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Johann Sebastian Bach - Cantatas BWV 170 & 35, Trio Sonata BWV 527, Fantasia & Fugue BWV 542 - Le Banquet Celeste, Damien Guillon (2012) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Johann Sebastian Bach (1685 - 1750)
Artist: Le Banquet Céleste, Damien Guillon
Title: Johann Sebastian Bach - Cantatas BWV 170 & 35, Trio Sonata BWV 527, Fantasia & Fugue BWV 542
Genre: Classical
Label: © Zig-Zag Territoires | Outhere Music
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: qobuz
Duration: 01:13:05
Recorded: du 23 au 27 Novembre 2011 à L'Église Réformée Du Bouclier, Strasbourg

It would be hard to conceive of more annoying graphic design that proffered on this release from the Zig Zag Territoires label, identified with a big "ZZT" (no, that's not an electric shock warning). There, however, the list of complaints pretty much ends. This little program of solo cantatas and organ works by countertenor Damien Guillon and his historical instrument group Le Banquet Céleste was beautifully recorded in a small Strasbourg church and it's an intimate gem. Front and center is Guillon's singing, which is sweet, nicely rounded in the high tones, and couched in an attitude of relaxed calm. Organist Maude Gratton offers a trio sonata and a sparkling rendition of the Fantasy and Fugue in G minor, BWV 542, which ends the program on a unique rousing note. The instrumentalists have a sensuous sound and are so well coordinated with Guillon that they seem like extensions of his singing. With the emphasis in recordings of Bach cantatas having long been on the grand conceptions of the charismatic figures who have undertaken complete Bach cycles, a small, unified, and beautifully executed recording like this one comes as a breath of fresh air, and it represents the French way with Bach at its best.
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Hank Mobley, Lee Morgan - Peckin' Time (1958/2011) ISO SACD Stereo DSD64/2.82MHz

Artist: Hank Mobley, Lee Morgan
Title: Peckin' Time
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records | Analogue Productions
Release Date: 1958/2011
Quality: ISO SACD Stereo DSD64/2.82MHz
Source: PS³SACD
Duration: 01:02:12
Recorded: February 9, 1958 at the Van Gelder Studio, Hackensack, New Jersey.
Mastered: AcousTech Mastering, Camarillo, California by Kevin Gray & Steve Hoffman.

"Peckin' Time rises to the top 10% of the Analogue Productions Blue Note SACD run. Call it classic plus one with acoustics to match. Give your other Peckin' Time editions to those you want to impress with your good taste, and invest in the release with the whole package..." - Jeff Krow, Audiophile Audition, September 2011
This hard-swinging February 9, 1958 date with Lee Morgan, Wynton Kelly, Paul Chambers and Charlie Persip was the last in a run of outstanding albums that Mobley and Morgan made for Blue Note in the two years prior.

Tenor saxophonist Hank Mobley was overshadowed by more influential tenors such as Sonny Rollins and John Coltrane during his career, but although he wasn't deliberately flashy or particularly innovative, his concisely measured, round sax tone made him the perfect ensemble player and he was a fine writer, as well, a talent who has often been undervalued and overlooked. The Peckin' Time session was recorded February 9, 1958 (the LP was issued a year later) and came in the midst of what was a period of whirlwind creativity for Mobley, who recorded work for the Savoy and Prestige imprints as well as six full albums for Blue Note (two were never released -- it was not that uncommon for Blue Note to stockpile sessions at the time) in a little more than a year's time (later Blue Note albums like Soul Station and Roll Call were still well in the future). For this session, Mobley found himself working with a young Lee Morgan on trumpet and in front of a fluid rhythm section that included pianist Wynton Kelly, bassist Paul Chambers, and drummer Charlie Persip, and it's solid stuff, bright and always energetic. All but one of the tracks, a rendering of Kurt Weill's "Speak Low," were written by Mobley, and again, his hidden strength was always his writing, and it should probably come as no surprise that the best two tracks here, the title tune "Peckin' Time" and the wonderful "Stretchin' Out," were both penned by Mobley. It all adds up to a fine program, and if Mobley didn't push the envelope a whole lot, his lyrical and economical playing was always appropriate and graceful, and that's certainly the case here. --Steve Leggett
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Grant Green - Green Street (1961/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Grant Green
Title: Green Street
Genre: Jazz, Hard Bop, Soul Jazz, Guitar Jazz
Label: © Blue Note Records
Release Date: 1961 (BLP 4071/BST 84071)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: hdtracks
Duration: 39:15
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 1, 1961.

