiev: Symphonies Nos. 1 & 5 (2017)
Digital eXtreme Definition FLAC Stereo (tracks) 24-bit/352,8 kHz | Time – 58:28 minutes | 3,07 GB | Genre: Classical
Studio Master, Official Digital Download – Source: spiritofturtle.com | Booklet, Front Cover | © Challenge Records

Third (and last but one) instalment in James Gaffigan/Netherlands Radio Philharmonic Orchestra’s ongoing series of Prokofiev’s complete symphonies.

Nos. 1 and 5 are surely the most famous and beloved of Prokofiev’s symphonies. They were written in a time-span of 27 years (the former in France, the latter in Soviet Union) they display two much different faces of the composer’s musical personality.

The Netherlands Radio Philharmonic Orchestra (RFO), founded in 1945, is an essential link in the Dutch music life. The RFO performs symphonic concerts and operas in concert, as well as many world- and Netherlands premieres.

Markus Stenz was appointed chief conductor in 2012, after predecessor as Bernard Haitink, Jean Fournet, Willem van Otterloo, Hans Vonk, Edo de Waart and Jaap van Zweden. The RFO has worked with internationally highly regarded conductors such as Leopold Stokowski, Kirill Kondrashin, Antal Dorti, Charles Dutoit, Michael Tilson Thomas, Gennady Rozhdestvensky, Mariss Jansons, Peter Etvs, Vladimir Jurowski and Valery Gergiev. The American conductor James Gaffigan is principal guest conductor since the season 2011-2012. Bernard Haitink has connected his name to the RFO as patron.

The RFO has build an extensive CD catalogue, with works by contemporary composers such as Jonathan Harvey, Klas Torstensson, James MacMillan and Jan van Vlijmen, the registration of Wagner’s Parsifal, Lohengrin, die Meistersinger von Nrnberg. Complete symphonies of Bruckner, Rachmaninow, Shostakovich and Hartmann have been released in recent years.

The Netherlands Radio Philharmonic Orchestra and the Netherlands Radio Choir will be awarded the Concertgebouw prize of 2017.

Tracklist:

1.Symphony No. 1 in D major, Op. 25: I. Allegro – 4:33
2.Symphony No. 1 in D major, Op. 25: II. Larghetto – 4:17
3.Symphony No. 1 in D major, Op. 25: III. Gavotta: Non troppo allegro – 1:27
4.Symphony No. 1 in D major, Op. 25: IV. Finale: Molto vivace – 4:11
5.Symphony No. 5 in B-flat major, Op. 100: I. Andante – 13:00
6.Symphony No. 5 in B-flat major, Op. 100: II. Allegro marcato – 8:55
7.Symphony No. 5 in B-flat major, Op. 100: III. Adagio – 12:15
8.Symphony No. 5 in B-flat major, Op. 100: IV. Allegro giocoso – 9:54

Download:

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Hank Crawford’s June 1975 date was an attempt to swing for the same fences that cats like Grover Washington had sailed over the year before with “Mister Magic” and had crossed again a month before with “Feels So Good.” Creed Taylor and his Kudu label scored big with Washington in what was the real precursor to smooth jazz. Crawford’s “I Hear a Symphony” listed among its cast of players Richard Tee, Don Grolnick, Steve Khan, Bernard Purdie, Steve Gadd, vocalists Patti Austin and Frank Floyd, and guitarist Eric Gale, among others. Crawford ever the Memphis groover, brought his own set of soul vibes to the date and fused them willingly with Taylor’s penchant for the chart-emergent disco of the day. With arrangements by David Matthews, this set is a cooker. Certainly the production is a bit dated, but the funky-butt moves in Crawford’s soulful playing and the tough riffing of Gale more than transcend it. With a selection of cuts that include an Austin-fronted realization of the Motown classic title track by Holland and Dozier, to a pair of solid jazz funk tunes by Matthews in “Madison (Spirit the Power)” and “Hang on the Ceiling,” to the shimmering cool shimmying version of the “The Stripper,” this is a good vibe set. But it is on Crawford’s “Sugar Free” where things really heat up. Crawford’s take on funk was different than his producer’s. This is greasy four to the floor strutting and flexing. This track could have been in any blaxploitation flick and could have pumped up any discotheque sound system. The horn charts are big and tight, and Crawford and Gale trading eights send it over. This is blowing. The sexier ballad and mid-tempo tracks all seem to have come more from the Crawford book, too, such as Jerry Ragovoy’s “I’ll Move You No Mountain,” and Bobby Eli’s “Love Won’t Let Me Wait.” There’s plenty of meat in their silvery grooves. The set closes with a tight instrumental read of the Minnie Riperton/Leon Ware classic “Baby, This Love I Have.” It’s in the pocket, evolves at an unhurried pace, and croons through the tune with a chunky backbeat and popping bassline. Crawford’s solo literally sings here. In all, a different, way commercial, but very satisfying session that should have done better and would have if Washington’s “Feels So Good” hadn’t been burning up the charts.

Tracklist:

01 – I Hear A Symphony
02 – Madison (Spirit, The Power)
03 – Hang It On The Ceiling
04 – The Stripper
05 – Sugar Free
06 – Love Won’t Let Me Wait
07 – I’ll Move You No Mountain
08 – Baby! This Love I Have

Produced by Creed Taylor. Engineered by Rudy Van Gelder. Arranged by David Matthews.
Recorded in June and July 1975 at Van Gelder Studio in Englewood Cliffs, New Jersey.

