RighteousGIRLS – Gathering Blue (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 00:55:30 minutes | 513 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Q0buz | Digital Booklet | @ Panoramic Recordings

RighteousGIRLS (flutist Gina Izzo and pianist Erika Dohi) present their debut recording, “gathering blue” featuring works written for them that draw from the worlds of contemporary classical music, avant garde jazz, and experimental pop. Winners of a New Music USA grant to fund this recording, RighteousGIRLS highlight their innovative collaborations with diverse artists from pianist/composer Vijay Iyer to downtown luminary Randy Wolff to their co-curator and producer, Pascal Le Boeuf.

Gathering Blue is the debut album by contemporary music duo RighteousGIRLS (flutist Gina Izzo and pianist Erika Dohi). RighteousGIRLS champions work at the intersection of contemporary classical music and avant-garde jazz, as part of a growing movement to evolve beyond conventional genre boundaries. A highlight is Vijay Iyer’s Accumulated Gestures, in a trio setting with Iyer’s drummer, Justin Brown. Other guest composer/performers include rising trumpeter Ambrose Akinmusire and steel pan player Andy Akiho. Award-winning producer Pascal LeBoeuf contributes the quasi-title track “GIRLS” and a series of interludes throughout. Works by Randy Woolf, Christian Carey, Dave Molk, Mike Perdue, and Jonathan Ragonese round out this provocative release of premiere recordings, all written for RighteousGIRLS.

Tracklist:
1. GIRLS 04:18
2. Accumulated Gestures (feat. Justin Brown) 06:21
3. Anzu (feat. Ambrose Akinmusire) 04:49
4. Robe Threader (Interlude) 01:34
5. …nobody move… 06:52
6. non-poem I 07:58
7. KARakurENAI (feat. Andy Akiho) 04:59
8. gathering blue (Interlude) 01:42
9. etca’rtnE 00:17
10. Entr’acte 02:20
11. For Milton 06:12
12. Edge 06:54
13. …Out of the Blue (Postlude) 01:16

Personnel:
Gina Izzo, flute
Erika Dohi, piano
Additional:
Andy Akiho, steel pan
Ambrose Akinmusire, trumpet
Justin Brown, drums

Download:

https://subyshare.com/4sw29fcs0rpb/Righte0usGIRLSGatheringBlue201544.124.rar.html

Rodrigo, Borne, Ibert – Bridge across the Pyrenees – Sharon Bezaly, Sao Paulo Symphony Orchestra, John Neschling (2006)
FLAC (tracks) 24-bit/44,1 kHz | Time – 56:50 minutes | 488 MB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | Digital Booklet | @ BIS Records
Recorded: July 2005 at the Sala São Paulo, São Paulo, Brazil

Separated by the Pyrenees, the musical milieus of Spain and France have sometimes been like oil and water – or maybe like oil and wine. It took Bizet’s opera Carmen to open the ears of the French to the Spanish rhythms and inflections which were to become so important to so many composers after him, from Debussy to Ibert. On the present disc, Carmen – in the guise of Borne’s Fantaisie brillante – plays a similar role, creating a bridge between Rodrigo’s Concierto pastoral and Ibert’s Flute Concerto, two of last century’s main concertante works for the flute. Soloist Sharon Bezaly will hardly need a closer presentation after her highly praised recordings of the past couple of years. Her recital with pianist Ronald Brautigam (BIS-SACD-1429) and her recording of Mozart’s concertos (BIS-SACD-153901) have garnered such high praise and so many distinctions that it would be impossible to list them – suffice it to say that the reviewers have called her ‘a sorceress of timbres’, ‘God’s gift to the flute’, ‘a First Lady among equals’ and a ‘graceful Mozartean, with limpid tone, an impish sense of humour, and sometimes staggering breath control.’ The present recording was made with the São Paulo Symphony Orchestra and conductor John Neschling, whose performances of the music of Brazilian composers Guarnieri, Mignone, Braga and Santoro have been praised for their vitality, rhythmic vigour and wide range of colours – all qualities that should be just the thing for building a bridge across the Pyrenees.

Tracklist:

Joaquín Rodrigo (1901-1999)
Concierto pastoral for flute and orchestra (1978)
1. I. Allegro 7’33
2. II. Adagio 11’21
3. III. Rondo. Allegro 6’18

François Borne (1840-1920)
4. Fantaisie brillante sur des airs de Carmen 11’09

Jacques Ibert (1890-1962)
Concerto for flute and orchestra (1934)
5. I. Allegro 4’30
6. II. Andante 6’34
7. III. Allegro scherzando 7’59

Personnel:
Sharon Bezaly, flute
São Paulo Symphony Orchestra (OSESP)
John Neschling, conductor

Download:

https://subyshare.com/e6mdukj09fde/R0drig0B0rneIbertBridgeacr0ssthePyreneesShar0nBezaly0SESPJ0hnNeschling200644.124.rar.html

Ros: Songs of Christmas – Det Norske Solistkor, Grete Pedersen (2013)
FLAC (tracks) 24-bit/96 kHz | Time – 52:30 minutes | 860 MB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | Digital Booklet | @ BIS Records
Recorded: April 2013 at Ris Kirke, Oslo, Norway

“The performances are all sublime, the arrangements equally so, the recording everything you would expect from this source…” musicweb-international.com, 11/2013

“A superb release.” International Record Review 12/2013

In Christian symbolism, the rose is closely associated with the Mystery of the Nativity, and therefore with both Jesus Christ and Mary. The idea of the perfect flower, springing forth from a thorny stem, has – like the Nativity itself – captured the imagination of poets and musicians throughout the ages and from all stations of life. With this original and wide-ranging Christmas collection, Grete Pedersen – the artistic director of the Norwegian Soloists’ Choir – has created what might be compared to a rosary, combining 12th-century hymns by Hildegard of Bingen with a carol by the Danish 20th-century composer Per Nørgård, as well as traditional Christmas psalms, in many cases sung to Norwegian folk tunes following age-old usages. Grete Pedersen and the choir have reached a wide international audience through four previous discs on BIS, ranging from collections of Grieg, or of Brahms and Schubert, to the folk-inspired White Night and, most recently, Refractions: the unexpected combination of three 20th-century giants – Berg, Webern and Messiaen – with their Norwegian contemporary Fartein Valen. On the present disc, the team is once again joined by the singer Berit Opheim and the violinist Gjermund Larsen – both with a background in folk music – as well as by Rolf Lislevand, internationally acclaimed lutenist, and the highly respected jazz bassist Bjørn Kjellemyr.

