Blue Chamber Quartet – Chick Corea: Children’s Songs (2009) [Hybrid-SACD] {SACD-R + FLAC 24-88.2}

August 15, 2015, 3:02 am

≫ Next: Bryan Ferry – Boys And Girls (1985) [Reissue 2005] {2.0 & 5.1} {SACD-R + FLAC 24-88.2}

≪ Previous: Bill Withers – Live At Carnegie Hall (1973) [MFSL 2014] {SACD-R + FLAC 24-88.2 + DSF DSD64/2.82MHz}

Blue Chamber Quartet – Chick Corea: Children’s Songs
SACD ISO (2.0/MCH): 2,36 GB | 24B/88,2kHz Stereo FLAC: 712 MB | Full Artwork
Label/Cat#: Stockfisch Records # SFR 357.4067.2 | Country/Year: Germany 2009 | 3% Recovery Info
Genre: Jazz, Classical | Style: Contemporary Jazz, Chamber Music

A word of warning: the notes to this CD may detract from the lovely music it contains. German ensemble Blue Chamber Quartet commissioned journalist Cathrin Kahlweit to write a brief essay for each of the work’s 20 movements, first-person vignettes describing the lives of children in 20 countries that seemingly have no discernable relationship to Corea’s gentle, sophisticated miniatures.

Corea wrote this suite of pieces for piano in the 1970s and ’80s, and it has been recorded both in the original version and in various arrangements numerous times. The pieces are delightful — playful, lively, graceful, and inventive — and there is nothing about them that marks them as entertainment only for children. This is music that can be savored by anyone with a taste for directly communicative new music. The music works beautifully in this arrangement by group member Thomas Schindl, scored for piano, harp, vibraphone, and double bass, along with a part for guest percussionist Sven von Samson. The colorful and unusual instrumentation creates an even broader expressive palette than the piano version, and the evocative percussion atmospherics that surround some of the pieces add about 10 minutes to the total duration of the suite. The playing is delicate and spirited throughout, and the sound quality of the SACD is balanced and detailed. ~allmusicguide

“The arrangements are subtle and tasteful in expanding the simple but lovely melodies of each of the songs into quartet or quintet form.” John Sunier: www.audaud.com

SACD Info:
Blue Chamber Quartet – Chick Corea: Children’s Songs

Label: Stockfisch Records
Catalog#: SFR 357.4067.2
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2009
Genre: Jazz, Classical
Style: Contemporary Jazz, Chamber Music

Tracklist:

1 No. 01 3:28
2 No. 02 1:32
3 No. 03 1:48
4 No. 04 3:14
5 No. 05 1:35
6 No. 06 3:32
7 No. 07 2:10
8 No. 08 1:59
9 No. 09 1:48
10 No. 10 1:58
11 No. 11 1:30
12 No. 12 2:21
13 No. 13 1:36
14 No. 14 2:30
15 No. 15 1:46
16 No. 16 1:38
17 No. 17 1:31
18 No. 18 1:48
19 No. 19 2:48
20 No. 20 2:50

BLUE CHAMBER QUARTET: Julia Bartha – piano / Angelika Siman – concert harp / Thomas Schindl – vibraphone / Holger Michalski – double bass / als Gast: Sven von Samson – percussion

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3lPREkF9/BlueChamberQuartetChickCoreaFLAC.part1.rar
http://www.datafile.com/d/TVRFNU16Z3lOemsF9/BlueChamberQuartetChickCoreaFLAC.part2.rar
or
http://rapidgator.net/file/08010afc4138f19fa02f44c499ce67a0/BlueChamberQuartetChickCoreaFLAC.part1.rar.html
http://rapidgator.net/file/afd75251780749966f01e9a7fc42a72c/BlueChamberQuartetChickCoreaFLAC.part2.rar.html

Info+Art

http://www.datafile.com/d/TVRFNU16Z3lPREEF9/BlueChamberQuartetChickCoreaInfoArt.rar
or
http://rapidgator.net/file/cd1de8e24aaada65ea701a7cd9c7fb17/BlueChamberQuartetChickCoreaInfoArt.rar.html

↧

Bryan Ferry – Boys And Girls (1985) [Reissue 2005] {2.0 & 5.1} {SACD-R + FLAC 24-88.2}

August 15, 2015, 3:18 am

≫ Next: George Frideric Handel – Ombra cara – Bejun Mehta, Freiburger Barockorchester, Rene Jacobs (2010) [Qobuz 24-44.1]

≪ Previous: Blue Chamber Quartet – Chick Corea: Children’s Songs (2009) [Hybrid-SACD] {SACD-R + FLAC 24-88.2}

Bryan Ferry – Boys And Girls (1985) [Reissue 2005] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 38:30 minutes | Scans included | 2,37 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 778 MB
Features 2.0 Stereo and 5.1 multichannel surround sound
Genre: Rock

Having at last laid Roxy to bed with its final, intoxicatingly elegant albums, Ferry continued its end-days spirit with his own return to solo work. Dedicated to Ferry’s father, Boys and Girls is deservedly most famous for its smash single “Slave to Love.” With a gentle samba-derived rhythm leading into the steadier rock pace of the song, it’s ’80s Ferry at his finest, easy listening without being hopelessly soporific. As a whole, Boys and Girls fully established the clean, cool vision of Ferry on his own to the general public. Instead of ragged rock explosions, emotional extremes, and all that made his ’70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match. Co-producer Rhett Davies, continuing his role from the latter Roxy albums, picks up where Avalon left off right from the slinky opening grooves of “Sensation.” The range of people on the album is an intriguing mix, from latterday Roxy members like Andy Newmark and Alan Spenner to avid Roxy disciples like Chic’s Nile Rodgers. Everyone is subordinated to Ferry’s overall vision, and as a result there’s not as much full variety on Boys and Girls as might be thought or hoped. The album’s biggest flaw is indeed that it’s almost too smooth, with not even the hint of threat or edge that Ferry once readily made his own. As something that’s a high cut above the usual mid-’80s yuppie smarm music, though, Boys and Girls remains an enjoyable keeper that has aged well.

Tracklist:
01. Sensation
02. Slave To Love
03. Don’t Stop The Dance
04. A Waste Land
05. Windswept
06. The Chosen One
07. Valentine
08. Stone Woman
09. Boys And Girls

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3pNREEF9/BryanFerryBoysAndGirls1985Reissue2005FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRFNU16Z3lPVGMF9/BryanFerryBoysAndGirls1985Reissue2005FLAC2488.2.part2.rar
or
http://rapidgator.net/file/a141a53d31b11ad7de91d4d38d5311e9/BryanFerryBoysAndGirls1985Reissue2005FLAC2488.2.part1.rar.html
http://rapidgator.net/file/9485356d69235d2e9f9cc9b111de93a0/BryanFerryBoysAndGirls1985Reissue2005FLAC2488.2.part2.rar.html

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George Frideric Handel – Ombra cara – Bejun Mehta, Freiburger Barockorchester, Rene Jacobs (2010) [Qobuz 24-44.1]

August 17, 2015, 10:14 am

≫ Next: Herbie Hancock – Gershwin’s World (1998/2015) [HDTracks 24-192]

≪ Previous: Bryan Ferry – Boys And Girls (1985) [Reissue 2005] {2.0 & 5.1} {SACD-R + FLAC 24-88.2}

George Frideric Handel – Ombra cara – Bejun Mehta, Freiburger Barockorchester, Rene Jacobs (2010)
FLAC (tracks) 24 bit/44.1kHz | Time – 01:11:37 minutes | 696 MB | Genre: Classical
Official Digital Download – Source: Qobuz | © Harmonia Mundi
Recorded: mars 2010, Freiburg im Breisgau (DE), Paulussaal

If Handel’s arias enjoy such success today, perhaps it is because they lie at the intersection between past and present, light and shadow. They might very well illustrate on their own the entire range of possibilities offered by the voices of his time. On this 2010 recital album, countertenor Bejun Mehta has chosen most of the ‘hits’ from the repertoire of the famous castrato Senesino. From shadow (Ombra cara) to light (Sento la gioia), Grammy-winner René Jacobs conducts the Freiburg Baroque Orchestra in perfect accompaniment to Lewis.

The concept behind this album is a speculative one: this is the sort of program that a singer of the eighteenth century might put together to showcase his talents. The idea would be to display a variety of moods, as well as all those expected technical flourishes such as appoggiaturas and coloratura passages. The conceit is that if a putative virtuoso were to choose a program of Handel arias written for a farorite singer of the day such as the castrato Francesco Bernardi detto Senesino, there would be enough variety to fill an evening.
Having established this concept, the notes to the recording then derail it by conceding that the first two operas on the bill, Amadigi di Gaula and Agrippina, were not written with Senesino in mind, though most of the rest were. No matter: the most important issue, variety, is admirably addressed by this program, which takes us from one of Handel’s earliest operas, Rodrigo, premiered in Florence in 1707, to late works written for London theaters, Sosarme (1732) and Orlando (1733).
We start with a stirringly militant aria, complete with trumpet solo, from Amadigi di Gaula (1715). It bears a striking resemblance to the Alla Hornpipe movement from Handel’s Water Music Suite in F Major of two years later. A similarly militant aria from Orlando is even more virtuosic. From the same opera we have the much-praised mad scene from Act II. Orlando imagines that he crosses the River Styx to do battle with the ghosts and demons of the Underworld. In a series of accompanied recitatives and arias, he lurches from tender reflection to insane fury, freighted with generous dollops of coloratura, of course.
There are despairing arias such as Voi, che udite il mio lamento from Agrippina, in which the character Ottone laments his rejection by his love, Poppea, and the accusations of treachery mounted against him. Equally somber is the lament of Tolomeo (Ptolemy), who believes he is taking poison though it is only a sleeping draught; tragedy will eventually turn to triumph in this convoluted tale of intrigue in the Egypt of the pharaohs. In the titular aria Ombra Cara from Radamisto, the hero speaks peace over the shade of his departed wife Zenobia. As with Tolomeo, however, the report of her death has been greatly exaggerated: she survives to be reunited with Radamisto at the end of the opera.
Finally, we have the tender, resigned duet Per le porte del tormento from Sosarme, which foretells the bliss that awaits the lovers following their travails, thus exploring a different set of emotions entirely through Handel’s music. To add further variety, the program includes the purely instrument Pasacaille section from the Overture to Rodrigo. Here, a solo violin has a virtuoso turn, and there are colorful passages as well for the oboes and bassoons. But this is only a brief departure from the vocal display.
The Freiburger Barockorchester shines in this piece and provides first-rate accompaniment throughout, but ultimately this is Bejun Mehta’s show. As a boy soprano, Mehta made some precocious recordings for Delos before going behind the microphones to produce well-received recordings by other musicians, including cellist Janos Starker. Then Mehta took up the study of voice again, working with legendary soprano Phyllis Curtin. Today, he’s one of the most sought-after countertenors in the world, winning praise for his portrayal of Orlando in revivals mounted by the Royal Opera Company and New York City Opera.
Mehta’s voice is a wonderfully pliant instrument. Those leaps, trills, and runs are negotiated with the kind of ease a great flutist would command. However, it’s the emotional involvement in the music that truly distinguishes his performances. Handel is known for the psychological depth of character he plumbs in his operas; by exploring a variety of emotional states, Mehta pays apt tribute to the fact. This is a thoroughly engaging program.
René Jacobs conducts with the vigor and involvement that he’s shown in his other critically acclaimed Handel recordings such as Giulio Cesare and Saul; Ombra Cara reunites Jacobs and Rosemary Joshua, who joined him for the recording of Saul. Her melting soprano is heard in only two selections on the present disc, more’s the pity. But then this is a showcase for the art of the countertenor, and a ravishing one it is. Enthusiastically recommended! –Lee Passarella, Audiophile Audition