DSD64

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FLAC

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The program “Opera. Jazz. Blues” includes rousing and lyric jazz improvisations, unexpected arrangements and fantasias on the pieces of classical, jazz and popular music composers. The genre of crossover is a synthesis of different music genres and styles, a fashionable but often risky device. It is only justified when top class musicians possessing a high taste and artistic convincingness venture to experiment in the area. This album is exactly the case. The musicians came up with an idea of carrying out a jazz/classical experiment a few years ago, but it had to wait to be realized. It took more than a year to select the repertoire, discuss details and make arrangement of Mozart’s Alleluia, Glinka’s Inesilia that doesn’t sound like anything of itself, and the jazz hit Fly Me to the Moon that may seem so unwonted for Hibla Gerzmava. Combining classical depth and aesthetics with jazz harmonies and rhythms, an operatic voice with a swinging trio is not an easy task to accomplish, but Hibla Gerzmava and Trio of Daniel Kramer come through with flying colors.

Tracklist:

01. La Traviata: Violetta’s Aria “Ah, Fors’è Lui Che L’anima” (Arr. Daniel Kramer) (7:49)
02. I Am Here, Inesilia (Arr. Daniel Kramer) (2:56)
03. Ave Maria, D. 839 (Arr. Daniel Kramer) (5:55)
04. Exsultate, Jubilate, K. 165: Alleluja (Arr. Daniel Kramer) (3:25)
05. Eine Kleine Nachtmusik, K. 525 (Arr. Daniel Kramer) (3:10)
06. Rinaldo, Hwv 7: Almirena’s Aria “Lascia Ch’io Pianga” (Arr. Daniel Kramer) (8:09)
07. Me Voglio Fà ‘Na Casa (Arr. Daniel Kramer) (2:42)
08. Gypsy Songs, Op. 55: Songs My Mother Taught Me (Arr. Daniel Kramer) (6:22)
09. Das Veilchen Vom Montmartre: Violetta’s Aria “Ich Sing Mein Lied Im Regen Und Schnee” (Arr. Daniel Kramer) (5:59)
10. Étude in E Major, Op. 10, No. 3 (Arr. Daniel Kramer) (8:46)
11. Fly Me to the Moon (Arr. Daniel Kramer) (3:47)
12. Porgy and Bess: Clara’s Lullaby “Summertime” (Arr. Daniel Kramer) (3:52)
13. Hava Nagila (Arr. Daniel Kramer) (4:11)
14. About the Rock (Arr. Daniel Kramer) (4:05)
15. Flowers from Nice (Arr. Daniel Kramer) [Bonus Track] (3:11)
16. Spring Is Coming (Arr. Daniel Kramer) [Bonus Track] (4:06)

Download:

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“The Rite of Spring” is an album by flautist Hubert Laws released on the CTI label featuring jazz interpretations of classical music compositions. The Allmusic review stating “Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire”.

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton’s, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy’s lovely “Syrinx” and Faure’s “Pavane,” to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it’s bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster – except in Debussy’s “Syrinx,” which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment.

Tracklist:

01 – Pavane
02 – The Rite Of Spring
03 – Syrinx
04 – Brandenburg Concerto No. 3: First Movement
05 – Brandenburg Concerto No. 3: Second Movement

Produced by Creed Taylor. Engineered by Rudy Van Gelder. Conducted & Arranged by Don Sebesky.
Recorded on June 8, 10 and 25, 1971 at Van Gelder Studio in Englewood Cliffs, New Jersey.

Musicians:
Hubert Laws – flute
Wally Kane, Jane Taylor – bassoon
Bob James – piano, electric piano, electric harpsichord
Gene Bertoncini, Stuart Scharf – guitar
Ron Carter – bass
Jack DeJohnette – drums
Dave Friedman – vibraphone, percussion
Airto Moreira – percussion

DSD64

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FLAC

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During the last couple of years Ibrahim Electric has been one of the most popular European jazz groups… These 3 personal instrumentalists have – besides the popularity with this group – made a name for themselves as some of the most striking on their respective instruments in Scandinavia.

Tracklist:

01. Wheel Of Fortune (2:59)
02. Bootnick (3:45)
03. Disco Mystique (3:46)
04. Manic Zigaman (4:25)
05. Bad Standing (4:07)
06. Hip Star (4:41)
07. Tikki (3:09)
08. Cowboyman (3:17)
09. Highlander 74 (3:41)
10. Danse Klavs (4:50)

Download:

https://subyshare.com/6b0jwpujbyz3/IbrahimElectricTimeMachine20202496.rar.html

“Tears of Joy” is the first solo album from Japanese pianist/composer Ikumi Ogasawara. It includes 10 of her most popular original compositions. Her music is inspired by various sceneries and life events that she encounters during her daily life and time. Her colorful/expressive music and performing style attracts many fans in Japan since her debut. Listening to the album, you will discover why she is a highly regarded melody maker.

Tears of Joy puts the voiceless voices of my inner-soul onto melodies with my piano. In this album, I rearranged some of my favorite compositions into piano tunes. Each tune reflects the images and messages of my inner-soul. I created these melodies with the piano, my best friend from my childhood. With her, I can freely express my sincere feelings in the most honest way. Today’s world is full of uncertainty and anxiety. We all have to face them and live on. But stop a while and take a look around. Beyond daily hustles and challenges, you will see the world, full of wonders and beautiful sceneries. They heal our souls and inspire our hopes for the future. It is my pleasure, if the music of my inner images can help inspire you and give a bit of courage to take a step forward and move on”. – Ikumi Ogasawara, February 2019

Tracklist:

01 – Hidamari
02 – On The Way
03 – Tears Of Joy
04 – For Better Morning
05 – Yuriage
06 – Cherry Petals Dance (Nihon no chikara)
07 – Thanks Thanks
08 – Voice
09 – Whale Lullaby
10 – Canvas