Tracklist:
Michael Praetorius
1. Det hev ei rose sprunge (Behold, a Rose is Springing) 2’54
Traditional
2. Old Marian Song (instrumental) 0’32
3. No koma Guds englar (The Angels of God) 3’04
4. Improvisation on Ricercata Segunda (instrumental) 1’24
Hildegard of Bingen
5. O vis æternitatis (O Eternal Force) 2’12
6. O frondens virga (O Leafy Branch) 2’51
Traditional
7. Eit barn er født i Betlehem (A Child is Born in Bethlehem) 4’33
Hildegard of Bingen
8. Ave, generosa (Hail, Magnanimous) 0’53
Ola O. Fagerheim
9. I denne søte juletid (In this Blessed Christmas Time) 6’18
Traditional
10. Den fagraste rosa (The Fairest of Roses) 3’02
11. Maria, hun er en jomfru ren (Mary is a Virgin Pure) (instrumental) 1’09
12. Mitt hjerte alltid vanker (My Heart Forever Dwells) 5’46
Hildegard of Bingen
13. O vis æternitatis (O Eternal Force) 4’42
Per Nørgård
14. Julens glæde (Himmelfalden) (The Joy of Christmas) 2’47
Traditional
15. Tarantella 3’18
16. Jolevers (Et lite barn så lystelig) (Christmas Verse) 3’23
Gustaf Nordquist
17. Jul, jul, strålande jul (Yule, Yule, Radiant Yule) 2’36

Personnel:
Runa Hestad Jenssen, vocals
Ingeborg Dalheim, vocals
Ditte Marie Bræin, vocals
Berit Opheim Versto, vocals
Rolf Lislevand, lute
Gjermund Larsen, violin
Bjørn Kjellemyr, double bass
Det Norske Solistkor, choir
Grete Pedersen, conductor

Download:

https://subyshare.com/lveahqtejfyj/RsS0ngs0fChristmasDetN0rskeS0listk0rGretePedersen20139624.rar.html

Deftones – The Studio Albums Collection 1995-2016 (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 07:10:33 minutes | 9,03 GB | Genre: Rock, Metal
Official Digital Download – Source: HDTracks.com | @ Maverick Records/Reprise Records

An impressive 78 track collection of Deftones’ studio albums.

1995 – Adrenaline
1997 – Around The Fur
2000 – White Pony
2003 – Deftones
2006 – Saturday Night Wrist (Bonus Track Version)
2010 – Diamond Eyes (Deluxe Version)
2012 – Koi No Yokan
2016 – Gore

Deftones were one of the first groups to alternate heavy riffs and screamed vocals with more ethereal music and hushed singing — spawning a fair amount of imitators in their wake. The group first formed in Sacramento, California during 1988, when then high-school students Stephen Carpenter (guitar), Abe Cunningham (drums), and Chino Moreno (vocals) first began to jam together. They chose the name Deftones and began playing out locally shortly thereafter, going through several different bass players before finding a permanent bassist in the form of Chi Cheng.
Although the group was more heavy metal-based early on, the early ’90s saw Deftones expand their sound even further, inspired by such groundbreakers as Tool, Rage Against the Machine, and Faith No More. A strong four-song demo was completed soon after, and it landed the group a recording contract with Madonna’s label, Maverick. Enlisting the services of Soundgarden and Pantera producer Terry Date (who would eventually become a regular producer for the group), the quartet’s debut full-length, Adrenaline, was issued in October of 1995. While the album wasn’t an instant success, Deftones built a dedicated fan base the old-fashioned way — by touring relentlessly (both on their own and opening for more established acts such as Ozzy Osbourne, L7, and Korn). With sales of Adrenaline topping 200,000 copies, expectations were high for their sophomore release, Around the Fur. Issued in October of 1997, it more than delivered, catapulting the band to the top of the alt-metal mountain on the strength of such MTV/radio faves as “My Own Summer (Shove It)” and “Be Quiet and Drive (Far Away).” Sometime after the album’s release, turntablist/keyboardist Frank Delgado (who had helped out on the first two albums) formally joined up and expanded the group’s lineup to a five-piece.
A seven-track import EP, 1999’s Live, was issued as a stopgap release as Deftones began work on their third studio effort (Cheng issued a spoken word release, The Bamboo Parachute, around this time as well). White Pony was eventually released in June of 2000 and proved to be one of the most eagerly anticipated heavy rock releases of the year. The album was another success (debuting at number three on the album charts), and it showed the quintet unafraid to experiment with its sound, as Moreno let such ’80s modern rock influences as the Cure and the Smiths seep into Deftones’ sound. (After touring wrapped up for the album, Moreno formed Team Sleep and began recording an eponymous album, which was delayed numerous times but finally saw release in 2005.) Soon Deftones reunited to work on new ideas, and enlisted Date again to helm their new album. Eagerly anticipated by both fans and critics alike, Deftones dropped in May 2003 and spawned the single “Minerva.” The quintet then embarked on the Summer Sanitarium tour with Metallica and Linkin Park. Deftones ended up peaking at number two on the Billboard 200, and the band took a well-deserved break for rest and side projects. In October 2005, Deftones issued a two-disc set of B-sides and rarities before returning with a new studio full-length, Saturday Night Wrist, a year later.
In 2007, Deftones began working on Eros, which was set to be their sixth album. The album was delayed indefinitely when bassist Chi Cheng was involved in a serious car accident that left him in a coma. Cheng was replaced by Quicksand bassist Sergio Vega in 2009, and the band got back to touring and recording. Though Eros was still shelved, in 2010 the band released a new album, Diamond Eyes. Cheng partially regained consciousness in 2012 and returned home to recover, though he wouldn’t be in good enough shape to appear on the band’s seventh album, Koi No Yokan, which arrived later that year. Despite his recovery, Cheng passed away from cardiac arrest on April 13, 2013, at age 42. In 2014, to mark the one-year anniversary of his death, Deftones released the track “Smile,” from the unreleased Eros. Two years later, the band returned with its eighth album, Gore, released in April 2016. –Artist Biography by Greg Prato

Tracklist:

1995 – Adrenaline
1. Bored 04:06
2. Minus Blindfold 04:04
3. One Weak 04:29
4. Nosebleed 04:26
5. Lifter 04:43
6. Root 03:41
7. 7 Words 03:44
8. Birthmark 04:19
9. Engine No. 9 03:25
10. Fireal 06:34
11. First (Hidden Track) 03:36

1997 – Around The Fur
1. My Own Summer (Shove It) 03:35
2. Lhabia 04:11
3. Mascara 03:45
4. Around the Fur 03:32
5. Rickets 02:43
6. Be Quiet and Drive (Far Away) 05:08
7. Lotion 03:58
8. Dai the Flu 04:37
9. Headup 05:13
10. MX 37:19

2000 – White Pony
1. Back to School (Mini Maggit) 03:57
2. Feiticeira 03:10
3. Digital Bath 04:15
4. Elite 04:02
5. Rx Queen 04:28
6. Street Carp 02:42
7. Teenager 03:21
8. Knife Prty 04:49
9. Korea 03:24
10. Passenger 06:09
11. Change (In the House of Flies) 04:60
12. Pink Maggit 07:33