Tracklist:
George Frideric Handel (1685-1759)
Amadigi di Gaula (1715)
1 | Aria Sento la gioia (III, 6) 4’39
Agrippina (1709)
2 | Otton, Otton 1’18
3 | Aria Voi, che udite il mio lamento (II, 5) 6’02
Riccardo primo, re d’Inghilterra (1727)
4 | Aria Agitato da fiere tempeste (I, 6) 4’05
Tolomeo, re d’Egitto (1728)
5 | Recitativo Che più si tarda omai 2’09
Accompagnato Inumano fratel
6 | Aria Stille amare (III, 6) 5’32
Orlando (1733)
7 | Accompagnato Ah! stigie larve 8’13
Arioso Già latra Cerbero
Accompagnato Ma la furia
Aria Vaghe pupille (II, 11)
Rodrigo (1707)
8 | Passacaille (Ouverture) 4’38
Radamisto (1720)
9 | Aria Ombra cara di mia sposa (II, 2) 9’31
Rodelinda (1725)
10 | Fra tempeste funeste (II, 4) 4’46
11 | Con rauco mormorio (II, 5) 7’12
Orlando (1733)
12 | Recitativo T’ubbidirò, crudele 3’54
Aria Fammi combattere (I, 9)
Sosarme (1732)
13 | Duetto Per le porte del tormento (II, 8) 9’38

Personnel:
Countertenor – Bejun Mehta
Soprano – Rosemary Joshua (11, 13)
Freiburger Barockorchester:
Flute – Karl Kaiser
Oboes / Recorders – Ann-Kathrin Brüggemann, Maike Buhrow
Bassoons – Javier Zafra, Benny Aghassi
Trumpet – Friedemann Immer
Violins 1 – Petra Müllejans (+ solo violin in the Passacaille), Anne Katharina Schreiber, Martina Graulich, Kathrin Tröger, Peter Barczi
Violins 2 – Beatrix Hülsemann, Christa Kittel, Gerd-Uwe Klein, Eva Borhi
Violas – Annette Schmidt, Lothar Haass, Werner Saller
Violoncellos – Guido Larisch, Stefan Mühleisen
Doublebass – Dane Roberts
Lute – Shizuko Noiri
Harpsichord / Organ – Torsten Johann
Conductor – René Jacobs

Download:

http://www.datafile.com/d/TVRJd01ETTFPREEF9/HandelOmbracaraBejunMehtaFreiburgerBarockorchester201044.124.part1.rar
http://www.datafile.com/d/TVRJd01ETTFOemcF9/HandelOmbracaraBejunMehtaFreiburgerBarockorchester201044.124.part2.rar
or
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http://rapidgator.net/file/769908f807777256b0b3695f45c6ff3b/HandelOmbracaraBejunMehtaFreiburgerBarockorchester201044.124.part2.rar.html

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Herbie Hancock – Gershwin’s World (1998/2015) [HDTracks 24-192]

August 17, 2015, 10:18 am

≫ Next: Herbie Hancock – Mwandishi (1971/2015) [HDTracks 24-192]

≪ Previous: George Frideric Handel – Ombra cara – Bejun Mehta, Freiburger Barockorchester, Rene Jacobs (2010) [Qobuz 24-44.1]

Herbie Hancock – Gershwin’s World (1998/2015)
FLAC (tracks) 24 bit/192kHz | Time – 01:07:22 minutes | 2,96 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © The Verve Music Group
Recorded: Right Track Recording, Sony Music Studios, The Hit Factory, Masters at Work Studios, RPM Sound Studios in New York, March – April 1998; Ocean Way Recording and O’Henry Sound Studios in Los Angeles, June 1998

(1998) Herbie Hancock’s 40-year career as a recording artist is graced by a series of astonishing musical landmarks. Few other musicians of the 20th century have exhibited the wide range of interests and mastery of various genres that this jazz legend has brought to his remarkable body of work. Nonetheless, at the age of 58, Hancock still expresses the kinds of irrepressible curiosity and restless creativity that keep him pushing at the boundaries of modern music.

“At this point in my career,” Hancock says, “I’m much more interested in projects that have the potential to be events, not just records. I want to do something broad-based that has the potential to reach into the life of people in more ways than just their ears.” The wedding of that ambitious artistic vision to his extraordinary musical versatility put Hancock in the perfect position to approach his new Verve recording, Gershwin’s World, a far-reaching tribute to the life and times of the great composer who did so much to popularize the jazz and blues idioms.

“I have always loved Gershwin’s music,” Hancock says. “I want to give respect and tribute to all of George Gershwin’s musical origins. The particular genres that Gershwin chose – classical music, jazz, and pop – are ones that I’ve explored, too” Featuring performances by vocal superstars Steve Wonder, Joni Mitchell, and Kathleen Battle, and the instrumental contributions of the Orpheus Chamber Orchestra, pianist Chick Corea, saxophonist Wayne Shorter, James Carter, and Kenny Garrett, trumpeter Eddie Henderson, and bassist Ira Coleman, Gershwin’s WorldfindsHancock applying his unique piano genius not only to classic songs by Gershwin, but to pieces by contemporaries closely associated with Gershwin – stride piano master James P. Johnson, blues popularizer W.C. Handy, classical composer Maurice Ravel, and jazz giant Duke Ellington.

Hancock probes the essence of Gershwin’s muse in exciting new contexts, from the opening “Overture”, with its African drum extrapolation of “Fascinating Rhythm”, through the final, heartfelt solo treatment of “Embraceable You”. But he doesn’t stop with Gershwin. The piano duet performance with Corea on Johnson’s “Blueberry Rhyme”, the powerful Hancock and Steve Wonder interpretation of Handy’s “St. Louis Blues”, the sumptuous, orchestra-accompanied improvisation on Ravel’s Concertofor Piano in G, and the rousing version of Ellington’s “Cotton Tail”, with Shorter soloing on tenor, open new windows on the world from which Gershwin emerged and the world he himself influenced. The African-American blues tradition, the musical ferment in Harlem, and French impressionism all inspired Gershwin. In turn, his “I Got Rhythm” became the basis for countless later jazz compositions, including “Cotton Tail”.

The concept for Gershwin’s World was presented to Hancock by Robert Sadin, who produced the album. “Herbie Hancock and I discussed this project for more than a year before we started recording,” Sadin explains. “We both felt that to celebrate Gershwin, we wanted to honor his largeness of spirit, the musical and personal generosity which was so characteristic of the man. Also, in searching to penetrate the spirit of his music we wanted to create an album, which had elements of jazz, classical music, African music, and some flavors, which we couldn’t necessarily categorize at all…. We wanted to bring out the melodic beauty and rhythmic vitality of Gershwin, but even more, we wanted our work to reflect his searching, adventurous spirit.”

That Hancock should devote such energy and commitment to such Gershwin material as “It Ain’t Necessarily So”, “The Man I Love”, “Summertime”, and “Prelude in C# minor”, as well as the complementary pieces from other composers, is another example of his lifelong quest for new ways to express his own profound creativity and adventurous spirit. Gershwin’s World comes from the same man who gave us his stunning 1963 debut as a leader, Takin’ Off, the 1973 platinum-selling jazz-rock milestone Headhunters, the unprecedented Grammy-winning MTV dance hit “Rockit”, the 1986 Academy Award-winning score to the film Round Midnight, and the Grammy-winning 1996 Verve debut The New Standard

Born in Chicago in 1940, Hancock was classically trained as a youth, and performed Mozart with symphony orchestras as a teen. His apprenticeship in jazz took full swing playing with trumpeter Donald Byrd, saxophone giants Coleman Hawkins, Phil Woods, and Oliver Nelson. After signing with Blue Note Records and scoring his first Top Ten hit with “Watermelon Man”, Hancock was invited by Miles Davis to join his quintet, with Wayne Shorter, Ron Carter, and Tony Williams, that would become one of the most influential jazz ensembles of the modern era.

Before and after his tenure with Miles in the mid-1960’s, Hancock recorded his own timeless album, including Maiden Voyage and Speak Like a Child. He also ventured into scoring for films (Michelangelo Antonioni’s 1966 Blow Up) and television (Bill Cosby’s Hey, Hey, Hey, It’s Fat Albert). After leaving the Davis quintet in 1968, the pianist’s rhythmic innovations exploded into the jazz and funk inventions of his Headhunters band (with Benny Maupin, Harvey Mason, Paul Jackson, and Bill Summers), and such albums as Thrust, Sextant, and Feets Don’t Fail Me Now.

Although much of Hancock’s notoriety and popularity since the 1970s has been based on his electronic dance-beat experiments, such as the 1983 platinum Future Shock album and the hip-hop inspired Dis Is da Drum CD for Mercury Records in 1994, he has never been far removed from his acoustic roots. In 1976, he reunited with Shorter, Carter, and Williams in V.S.O.P. quintet, featuring Freddie Hubbard on trumpet. (The 1983 edition of V.S.O.P. included an up-and-coming Wynton Marsalis.) After his success with his original score to Bertrand Tavernier’s Round Midnight, Hancock continued to compose for films, including Colors, Jo Jo Dancer, Your Life is Calling, and Harlem Nights.

In the 1990s, Hancock has remained active in both the electronic pop and acoustic jazz worlds. In 1997, he followed up The New Standard with 1+1, a stunning duet recording of improvisations with Hancock on acoustic piano and Wayne Shorter on soprano sax; and in 1998, he participated in the Headhunters reunion recording, Return of the Headhunters, which became the first release on the newly formed Hancock Records.