Original Recording format: PCM 24bit/384kHz

DSD512

DSD128

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FLAC 24-192

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FLAC 24-96

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The Stranger in the Mirror is the debut album from the Jake Mason Trio. Stepping out from the driver’s seat of Cookin’ On 3 Burners, Mason dives firmly into the ’60s organ trio sound making a record that is both delicate and fiery. Featuring James Sherlock (guitar) and Danny Fischer (drums) the trio weave their way through bluesy soul-jazz, blazing vigor and soundtrack-esque territory. “I love the place where Jazz and Soul meets,” says Mason. “It has a simplicity that is so warm and welcoming combined with a complexity that is exciting and makes you move.” Recorded on the east side of Melbourne, the trio captured the moment in the tradition of the classic Jazz recordings on labels such as Prestige and Blue Note playing live in the room, using vintage recording techniques and adding a pinch of modern inspiration. The result is a dynamic sound that has space and transparency but with just the right amount of grit and crunch. While this is the first official recording of the trio, Mason, Sherlock and Fischer are no strangers, having played together for over 20 years in many guises; Melbourne – a melting pot for great music and culture. Best known for his work with Cookin’ On 3 Burners, Jake Mason is a multi-instrumentalist and prolific songwriter who has released twelve albums, gained multi-platinum sales worldwide and established his own label and production house. The Stranger in the Mirror boasts ten elegantly crafted original compositions including co-writes with Eric McCusker (Mondo Rock) and Ben Grayson. Mason is a stylistic chameleon who has been nominated for multiple APRA awards and the coveted ARIA song of the year. He co-wrote and co-produced the Kungs Vs Cookin’ On 3 Burners chart topper This Girl, hitting the #1 spot in 10 countries and reaching the Top 10 in 37 territories. This Girl was also the #1 Shazammed dance song of 2016 worldwide.

Tracklist:

01. The Grain Store
02. The Stranger in the Mirror
03. Rib Eye
04. Please Please Please
05. People Two & One
06. Smile Awhile
07. Butter Melt
08. Sunfall
09. Lemon Twist
10. Candy Smack

Download:

https://subyshare.com/iuhaekiz3hh0/JakeMas0nTri0TheStrangerintheMirr0r201824441.rar.html

Janet Jackson – Unbreakable (2015) [Deluxe Edition]
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:11:02 minutes | 830 MB | Genre: Pop
Studio Master, Official Digital Download – Source: Qobuz | @ Black Doll, BMG Rights Management

The long awaited return of Janet! The Unbreakable release comes on the 30th anniversary of their groundbreaking collaboration on her Control album.This is the iconic artist’s first studio album in 7 years. The initial single release, “No Sleeep,” raced to #1 on Billboard’s Adult R&B chart and has returned to that position this week for both Urban AC and Adult R&B Charts. The album and single constitute a historic re-teaming of the iconic performer, now a holder of 46 record chartings with producer/songwriter superstars Jimmy Jam and Terry Lewis. Guest featuring Missy Elliott & J.Cole.

All four of Janet Jackson’s albums released during the 2000s debuted near or at the top of the Billboard 200, as ensured by a legion of devotees. They lacked the staying power of the Control-to-Velvet Rope run, however, and quickly slipped out of view. Jackson left two labels during the decade and dealt with personal matters that included the death of brother Michael. Seven years after Discipline, Jackson returns recharged, and on a BMG-supported label she established, with Jimmy Jam and Terry Lewis — the demigods central to her best work — as well as a small crew of additional associates, as her collaborators. The three singles that immediately preceded Unbreakable were clearly chosen for their range. “No Sleeep,” unfortunately present here in its longer form that involves a J. Cole verse, is a first-rate rippling slow jam, ideal for her re-emergence. Second was the title cut, the album’s lead track, where Jackson expresses thankfulness over a relaxed and wistful groove, her lead and background vocals in the chorus arranged to stellar effect. And then, to increase the intensity and anticipation even more, there was “Burnitup!,” a simultaneously hard and light dance track with Missy Elliott hyping the crowd. Those three songs only hinted at the number of angles worked on Unbreakable. While the album is unrelentingly positive and clean-cut — a relief for listeners who winced at the lurid content laced through Discipline and certain earlier points in the discography — it’s a little erratic in style and quality. The probing synthesizers, booming bass, and relatively detached vocal in “Dammn Baby” come across as conscious concessions to commercial radio, and a couple cuts are structured like contemporary dance-pop singles disconnected from soul. A greater amount of the productions are better suited to Jackson. She covers romantic contentment and inner strength most frequently, highlighted by the grooving “Broken Hearts Heal” and “Black Butterfly” descendant “Black Eagle,” and veers into societal turmoil, as timely now as Rhythm Nation 1814 was in 1989. There are dashes of classic Philly soul and Minneapolis funk, and it ends with a more explicit link to the past — a whirlwind funk blast liable to prompt Jackson 5 and Sly & the Family Stone flashbacks, all the way down to Tommy McClendon’s Larry Graham-style low-end interjections. No one but Jackson can directly reference previous triumphs, address her audience, and yet move forward quite like this.

Tracklist:
01 – Unbreakable
02 – BURNITUP!
03 – Dammn Baby
04 – The Great Forever
05 – Shoulda Known Better
06 – After You Fall
07 – Broken Hearts Heal
08 – Night
09 – No Sleeep
10 – Dream Maker/Euphoria
11 – 2 B Loved
12 – Take Me Away
13 – Promise
14 – Lessons Learned
15 – Black Eagle
16 – Well Travelled
17 – Gon’ B Alright
18 – No Sleeep [Bonus Track]
19 – No Sleeep (AFSHeeN Remix) [Bonus Track]

Download:

https://subyshare.com/inkwd7ppjn6q/JanetJacks0nUnbreakableDeluxeEditi0n2015Q0buz24441.rar.html

“Close Your Eyes” is a sort of “Best Of” album, comprising tracks taken from different recordings that made by Jenna Mammina going back about ten years. Mostly these are recorded to 2″ analog tape, although a couple were recorded directly to DSD. For “Close Your Eyes” the original tapes were remastered to DSD256 using the very latest Pyramix equipment. The results are quite astonishing. Most tracks comprise Jenna on vocals, backed by Bass, Drums, Keyboards, and assorted other instruments including Guitar, Soprano Sax, and Accordion.