2003 – Deftones
1. Hexagram 04:11
2. Needles and Pins 03:23
3. Minerva 04:18
4. Good Morning Beautiful 03:28
5. Deathblow 05:28
6. When Girls Telephone Boys 04:36
7. Battle-axe 05:02
8. Lucky You 04:11
9. Bloody Cape 03:38
10. Anniversary of an Uninteresting Event 03:57
11. Moana 05:02

2006 – Saturday Night Wrist
1. Hole in the Earth 04:09
2. Rapture 03:26
3. Beware 06:01
4. Cherry Waves 05:18
5. Mein 03:58
6. U,U,D,D,L,R,L,R,A,B,Select,Start 04:13
7. Xerces 03:42
8. Rats!Rats!Rats! 04:01
9. Pink Cellphone 05:05
10. Combat 04:46
11. Kimdracula 03:14
12. Rivière 03:45
13. Drive 04:50

2010 – Diamond Eyes
1. Diamond Eyes 03:08
2. Royal 03:33
3. CMND/CTRL 02:26
4. You’ve Seen the Butcher 03:31
5. Beauty School 04:48
6. Prince 03:37
7. Rocket Skates 04:14
8. Sextape 04:02
9. Risk 03:39
10. 976-EVIL 04:33
11. This Place Is Death 03:49
12. Do You Believe (Bonus Track) 03:29
13. Ghosts (Bonus Track) 04:28
14. Caress (Bonus Track) 03:34

2012 – Koi No Yokan
1. Swerve City 02:45
2. Romantic Dreams 04:38
3. Leathers 04:09
4. Poltergeist 03:31
5. Entombed 04:59
6. Graphic Nature 04:32
7. Tempest 06:05
8. Gauze 04:41
9. Rosemary 06:53
10. Goon Squad 05:40
11. What Happened To You? 03:54

2016 – Gore
1. Prayers / Triangles 03:38
2. Acid Hologram 04:06
3. Doomed User 04:27
4. Geometric Headdress 03:29
5. Hearts / Wires 05:21
6. Pittura Infamante 04:04
7. Xenon 03:17
8. (L)MIRL 05:02
9. Gore 04:59
10. Phantom Bride 04:53
11. Rubicon 04:58

Download:

https://subyshare.com/ip516q2eubma/Deftones-1995-Adrenaline.rar.html
https://subyshare.com/vdmj0862rq6t/Deftones-1997-AroundTheFur.rar.html
https://subyshare.com/8d02p0ijh8dt/Deftones-2000-WhitePony.rar.html
https://subyshare.com/v9nq1d3gp23t/Deftones-2003-Deftones.rar.html
https://subyshare.com/f6mcnm3zmbhl/Deftones-2006-SaturdayNightWristBonusTrackVersion.rar.html
https://subyshare.com/z4kyj2m85xom/Deftones-2010-DiamondEyesDeluxeVersion.rar.html
https://subyshare.com/66iovl6vs8bl/Deftones-2012-KoiNoYokan.rar.html
https://subyshare.com/y8t31vxcigod/Deftones-2016-Gore.rar.html

Sammy Figueroa – Imaginary World (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 53:26  minutes | 602 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | @ BIS Records

Legendary Grammy nominee percussionist Sammy Figueroa has done it again with another outstanding Latin jazz album, combining sophistication and beauty with swinging rhythms on a variety of percussion instruments. Venezuelan composer/musicians Silvano Monasterios (piano) and Gabriel Vivas (bass) have created brilliant compositions that embrace Figueroa’s ever-creative rhythmical conversation.

Joined by star horn players Troy Roberts (sax) and Alex Pope Norris (trumpet), plus one of today’s finest young drummers, David Chiverton, the musicianship level is astounding. This album, Figueroa’s fourth, displays a musical maturity and sense of invention that opens up new possibilities for today’s Latin jazz.

After three albums co-billed with his band the Latin Jazz Explosion, percussionist Sammy Figueroa stands on his own for Imaginary World. But not entirely—although his name graces the top of the album cover, a bit farther down it notes “featuring Silvano Monasterios & Gabriel Vivas,” and that’s important stuff. The Venezuelan pianist and bassist, respectively, each contribute four songs to the nine-track set, their compositions furnishing its direction, setting and overall tone.

Monasterios goes first, his four running consecutively. “Bittersweet” bursts to life with a cymbal crash, resounding bass and muscular tandem trumpet and saxophone, all of it anchored by Figueroa and drummer David Chiverton’s rock-steady foundations. Each of Monasterios’ other three tracks displays a different disposition: “Waiting for You,” a funk-driven danceability; “He Didn’t Know,” a wide-open breathiness; “Flow of the Universe,” a highlight, a loosely structured juxtaposition of pianistic excellence, plucky saxophone from Troy Roberts and dizzying polyrhythms courtesy of Figueroa and Chiverton.

Vivas’ first offering, “The Jumping Blue Jay,” introduces for the first of two tracks guitarist Chico Pinheiro, whose swiftly rendered, adroitly framed lines provide a neat marker nuzzled between Alex Pope Norris’ gutty trumpet and thunderous drums and percussion. The title track flirts with dynamic shifts, its most intriguing segment arriving midway as Monasterios pulls entirely unanticipated and exceedingly delicious sounds from his keys, and both “Alegria” and “Mysterious Energy” accord their author generous solo bass space.

That leaves the album-closing “Cuidado,” composed by Marty Sheller and recorded by Mongo Santamaria, Poncho Sanchez and others. Figueroa and crew could have easily presented the tune via a traditional Afro-Latin arrangement. They don’t, choosing instead to keep it of a piece with the rest of the program, a wise decision as it contains some of the brightest and brawniest playing on the record. –Jeff Tamarkin, JazzTimes

Tracklist:
1 Bittersweet 06:05
2 Waiting For You 05:23
3 He Didn’t Know 07:15
4 Flow of the Universe 06:20
5 The Jumping Blue Jay 05:26
6 Imaginary World 05:57
7 Alegria 05:53
8 Mysterous Energy 06:55
9 Cuidado 04:12

Personnel:
Sammy Figueroa – percussion
Silvano Monasterios – piano
Gabriel Vivas – bass
Troy Roberts – saxophone
Alex Pope Norris – trumpet
David Chiverton – drums
Additional:
Chico Pinheiro – guitar
Cisco Dimas – trumpet

Download:

https://subyshare.com/x4n13gypzeau/SammyFiguer0aImaginaryW0rld201544.124.rar.html

Sarah Vaughan – Live At Rosy’s (2016)
FLAC (tracks) 24-bit/192 kHz | Time – 1:27:05 minutes | 3,08 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet | @ 2xHD

Sarah Vaughan – Live at Rosy’s is a newly discovered live recording captured in an intimate club setting on May 31, 1978 at Rosy’s in New Orleans. Featuring nearly 90 minutes of music from ‘the Divine One’, Sarah Vaughan backed by her trio of pianist Carl Schroeder, bassist Walter Booker and drummer Jimmy Cobb Live at Rosy’s is a collection material originally recorded for the Peabody Award-winning NPR radio program Jazz Alive! with host Dr. Billy Taylor, some of which has never been aired before.