Even while achieving unparalleled artistic and commercial triumphs, garnering six Grammys, an Oscar, and countless music magazine poll awards, Hancock has devoted himself to numerous educational and philanthropic endeavors. In the early 1980s, he hosted the innovative PBS music series Rock School, and from 1989 to 1991, he hosted the Showtime cable network series Coast to Coast. He also founded the Rhythm of Life Foundation, dedicated to narrowing the gap between those with and those without access to technology, and to directing technological know-how toward the humanitarian goals of building tolerant, multi-cultured communities, and instilling a sense of courage and creativity in our children. Other responsibilities assumed by Hancock include his seven year position (since 1991) as Distinguished Artist in Residence at Jazz Aspen Snowmass in Aspen, Colorado, and his role (since 1997) as Artistic Director of the Thelonius Monk Institute of Jazz at the Music Center of Los Angeles County.

It is fitting that at this juncture in his illustrious career, Hancock, an icon of late 20th century modern music, should turn his attention to George Gershwin, who put his indelible stamp on American music before his death in 1937. Just as Gershwin etched an unmistakable identity while shaping the sound of the Broadway show tune, the Hollywood movie score, and the American opera, Hancock has sustained a unique musical voice while influencing the course of mainstream jazz, film soundtracks, and pop-funk fusions in his own time. In this year of Gershwin’s centennial Gershwin’s World becomes another historic landmark in the rich and uncommonly diverse catalog of another American master, Herbie Hancock.

Tracklist:
1. Overture (Fascinating Rhythm) 00:55
2. It Ain’t Necessarily So 04:47
3. The Man I Love 05:57
4. Here Come De Honey Man 03:59
5. St. Louis Blues 05:51
6. Lullaby 11:03
7. Blueberry Rhyme 03:31
8. It Ain’t Necessarly So (Interlude) 01:25
9. Cotton Tail 04:44
10. Summertime 04:38
11. My Man’s Gone Now 01:56
12. Prelude In C# Minor 04:45
13. Concerto For Piano And Orchestra In G, Second Movement 09:12
14. Embraceable You 04:39

Personnel:
Herbie Hancock, Chick Corea: Piano
Madou Dembelle: Djembe
Massamba Diop: Talking Drum
Cryo Baptista, Bireyma Guiye, Cheik Mbaye: Percussion
Eddie Henderson: Trumpet
Kenny Garrett: Alto Saxophone
James Carter: Tenor and Soprano Saxophones
Wayne Shorter: Tenor Saxophone
Bakithi Kumalo: Bass and Guitar
Ira Coleman: Bass
Terri-Lynn Carrington: Drums
Marlon Graves: Guitar
Robert Sadin: Percussion Programming
Stevie Wonder: Harmonica and Vocals
Charles Curtis: Cello
The Orpheus Chamber Orchestra
Kathleen Battle: Vocals
Joni Mitchell: Vocals

Download:

↧

Herbie Hancock – Mwandishi (1971/2015) [HDTracks 24-192]

August 17, 2015, 10:20 am

≫ Next: Hirundo Maris, Arianna Savall, Petter Udland Johansen – Chants du Sud et du Nord (2012) [Qobuz 24-44.1]

≪ Previous: Herbie Hancock – Gershwin’s World (1998/2015) [HDTracks 24-192]

Herbie Hancock – Mwandishi (1971/2015)
FLAC (tracks) 24 bit/192kHz | Time – 45:05 minutes | 1,79 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Warner Bros. Records
Recorded: December 1970, Wally Heider Recording Studio C, San Francisco

Mwandishi is one of the first albums on which Herbie Hancock departs from the traditional jazz idioms and pursues a new original style that would generate a wider audience appeal, most notably manifested in his 1973 album Head Hunters. Mwandishi was produced by David Rubinson.

“With the formation of his great electric sextet, Herbie Hancock’s music took off into outer and inner space, starting with the landmark Mwandishi album recorded in a single session on New Year’s Eve. Ever the gadgeteer, Herbie plays with electronic effects devices — reverb units, stereo tremelo, and Echoplex — which all lead his music into spacier, open-ended directions very much influenced by Miles Davis’ electric experiments, rendering it from post-bop conventions. There are just three tracks: the insistent 15/4-meter Afro-electric-funk workout ‘Ostinato (Suite for Angela),’ the inquisitive ‘You’ll Know When You Get There’ with its ethereal Hancock voicings, and trombonist Julian Priester’s ‘Silent Way’-influenced ‘Wandering Spirit Song,’ which eventually dips into tumultuous free form. Eddie Henderson emerges as a major trumpet soloist here, probing, jabbing, soliloquizing; Bennie Maupin comes over from Lee Morgan’s group to add his ominous bass clarinet and thoughtful alto flute; and Buster Williams’ bass and Billy Hart’s flexible drums propel the rhythm section. Santana’s José Chepitó Areas and Leon ‘Ndugu’ Chancler also add funky percussive reinforcement to ‘Ostinato,’ along with guitarist Ron Montrose. The group’s collective empathy is remarkable, and Hancock had only begun to probe the outer limits with this extraordinary music.” —Richard S. Ginell, AllMusic

Tracklist:
1 Ostinato (Suite For Angela) 13:12
2 You’ll Know When You Get There 10:24
3 Wandering Spirit Song 21:29

Personnel:
Mwandishi / Herbie Hancock – Fender Rhodes piano
Mchezaji / Buster Williams – Bass
Jabali / Billy Hart – Drums
Mganga / Eddie Henderson – Trumpet, flugelhorn
Mwile / Bennie Maupin – Bass clarinet, alto flute, piccolo
Pepo Mtoto / Julian Priester – tenor trombone, bass trombone

with

Ronnie Montrose – Guitar on “Ostinato (Suite For Angela)”
Leon “Ndugu” Chancler – drums and percussion
Cepito / Jose Areas – congas and Timbales on “Ostinato (Suite For Angela)”

Download:

http://www.datafile.com/d/TVRJd01ETTJNRGsF9/HerbieHancockMwandishi197119224.part1.rar
http://www.datafile.com/d/TVRJd01ETTJNVEkF9/HerbieHancockMwandishi197119224.part2.rar
http://www.datafile.com/d/TVRJd01ETTJNVE0F9/HerbieHancockMwandishi197119224.part3.rar
or
http://rapidgator.net/file/c303aa1c0931ce6757d3693324ba49fd/HerbieHancockMwandishi197119224.part1.rar.html
http://rapidgator.net/file/7526f185852a37d7bfd7451d1a3a7a3c/HerbieHancockMwandishi197119224.part2.rar.html
http://rapidgator.net/file/e267def58bbd12402d3daa3976f2e0cc/HerbieHancockMwandishi197119224.part3.rar.html

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Hirundo Maris, Arianna Savall, Petter Udland Johansen – Chants du Sud et du Nord (2012) [Qobuz 24-44.1]

August 17, 2015, 10:22 am

≫ Next: Holychild – The Shape Of Brat Pop To Come (2015) [Qobuz 24-44,1]

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Hirundo Maris, Arianna Savall, Petter Udland Johansen – Chants du Sud et du Nord (2012)
FLAC (tracks) 24-bit/44.1 kHz | Time – 01:19:43 minutes | 709 MB | Genre: Classical,Folk
Official Digital Download – Source: Qobuz | @ ECM Records GmbH
Recorded: January 2011 Propstei St. Gerold

Hirundo Maris is Latin for “sea swallow” and, like that bird’s flight, harpist Arianna Savall’s quintet – part early music ensemble, part folk group – drifts on musical currents between Norway and Catalonia, and adds its own songs, created on the wing. Savall and co-leader Petter Udland Johansen have shaped a band with a bright, glistening timbral blend, capped by Arianna’s ice-clear voice, well-equipped to address songs of the north and the south.

Hirundo Maris is dedicated to the memory of Montserrat Figueras, the legendary advocate, researcher, and performer of Renaissance and Baroque music, particularly that of the Mediterranean basin, who died in 2011, after the album was recorded but before it was released. It features her daughter, singer and harpist Arianna Savall, in arrangements of folk repertoire from the Catalan, Sephardic, Norwegian, and Scottish traditions. The title, Latin for Sea Swallow, refers to the centrality of the sea in all these traditions, and its subtitle, “Songs of South and North,” to the connections between the traditions that sea facilitated, connections that are evident in the similarities between the songs. Savall and singer Petter Udland Johansen, who also plays a Hardanger fiddle and mandolin, made most of the arrangements, and are joined by Sveinung Lilleheier, guitar, dobro, and voice; Miquel Àngel Cordero, double bass and voice; and David Mayoral, percussion and voice.
Savall has a pleasing, sweet, pure voice, not as expansive or as penetrating as that of her mother (to whom she bears a striking physical resemblance), but especially well suited to this folk-style repertoire. She and the other singers perform these evocative, melancholy songs with clear, focused tone and terrific intonation, and with the unmannered directness of folk singers. The tone of most of the songs is understated but poignantly yearning, and that mood is beautifully expressed in the delicacy and sensitivity of the performances. The accompaniments are lovely and simple but sophisticated; they reflect Savall’s lifetime exposure to her parents’ disciplined and lively approaches to early music interpretation and its relation to folk traditions. The sound of the ECM New Series album, produced by Manfred Eicher, is characteristically immaculate and natural. The recording should appeal not only to fans of international folk music but of historically informed performances of early vocal music for which Savall’s family is famous. –AllMusic Review by Stephen Eddins

Tracklist:
1. El Mestre 06:33
2. Buenas Noches 05:49
3. Ya Salió de la Mar 02:36
4. Om Kvelden 04:38
5. El Mariner 06:14
6. Le Chant Des Étoiles 03:44
7. Morena Me Llaman 06:10
8. Bendik og Årolilja 07:01
9. Ormen Lange 02:50
10. Tarantela 04:46
11. The Water Is Wide 05:24
12. El Noi de la Mare 03:32
13. Josep i Maria 03:28
14. Penselstrøk 05:19
15. Halling 02:53
16. Yo M’enamorí D’un Aire 05:35
17. Trollmors vuggesang 03:13

Personnel:
Arianna Savall: voice, Gothic harp, Italian triple harp
Petter Udland Johansen: voice, hardingfele, mandolin
Sveinung Lilleheier: guitar, Dobro, voice
Miquel Àngel Cordero: double-bass, voice
David Mayoral: percussion, voice

Download:

http://www.datafile.com/d/TVRJd01ETTJNVGcF9/HirundoMarisAriannaSavallPetterUdlandJohansenChantsduSudetduNord201244.124.part1.rar
http://www.datafile.com/d/TVRJd01ETTJNVFEF9/HirundoMarisAriannaSavallPetterUdlandJohansenChantsduSudetduNord201244.124.part2.rar
or
http://rapidgator.net/file/c78096bf3989dd5f86d950699c627f6c/HirundoMarisAriannaSavallPetterUdlandJohansenChantsduSudetduNord201244.124.part1.rar.html
http://rapidgator.net/file/e72359b771ac4b28e4f74459e3718ae2/HirundoMarisAriannaSavallPetterUdlandJohansenChantsduSudetduNord201244.124.part2.rar.html

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Holychild – The Shape Of Brat Pop To Come (2015) [Qobuz 24-44,1]

August 18, 2015, 12:37 am

≫ Next: Iron Maiden – Live After Death (1985/2015) [e-onkyo 24-96]

≪ Previous: Hirundo Maris, Arianna Savall, Petter Udland Johansen – Chants du Sud et du Nord (2012) [Qobuz 24-44.1]

Holychild – The Shape of Brat Pop to Come (2015)
FLAC (tracks) 24 bit/96kHz | Time – 37:15 minutes | 849 MB | Genre: Pop
Official Digital Download – Source: Qobuz | @ Glassnote Records

Los Angeles brat-pop band, Holychild debut full-length album. The band comprised of Liz Nistico and Louie Diller. They met in college in 2011, have been writing music ever since and call their genre, brat pop. On their debut album The Shape Of Brat Pop to Come, Holychild takes on nothing less than the idea of power dynamics and inequality be it racial, social status, or gender-motivated. The beats are wild (thanks in no small part to Diller’s stint in Cuba studying Afro-Cuban drumming), and the tongues are placed firmly in cheek. Nistico assures that while their message is clear, it s not definitive. After all, we’re all humans, right? At the end of the day Holychild is about posing questions not providing answers.