These are the first tracks from some of Jenna’s now classic early albums that have been remixed for high resolution audio from the original analog tapes and DSD sessions. Slated to be part of a “Producer’s Choice” series on Blue Coast Records, both “Dirty Work” (a Steely Dan cover) and “Lotus Blossom” sound as fresh today as when they first came out more than 10 years ago.

Originally produced by Cookie Marenco, the musicianship on these recordings combine with Jenna’s intimate vocal sound to create a spacious groove. With Matt Rollings on B-3 organ, Paul McCandless on soprano sax, André Bush on Guitar, James Genus on bass and John Mader on drums, Jenna’s vocals and multiple harmonies will remind some of Joni Mitchell’s work on Court and Spark. On “Lotus Blossom” the rhythm section is joined by Rob Burger on accordion opening a new sonic spectrum.

Tracklist:

01 – Dirty Work
02 – Lotus Blossom
03 – You Can Close Your Eyes
04 – Watching The Detectives
05 – Wicked Game
06 – Running To Stand Still
07 – Pictures and Paintings
08 – I Hope That I Don’t Fall In Love With You
09 – Don’t Let Me Be Lonely Tonight
10 – When I’m Called Home

Original tapes were Recorded, Mixed and Mastered by Cookie Marenco.
Remixed by Cookie Marenco for Blue Coast Records from 2″ analog tape and pure DSD sessions to DSD 256.

Musicians:
Jenna Mammina – vocals
Matt Rollings – piano
John R. Burr – piano
Matt Rollings – organ
Paul McCandless – soprano saxophone, English horn
Rob Burger – accordion
Rolf Sturm – guitar
André Bush – guitar
Derek Jones – bass
James Genus – bass
John Mader – drums

DSD256

FLAC 24-192

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If you haven’t heard Jenna Mammina, you’re missing one of the most beautiful voices ever to sing. “Moonlight Ladies” features Jenna Mammina and John R. Burr collaborate on another fabulous set of classic (mostly James Taylor) songs.

When Jenna Mammina sings, you don’t notice all the things she’s doing right. That’s the way it should be. She’s got you in the trance, where the song just seems to flow as if nothing else was possible except the way she’s singing it. On Joni Mitchell’s sophisticated classic, “Free Man in Paris,” Burr starts off with harmonic colors and a subtle pulse. Jenna brings the familiar tale of a dream-merchant whose worldly success has made him wistful for a simpler time of life. The chorus, the only part of the song that repeats, gets a moment of sly interpretation from Jenna. You’ll know when you hear it. “Mexico,” a James Taylor favorite, opens with Jenna’s unaccompanied voice. John R. Burr’s piano enters effortlessly and provides that elusive but charming balance between propulsion and color. Hmm. So far, Jenna and John R. have stepped up tot he works of two of the most sophisticated singer-songwriters of the late 20th century. Aren’t these two afraid of anything? Well, no. Burr’s rollicking intro kicks off “Summer’s Here” with that “hundred yards from the New Orleans city limits” feel. Jenna steps in with a witty interpretation, matching the energy of John R.’s playing without giving an inch on her clever narrative phrasing. Whew! Beautiful. Yep, they did it. Jenna Mammina and John R. Burr showed up for work that day and left an unforgettable, likable, lovable recording of exactly how they spent their time.

Tracklist:

01 – Free Man In Paris
02 – How Sweet It Is To Be Loved By You
03 – Mexico
04 – Shower The People
05 – Silver Threads and Golden Needles
06 – Soldiers / Isn’t It Nice To Be Home Again
07 – Something In The Way She Moves
08 – Summer’s Here
09 – Sweet Baby James
10 – Traffic Jam

Produced by Cookie Marenco.
Recorded, Mixed and Mastered by Cookie Marenco.
Extended Sound Environment (E.S.E. Recording)

Musicians:
Jenna Mammina – vocals
John R. Burr – piano

DSD64

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FLAC

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For his sophomore album release, “Dreamist”, Canadian Singer-Songwriter Jesse Maranger sings about embracing the beauty of imperfect love. While his debut album, “So I Love You As You Are” (2014), existed as a hushed reflection on childhood and family, “Dreamist” is a sweeping soundscape – an honest story about new beginnings, where each song blends into the next like the chapters of a book.

The album, recorded and mixed by Maranger at his home studio, is spacious, spare and elegant in its musical execution. The songs meander gracefully into each other — Maranger’s melodic chapters of love and life interspersed with nature’s own music. Maranger’s hypnotic voice, set to simple string arrangements is sometimes a whisper, or an echo, reminiscent of a babbling brook or a gentle breeze blowing through the forest from opener “Song of the Singer” through to “The Cardinal” to “Mary Lake”, “Pines” and gentle but haunting finale “Ember Years”. It’s a little Elliott Smith/Nick Drake/Tim Buckley and slightly Aidan Knight with lots of aural room not only within each song, but between each sonic stave. The album was mastered by Gavin Gardiner of Toronto indie folk band The Wooden Sky “for another pair of ears and the final sparkle.”

Tracklist:

01 – Song of the Singer
02 – The Cardinal
03 – Then I Saw the Sky
04 – Cincinnati
05 – Mary Lake
06 – They Can’t Tell You Who You Are
07 – Pines
08 – Ember Years

Recorded & Mixed by Jesse Maranger.
Mastered by Gavin Gardiner.

Musicians:
Eric Dettweiler – Flugelhorn
Bob Egan – Pedal Steel
All Other Instruments & Vocals – Jesse Maranger

Download:

https://subyshare.com/1tl5d8q80jks/JesseMarangerDreamist2017Q0buz24441.rar.html

Jessie Ware – Glasshouse {Deluxe Edition} (2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:03:49 minutes | 701 MB | Genre: Pop
Studio Master, Official Digital Download | Front Cover | © Universal-Island Records Ltd.