Guitarist Grant Green was one of the busiest musicians in jazz between 1961 and 1965, not only leading his own Blue Note sessions but playing as a sideman on many Blue Note recordings made during this period. Green Street, one of six (!) albums he recorded as leader in 1961, remains one of the finest of his prolific Blue Note output. Supported by just Ben Tucker's bass and Dave Bailey's drums, Green seems inspired by the absence of piano. His harmonic and interpretive imagination is in high gear on this unique masterpiece in his discography.

As a trio, this edition of guitarist Grant Green's many ensembles has to rank with the best he had ever fronted. Recorded on April Fool's Day of 1961, the band and music are no joke, as bassist Ben Tucker and drummer Dave Bailey understand in the most innate sense how to support Green, lay back when needed, or strut their own stuff when called upon. Still emerging as an individualist, Green takes further steps ahead, without a pianist, saxophonist, or -- most importantly -- an organist. His willpower drives this music forward in a refined approach that definitely marks him as a distinctive, immediately recognizable player. It is also a session done in a period when Green was reeling in popular demand, as this remarkably is one of six recordings he cut for Blue Note as a leader in 1961, not to mention other projects as a sideman. To say his star was rising would be an understatement. The lean meatiness of this group allows all three musicians to play with little hesitation, no wasted notes, and plenty of soul. Another aspect of this studio date is the stereo separation of Green's guitar in one speaker, perhaps not prevalent in modern recordings, but very much in use then. Check out the atypical (for Green) ballad "'Round About Midnight," as the guitarist trims back embellishments to play this famous melody straight, with a slight vibrato, occasional trills, and a shuffled bridge. The trio cops an attitude similar to Dizzy Gillespie for the introduction to "Alone Together," with clipped melody notes and a bass filler from Tucker. Three of Green's originals stamp his personal mark on rising original soulful post-bop sounds, as "No. 1 Green Street" has basic B-flat, easy-grooving tenets similar to his previously recorded tune "Miss Ann's Tempo." Two interesting key changes and chord accents identify the outstanding "Grant's Dimensions" beyond its core bop bridge and jam configuration -- not the least of which contains a hefty bass solo from the criminally underrated Tucker and Bailey trading fours. "Green with Envy" should be familiar to fans of Horace Silver, as it is almost identically based on the changes of "Nica's Dream," a neat adaptation full of stop-starts and stretched-out improvising over ten minutes. --Michael G. Nastos

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Dave Liebman - Ceremony (2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dave Liebman
Title: Ceremony
Genre: Binaural, Jazz, Modern
Label: © Chesky Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: hdtracks
Duration: 47:49
Recorded: January 30, 2014 at the Hirsch Center in Brooklyn, New York.

The National Endowment of the Arts’ Jazz Master, Dave Liebman, was born in New York City on September 4th, 1946 during a period of change in jazz, one that has yet to be properly documented by even its most noted musicians, writers, filmmakers, and serious academics. It was a time when Afro-Cuban based dance music and its driving polyrhythms were taking the city, and eventually the country, by storm. At its epicenter was the Machito Afro-Cubans, a big band led by the amazing multi-instrumentalist (clarinet, alto sax, lead trumpet) Mario Bauzá and his brother-in- law Frank Grillo (Machito). Thus Afro-Cuban jazz, the first form of Latin jazz, was born and Afro-Cuban percussion would become part of mainstream jazz in America.
With Ceremony, Dave has added to that history and joined the continuum of New York-based musicians that have contributed to the Apple’s rich Afro-Latin music culture. Dave’s beautiful flute, tenor, and soprano sax lines soar over the rhythms played by young virtuosic percussionists throughout this beautifully haunting record. They provide a cultural context evoking the spirit of John Coltrane, particularly in the three opening pieces which were penned by Trane and arranged by Lieb. Along with the Coltrane cuts, the pieces “Danza” and the traditional “Tardes”, also featured are three “Ceremony” pieces Dave calls “Morning” “Afternoon” “Evening” which center around one theme adjusted for each of the chosen modes encased in odd meter bass and drum lines.
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Candido Camero - The Master (2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Candido Camero
Title: The Master
Genre: Binaural, Jazz, World
Label: © Chesky Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: hdtracks
Duration: 51:03
Recorded: December 18, 2013 at the Hirsch Center in Brooklyn, NY.