Borrowing from the title of free jazz saxophonist Ornette Coleman’s maverick 1959 classic The Shape of Jazz to Come, Los Angeles-based Holychild’s full-length debut, 2015’s The Shape of Brat Pop to Come, is an equally maverick, if considerably less jazz-oriented comment on the state of music in the 21st century. Centered around the duo of vocalist Liz Nistico and multi-instrumentalist Louie Diller, Holychild make bombastic, often campy electronic pop. Combining the punk-informed energy of similarly inclined duos like Sleigh Bells and Ting Tings with the snotty, hip-hop-informed, electro-clash posturing of Ke$ha, Holychild hit the sweet spot where mainstream hooks and wry, left-field humor intersect. Along with memorable hooks, Holychild also have eclectic musical tastes, drawing from such disparate if amenable genres as dancehall, old-school R&B, EDM, ’90s soul, and ’80s new wave. To these ends, cuts like the lead-off “Barbie Nation” and the winking “Nasty Girls” are addictive pop pills coated in sugary irony that work in a duplicitous fashion as both frothy commercial product and dark, literate commentary. On “Barbie Nation,” Diller coos “life” lessons to her future daughter set against gigantic synth “bwaws.” She sings, “I know you and me can make it far/’Cuz the Brat from Barbie Nation, we know pure elation.” Of course, all of this snarky witticism wouldn’t be as palatable were it not for the duo’s knack for crafting engaging songs. Ultimately, cuts like rhythmically militaristic “Running Behind” and the equally percussive “Plastered Smile,” as with most all of The Shape of Brat Pop to Come, prove to be infectious numbers that marry hummable Jackson 5 hooks with the rhyming energy of schoolyard jump rope songs.

Tracklist:
01 – Barbie Nation
02 – Nasty Girls
03 – Happy With Me
04 – Tell Me How It Is
05 – Running Behind
06 – Money All Around
07 – Monumental Glow
08 – Plastered Smile
09 – Best Friends
10 – Diamonds On The Rebound
11 – Regret You
12 – U Make Me Sick

Download:

http://www.datafile.com/d/TVRJd01ETTJNVFkF9/HolychildTheShapeOfBratPopToCome2015Qobuz24441.part1.rar
http://www.datafile.com/d/TVRJd01ETTJNVGsF9/HolychildTheShapeOfBratPopToCome2015Qobuz24441.part2.rar
or
http://rapidgator.net/file/917262604019921160ceb5a0e6815a53/HolychildTheShapeOfBratPopToCome2015Qobuz24441.part1.rar.html
http://rapidgator.net/file/4b3dd8970688aa8546702371c3dad6e0/HolychildTheShapeOfBratPopToCome2015Qobuz24441.part2.rar.html

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Iron Maiden – Live After Death (1985/2015) [e-onkyo 24-96]

August 18, 2015, 12:42 am

≫ Next: Iron Maiden – No Prayer For The Dying (1990/2015) [e-onkyo 24-44.1]

≪ Previous: Holychild – The Shape Of Brat Pop To Come (2015) [Qobuz 24-44,1]

Iron Maiden – Live After Death (1985/2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:42:52 minutes | 2,37 GB | Genre: Rock, Heavy Metal
Official Digital Download – Source: e-onkyo.com | © Parlophone Records
Recorded: 8, 9, 10 and 12 October 1984, and 14–17 March 1985; Long Beach Arena, California; Hammersmith Odeon, London

Iron Maiden’s World Slavery Tour was one of the longest and most extensive tours ever undertaken by a rock band. Lasting from August 9, 1984, to July 5, 1985, and visiting such countries as Poland, Austria, Hungry, Yugoslavia, Italy, France, Spain, Portugal, Scotland, England, Germany, Sweden, Canada, Japan, and the U.S., the show included a mammoth setup that replicated the intricate ancient Egyptian scenery of the Powerslave album cover. As a “thank you” to the hundreds of thousands of fans who packed arenas the world over, the double-disc live set Live After Death was issued in 1985. Disc one is comprised of selections from a four-night stand at L.A.’s Long Beach Arena, with disc two comprised of performances from London’s Hammersmith Odeon. The album is essentially a best-of of sorts, since most of their singles released up to this point are featured in all of their high-decibel glory: “Aces High,” “2 Minutes to Midnight,” “The Trooper,” “Flight of Icarus,” “The Number of the Beast,” “Run to the Hills,” and “Running Free.” Also included are such strong album tracks as “Wrathchild,” “22 Acacia Avenue,” “Children of the Damned,” “Phantom of the Opera,” “Hallowed Be Thy Name,” “Iron Maiden,” plus their two epics, “Powerslave” and “Rime of the Ancient Mariner,” making it a near-complete overview. Live After Death is easily one of heavy metal’s best live albums. –Greg Prato

Tracklist:
1.1 Intro: Churchill’s Speech 0:49
1.2 Aces High 4:40
1.3 2 Minutes To Midnight 6:03
1.4 The Trooper 4:32
1.5 Revelations 6:11
1.6 Flight Of Icarus 3:28
1.7 Rime Of The Ancient Mariner 13:19
1.8 Powerslave 7:13
1.9 The Number Of The Beast 4:53
1.10 Hallowed Be Thy Name 7:22
1.11 Iron Maiden 4:21
1.12 Run To The Hills 3:54
1.13 Running Free 8:43
2.1 Wrathchild 3:06
2.2 22 Acacia Avenue 6:18
2.3 Children Of The Damned 4:36
2.4 Die With Your Boots On 5:12
2.5 Phanton Of The Opera 7:22

Personnel:
Bruce Dickinson – vocals, guitar on “Revelations”
Dave Murray – guitar
Adrian Smith – guitar, backing vocals
Steve Harris – bass guitar, backing vocals
Nicko McBrain – drums

Download:

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Iron Maiden – No Prayer For The Dying (1990/2015) [e-onkyo 24-44.1]

August 18, 2015, 12:45 am

≫ Next: Iva Bittova – Iva Bittova (2013) [HDTracks 24-88.2]

≪ Previous: Iron Maiden – Live After Death (1985/2015) [e-onkyo 24-96]

Iron Maiden – No Prayer For The Dying (1990/2015)
FLAC (tracks) 24 bit/44.1kHz | Time – 00:44:05 minutes | 554 MB | Genre: Rock, Heavy Metal
Official Digital Download – Source: e-onkyo.com | © Parlophone Records
Recorded: June – September 1990 at Barnyard Studios, Essex, England

With their first album of the ’90s, Iron Maiden wanted to return to basics. Comparable to their more straightforward early work, No Prayer for the Dying quickly shot up the charts all over the world, but it was clear that the songwriting wasn’t up to snuff when compared to such classics as Killers or Number of the Beast. The album also signaled the debut of new guitarist Janick Gers, best known for his stint in Ian Gillan’s solo band and on Bruce Dickinson’s solo album, Tattooed Millionaire. Featuring a pair of U.K. hit singles — the anti-televangelist diatribe “Holy Smoke” and Maiden’s lone number one, the controversial “Bring Your Daughter…to the Slaughter” (which was banned by the BBC) — plus another that should have been issued as a single (the opener, “Tailgunner”), No Prayer as a whole doesn’t measure up to the hits. The title track contains an opening too reminiscent of their 1988 single “Infinite Dreams,” while other tracks such as “Fates Warning,” “Run Silent Run Deep,” and “Hooks in You” never catch fire. And even though the epic closer “Mother Russia,” “Public Enema Number One,” and “Fates Warning” are standouts, they just don’t hold up well when compared to past classics. While Maiden retained their solid following elsewhere in the world, No Prayer for the Dying would prove to be their last gold-certified album in the U.S. –Greg Prato

Tracklist:
1 Tail Gunner 4:15
2 Holy Smoke 3:49
3 No Prayer For The Dying 4:23
4 Public Enema Number One 4:13
5 Fates Warning 4:12
6 The Assassin 4:35
7 Run Silent Run Deep 4:35
8 Hooks In You 4:08
9 Bring Your Daughter…To The Slaughter 4:45
10 Mother Russia 5:30

Personnel:
Bruce Dickinson – lead vocals
Dave Murray – guitar
Janick Gers – guitar
Steve Harris – bass guitar
Nicko McBrain – drums
Additional:
Michael Kenney – keyboards

Download:

http://www.datafile.com/d/TVRJd01ETTJNelUF9/IronMaidenNoPrayerForTheDying199044.124.rar
or
http://rapidgator.net/file/c3e0bda8575cf29ce3246570bcb06b76/IronMaidenNoPrayerForTheDying199044.124.rar.html

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Iva Bittova – Iva Bittova (2013) [HDTracks 24-88.2]

August 18, 2015, 12:47 am

≫ Next: Johann Sebastian Bach – The English Suites, BWV 806-811 – Richard Egarr (2012) [Qobuz 24-88.2]

≪ Previous: Iron Maiden – No Prayer For The Dying (1990/2015) [e-onkyo 24-44.1]

Iva Bittova – Iva Bittova (2013)
FLAC (tracks) 24 bit/88.2kHz | Time – 00:41:43 minutes | 508 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | © ECM Records GmbH
Recorded: February 2012, Auditorio Radiotelevisione svizzera, Lugano

Iva Bittova is the acclaimed Czech singer/performer/composer’s beautifully self-titled solo debut for ECM. This unique work expresses the essence of Bittova’s craft and explores the deep relationship between the violin and her voice. The pieces here, modestly-titled “Fragments I-XII” resist definition. An idiosyncratic ‘folk’ music, contemporary composition, improvisation, any and all of these may apply from moment to moment. Her music is lively and revolutionary.