Jessica Lois Ware is an English singer and songwriter. Following the success of her critically-adored second album “Tough Love”, with two gold certified albums and over a million records sold worldwide, Jessie has spent the last three years working on her most ambitious album yet. “Glasshouse” at its core is an album that explores the theme of family; both in the sense of Jessie’s close team of long term collaborators and in the sense of the family Jessie has created with husband Sam and first child. Written between LA and London, the album contains collaborations with Ed Sheeran, Hugo and Felix White (The Maccabees), Dave Okumu, Stint, Two Inch Punch, Kid Harpoon, Julia Michaels, Ryan Tedder and a host of other friends and collaborators alongside Benny Blanco from what became the album’s creative centre – his home in LA. “A super-smooth soul opens up.” – The Observer

Following two albums of understated soul-pop that tickled the Top 10, Glasshouse feels like a pivotal release for Jessie Ware. Stomping lead single Midnight and the Latin-flavoured follow-up Selfish Love hinted at a more robust sound, while windswept ballad Alone is X Factor montage soundtrack gold. Elsewhere, however, it still feels a little too safe, with only the closing Sam – a disarmingly heartfelt ode to her husband – forging a true emotional connection. Tracks such as Hearts, the gently pulsating Your Domino and Last of the True Believers (featuring the Blue Nile’s Paul Buchanan) all perfectly showcase Ware’s crystalline vocals – you just wish she’d step out of her comfort zone more often.

Tracklist:

01 – Midnight
02 – Thinking About You
03 – Stay Awake, Wait For Me
04 – Your Domino
05 – Alone
06 – Selfish Love
07 – First Time
08 – Hearts
09 – Slow Me Down
10 – Finish What We Started
11 – Last Of The True Believers [feat. Paul Buchanan]
12 – Sam
13 – Til The End
14 – Love To Love
15 – Hearts (Acoustic)
16 – Alone (Acoustic)
17 – Last Of The True Believers (Acoustic)

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German avant-garde jazz pianist Joachim Kühn relocated to California in the mid-1970s and teamed up with drummer Alphonse Mouzon on this 1977 release of atmospheric West Coast fusion. The two headliners are joined by an international cast of supporting musicians including bassist John Lee, Japanese trumpeter Terumasa Hino, Brazilian percussionist Nana Vasconcelos and British guitarist Philip Catherine.

Tracklist:

01 – Seven Sacred Pools
02 – Travelling Love
03 – Bed Stories
04 – Hip Elegy in Kingsize
05 – Santa Cruz
06 – First Frisco

Produced by Joachim Ernst Berendt. Engineered by Carlos Albrecht & Kurt Rapp.
Recorded on November 2-4, 1975 at Ton Studio Bauer (Zuckerfabrik), Ludwigsburg, Germany.
Digitally remastered.

Musicians:
Joachim Kühn – piano, keyboards, Fender Rhodes
Terumasa Hino – trumpet
Philip Catherine – guitar
John Lee – bass
Nana Vasconcelos – percussion
Alphonse Mouzon – drums

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Pianist-composer Joachim Kühn has been a force on the international jazz scene for half a century. Trained as a classical pianist, Kühn migrated to jazz, playing fusion with Alphonse Mouzon, free jazz with Ornette Coleman, and modern jazz in his iconic group with bassist JF Jenny-Clarke and drummer Daniel Humair. On this MPS LP his avant-garde trio featuring Pierre Favre and Peter Warren.

Although not a free jazz musician, per se, Kuhn has been an avant-gardist; he began attempting a fusion of contemporary classical elements with jazz very early in his career. Kuhn’s intense virtuosity is a reflection of his training. He studied classical composition and piano for 12 years, beginning when he was a small child. He performed as a classical pianist up until 1961, at which point he began playing in a Prague-based jazz quintet. He led a trio from 1962-1966, and in 1964 began playing with his much-older brother Rolf Kuhn, an accomplished clarinetist. In the ’70s, Joachim Kuhn led his own groups, and played with the violinist Jean-Luc Ponty. Kuhn had a measure of commercial success in the ’70s. His star faded a bit in the ’80s, but Kuhn kept active, playing challenging forms of jazz and recording occasionally.

Tracklist:

01 – Interchange
02 – Traffic Madness
03 – Cello Fane
04 – Jolly Green Giant
05 – One Foot Shuffle
06 – Solo for Arlene
07 – Sad Ballad

Executive producer: Joachim E. Berendt. Engineered by Rolf Donner.
Recorded in December 1971 at Villingen Studio, Black Forest, Germany.
Digitally remastered.

Musicians:
Joachim Kühn – piano, alto sax on “1,4”
Peter Warren – bass, cello on “1,3”
Pierre Favre – percussion, saw on “1,3”

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“Joe Pass looks like somebody’s uncle and plays guitar like nobody’s business.” So said New York Magazine about the man considered to be one of the greatest jazz guitarists of the 20th century. Pass’s masterful melodic counterpoint and quicksilver improvisational style flow throughout “Intercontinental”. Deftly accompanied by German bass virtuoso Eberhard Weber and English drummer Kenny Clare, the music runs the gamut of genres – a meditative Jobim bossa nova, a lusciously relaxed version of the jazz standard, “Stompin’ at the Savoy”, a blues-drenched rendition of the Bobby Gentry pop classic, “Ode to Belly Joe”, and a display of dynamically controlled guitar pyrotechnics on the exhilarating “I Love You”.