This recording celebrates the genius that was Sarah Vaughan. Recorded live in concert in May 31, 1978 at the celebrated New Orleans jazz club Rosy’s, it represents two sets containing 87 minutes of music, that were never before released. The rhythm section (or as Sassy put it ‘my trio’) was extremely tight, made up of pianist and arranger Carl Schroeder, bassist Walter Booker and legendary drummer Jimmy Cobb (Miles Davis Kind of Blue). This band played hundreds of performances around the globe with Sarah Vaughan and in the recordings, in this set; these three masters’ empathy with one another and their consummate cohesiveness as a unit are undeniable. This is truly a rare collector’s recording.

Tracklist:
01 – I’ll Remember April
02 – Anchors Aweigh: I fall In Love Too Easily
03 – Band Intro
04 – East Of The Sun (And West Of The Moon)
05 – Bye Bye Birdie: A Lot Of Livin’ To Do
06 – It Happened In Brooklyn: Time After Time
07 – George White’s Scandals Of 1924: Somebody Loves Me
08 – The Big Show: Poor Butterfly
09 – A-Tisket, A-Tasket
10 – A Little Night Music: Send In The Clowns
11 – Sarah’s Blues
12 – Lady, Be Good!: The Man I Love
13 – I Got It Bad (And That Ain’t Good)
14 – Watch What Happens
15 – If You Went Away (Preciso Aprender A Ser Só)
16 – I Could Write A Book
17 – I Remember You
18 – Fascinating Rhythm
19 – Everything Must Change
20 – Belle Of The Yukon: Like Someone In Love
21 – Babes In Arms: My Funny Valentine
22 – Ending Theme

Recorded on May 31, 1978 at the Rosy’s, New Orleans.
Mixing and Sound Restoration: George Klabin & Fran Gala.
2xHD Mastering by: René Laflamme. 2xHD Executive Producer: André Perry.

For the 2xHD transfer of this recording, the original 1/4”, NAB master tape was played on a Nagra-T modified with high-end tube playback electronics, wired with OCC silver cable from the playback head direct to a Telefunken EF806 tube. The Nagra T has one of the best transports ever made, having four direct drive motors, two pinch rollers and a tape tension head. We did an analog transfer for each high-res sampling.

Download:

https://subyshare.com/xtcwm1fac910/SarahVaughanLiveAtR0sys2016HDTracks24192.part1.rar.html
https://subyshare.com/krxs2yvx31l6/SarahVaughanLiveAtR0sys2016HDTracks24192.part2.rar.html
https://subyshare.com/6sdvm1fuhz5f/SarahVaughanLiveAtR0sys2016HDTracks24192.part3.rar.html
https://subyshare.com/awm548z6c0ms/SarahVaughanLiveAtR0sys2016HDTracks24192.part4.rar.html

Scott Hamilton, Andrea Pozza – I Could Write a Book (2013)
FLAC (tracks) 24-bit/88,2 kHz | Time – 57:13 minutes | 1,01 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: highresaudio | Artwork: Digital booklet | @ fonè records

Scott Hamilton is a jazz tenor saxophonist associated with swing and mainstream jazz. Hamilton emerged in the 1970s and at the time was considered to be one of the few musicians of real talent who carried the tradition of the classic jazz tenor saxophone in the style of Ben Webster, Coleman Hawkins as well as Zoot Sims and Don Byas forward. Hamilton has recorded more than 40 albums as a lead.

Jazz pianist Andrea Pozza made his debut at age 13 in the historic jazz club, Genoa. His career spans more than 30 years, has led him to perform in Italy and abroad with real “superstars” of the likes of Harry “Sweet” Edison, Bobby Durham, Chet Baker, Al Grey Scott Hamilton, George Coleman, Charlie Mariano, Lee Konitz, Sal Nistico, Massimo Urbani, Luciano Milanese and many others.

“I have been wanting to record with Andrea Pozza for twenty years, so this was a great opportunity for me. In addition we recorded at home in Certaldo Alto so the atmosphere was very relaxed and friendly. I am looking forward to hearing how I sound without any effects – just the very good natural acoustics of the Castello.” – Scott Hamilton

“Few times in life one has the feeling to be in the right place at the right time. It happened to me in the cellar of Hotel II Castello in Certaldo on the occasion of the recording of this album. To record with Scott Hamilton, one of my all time favorite musicians, in an extraordinary place with invaluable microphones skillfully maneuvered by Giulio Cesare Ricci, a real “guru” of hifi recording, enjoying the hospitality Alfred Kramer (and his snare drum and brushes in a couple of takes) and the amazing food at II Catello — what do you think, isn’t that enough?” – Andrea Pozza

Scott Hamilton
was born in 1954, in Providence, Rhode Island. During his early childhood he heard a lot of jazz through his father’s extensive record collection, and became acquainted with the jazz greats. He tried out several instruments, including drums at about the age of five, piano at six and mouth-organ. He had some clarinet lessons when he was about eight years of age, but that was the only formal music tuition he has ever had. Even at that age he was attracted to the sound of Johnny Hodges, but it was not until he was about sixteen that he started playing the saxophone seriously. From his playing mainly blues on mouth organ, his little band gradually became more of a jazz band.

Andrea Pozza
debut at age 13 in a historic jazz club Genoa. From that moment on, his career is now more than thirty years, has led him to perform in Italy and abroad with real “sacred cows” of the likes of Harry “Sweet” Edison, Bobby Durham, Chet Baker, Al Grey , Scott Hamilton, George Coleman, Charlie Mariano, Lee Konitz, Sal Nistico, Massimo Urbani, Luciano Milanese and many more.

Tracklist:
01 – I Could Write a Book
02 – We’ll Be Together Again
03 – No Moon At All
04 – Isn’t It Romantic
05 – Boccaccio Blues
06 – Everything I Love
07 – Afternoon in Paris (4th October Take)
08 – Limehouse Blues (feat. Alfred Kramer)
09 – Afternoon in Paris (3th October Take)

Conceived, Recorded and Produced by Giulio Cesare Ricci.
Recorded at Hotel II Castello – Palazzo di Scoto di Semifonte Certaldo Alto (Fi) October 2013.
Recorded in stereo DSD on the Pyramix Recorder using dCS A/D and D/A converters.

Download:

https://subyshare.com/lx94mq5vim0v/Sc0ttHamilt0nAndreaP0zzaIC0uldWriteaB00k2013HRA24882.part1.rar.html
https://subyshare.com/0vmcn9kdify8/Sc0ttHamilt0nAndreaP0zzaIC0uldWriteaB00k2013HRA24882.part2.rar.html

Scott Hamilton, Andrea Pozza – Who Cares? (2014)
FLAC (tracks) 24-bit/88,2 kHz | Time – 55:26 minutes | 0,99 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: highresaudio | Artwork: Digital booklet | @ Fonè Records

While big bands seemed to be fading fast during the late ’50s and early ’60s, bandleader Si Zentner was one of the few to front a successful big band – enjoying both critical and commercial acclaim.