Czech singer/player/composer Iva Bittová has said: “The violin is a mirror reflecting my dreams and imagination. I believe there are fundamentals to my performance, such as the music’s vibration and resonance between violin and my voice.” That relationship is beautifully explored on this album – recorded at Auditorio Radiotelevisione svizzera, Lugano, and produced by Manfred Eicher – which expresses the essence of Bittova’s unique and extraordinary solo work. The pieces here, modestly-titled ‘Fragments I-XII’ resist definition. An idiosyncratic ‘folk’ music, contemporary composition, improvisation, any and all of these may apply from moment to moment. Bittová’s music is a living, changing thing: “Deciding on a name for my style of music is far from over yet”. Iva Bittová was previously showcased in 2007 on the widely-acclaimed ECM album “Mater” by composer Vladimír Godár. This eponymously-titled disc now marks her solo debut for the label.
Iva Bittová’s self-titled album for ECM is almost literally impossible to describe, let alone categorize. For listeners, this is a dream come true in an age when music is chopped and parsed into blurry genres and micro genres — and to be fully accountable in our descriptor tags accompanying the review, we are equally guilty — they cannot contain her music. She plays violin (bows, strums, plucks, and gently hammers its strings), kalimba, and sings. The music consists of 12 “fragments,” all but one composed by Bittová. While she has always used the folk music of her Moravian culture (stringed instruments) rather than that of Czech culture (brass and percussion), she uses it as a single referential element in an expansive musical world view that includes classical music, avant-garde, and improvisational elements. But she proves too mercurial to be boxed in by any of them. “Fragment I” commences with a kalimba and her voice in something approaching a lullaby, though it contains drama and desire. On “Fragments VII,” her vocal reaches, glides, and nearly soars in a haunting, nearly whimsical incantation, but her violin, with its roundness and warmth, gently binds it to the earth. In “Fragments VI,” she adapts a melody by composer Joaquin Rodrigo, and combines it with lyrics by Gertrude Stein and Chris Cutler. The piece is performed a cappella; the hint of reverb on her vocal and her intentional rounding of syllables make those lyrics nearly indecipherable. What remains is the simple beauty of pure sound that inhabits the ground between ancient folk music, Byzantine chant, and the open-voiced articulation of the language of the human heart. “Fragments VIII” is driven by her violin, which uses classical, Moravian, and Romany folk traditions. The instrument’s vibrations, via her bowed and hammered trills (the latter akin to those of a muted cimbalom) and drones, offer a dirge so mesmerizing and spacious that when her voice enters, haltingly at first, creating a more modern song form, it is almost, but not quite, jarring for a moment before it, too, becomes part of that dreamy equation. The kalimba returns on “Fragments XII.” The lullaby theme is again articulated, but syncopated, stretched, and intoned more deeply, sans drama, with only a sense of implied resolution sending the recording off into the silence gently, yet not passively. While there is no doubting the sophisticated musicality in the wonderfully strange and accessibly charming sparseness of this album, ultimately, her “Fragments I-XII” are just as close to the mercurial root of unbridled poetry itself. As such, Iva Bittová is the stuff of enigma. –AllMusic Review by Thom Jurek

Tracklist:
1. Fragment I 02:58
2. Fragment II 02:10
3. Fragment III 03:35
4. Fragment IV 02:10
5. Fragment V 02:59
6. Fragment VI 03:46
7. Fragment VII 07:19
8. Fragment VIII 01:53
9. Fragment IX 03:06
10. Fragment X 04:55
11. Fragment XI 03:48
12. Fragment XII 03:04

Personnel:
Iva Bittová: voice, violin, kalimba

Download:

http://www.datafile.com/d/TVRJd01ETTJNelkF9/IvaBittovIvaBittov201388.224.rar
or
http://rapidgator.net/file/6491114840472148cc5a7c0917f91bfd/IvaBittovIvaBittov201388.224.rar.html

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Johann Sebastian Bach – The English Suites, BWV 806-811 – Richard Egarr (2012) [Qobuz 24-88.2]

August 19, 2015, 9:23 am

≫ Next: Jack DeJohnette – Made in Chicago (2015) [Qobuz 24-48]

≪ Previous: Iva Bittova – Iva Bittova (2013) [HDTracks 24-88.2]

Johann Sebastian Bach – The English Suites, BWV 806-811 – Richard Egarr (2012)
FLAC (tracks) 24 bit/88.2kHz | Time – 02:20:55 minutes | 2,78 GB | Genre: Classical
Official Digital Download – Source: Qobuz | © 2012 harmonia mundi usa
Recorded: September 2011 at Potton Hall, Suffolk, England

Whatever the elusive truth may be regarding the ‘Englishness’ of these ‘Six Suittes avec leurs Preludes’, there is no denying the imagination of the keyboard writing. Each Suite is headed by a Prelude of substantial proportions, followed by wonderfully varied dance movements, all perfectly suited to showcase the joyful brilliance of Richard Egarr’s harpsichord skill.

“as a player I find personally the most pleasure in the earlier keyboard collections. The Toccatas, Well-Tempered Clavier’s Book 1, Brandenburg 5 and the so-called ‘English’ Suites seem to delight in purely physical keyboard pleasure and imagination that is often absent from the later works…This is a true cycle of pieces – one of Bach’s first and certainly one of his best. The care with which Bach has planned their path, and the skill in creating a musical journey to a most fearful place is astonishing. The way to redemption and salvation after this journey is perhaps shown by the key sequence of the Suites: A – a – g – F – e – d. These six notes clearly describe the Chorale tune “Jesu, meine Freude”. I recorded the Suites in order. I certainly felt that it helped me make the musical path clearer. My trusty Katzman harpsichord was a glorious partner, its quill plectra wonderfully flexible and responsive in giving life and colour to this most imaginative music.” Richard Egarr

Personnel:
Richard Egarr, Harpsichord

Download:

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Jack DeJohnette – Made in Chicago (2015) [Qobuz 24-48]

August 19, 2015, 9:27 am

≫ Next: Jakob Bro – Gefion (2015) [Qobuz 24-96]

≪ Previous: Johann Sebastian Bach – The English Suites, BWV 806-811 – Richard Egarr (2012) [Qobuz 24-88.2]

Jack DeJohnette – Made in Chicago (2015)
FLAC (tracks) 24-bit/48 kHz | Time – 01:17:35 minutes | 808 MB | Genre: Jazz
Official Digital Download – Source: Qobuz | @ ECM Records GmbH
Recorded live August 29, 2013 at the Pritzker Pavilion Millennium Park Chicago at the 35th Annual Chicago Jazz Festival.

With Made In Chicago, an exhilarating live album, Jack DeJohnette celebrates a reunion with old friends. In 1962, DeJohnette, Roscoe Mitchell and Henry Threadgill were all classmates at Wilson Junior College on Chicago’s Southside, pooling energies and enthusiasms in jam sessions. Shortly thereafter Jack joined Muhal Richard Abrams’ Experimental Band, and Roscoe and Henry soon followed him. When Abrams cofounded the Association for the Advancement of Creative Musicians in 1965, DeJohnette, Mitchell and Threadgill were all deeply involved from the outset, presenting concerts and contributing to each other’s work under the AACM umbrella. Jack brought them together again for a very special concert at Chicago’s Millenium Park in August 2013, completing the group with the addition of bassist/cellist Larry Gray. The concert recording – featuring compositions by Roscoe, Henry, Muhal and Jack, plus group improvising – was mixed by Manfred Eicher and Jack DeJohnette at New York’s Avatar Studio. Made In Chicago is issued as the AACM begins its 50th anniversary year.

In 2013, the Chicago Jazz Festival invited Jack DeJohnette to assemble a dream band to open. The renowned drummer, composer, and pianist assembled a group whose personnel revisited the roots of his early days on the city’s South Side: saxophonist Roscoe Mitchell and saxophonist/flutist Henry Threadgill — with whom he had attended Wilson Junior College in the early ’60s — and mentor Muhal Richard Abrams, whose Experimental Band they all played in. Abrams also co-founded the historic Association of Creative Musicians (AACM) that fostered the talent of all three, and a bit later, this group’s bassist Larry Gray. Reunions can be a tricky business in the jazz world, especially when people haven’t played together in nearly five decades. That said, this set works far more often than it doesn’t, and it never really falters. There is ample chemistry between the principals. Mitchell’s “Chant” gets things off to a lively start. Its melody is short and repetitive, with a children’s song quality expressed by the saxophones. Abrams plays off the top, engaging in counterpoint, and DeJohnette rolls it out, filling, accenting, and pushing; he’s followed by Gray as the dialogue between the horns commences and solos appear within it. That notion of repetition also fuels DeJohnette’s “Museum of Time,” where Abrams plays a glissando pattern in a compact mode as the horns respond with short, blues-like phrases as the composer whispers and rushes along on brushed cymbals. Gradually, the work opens up with a brief and lovely Abrams solo, as the horns, in slightly staggered phrasing, capture the mournful melody before they begin to moan it out. Gray’s and DeJohnette’s tom-toms eventually add a funky backdrop to Abrams’ second solo and a dialogue between flute and saxophone before the tune builds again with tension and drama. Threadgill’s “Leave Don’t Go Away” is simultaneously tight and sprawling. The saxophonist’s collage ideas run rampant before Abrams dialogues intensely with the drummer and the bassist. Throughout Made in Chicago, ideas assert themselves, though they are occasionally ponderous and speculative as in Abrams’ “Jack Five” and Mitchell’s chamber jazz piece “This.” Even in these, however, there are nearly sublime moments thanks to Gray — his earthy solo in the former tune and his fluid arco playing in the latter keep things from going too far afield. The last piece here, “Ten Minutes,” is a strident, thoroughly engaging, even bracing group improvisation with wonderful conversation, sparkling ideas, and soloing. While Made in Chicago was supposed to be a one off, it turns out to have been a lift-off point for further concert engagements. This document is important not only for the historic nature of the reunion of vanguard jazz luminaries, but as the spark for further exploration. –AllMusic Review by Thom Jurek

Tracklist:
1. Chant 16:57
2. Jack 5 14:54
3. This 12:13
4. Museum of Time 13:37
5. Leave Dont Go Away 10:19
6. Announcement 03:29
7. Ten Minutes 06:09