Joe Pass recorded almost exclusively for American record labels during his long career, so this 1973 studio date for BASF is a rare exception. With bassist Eberhard Weber and drummer Kenny Clare’s brushwork, the legendary guitarist plays a half dozen or so standards, including the gently swinging takes of ‘Chloe’ and ‘Stompin’ at the Savoy,’ a soft arrangement of Jobim’s Meditation,’ and a very lively version of ‘I Love You’ (also featuring solos by his rhythm section). He also improvises the tasty ‘Joe’s Blue’s,’ plays a light samba written by the session’s recording director (‘El Gento’), puts some life into the normally dull 1960’s pop hit ‘Ode to Billy Joe’ by playing it in a Latin groove, and concludes with the very familiar standard from the Count Basie songbook, ‘Lil’ Darlin’,’ which he must have performed hundreds of times during his career. While his playing is rather reserved compared to his later extensive recordings for Pablo, and this release is by no means near the top of the late guitarist’s considerable discography as a leader or soloist, fans of Joe Pass who manage to locate this long unavailable LP won’t be disappointed.

Tracklist:

01 – Cloe
02 – Meditation
03 – I Cover the Waterfront
04 – Mexican Hayride: I Love You
05 – Stompin’ At The Savoy
06 – Les parapluies de Cherbourg: Watch What Happens
07 – Joe’s Blues
08 – El gento
09 – Ode to Billie Joe
10 – Li’l Darlin’

Produced by Hans Georg Brunner-Schwer. Engineered by Rolf Donner.
Recorded on June 8–10, 1970 at MPS-Tonstudio in Villingen, Germany.

Musicians:
Joe Pass – guitar
Eberhard Weber – bass
Kenny Clare – drums

DSD64

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“John Prine” is the first album by American Country/Folk singer-songwriter John Prine. His 1971 self-titled debut set the tone for the rest of his career. A critical smash and a commercial disappointment, the record contains many of his best known compositions. Proving himself capable of tackling folk balladry, country, and rock with ease, Prine seems to spring into being as a fully formed singer-songwriter at age 24. Lyrically diverse, Prine offers topical songs such as “Sam Stone”, the tale of a drug addicted Vietnam vet, achingly sad songs, such as the oft-covered “Angel from Montgomery”, and, of course, his trademark wit gets ample time in the spotlight. Produced by the legendary Arif Mardin (Aretha Franklin, the Modern Jazz Quartet, Hall and Oates), the record is understated, letting Prine’s comfy voice drive things. When needed, the famous house band at American Recording Studios in Memphis kicks in tasteful backing.

A revelation upon its release, this album is now a collection of standards: “Illegal Smile,” “Hello in There,” “Sam Stone,” “Donald and Lydia,” and, of course, “Angel from Montgomery.” Prine’s music, a mixture of folk, rock, and country, is deceptively simple, like his pointed lyrics, and his easy vocal style adds a humorous edge that makes otherwise funny jokes downright hilarious.

Tracklist:

01 – Illegal Smile
02 – Spanish Pipedream
03 – Hello In There
04 – Sam Stone
05 – Paradise
06 – Pretty Good
07 – Your Flag Decal Won’t Get You Into Heaven Anymore
08 – Far From Me
09 – Angel From Montgomery
11 – Donald And Lydia
10 – Quiet Man
12 – Six O’Clock News
13 – Flashback Blues

FLAC 24-192

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Shavers and Hodges were genii: unflawed musicians, total original minds, two of the great burnished talents that were ablaze in those fiery jazz years. Both seminal figures: Johnny Hodges, one of the three classic alto-saxophonists in jazz, Charlie Shavers, one of the two or three greatest trumpeters of his era. Both had the gift of making perfection sound easy, and both revelled – with an almost Casanova sensuality – in every tonal, and technical richness that their instrument was capable of. On this record, the two old masters perform in two settings each, both with the kind of ripe luscious talent that grows only in the summertime of an art.

In these days, when jazz has turned to consolidation rather than innovation, records by old masters like Charlie Shavers and Johnny Hodges achieve gold standard almost by definition. Sleeve note accolades can often do little more than acknowledge and applaud the fact, for Shavers and Hodges were genii, of course: unflawed musicians, total original minds, two of the great burnished talents that were ablaze in those fiery jazz years. All that we’ve long known. The two masters on this record led separate musical lives publicly. Like most jazz history this is probably (as Henry Ford once remarked) bunk – who can document the meetings on a neon-lit Swing Street, or lonely midnight roads? – But on this record they occupy separate sides and exclusive treatment in this annotation.

Both, for the most part, are accompanied by Al Waslon, a discreet and highly musical pianist who understands exactly how to let his guest stars shine most tightly, an efficient bassist and drummer, and a prefatory studio announcer whose super-rehearsed superlatives sound a little too good to be true until you remember that true they are. Shavers in just seven tunes parades every banner of this talent; beautifully natural yet harmonically aware improvisation, formidable technique, and that chameleonesque ability to switch, at the flick of a red light, from the serpentine cup-muted temptations of Embraceable You to a no-holds barred flaring attack on “What Is This Thing Called Love”. Surely no more perfect trumpet player ever lived. Exactly the same give or take a saxophone, could be said of Johnny Hodges, who crafted his program with the skill of a sculptor and the dignity of a statue.

Tracklist:

01 – Perdido
02 – Jeep’s Blues
03 – All of Me
04 – C Jam Blues
05 – I Got It Bad (And That Ain’t Good)
06 – In a Mellow Tone
07 – Bye Bye Blackbird
08 – Breezin’ Along with the Breeze
09 – Embraceable You
10 – What Is This Thing Called Love?
11 – Time on My Hands
12 – Undecided
13 – I’ll Make Fun for You

Musicians
Tracks “1-5” – Johnny Hodges with Al Waslon Trio:
Johnny Hodges – alto saxophone
Al Waslon – piano
Joe Schmalz – bass
Ed Knil – drums
Recorded in Columbia, Ohio (date unknown)

Track “6” – Johnny Hodges & His Orchestra:
Johnny Hodges – alto saxophone
Shorty Baker – trumpet
Lawrence Brown – trombone
John Coltrane – tenor saxophone
Remaining personnel unknown (date unknown)

Tracks “7-12” – Charlie Shavers with Al Waslon Trio:
Charlie Shavers – trumpet
Al Waslon – piano
Joe Schmalz – bass
Ed Knil – drums
Recorded in Columbia, Ohio (date unknown)

Track “13” – John Kirby’s Sextet:
Charlie Shavers – trumpet
Russel Procope – alto saxophone
Buster Bailey – clarinet
Billy Kyle – piano
John Kirby – bass
O’Neil Spencer OR Specs Powell – drums
(date unknown)

2xHD was created by producer/studio owner André Perry and audiophile sound engineer René Laflamme, two dedicated music lovers determined to experience only the warmth and depth of the music without hearing the equipment.