Two highly accomplished musicians playing in a historic venue! For once, it is the place to determine the release and success of a record. The place is an ancient residential palace in the heart of Tuscany, a family property turned into a hotel which has become over the last years a meeting place for artists and musicians. The meeting in this case was between Scott Hamilton, Andrea Pozza, Giulio Cesare and Alfred Kramer on the occasion of a concert of the two musicians held in the music room of the historic venue.

The magic of music and location together has fascinated Giulio Cesare and just a few months later, they were back to the scene of the crime and what you are holding in your hands is the result. Brazilian poet Vinicius de Moraes wrote “a vida é a arte do encontro (life is the art of meeting), but certainly without humans meeting no artform could survive.

“I have been wanting to record with Andrea Pozza for twenty years, so this was a great opportunity for me. In addition we recorded at home in Certaldo Alto so the atmosphere was very relaxed and friendly. I am looking forward to hearing how I sound without any effects – just the very good natural acoustics of the Castello.” – Scott Hamilton

“Few times in life one has the feeling to be in the right place at the right time. It happened to me in the cellar of Hotel Il Castello in Certaldo on the occasion of the recording of this album. To record with Scott Hamilton, one of my all time favourite musicians, in an extraordinary place with invaluable microphones skillfully maneuvered by Giulio Cesare Ricci, a real ‘guru’ of hifi recording, enjoying the hospitality Alfred Kramer (and his snare drum and brushes in a couple of takes) and the amazing food at Il Castello — what do you think, isn’t that enough?” – Andrea Pozza

Tracklist:
01 – Airegin
02 – Who Cares?
03 – I’m Through With Love
04 – Old Devil Moon (4th October Take)
05 – Don’t Worry ‘Bout Me
06 – On a Misty Night
07 – All Of Me (feat. Alfred Kramer)
08 – Old Devil Moon (3th October Take)

Conceived, Recorded and Produced by Giulio Cesare Ricci.
Recorded at Hotel II Castello – Palazzo di Scoto di Semifonte Certaldo Alto (Fi) October 2013.
Recorded in stereo DSD on the Pyramix Recorder using dCS A/D and D/A converters.

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Seth MacFarlane – No One Ever Tells You (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:05:19 minutes | 1,29 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks |  Republic Records

The creator and multi-voice talent of Family Guy (among other shows) returns for his third album of American Songbook era classics, showcasing that his voice can do anything!

“There was a time during the mid-1950s and early 1960s when popular song was stretching its creative boundaries, experimenting with more ambitious structures and tones. During this period, a song set out to really tell a story: not just with the lyric and the vocal, but with the arrangements and orchestral interpretations. The songs on this record attempt to do just that.” –Seth MacFarlane

The seventeen tracks see the singer take on standards such as “The One I Love (Belongs To Someone Else)” and “I Only Miss Her When I Think Of Her,” as well the Rodgers and Hart classic “A Ship Without A Sail.” The record also includes some lesser-known but equally magnetic songs like “Goodbye, Little Dream, Goodbye” by Cole Porter and Henry Mancini’s “Don’t Call It Love”.

“There was a time during the mid-1950’s and early 1960’s when popular song was stretching its creative boundaries, and experimenting with more ambitious structures and tones.” says MacFarlane “During this period, a song set out to really tell a story: not just with the lyric and the vocal, but with the arrangements and orchestral interpretations. The songs on this record attempt to do just that.”

Once again, MacFARLANE teams up with Grammy Award®-nominated producer, composer and arranger Joel McNeely for the project. Of the project, McNeely states “The instrumentation on this record is unusual. It is a very small string section, only a few brass and woodwinds. But we chose the musicians very carefully. These players have an understanding of the long lost style of playing from that era and their understanding of the required extra vibrato, copious dramatic slides and bends brings a stylistic realism to the orchestra almost impossible to achieve these days.”

Expanding his musical discography yet again, No One Ever Tells You follows up last year’s Holiday For Swing, which saw MacFARLANE and McNeely tackle a bevy of holiday gems. His 2011 debut, Music Is Better Than Words, received Grammy Award nominations in the categories of “Best Traditional Pop Vocal Album” and “Best Engineered Album, Non-Classical.”

Tracklist:
1 No One Ever Tells You 4:02
2 Guess I’ll Hang My Tears Out To Dry 4:16
3 A Ship Without A Sail 4:18
4 The One I Love Belongs To Someone Else 3:25
5 It’s All Right With Me 5:28
6 This Nearly Was Mine 3:27
7 Make This A Slow Goodbye 3:26
8 Don’t Call It Love 3:32
9 I’ll Only Miss Her When I Think Of Her 3:14
10 These Foolish Things (Remind Me Of You) 3:24
11 Before I Gaze At You Again 4:09
12 Only The Lonely 4:50
13 I Guess I’ll Have To Change My Plan 3:40
14 I Wish I Didn’t Love You So 3:41
15 Goodbye, Little Dream, Goodbye 3:50
16 Spring Will Be A Little Late This Year 3:03
17 Loss Of Love 3:28

Personnel:
Seth MacFarlane, vocals
Joel McNeely, arranger, conductor

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Shostakovich – Symphony No. 4 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2013)
FLAC (tracks) 24-bit/96 kHz | Time – 01:04:44 minutes | 1,12 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz |  @ Naxos Rights
Recorded at Liverpool Philharmonic Hall, England, on 9th and 10th February, 2013

Completed in 1936 but withdrawn during rehearsal and not performed until 1961, the searing Fourth Symphony finds Shostakovich stretching his musical idiom to the limit in the search for a personal means of expression at a time of undoubted personal and professional crisis. The opening movement, a complex and unpredictable take on sonata form that teems with a dazzling profusion of varied motifs, is followed by a short, eerie central movement. The finale opens with a funeral march leading to a climax of seismic physical force that gives way to a bleak and harrowing minor key coda. The Symphony has since become one of the most highly regarded of the composer’s large-scale works.

There are a lot of performances of this remarkable symphony available now, but this one stands out as having a truly distinctive and persuasive point of view. …Vasily Petrenko more than compensates for any lack of sheer heft with an extra jolt of energy and a razor-sharp rhythmic attack.