Personnel:
Henry Threadgill: alto saxophone, bass flute
Roscoe Mitchell: alto, soprano and sopranino saxophones, bass recorder, baroque flute
Muhal Richard Abrams: piano
Larry Gray: double bass, cello
Jack DeJohnette: drums

Download:

http://www.datafile.com/d/TVRJd016QXlOalUF9/JackDeJohnetteMadeinChicago20154824.part1.rar
http://www.datafile.com/d/TVRJd016QXlOalEF9/JackDeJohnetteMadeinChicago20154824.part2.rar
or
http://rapidgator.net/file/2265806319dd3d8c9757c848ba1a18fd/JackDeJohnetteMadeinChicago20154824.part1.rar.html
http://rapidgator.net/file/943c5df38bf96ca68b0cb60a4038c08c/JackDeJohnetteMadeinChicago20154824.part2.rar.html

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Jakob Bro – Gefion (2015) [Qobuz 24-96]

August 19, 2015, 9:29 am

≫ Next: James Brandon Lewis – Days of FreeMan (2015) [HDTracks 24-48]

≪ Previous: Jack DeJohnette – Made in Chicago (2015) [Qobuz 24-48]

Jakob Bro – Gefion (2015)
FLAC (tracks) 24 bit/96kHz | Time – 00:39:42 minutes | 752 MB | Genre: Jazz
Official Digital Download – Source: Qobuz © ECM Records GmbH
Recorded: November 2013, Rainbow Studio, Oslo

Gefion is Danish guitarist Jakob Bro’s first ECM album as leader, following recordings for the label as sideman with Paul Motian and Tomasz Stanko. Like the work of those masters Bro’s balladeering distils a sense of jazz history in its specific and highly personal atmospheres. The open forms of Bro’s compositions leave plenty of space for his companions – drum legend Jon Christensen and creative bassist-of-the-moment Thomas Morgan – to make their statements, interactively and in parallel. And there is space too for the listener’s imagination to follow the flow and the delicate melodic tracery of Bro’s electric guitar in this thoughtful and poetic album. Gefion was recorded in Oslo’s Rainbow Studio in November 2013 and produced by Manfred Eicher.

Though Gefion is Jakob Bro’s debut as a leader for ECM, the guitarist is a seasoned veteran in the recording studio. The Danish guitarist has been releasing under his own name for the Loveland label since 2003. He has also recorded on ECM before, first as a member of Paul Motian’s band for 2006’s Garden of Eden (the great drummer later returned the favor on one of Bro’s records), and as part of Tomasz Stanko’s group for 2009’s Dark Eyes. Bassist Thomas Morgan has played on a couple of the guitarist’s recordings over the past six years and appeared on Stanko’s 2013 date Wislawa. Jon Christensen, the veteran drummer whose free-floating, whispering restraint has made him iconic, played with Stanko in the latter years of the 20th century. The trio has been playing together since 2012. For those unfamiliar with Bro, the influence of Bill Frisell (who appeared on his 2013 set December Song along with Lee Konitz, Morgan, and Craig Taborn) is unmistakable. A pristine, atmospheric, lyrical, warm tone, elegant use of reverb, and a reluctance to play anything “extra” are all Frisell hallmarks. That said, Bro’s playing is also decidedly European. Melodic frames are suggestions for explorations and he seldom takes them head on. Here it is Morgan who plays both a lyric center as well as a more insistent — yet still sparse — harmonic foil. Listen to the long, quietly unfolding title track for evidence. Add to this Christensen’s unhurried, texturally contrasting cymbal work, which never centers but moves behind and in front of “the beat” to underscore the interactions between his partners and extend them with his own sense of lyricism. “And They All Came Marching Out of the Woods” reveals the most active interaction between these players. Led off by Morgan playing a set line, Bro moves front and center with one- and two-line articulations as Christensen slips through his lines with a wash of cymbals, adding tom-toms and even occasional force on the snare. The ideas on display here offer a portrait of the kind of direct harmonic engagement this trio can get up to. “Lyskaster” is completely solo, a haunting, sparse, whispering of resonance and suggestion. “Oktober” is actually a waltz, the slip of a single-note bassline accenting Bro’s reverbed and digitally delayed intention of melody, moving chorus after chorus until Morgan begins to play chord lines and Christensen’s darkly tinged cymbal bells point outward to something in the fringes that is implied rather than asserted. Morgan solos briefly near the end with a hint of a “song,” but it fades before that occurs. That it never quite emerges underscores the beauty in the trio’s exploration of the ambiguous rather than in direct utterance. Gefion is quiet; it never insists. The listeners’ attention can be focused on the intersection of sounds and spaces because what emerges in the end is remarkable for all of its deliberate restraint. –AllMusic Review by Thom Jurek

Tracklist:
1. Gefion 10:37
2. Copenhagen 04:26
3. And They All Came Marching Out of the Woods 04:34
4. White 05:09
5. Lyskaster 04:19
6. Airport Poem 03:33
7. Oktober 04:22
8. Ending 02:47

Personnel:
Jakob Bro, guitar
Thomas Morgan, double bass
Jon Christensen, drums

Download:

http://www.datafile.com/d/TVRJd016QXlOemcF9/JakobBroGefion20159624.part1.rar
http://www.datafile.com/d/TVRJd016QXlOamcF9/JakobBroGefion20159624.part2.rar
or
http://rapidgator.net/file/4d2530fd1506a23625c6643cf7ebfb3f/JakobBroGefion20159624.part1.rar.html
http://rapidgator.net/file/eb7f4a173ecaa7730721f97f76c4df92/JakobBroGefion20159624.part2.rar.html

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James Brandon Lewis – Days of FreeMan (2015) [HDTracks 24-48]

August 19, 2015, 8:58 pm

≫ Next: James Taylor – Before This World (2015) [HDTracks 24-96]

≪ Previous: Jakob Bro – Gefion (2015) [Qobuz 24-96]

James Brandon Lewis – Days of FreeMan (2015)
FLAC (tracks) 24-bit/48 kHz | Time – 1:02:39 minutes | 760 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | @ Okeh / Sony Music Entertainment
Recorded February 16 & 17, 2015 at Charlestown Road Studios in Hampton, NJ.

Folks, this is “the buffet,” a 19-track serving of bandstand urgency and studio-sonic air traffic out enough to bury all modes of formal enslavement. Out enough, too, to resurrect the “everywhere always” atmosphere of giants, check out the hypnotic, lush and damn-near cine-sound, quilt-like nod to Don Cherry. All songs on Days of FreeMan were written by James Brandon Lewis (except Bomako Love, written by Don Cherry).

Tracklist:
1 Foreword 00:32
2 Brother 1976 03:42
3 Of Dark Matter 03:24
4 Black Ark 05:04
5 Break I 00:49
6 Days of FreeMan 03:44
7 Bird of Folk Cries 07:11
8 Break II 00:46
9 Wilson 04:13
10 Lament for JLew 05:00
11 Break III 01:40
12 Bamako Love 03:51
13 Boom Bap Bop 04:22
14 Steelo 05:29
15 Break IV 01:19
16 Able Souls Dig Planets 04:14
17 Speaking from Jupiter 03:22
18 Unarmed with a Mic 03:16
19 Epilogue (Brother 1976) 00:41

Personnel:
James Brandon Lewis – saxophone
Jamaaladeen Tacuma – bass
Rudy Royston – drums
Supernatural – rapper (featured on “Days of FreeMan”)
Pearl Lewis – vocals

Production:
Recorded, mixed and mastered by Paul Wickliffe

Download:

http://www.datafile.com/d/TVRJd016QXlOemsF9/JamesBrandonLewisDaysofFreeMan20154824.part1.rar
http://www.datafile.com/d/TVRJd016QXlPREEF9/JamesBrandonLewisDaysofFreeMan20154824.part2.rar
or
http://rapidgator.net/file/c46d5713aa07e7ad223cbdf6d1b2d819/JamesBrandonLewisDaysofFreeMan20154824.part1.rar.html
http://rapidgator.net/file/483439641dbd7e580aa445e8a3de1e0f/JamesBrandonLewisDaysofFreeMan20154824.part2.rar.html

↧

James Taylor – Before This World (2015) [HDTracks 24-96]

August 19, 2015, 9:00 pm

≫ Next: Jason Moran – All Rise: A Joyful Elegy For Fats Waller (2014) [HDTracks 24-96]

≪ Previous: James Brandon Lewis – Days of FreeMan (2015) [HDTracks 24-48]

James Taylor – Before This World (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 41:51 minutes | 840 MB | Genre: Pop
Official Digital Download – Source: HDTracks | @ Concord Records
Recorded at TheBarn in Washington, MA.

Before This World, five-time Grammy Award winner James Taylor’s long-awaited new album, is his first collection of new material since 2002’s October Road. Taylor wrote and recorded much of Before This World while touring over the past several years.

Recorded primarily at TheBarn in Western Massachusetts, the 10-track album will feature James’s legendary band: Jimmy Johnson, Steve Gadd, Michael Landau, Larry Goldings, Luis Conte, Andrea Zonn, Arnold McCuller, David Lasley and Kate Markowitz, as well as special guests Yo-Yo Ma and Sting. Kim and Henry Taylor provide background vocals on several songs. This hi-res version of Before This World was mastered especially for audiophiles with less peak limiting for a much greater dynamic range than the CD version.

James Taylor never sets his guitar down — he spends a good portion of every year satisfying faithful audiences — but he did rest his pen, opting to sit out the 13 years following the release of 2002’s October Road. He kept busy with covers albums and Christmas records, but Before This World finds Taylor returning to writing, a habit he abandoned about a decade prior. Often, Before This World contains echoes of the first decade of the new millennium — there is a passing reference to 9/11 in a song about Afghanistan and a love letter to the Boston Red Sox’s 2004 World Series win — but Taylor wrote these all in a batch, then recorded them at home with his touring band. Such quick progress gives the record a cozy, unified feeling but, unlike some latter-day JT records, it’s not too comfortable. Taylor is randy enough to sing about some “first-class poontang” on the nicely grooving “Stretch of the Highway,” a song more notable for a mellow vamp worthy of Steely Dan, the first suggestion there’s a bit more variety here than on a typical Taylor platter. He’ll ease into his trademark laid-back pop, opening the proceedings with “Today Today Today” and brightening up the midsection with the happy “Watchin’ Over Me,” but as the record comes toward its conclusion, he takes detours into traditional English folk on “Before This World/Jolly Springtime” and “Wild Mountain Thyme,” while etching out a cinematic protest song in “Far Afghanistan.” When a record runs only ten tracks and 41 minutes, these departures amount to nearly half the record and turn Before This World into something unexpected: a record as relaxed as the average James Taylor album but one that’s also riskier and richer, the right album for him to make at this date.