This album contains high-resolution digital transfers of material originating from an analogue master source.

FLAC 24-192

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2015 release from the soulful British singer/songwriter. “Water For Your Soul” is a culmination in Joss Stone’s travels in sound, demonstrating how the teen soul prodigy has blossomed into an artist of style and substance. This is an album that pulses with the liquid groove of reggae, dazzles with the mix and match sonic adventure of hip hop, shimmers with the exotic sounds of world music and delivers the emotional belt of R&B. The sound expanded to include Indian tabla, Bengali lute, Bansuri flute, African and Asian percussion, plus gospel choirs, New Orleans horns and full orchestra. After various experiments, abandoned and revisited sessions, the final album was more or less completed in a 10 day frenzy, with strings being recorded in London, percussion in Hawaii and Joss pulling it together at her own Home Grown Studios in Devon.

The concept of Joss Stone’s seventh studio release began to take shape following the formation of SuperHeavy, the multicultural, cross-generational group that released an awkward if free-spirited album in 2011, just before The Soul Sessions, Vol. 2 materialized. Among Stone’s bandmates was Damian Marley, who implored the singer to cut a reggae album. Stone was hesitant at first but conceded, perhaps realizing that a drastic switch in her vocal approach would not be required. (She wouldn’t even have to avoid using the word “soul” in the album’s title.) More importantly, Marley wasn’t fooling. He followed through and co-produced this with Stone. The duo devised a set of songs that often uses reggae as a foundation but incorporates a familiar mix of soul, rock, and roots music with light accents from tablas, Irish fiddles, and flamenco guitar. Even when the album deviates most from the singer’s previous releases – specifically in “Way Oh,” during its chorus and forced-sounding references to a “buffalo soldier,” likely a nod to Marley’s father – Water for Your Soul always sounds like Joss Stone. Her voice remains in debt to classic soul as much as ever. Additionally, she continues to switch from emotion to emotion with full-bore conviction. From one song to another, there are some extreme swings in sentiment. In “Let Me Breathe,” she begs for release from a stifling relationship she cannot resist. She follows it with the exasperated “Cut the Line” – fluid and dubwise, the album’s song with the most surface appeal – where “I can’t get over how you’re shutting me out” is delivered with the same amount of “help me out here” force. While one can always sense the pain and joy in the mere sound of Stone’s voice, some of the songs’ lines provoke head scratching rather than knowing nods. Through deep, repeated listening, the album increasingly resembles ragtag emoting. Heard passively, it’s all pleasant summertime listening.

Tracklist:

01 – Love Me
02 – This Ain’t Love
03 – Stuck On You
04 – Star
05 – Let Me Breathe
06 – Cut The Line
07 – Wake Up
08 – Way Oh
09 – Underworld
10 – Molly Town
11 – Sensimilla
12 – Harry’s Symphony
13 – Clean Water
14 – The Answer

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Having single-handedly raised the worldwide profile of Scottish Gaelic and established herself as the world’s foremost interpreter of its traditional song, Julie Fowlis has perhaps surmised that she has nothing left to prove in that regard, and so has decided to do something a bit different with this, her fifth studio album. Fans need not fear that she is going to crack out an electric guitar and a laptop, however; this is still very much a traditional folk album, with just a few subtle yet undeniable differences from what has come before. Probably the most obvious is the inclusion of songs in languages other than Gaelic, notably English. Fowlis has sung in English before, most visibly on the two songs she recorded for the soundtrack of Disney’s Brave, but has never before recorded a song with lyrics completely in English on any of her own albums. Here there are two: Annie Briggs’ bittersweet “Go Your Way” (on which Fowlis accompanies herself on the ukulele — another first) and the proto-feminist “Windward Away” by Archie Fisher, on which she is backed by the great Mary Chapin Carpenter. The latter is stunningly beautiful, sweeping away any possible reservations on the part of her fans; she sings just as sublimely in English as in Gaelic. The third language sung on the record is Galician, on the lovely, bilingual “Camariñas,” which sees Julie joined by Gillebride MacMillan, who has translated the song’s lyrics into Gaelic. In addition to the aforementioned ukulele, there are a couple of other instrumental surprises. The haunting “Òran an Ròin” prominently features the shruti box, a drone instrument more commonly heard in Indian classical music, and “Dh’èirich Mi Moch Madainn Cheòthar” has almost a pop sensibility, with multi-tracked, overdubbed vocals strongly reminiscent of Enya. Elsewhere it’s largely business as usual, though of course, because it’s Fowlis and her band, that means work a significant cut above the rest of the pack. Other highlights include album opener “A Phiuthrag ‘s a Phiuthar” (boasting a lush, sweeping string arrangement) and the two lively puirt à beul sets, “Thèid Mi do Loch Àlainn” and “Fear a’ Bhrochain/Dòmhnall Binn.” The album is themed around “the otherworld” and as a result some of the subject matter is quite eerie and dark, but this is a more upbeat album in general than its predecessor, Gach Sgeul, and more varied, resulting in a more immediate listen. The only slight disappointment is the omission of lyrics and sleeve notes (though they are available online). Ultimately, this is another seemingly effortless triumph for Fowlis, sending her career to new and previously uncharted heights. – John D. Buchanan

Tracklist:

01 – A Phiuthrag ’s a Phiuthar
02 – Camariñas
03 – Fear a’ Bhrochain / Dòmhnall Binn
04 – Dh’èirich Mi Moch, b’ Fheàrr Nach Do Dh’èirich
05 – Go Your Way
06 – Dh’èirich Mi Moch Madainn Cheòthar
07 – Windward Away
08 – Thèid Mi Do Loch Àlainn
09 – Òran an Ròin
10 – An Aghaidh Fàilte Na Mòr-Thìr
11 – Cearcall Mun Ghealaich

Musicians:
Julie Fowlis – Vocals, Sruti Box, Ukulele, Whistle
Donald Shaw – Piano, Harmonium
Tony Byrne – Guitar
Duncan Chisholm – Fiddle
Micheal McGoldrick – Flute, Whistle
Éamon Doorley – Bouzouki, Percussion, Viola
Dónal Lunny – Bodhrán
Su-a Lee – Cello
Rhoslyn Lawton – Viola
Aoife Ni Bhriain – Viola, Fiddle, Harmonica
Fiona Stephen, Greg Lawson, Kobus Frick – Violin
Mary Chapin Carpenter, Muireann Nic Amhlaoibh, Gillebride MacMillan – Guest Vocals

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“Allt” is a beautiful collection of newly crafted songs and tunes by Julie Fowlis, Éamon Doorley, Zoë Conway and John Mc Intyre. Recorded live in the round, “Allt” is the culmination of a composition project inspired by old and new Gaelic poetry from Scotland and Ireland. Emotive and powerful melodies coupled with thoughtful and understanding accompaniment, this album captures the spirit and the energy of a live performance. “Allt” is a truly collaborative venture which artfully and sensitively threads together words and music from their home countries, and reaffirms the ancient musical connection between Ireland and Scotland.

The confluence of newly composed and traditional music is a rich delta that defines this mighty fine new collection from two sets of duos who’ve never been afraid to mine the depths of their music. Recorded live in the round, with a consequent warm cohesion to the playing, Scottish singer and whistle player Julie Fowlis and her husband, Éamon Doorley, on bouzouki, fiddle and vocals have saddled up alongside Louth fiddler and singer Zoë Conway and her husband, John McIntyre, on guitar, piano and vocals. Together the quartet have set about exploring old and new Gaelic poetry from Ireland and Scotland, and in the process they’ve fashioned a richly textured collection rooted in the magnificent vocals of Fowlis and her remarkable fiddle playing, along with Conway’s equally remarkable whistle. Accompaniment is thoughtful and spacious, so that the poetry can breathe free of, but remain buoyed by the music. The quartet’s canny choice of work from Máirtín Ó Direáin (in particular, Faoiseamh a Gheobhadsa), Nioclás Ó Cearnaigh and Donald MacDonald anchor this visceral collection. In truth, one of the albums of the year.

Tracklist:

01 – Port Dannsaidh Hiortach / Deóra Dé
02 – Faoiseamh a Gheobhadsa
03 – An Ghaeilge
04 – An Assembly of Munster Men / Is Treise Fonn Ar Théada / An tSlí Chun an Tobair
05 – Piuthrag Nam Piuth’r
06 – Dúirt Bean Liom / Ríl Eóin
07 – An Chruit
08 – Allt na Ceardaich / Fiona Rosie’s
09 – Air an Somme
10 – Na Hù Bhithinn / Hò Rò Na Priobaidean
11 – An tEarrach Thiar

Musicians:
Julie Fowlis – vocals, whistle
Éamon Doorley – bouzouki, fiddle & vocals
Zoë Conway – Louth fiddler & vocals
John McIntyre – guitar, piano and vocals

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Netherlands Radio Philharmonic Orchestra, James Gaffigan – Prokofiev: Symphonies Nos. 1 & 5 (2017) [Official Digital Download 24bit/352,8kHz]

Hank Crawford – I Hear A Symphony (1975/2013) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/88,2kHz]

Hibla Gerzmava – Opera. Jazz. Blues (2016) [Official Digital Download 24bit/44,1kHz]

Hubert Laws – The Rite Of Spring (1971/2013) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/96kHz]

Ibrahim Electric – Time Machine (2020) [Official Digital Download 24bit/96kHz]

Ikumi Ogasawara – Tears Of Joy (2019) [Official Digital Download DSF DSD512/22.4MHz + FLAC 24bit/192kHz]

Jake Mason Trio – The Stranger in the Mirror (2018) [Official Digital Download 24bit/44,1kHz]

Janet Jackson – Unbreakable {Deluxe Edition} (2015) [Official Digital Download 24bit/44,1kHz]

Jenna Mammina – Close Your Eyes (2016) [Official Digital Download DSF DSD256/11,28MHz + FLAC 24bit/192kHz]

Jenna Mammina – Moonlight Ladies (2017) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/96kHz]

Jesse Maranger – Dreamist (2017) [Official Digital Download 24bit/44,1kHz]

Jessie Ware – Glasshouse {Deluxe Edition} (2017) [Official Digital Download 24bit/44,1kHz]

Joachim Kuhn – Hip Elegy (1976/2014) [Official Digital Download 24bit/88,2kHz]

Joachim Kuhn Trio ‎- Interchange (1972/2014) [Official Digital Download 24bit/88,2kHz]

Joe Pass – Intercontinental (1970/2015) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/96kHz]

John Prine – John Prine (1971/2015) [Official Digital Download 24bit/192kHz]

Johnny Hodges & Charlie Shavers – Half and Half (1981/2018) [Official Digital Download 24bit/192kHz]

Joss Stone – Water For Your Soul (2015) [Official Digital Download 24bit/88,2kHz]

Julie Fowlis – Alterum (2017) [Official Digital Download 24bit/44,1kHz]

Julie Fowlis, Eamon Doorley, Zoe Conway, John McIntyre – Allt (2018) [Official Digital Download 24bit/44,1kHz]