This is one of those performances that justifies purchasing yet another recording of what is becoming a relatively well-known work. It confirms the piece as a true classic, in the sense that a variety of approaches reveals an endless series of valid interpretive possibilities. The performance is also extremely well recorded, naturally balanced, and vividly present. Wonderful. –David Hurwitz, ClassicsToday

Tracklist:
Dmitry Shostakovich (1906-1975)
Symphony No. 4 in C Minor, Op. 43
1. I. Allegretto poco moderato – Presto 00:27:20
2. II. Moderato con moto 00:09:25
3. III. Largo – Allegro 00:28:14

Personnel:
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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Dmitry Shostakovich – Symphony No. 14 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2013)
FLAC (tracks) 24-bit/96 kHz | Time – 00:49:19 minutes | 795 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz |  @ Naxos Rights
Recorded at Liverpool Philharmonic Hall, England, on 4th and 5th May, 2013

At its première in June 1969 Shostakovich described his Symphony No. 14, in effect a symphonic song cycle, ‘a fight for the liberation of humanity…a great protest against death, a reminder to live one’s life honestly, decently, nobly…’ Originally intending to write an oratorio, Shostakovich set eleven poems on the theme of mortality, and in particular early or unjust death, for two solo singers accompanied by strings and percussion. This is the penultimate release in Vasily Petrenko’s internationally acclaimed symphonic cycle.

This is a sensational performance, the first that truly vies with the classic Rostropovich/Vishnevskaya/Reshetin for supremacy. Vasily Petrenko enjoys the distinct advantage of two absolutely fabulous young soloists.

…Petrenko is more than gripping. …Petrenko captures every mood, from the feverish waltz of Malagueña, to the urgent yearning of O Delvig, Delvig! In Petrenko’s hands, we become supremely conscious of how Shostakovich achieves moments of exquisite beauty using the simplest of means—a wandering string line in De profundis or The Death of the Poet—or passages of sardonic humor with the militant rhythm of the tom-toms in On Watch. –David Hurwitz, ClassicsToday

…with bold sound and detailed booklet-notes this would be a thrilling investment at any price. Let’s not forget the singers’ fresh-sounding contribution. Alexander Vinogradov…is one of those Russian basses whose rich, sepulchral tones, easily produced, belie a boyish frame. Gal James…throws herself into the proceedings with striking commitment. Strongly recommended. –David Gutman, Gramophone

Tracklist:
Dmitry Shostakovich (1906-1975)
Symphony No. 14, Op. 135
1. I. De profundis: Adagio 00:04:51
2. II. Malaguena: Allegretto – 00:02:46
3. III. Lorelei: Allegro molto – 00:08:37
4. IV. The Suicide: Adagio 00:06:51
5. V. On Watch: Allegretto – 00:03:04
6. VI. Madam, look!: Allegretto – 00:02:02
7. VII. In the Sante Prison: Adagio 00:09:55
8. VIII. The Zaporozhian Cossacks’ Reply to the Sultan of Constantinople: Allegro – 00:01:51
9. IX. O Delvig, Delvig!: Andante 00:04:04
10. X. The Death of the Poet: Largo – 00:04:32
11. XI. Conclusion: Moderato 00:01:22

Personnel:
Gal James, soprano
Alexander Vinogradov, bass
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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Dmitry Shostakovich – Symphonies Nos. 1 & 3 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2011)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:04:10 minutes | 569 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz |  @ Naxos Rights
Recorded at the Philharmonic Hall, Liverpool, England, on 28th and 29th July, 2009 (tracks 1-4), and on 22nd and 23rd June, 2010 (tracks 5-10)

Shostakovich’s First Symphony propelled the teenage composer to international prominence, its emotional range and innovative orchestration marking him as a daring and precocious talent on the scene. The Third Symphony, ‘The First of May’, originally intended as part of a symphonic cycle inspired by dates on the revolutionary calendar, has been described as ‘a reckless and at times chaotic accommodation between modernist intent and revolutionary fervour’. ‘Thrilling, perfect, essential…the modern reference recording’.

Petrenko’s Shostakovich cycle continues with an account of the First Symphony that appreciates both its mischief and its soulfulness. Superbly characterful contributions from his woodwind section help to bring both those dimensions to life, while Petrenko’s grasp of the broader picture helps to keep the balance between them. Only once does that grasp briefly desert him, when he takes the Trio section of the second movement (where flutes and clarinets evoke a mock pilgrims’ procession) so slowly that the symphonic flow is damaged—not irreparably but enough to discourage me from listening again.

Similarly, there are dozens of delightful details in Petrenko’s account of The First of May Symphony but his structural pacing is more seriously open to question. The opening clarinet solo, for instance, may be beautifully inflected but it is so far away from the marked tempo that the first accelerando has the feeling of an emergency catch-up. Thereafter everything stays on track for a while, and the sense of enthusiasm bordering on fanaticism—surely germane, whichever way you care to “read” the piece ideologically—is superbly realised, until an unmarked slowing for the side-drum tattoo dissipates much of the excitement. Having said that, much in the late stages is outstandingly fine, including the RLPO Chorus’s more than plausible impersonation of ardent revolutionaries. With the exception of the trumpets’ reluctance (or is it Petrenko’s?) to drive home climaxes—not a fault of Jansons’s account of the Third Symphony, for one—the internal balance and overall sound-picture are exceptionally fine. At bargain price, Naxos’s offering is hardly bettered. –David Fanning, Gramophone

Tracklist:
Dmitry Shostakovich (1906-1975)
Symphony No. 1 in F Minor, Op. 10
1. I. Allegretto – Allegro non troppo 00:08:21
2. II. Allegro 00:05:36
3. III. Lento 00:09:24
4. IV. Allegro molto 00:10:02

Symphony No. 3, Op. 20, “Pervomayskaya” (The First of May)
5. I. Allegretto 00:02:25
6. II. Piu mosso 00:08:52
7. III. Andante 00:06:05
8. IV. Allegro 00:06:14
9. V. Andante 00:03:09
10. VI. Moderato 00:04:24

Personnel:
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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Dmitry Shostakovich – Symphonies Nos. 5 & 9 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2009)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:18:01 minutes | 669 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz |  @ Naxos Rights
Recorded at the Philharmonic Hall, Liverpool, England, on 7th and 8th July, 2008 (tracks 1-4), and 29th and 30th July, 2008 (tracks 5-9)

Following their electrifying account of Shostakovich’s Eleventh Symphony (8.572082), Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra explore the profound ambivalences of the composer’s most performed symphony, the Fifth, written in 1937 at a time when he was under intense personal and political pressure from the authorities. The jaunty, neo-classical character of the Ninth Symphony (1945) prompted Shostakovich to remark that ‘musicians will like to play it, and critics will delight in blasting it’. Shostakovich’s startlingly different original draft for the opening of the Ninth’s first movement is available on 8.572138.

Vasily Petrenko is an outstanding Shostakovich conductor, as attentive to small details as he is to larger issues of structure and balance; his Fifth Symphony offers as fine an interpretation as any available. The first movement builds inexorably to a perfectly timed climax. He adopts a wide range of tempos without ever sounding too slow in the outer sections, and the ghostly coda, with the final fadeout perfectly timed, is exquisite. The scherzo’s inherent clunkiness never turns into mannerism (the music needs little help), while the Largo has just the right hushed intensity, superbly sustained. Petrenko takes the slow option for the coda of the finale, and once again builds the climaxes as well as anyone ever has. A terrific performance.