Tracklist:

01 – Today Today Today
02 – You And I Again
03 – Angels Of Fenway
04 – Stretch Of The Highway
05 – Montana
06 – Watchin’ Over Me
07 – SnowTime
08 – Before This World / Jolly Springtime
09 – Far Afghanistan
10 – Wild Mountain Thyme

Personnel
James Taylor – vocals, acoustic guitar, harmonica, hi-strung guitar, synth guitar
Jimmy Johnson – bass
Steve Gadd – drums
Michael Landau – electric and nylon-string guitars
Larry Goldings – piano, Wurlitzer, Fender Rhodes, organ, accordion, harmonium
Luis Conte – percussion
Andrea Zonn – fiddle, vocals
Arnold McCuller, David Lasley, Kate Markowitz – vocals
Walt Fowler – handclaps
Rajendra Prasanna – shehnai
Antoine Silverman – concertmaster
Jonathan Dinklage, Rachel Golub, Hiroko Taguchi, Entcho Todorov, Orlando Wells – violin
Katharine Kresek, Philip Payton – viola
Emily Brausa, Peter Sachon – cello
Michael Davis – euphonium
Tony Kadleck – flugelhorn
Larry Di Bello, David Peel – French horn
David Mann, Lou Marini – tenor saxophone
Roger Rosenberg – baritone saxophone
Randy Andos, Michael Davis – trombone

Musical Guests
Yo-Yo Ma – cello on “You And I Again” and “Before This World”
Sting – vocals on “Before This World”
Caroline Taylor – vocals on “Angels of Fenway” and “Wild Mountain Thyme”
Henry Taylor – vocals on “Angels of Fenway” and “Wild Mountain Thyme”

Produced by Dave O’Donnell
Recorded and Mixed by Dave O’Donnell
Additional Engineer: Rick Kwan
Assistant Engineers: Tyler Hartman, Scott Moore, Fernando Lodeiro, Tommy Joyner, Justin Rose, Jay Zubricky

Recorded at TheBarn, Washington, MA
Additional Recording at Ocean Way Recording,
Hollywood, CA;
Avatar Studios, New York, NY;
Milkboythestudio, Philadelphia, PA;
GCR Audio, Buffalo, NY;
The Ritz-Carlton, SF and Four Seasons Hotel, LA
Mixed at TheBarn and Studio D
Mastered by Ted Jensen at Sterling Sound
Additional Mastering by
Justin Shturtz (Sterling Sound),
Matt Agoglia (The Ranch)

Download:

http://www.datafile.com/d/TVRJd016QXlPVGMF9/JamesTaylorBeforeThisWorld2015HDTracks2496.part1.rar
http://www.datafile.com/d/TVRJd016QXlPRGMF9/JamesTaylorBeforeThisWorld2015HDTracks2496.part2.rar
or
http://rapidgator.net/file/ebfd5b3b8b0a6ae50eb05a1922ec56c0/JamesTaylorBeforeThisWorld2015HDTracks2496.part1.rar.html
http://rapidgator.net/file/9b4cd0a217edd709dcd58477b7655924/JamesTaylorBeforeThisWorld2015HDTracks2496.part2.rar.html

↧

Jason Moran – All Rise: A Joyful Elegy For Fats Waller (2014) [HDTracks 24-96]

August 19, 2015, 9:01 pm

≫ Next: Jay Jay Johnson – Jay Jay Johnson With Clifford Brown (1953/2015) [HDTracks 24-96]

≪ Previous: James Taylor – Before This World (2015) [HDTracks 24-96]

Jason Moran – All Rise: A Joyful Elegy For Fats Waller (2014)
FLAC (tracks) 24 bit/96kHz | Time – 00:43:59 minutes | 920 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Blue Note Records
Recorded: Brooklyn Recording, Brooklyn, NY.

All Rise: A Joyful Elegy for Fats Waller is a collaboration with the vocalist Meshell Ndegeocello that recasts the music of the legendary jazz entertainer Fats Waller as a modern dance party. The album is the studio culmination of a project that was born onstage at Harlem Stage Gatehouse as the Fats Waller Dance Party in 2011 as part of their “Harlem Jazz Shrines” series.

“Fats Waller is a special kind of provocateur,” says Moran. “It stems mainly from the fact that he was a singer as well as a pianist. Sometimes he was like an MC. It has always amazed me that a pianist whose playing was so deep could sing and keep a running commentary of what was going on around him all at the same time.”

Tracklist:
1 Put Your Hands On It 0:20
2 Ain’t Misbehavin’ 3:42
3 Yacht Club Swing 4:03
4 Lulu’s Back In Town 2:38
5 Two Sleepy People 4:07
6 The Joint Is Jumpin’ 5:10
7 Honeysuckle Rose 3:48
8 Ain’t Nobody’s Business 4:21
9 Fat’s Elegy 1:46
10 Handful Of Keys 2:55
11 Jitterbug Waltz 6:13
12 Sheik Of Araby / I Found A New Baby (Medley) 5:00

Personnel:
Jason Moran, piano, Fender Rhodes piano, Wurlitzer organ
Meshell Ndegeocello, vocals
Leron Thomas, vocals, trumpet
Charles Haynes, vocals, drums
Lisa Harris, vocals
Stephen Lehman, saxophone
Josh Roseman, trombone
Nasheet Waits, drums

Download:

http://www.datafile.com/d/TVRJd016QXpNREkF9/JasonMoranAllRiseAJoyfulElegyForFatsWaller20149624.part1.rar
http://www.datafile.com/d/TVRJd016QXpNRE0F9/JasonMoranAllRiseAJoyfulElegyForFatsWaller20149624.part2.rar
or
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http://rapidgator.net/file/b06737343dfacfce7b7e617e24bf45d8/JasonMoranAllRiseAJoyfulElegyForFatsWaller20149624.part2.rar.html

↧

Jay Jay Johnson – Jay Jay Johnson With Clifford Brown (1953/2015) [HDTracks 24-96]

August 19, 2015, 9:03 pm

≫ Next: Jeff Beck – Live + (2015) [HDTracks 24-48]

≪ Previous: Jason Moran – All Rise: A Joyful Elegy For Fats Waller (2014) [HDTracks 24-96]

Jay Jay Johnson – Jay Jay Johnson With Clifford Brown (1953/2015)
FLAC (tracks) 24 bit/96kHz | Time – 00:25:46 minutes | 463 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Blue Note Records
Recorded: WOR Studios, NYC, June 22, 1953

Trombonist J. J. Johnson teams up with trumpet legend Clifford Brown, saxophonist Jimmy Heath, pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke. The six track EP was originally released in 1953 under Blue Note Records and features tracks “Lover Man”, “It Could Happen to You” and “Get Happy”. Clifford Brown steals the spotlight from Johnson in this EP with his complex harmonic progressions and up-tempo expertise.

Considered by many to be the finest jazz trombonist of all time, J.J. Johnson somehow transferred the innovations of Charlie Parker and Dizzy Gillespie to his more awkward instrument, playing with such speed and deceptive ease that at one time some listeners assumed he was playing valve (rather than slide) trombone. Johnson toured with the territory bands of Clarence Love and Snookum Russell during 1941-1942, and then spent 1942-1945 with Benny Carter’s big band. He made his recording debut with Carter (taking a solo on “Love for Sale” in 1943), and played at the first JATP concert (1944). Johnson also had plenty of solo space during his stay with Count Basie’s Orchestra (1945-1946). During 1946-1950, he played with all of the top bop musicians, including Charlie Parker (with whom he recorded in 1947), the Dizzy Gillespie big band, Illinois Jacquet (1947-1949), and the Miles Davis Birth of the Cool Nonet. His own recordings from the era included such sidemen as Bud Powell and a young Sonny Rollins. Johnson, who also recorded with the Metronome All-Stars, played with Oscar Pettiford (1951) and Miles Davis (1952), but then was outside of music, working as a blueprint inspector for two years (1952-1954). His fortunes changed when, in August 1954, he formed a two-trombone quintet with Kai Winding that became known as Jay and Kai and was quite popular during its two years.
After Johnson and Winding went their separate ways (they would later have a few reunions), Johnson led a quintet that often included Bobby Jaspar. He began to compose ambitious works, starting with 1956’s “Poem for Brass,” and including “El Camino Real” and a feature for Dizzy Gillespie, “Perceptions”; his “Lament” became a standard. Johnson worked with Miles Davis during part of 1961-1962, led some more small groups of his own, and by the late ’60s was kept busy writing television and film scores. J.J. Johnson was so famous in the jazz world that he kept on winning Downbeat polls in the 1970s, even though he was not playing at all. However, starting with a Japanese tour in 1977, Johnson gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore. In the mid-’90s, he remained at the top of his field, but by the late ’90s and early into the 2000s, the legendary musician fell ill with prostate cancer, and sadly took his own life on February 4, 2001. –Artist Biography by Scott Yanow

Tracklist:
1 Capri 3:38
2 Lover Man 3:52
3 Turnpike 4:18
4 Sketch 1 4:23
5 It Could Happen To You 4:46
6 Get Happy 4:49

Personnel:
Clifford Brown, trumpet -1/4,6
J.J. Johnson, trombone
Jimmy Heath, tenor, baritone saxophone -1/4,6
John Lewis, piano
Percy Heath, bass
Kenny Clarke, drums

Download:

http://www.datafile.com/d/TVRJd016QXpNVEUF9/JayJayJohnsonWithCliffordBrown19539624.rar
or
http://rapidgator.net/file/e20da2f828be738fe057b3043c76ac58/JayJayJohnsonWithCliffordBrown19539624.rar.html

↧

Jeff Beck – Live + (2015) [HDTracks 24-48]

August 19, 2015, 9:07 pm

≫ Next: Jerry Garcia Band – On Broadway: Act One – October 28th, 1987 (2015) [LiveDownloads 24-88.2 + 24-176.4]

≪ Previous: Jay Jay Johnson – Jay Jay Johnson With Clifford Brown (1953/2015) [HDTracks 24-96]

Jeff Beck – Live + (2015)
FLAC (tracks) 24 bit/48kHz | Time – 01:11:42 minutes | 907 MB | Genre: Rock
Official Digital Download – Source: HDTracks | @ Deuce Music, Ltd / Rhino Entertainment
Recorded: August 7-31, 2014

Jeff Beck’s Live + is a new live album spanning the legendary guitarist’s vast and varied career, along with two new studio tracks. Jeff Beck earned raves last year for his spellbinding performances during the hugely successful double-bill tour with ZZ TOP. Fans can relive Beck’s thrilling guitar gymnastics from those shows with a new live album that touches on key eras from the legendary artist’s influential career. The album captures a snapshot of Jeff’s work in 2014, with two newly recorded studio tracks also included, his first new music since 2010’s Grammy®-winning Emotion & Commotion.

The 14 live performances on Live + were recorded at multiple venues in 2014 and feature Beck backed by his band: vocalist Jimmy Hall, bassist Rhonda Smith, drummer Jonathan Joseph and guitarist Nicolas Meier. The quintet explored Beck’s vast catalog—which stretches across five decades—with performances of “Morning Dew” (from Truth, 1968), “Superstition” (from Beck, Bogert, Appice, 1973), “Big Block” (from Jeff Beck’s Guitar Shop, 1989), as well as two Grammy-winning tracks: his cover of the Beatles’ “A Day In The Life” and “Hammerhead.”

Live + concludes with two new studio tracks: “Tribal” and “My Tiled White Floor,” with guest vocals from Ruth Lorenzo and Veronica Bellino, respectively. These aggressive new songs mark Beck’s first studio recordings since 2010 and show a stark departure from the sound on his previous album as the guitarist continues to push the envelope of musical innovation, just as he has his entire career. These tracks are sure to whet the appetite of Beck fans as the guitarist prepares his 17th studio album, which is expected later this year.

Tracklist:
1. Loaded (Live) 02:57
2. Morning Dew (Live) 04:32
3. You Know You Know (Live) 06:31
4. Why Give It Away (Live) 03:40
5. A Change Is Gonna Come (Live) 07:20
6. A Day In The Life (Live) 05:01
7. Superstition (Live) 04:01
8. Hammerhead (Live) 03:46
9. Little Wing (Live) 03:51
10. Big Block (Live) 05:07
11. Where Were You (Live) 03:18
12. Danny Boy (Live) 01:35
13. Rollin’ And Tumblin’ (Live) 06:14
14. Going Down (Live) 05:18
New Studio Recordings:
15. Tribal (44.1 kHz) 03:08
16. My Tiled White Floor (44.1 kHz) 05:21

Personnel:
Jeff Beck – guitar
Jimmy Hall – vocals
Nicolas Meier – guitar
Rhonda Smith – bass
Jonathan Joseph – drums
Ruth Lorenzeo, Veronica Bellino – guest vocals

Download:

http://www.datafile.com/d/TVRJd016QXpNakEF9/JeffBeckLive20154824.part1.rar
http://www.datafile.com/d/TVRJd016QXpNVFkF9/JeffBeckLive20154824.part2.rar
or
http://rapidgator.net/file/1b6638e39674b83625fba5f4d23a26bf/JeffBeckLive20154824.part1.rar.html
http://rapidgator.net/file/3e1d1577e360cc2f9d03f7a59bbcd5b6/JeffBeckLive20154824.part2.rar.html

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Jerry Garcia Band – On Broadway: Act One – October 28th, 1987 (2015) [LiveDownloads 24-88.2 + 24-176.4]

August 19, 2015, 9:12 pm

≫ Next: Jethro Tull – Thick As A Brick (1972/2015) [HDTracks 24-96]

≪ Previous: Jeff Beck – Live + (2015) [HDTracks 24-48]

Jerry Garcia Band – On Broadway: Act One – October 28th, 1987 (2015)
FLAC (tracks) 24 bit/88.2kHz + 24bit/176.4kHz | Time – 02:57:31 minutes | 3,31 +5.51 GB | Genre: Rock
Official Digital Download – Source: livedownloads.com | © Harmonia Mundi
Recorded at the Lunt-Fontanne Theatre in New York City on October 28, 1987

We’re excited to announce the debut of On Broadway, a new archival series celebrating Jerry’s magical 13 night run at the historic Lunt-Fontanne Theatre in New York City’s Broadway theater district. The first installment, On Broadway: Act One – October 28th, 1987, will arrive June 23rd on Round Records as a 3CD set or digital download and is currently available for pre-order in the Official Garcia Store.

On Broadway: Act One – October 28th, 1987 presents three complete sets of music, including previously unreleased matinee and evening acoustic sets from the Jerry Garcia Acoustic Band, as well as the evening electric set from the Jerry Garcia Band. The release was produced from newly remastered two-track soundboard recordings originally captured to digital audio tape and includes previously unpublished live photos, and a liner note essay by author, historian and Grateful Dead publicist, Dennis McNally.

“The (two) Garcia Bands’ – Jerry Garcia Acoustic Band, and the electric JGB – 1987 run on Broadway from October 15th through Halloween was destined to be memorable for many reasons,” as Dennis McNally states in the liner note essay. There’s record setting ticket sale figures, a destiny tied to Jerry’s namesake (Broadway composer Jerome Kern) and of course the sheer visual oddity that is Deadheads descending upon The Great White Way, but what shines brightest is Garcia’s jovial and relaxed mood which sets the stage for the inspiring performances contained within the release. The below excerpt from McNally’s liner notes sums up the magic contained within the collection perfectly:

“The electric JGB was its usual solid self, ripping up Jerry’s customary mix of Dylan (note especially Melvin’s gorgeous, outstanding synthesizer work on “Knockin’ on Heaven’s Door”), reggae (Peter Tosh’s “Stop That Train”), Motown (Marvin Gaye’s [well, Holland-Dozier-Holland’s] “How Sweet It Is”), and Los Lobos’s “Evangeline.” The most interesting original here is the not-so-commonly sung “Gomorrah,” which Garcia simply nails.

But it was the acoustic band that was unusual in this context, and it’s worth some particular attention. There are bluegrass songs – the Stanley Brothers’ “If I Lose,” among others – folk songs – Libba Cotten’s “Oh Babe It Ain’t No Lie” – and country songs like the Tex Logan-arranged “Diamond Joe” or Mel Tillis and Webb Pierce’s “I Ain’t Never,” which has a Garcia/Nelson vocal duet that sounds just like the Everly Brothers. The material was classy and fun and in some odd way just exactly right for Broadway.”

Tracklist:
Disc One:
Matinee (acoustic)
1. Opening Announcement
2. Deep Elem Blues
3. I’m Troubled
4. Spike Driver Blues
5. Band Introductions
6. Blue Yodel #9
7. Short Life Of Trouble
8. If I Lose
9. I’m Here To Get My Baby Out Of Jail
10. Oh Babe It Ain’t No Lie
11. Drifting Too Far From The Shore
12. Ragged But Right
Disc Two:
Evening (acoustic)
1. Opening Announcement
2. I’ve Been All Around This World
3. Ballad Of Casey Jones
4. Blue Yodel #9
5. I’m Troubled
6. Rosa Lee Mcfall
7. Band Introductions
8. Diamond Joe
9. I Ain’t Never
10. It’s A Long Long Way To The Top Of The World
11. Bright Morning Stars
12. Ragged But Right
Disc Three:
Evening (electric)
1. How Sweet It Is (to Be Loved By You)
2. Forever Young
3. Stop That Train
4. Band Introductions
5. Run For The Roses
6. Evangeline
7. Knockin’ On Heaven’s Door
8. Gomorrah
9. Tangled Up In Blue
10. My Sisters And Brothers

Personnel:
Jerry Garcia Acoustic Band:
Jerry Garcia – acoustic guitar, vocals
John Kahn – double bass
David Kemper – drums
Kenny Kosek – fiddle
David Nelson – acoustic guitar, vocals
Sandy Rothman – mandolin, banjo, dobro, vocals
Jerry Garcia Band:
Jerry Garcia – electric guitar, vocals
Gloria Jones – vocals
John Kahn – bass guitar
David Kemper – drums
Jaclyn LaBranch – vocals
Melvin Seals – organ

24-88.2

24-176.4

↧

Jethro Tull – Thick As A Brick (1972/2015) [HDTracks 24-96]

August 19, 2015, 9:26 pm

≫ Next: Jill Scott – Woman (2015) [HDTracks 24-44.1]

≪ Previous: Jerry Garcia Band – On Broadway: Act One – October 28th, 1987 (2015) [LiveDownloads 24-88.2 + 24-176.4]

Jethro Tull – Thick As A Brick (1972/2015)
FLAC (tracks) 24 bit/96kHz | Time – 43:43 minutes | 897 MB | Genre: Rock
Official Digital Download – Source: HDTracks | @ Chrysalis Records
Recorded: December 1971 at Morgan Studios, London. Mixed & Mastered by Steven Wilson

Jethro Tull’s classic 1972 concept album, newly remixed and remastered by Steven Wilson.

While never as high-minded or technically facile as the likes of Yes or ELP, Tull began incorporating complex time changes, sophisticated harmonic structures and highly developed lyrical themes on „Thick As A Brick“, the realization of the artistic growth begun on „Aqualung“. It’s here that Tull finally bursts into full-blown prog-rock mode. While „Aqualung“ was a group of discrete compositions united by a theme, „Thick As A Brick“ consists of one extended piece that occupies the length of the album.

Lyrically, Anderson’s intentions are a bit more obscure here, but the sophisticated arrangements and virtuosic performances are enough to carry the show. John Evan’s piano and organ are at the heart of this complex piece, which moves through an endless succession of tempos, moods and modes in a manner similar to vintage Genesis or the aforementioned Yes, but with a grittier edge. Most importantly, the whole things flows in a cohesive manner. „Thick As A Brick“ demands close attention, but rewards the same handsomely.
‘…their music spins a delicate web of sensitive sounds: sometimes lilting, sometimes soaring to form a brilliant backdrop for the meaningful lyrics and improvisational techniques…’ –Rolling Stone

Tracklist:
1. Really Don’t Mind/See There a Son Is Born 04:60
2. The Poet and the Painter 05:30
3. What Do You Do When the Old Man’s Gone?/From the Upper Class 05:25
4. You Curl Your Toes in Fun/Childhood Heroes/Stabs… 06:49
5. See There a Man Is Born/Clear White Circles 05:59
6. Legends and Believe in the Day 06:35
7. Tales of Your Life 05:24
8. Childhood Heroes Reprise 03:01

Personnel:
Ian Anderson – Lead Vocals, Acoustic Guitar, Flute, Violin, Trumpet, Saxophone
Martin Barre – Electric Guitar, Lute
John Evan – Piano, Organ, Harpsichord
Jeffrey Hammond – Bass Guitar, Vocals
Barriemore Barlow – Drums, Percussion, Timpani
David Palmer – Brass and String arrangements

Download:

http://www.datafile.com/d/TVRJd016QXpPRGcF9/JethroTullThickAsABrick19729624.part1.rar
http://www.datafile.com/d/TVRJd016QXpPRGMF9/JethroTullThickAsABrick19729624.part2.rar
or
http://rapidgator.net/file/c57df980b727e61204a59ae01213a721/JethroTullThickAsABrick19729624.part1.rar.html
http://rapidgator.net/file/724e33b9100e1f1f026b4f2de5ebd91b/JethroTullThickAsABrick19729624.part2.rar.html

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