The Ninth also has a lot to recommend it. The Liverpool wind players really do themselves proud, especially in the first two movements. Petrenko pushes the scherzo a bit faster than the strings can readily manage, and this smears their rhythmic articulation in the central trio section with solo trumpet, but that’s the only reservation I have about this performance, and it’s a very minor one.

Sonically though, there’s a lack of bass to the string sound that seems endemic to English orchestras these days, though the engineering also seems to give the cellos and basses short shrift. That the issue may be one of microphone placement rather than any serious deficiency in the playing itself gains some support in listening to the coda of the Fifth’s finale. There, those endlessly repeated “A’s” in the violins and piano favor the keyboard in a manner that you’ll never hear balanced in a live performance. None of this detracts from Petrenko’s achievement, though. He’s building up a series well worth hearing. –David Hurwitz, ClassicsToday

Tracklist:
Dmitry Shostakovich (1906-1975)
Symphony No. 5 in D Minor, Op. 47
1. I. Moderato 00:18:01
2. II. Allegretto 00:05:12
3. III. Largo 00:15:34
4. IV. Allegro non troppo 00:12:50

Symphony No. 9 in E-Flat Major, Op. 70
5. I. Allegro 00:05:25
6. II. Moderato 00:08:47
7. III. Presto – 00:02:39
8. IV. Largo – 00:03:33
9. V. Allegretto 00:06:06

Personnel:
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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Billy Cobham – Spectrum (1973) [Audio Fidelity 2016]
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 4.0 > 1-bit/2.8224 MHz | 37:38 minutes | Full Scans included | 2,67 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 37:35 mins | Scans included | 724 MB
Features Stereo and Quadrophonic surround sound | SACD Mastering by Kevin Gray | Audio Fidelity # AFZ5 234

Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include “Red Baron”) make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.

Tracklist:
01. Quadrant 4
02. A) Searching For The Right Door / B) Spectrum
03. A) Anxiety / B) Taurian Matador
04. Stratus
05. A) To The Women In My Life / B) Le Lis
06. A) Snoopy’s Search / B) Red Baron

SACD Mastering by Kevin Gray at Cohearent Audio.

ISO

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Billy Cobham – Spectrum (1973) [Remastered 2001]
FLAC (tracks) 24 bit/96 kHz | Time – 37:41 minutes | 762 MB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | @ Rhino

One of the most important albums of the jazz-funk genre, 1973’s Spectrum shows legendary drummer Billy Cobham—a veteran of groundbreaking fusion albums by Miles Davis and Weather Report—at a creative peak. Joined by keyboardist Jan Hammer (of Mahavishnu Orchestra), guitarist Tommy Bolin, and bassist Lee Sklar, Cobham delivers a hard-grooving, sophisticated performance that stands among the era’s best fusion recordings.

Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include “Red Baron”) make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.

Tracklist:
01 – Quadrant 4
02 – (A) Searching For The Right Door / (B) Spectrum
03 – (A) Anxiety / (B) Taurian Matador
04 – Stratus
05 – (A) To The Women In My Life / (B) Le Lis
06 – (A) Snoopy’S Search / (B) Red Baron

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Metallica – Death Magnetic (2008/2008)
FLAC (tracks) 24-bit/96 kHz | Time – 74:46 minutes | 1,65 GB | Genre: Metal
Studio Master, Official Digital Download – Source: Metallica.com |@ Warner Bros. Records

Death Magnetic was the band’s first album to be produced by Rick Rubin, making this their first album since 1991’s Metallica (Usually known as The Black Album) not to be produced by Bob Rock. The album received mostly positive reviews upon release, with critics describing it as a return to the musical style of their early albums. Death Magnetic is the band’s first album to feature bassist Robert Trujillo.

Call Death Magnetic Kirk Hammett’s revenge. Famously browbeaten into accepting Lars Ulrich and producers Bob Rock’s dictum that guitar solos were “dated” and thereby verboten for 2003’s St. Anger – a fraught recording chronicled on the 2004 documentary Some Kind of Monster – Metallica’s lead guitarist dominates this 2008 sequel, playing with an euphoric fury not heard in years, if not decades. This aesthetic shift isn’t because Hammett suddenly rules the band: powerless to add solos to St. Anger, he couldn’t reinstate them without the blessing of Ulrich and James Hetfield, the politburo of Metallica. The duo suffered some combination of shame and humility in the wake of the muddled St. Anger and Monster, convincing these two unmovable forces to change direction. They ditched longtime producer Rock – who’d helmed every album since 1991’s breakthrough blockbuster Metallica – in favor of Rick Rubin, patron saint of all veteran rockers looking to reconnect with their early spark. Rubin may be the go-to producer for wayward superstars but as the producer of Slayer, he’s also rooted in thrash, so he understands the core of Metallica’s greatness and gently steers them back to basics on Death Magnetic.

Tracklist:
01 – That Was Just Your Life
02 – The End Of The Line
03 – Broken, Beat & Scarred
04 – The Day That Never Comes
05 – All Nightmare Long
06 – Cyanide
07 – The Unforgiven III
08 – The Judas Kiss
09 – Suicide & Redemption (Instrumental)
10 – My Apocalypse

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Queen – Greatest Hits (1981/2014/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 58:09 minutes | 1,29 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | @ Hollywood Records
Features 2011’s Digital Remastering

With over 25 million copies sold worldwide, this is the definitive compilation for any fan of Queen. Packing the hardest hitting singles over Queen’s lifetime, such as “Another One Bites The Dust” and “We Will Rock You”, not to mention the legendary “Bohemian Rhapsody”, every single track on this album is instantly recognizable for the massive splash it made when it was originally released.

They may not have started out that way, but by 1981 Queen definitely was perceived as a singles act. This record gathers their biggest US/UK hits, 1973-1981, including the collaboration with David Bowie, “Under Pressure,” which was not on the reissue from EMI. Not to be confused with the 1992 Hollywood Records (61625) release also called Greatest Hits.

Tracklist:
01 – Bohemian Rhapsody
02 – Another One Bites The Dust
03 – Killer Queen
04 – Fat Bottomed Girls (Single Version)
05 – Bicycle Race
06 – You’re My Best Friend
07 – Don’t Stop Me Now
08 – Save Me
09 – Crazy Little Thing Called Love
10 – Somebody To Love
11 – Now I’m Here
12 – Good Old-Fashioned Lover Boy
13 – Play The Game
14 – Flash
15 – Seven Seas Of Rhye
16 – We Will Rock You
17 – We Are The Champions

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Sasha – Scene Delete (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 91:23 minutes | 892 MB | Genre: Electronic
Studio Master, Official Digital Download – Source: LateNightTales | Artwork: Digital booklet | @ Night Time Stories Ltd.

The first Late Night Tales release of 2016 is a very special project by Sasha, his first studio album in 14 years! Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UKs leading house and techno DJs. This is Sasha, but as you’ve never heard him before. Away from the hubbub of the club, the craziness of Ibiza, there’s a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. Scene Delete is a side of Sasha you’ve never heard before.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called Bring On The Night. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldnt get it right. So it sat there doing nothing. Tracks like this kept building up, until finally last summer my frustration boiled over. Wed made so many tunes that I couldnt remember the names of half of them: What was that thing with a bass sound and a string line? It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins Late Night Tales and I thought a lot of the music wed been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it. Initially, I thought wed just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything wed worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: Scene Delete is the end result. – Sasha, January 2016

Tracklist:
01 – Channel deq
02 – View2
03 – Baracus
04 – Linepulse
05 – Time After Time
06 – Detour
07 – Pontiac
08 – Cassette Sessions D
09 – Cassette Sessions E
10 – Healer
11 – Modcon
12 – Scarpa Falls
13 – Warewolf
14 – Bring on the Night-time
15 – Corvette
16 – Shelter
17 – Untitled 3
18 – Abacus
19 – Rooms
20 – Broadcast
21 – Vapour Trails

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Jean Sibelius – Symphony No. 1 & Luonnotar – New York Philharmonic, Leonard Bernstein (1968/2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 00:44:46 minutes | 444 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz | @ Sony Classical

Bernstein – Remastered Edition: Sibelius – The Symphonies collects Bernstein’s complete Sibelius recordings, newly remastered from the original analogue tapes using 24 bit / 96 kHz technology in a 7CD limited original jackets collection.

Bernstein regarded Sibelius alongside Mahler as one of “the key turning points” in the development of the 20th century symphony, though his reputation as a Mahler exponent has overshadowed a lifelong dedication to the Finnish composer. His advocacy goes back to the time of his association with Koussevitzky, with whom he studied at Tanglewood in 1940, later becoming his assistant. At Philadelphia’s Curtis Institute in 1941, he conducted the Second Symphony. And following his sensational New York Philharmonic debut in November 1943, one of Bernstein’s first engagements was a Montreal Symphony Orchestra concert in March 1944 that included his first performance of the First.

The Finnish composer’s centenary year, 1965, brought a flurry of activity. In New York, Bernstein conducted all the symphonies in a single season (only his mentor Serge Koussevitzky had done that in the US, three decades earlier in Boston). For his efforts, Bernstein was made a Commander of the Order of the Lion by the president of Finland. By this time, he was already well into his recorded Sibelius cycle, begun in February 1961 with the Fifth Symphony, completed in May 1967 with the Sixth.

Bernstein’s Sibelius, like his teacher’s, was “warm like the sun” rather than a more orthodox evocation of cold northern soundscapes. He once called Sibelius “a great and strange kind of genius”, but in his New York cycle he favors visceral excitement over strange remoteness.

This set also contains his recording of Sibelius’s Violin Concerto with the French virtuoso Zino Francescatti. Also included are Valse triste, The Swan of Tuonela, a rather brash Finlandia, a thrilling performance of Pohjola’s Daughter and Luonnotar – Sibelius’s haunting setting of words from the Kalevala, the Finnish national epic (with American soprano Phyllis Curtin) – as well as Bernstein’s only recording of Grieg’s Peer Gynt Suites. But it’s the Sibelius symphonies that are the chief attraction here, and this often stunningly well-played, first completed stereo cycle has lost none of its freshness and authority in the half century since it was recorded.

Tracklist:
Jean Sibelius (1865-1957)
Symphony No. 1 In E Minor, Op. 39
1 Andante Ma Non Troppo; Allegro Energico 10:21
2 Andante 9:12
3 Scherzo: Allegro 5:00
4 Finale: Quasi Una Fantasia 11:53
5 Luonnotar for Soprano and Orchestra, Op. 70 8:03

Personnel:
New York Philharmonic
Leonard Bernstein, conductor
Phyllis Curtin, soprano (#5)

Download:

https://subyshare.com/20mzigieanq2/SibeliusSymph0nyN0.1Lu0nn0tarNewY0rkPhilharm0nicLe0nardBernstein196844.124.rar.html

Jean Sibelius – Symphony No. 2 – New York Philharmonic, Leonard Bernstein (1968/2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 00:44:33 minutes | 440 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz | @ Sony Classical

Bernstein – Remastered Edition: Sibelius – The Symphonies collects Bernstein’s complete Sibelius recordings, newly remastered from the original analogue tapes using 24 bit / 96 kHz technology in a 7CD limited original jackets collection.

Bernstein regarded Sibelius alongside Mahler as one of “the key turning points” in the development of the 20th century symphony, though his reputation as a Mahler exponent has overshadowed a lifelong dedication to the Finnish composer. His advocacy goes back to the time of his association with Koussevitzky, with whom he studied at Tanglewood in 1940, later becoming his assistant. At Philadelphia’s Curtis Institute in 1941, he conducted the Second Symphony. And following his sensational New York Philharmonic debut in November 1943, one of Bernstein’s first engagements was a Montreal Symphony Orchestra concert in March 1944 that included his first performance of the First.

The Finnish composer’s centenary year, 1965, brought a flurry of activity. In New York, Bernstein conducted all the symphonies in a single season (only his mentor Serge Koussevitzky had done that in the US, three decades earlier in Boston). For his efforts, Bernstein was made a Commander of the Order of the Lion by the president of Finland. By this time, he was already well into his recorded Sibelius cycle, begun in February 1961 with the Fifth Symphony, completed in May 1967 with the Sixth.

Bernstein’s Sibelius, like his teacher’s, was “warm like the sun” rather than a more orthodox evocation of cold northern soundscapes. He once called Sibelius “a great and strange kind of genius”, but in his New York cycle he favors visceral excitement over strange remoteness.

This set also contains his recording of Sibelius’s Violin Concerto with the French virtuoso Zino Francescatti. Also included are Valse triste, The Swan of Tuonela, a rather brash Finlandia, a thrilling performance of Pohjola’s Daughter and Luonnotar – Sibelius’s haunting setting of words from the Kalevala, the Finnish national epic (with American soprano Phyllis Curtin) – as well as Bernstein’s only recording of Grieg’s Peer Gynt Suites. But it’s the Sibelius symphonies that are the chief attraction here, and this often stunningly well-played, first completed stereo cycle has lost none of its freshness and authority in the half century since it was recorded.

Tracklist:
Jean Sibelius (1865-1957)
Symphony No. 2 in D Major, Op. 43
1 I. Allegretto 9:29
2 II. Tempo andante ma rubato 14:49
3 III. Vivacissimo – Lento e suave 5:41
4 IV. Finale – Allegro moderato 14:34

Personnel:
New York Philharmonic
Leonard Bernstein, conductor

Download:

https://subyshare.com/rphks9dceioy/SibeliusSymph0nyN0.2NewY0rkPhilharm0nicLe0nardBernstein196844.124.rar.html