The legendary conga player, now at the age of 92, is still making heads turn and bodies move with a masterful command of his instruments. Candido, by way of his spectacular showmanship and rapport with audiences and his unique style of tuning his three conga drums, has transformed the conga drum into an international instrument spanning all genres of music. Candido has become an important star in the jazz world as well as the Afro Cuban scene, performing and recording with Machito’s Afro Cubans, Billie Holiday, Dizzy Gillespie, Billy Taylor, Charlie Parker, Duke Ellington, Stan Kenton, and most recently with Tony Bennett. And the list goes on and on. His instrumental prowess is well known and acclaimed; in 2008 he was the recipient of the National Endowment for the Arts’ Jazz Masters Award. Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings. These new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure conga drums ever recorded.
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Busoni, Berg, Zemlinsky, Webern - Lieder - Katrien Baerts, Het Collectief, Reinbert de Leeuw (2014) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Ferruccio Busoni (1866 – 1924), Alban Berg (1885 – 1935), Alexander von Zemlinsky (1871 – 1942), Anton Webern (1883 – 1945)
Artist: Katrien Baerts, Het Collectief, Reinbert de Leeuw
Title: Busoni, Berg, Zemlinsky, Webern - Lieder
Genre: Classical
Label: © Zig-Zag Territoires | Outhere Music
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: qobuz
Duration: 00:50:57
Recorded: at deSingel (Blue Hall)

When it comes to modern music – from the 20th-century repertoire to scores on which the ink is barely dry –, Het Collectief is one of the finest European ensembles. With their sixth disc for Outhere and their first on the Zig-Zag Territoires label, the ensemble returns to the roots of the modern repertoire, interpreting Webern’s Passacaglia and, with soprano Katrien Baerts, Berg’s Sieben frühe Lieder, Zemlinsky’s Maeterlinck Gesänge.

But how, with a chamber ensemble, does one perform this music that was written for orchestra or piano? It means finding transcriptions! Happily, Reinbert de Leeuw, conductor, pianist, composer, teacher, founder of the famous Schönberg Ensemble and eminent personality on the contemporary music scene, has arranged these works. And the icing on the cake: Het Collectief plays these arrangements under the direction of… Reinbert de Leeuw himself!
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Bruce Springsteen & The E Street Band - The Agora, Cleveland 1978 (2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Bruce Springsteen & The E Street Band
Title: The Agora, Cleveland 1978
Genre: Rock, Folk, Rock
Label: © Live Bruce Springsteen
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Duration: 02:54:10
Recorded: August 09, 1978 at The Agora Theatre, Cleveland, OH

Deep into the Darkness Tour, the E Street Band took the stage at Cleveland’s Agora Theatre and Ballroom on August 9, 1978, where the entire show was simulcast on local station WMMS and many other stations around the country to an estimated audience of 3 million listeners. For years bootleg copies of the FM broadcast, in various degrees of quality, widely circulated among collectors and established The Agora ’78 as a legendary performance from Darkness-era Springsteen.
Not until now, however, has the pristine live stereo mix been heard. Seven 1/4 inch reels were unearthed in the Thrill Hill Archives and transferred via the Plangent Process, the same method used on the recent Album Collection Vol. 1 remastering project.
The entire show is now available in High Definition 24 bit / 192 kHz audio, as well as on a 3 CD set and MP3 and CD-Quality downloads.

I found the seven Agora tape reels in a box that had been returned from the Rock'n Roll Hall Of Fame. The tapes were part of an exclusive Springsteen exhibit “Asbury Park to the Promised Land”. It wasn’t until the request to release this show came up that the tapes needed to be found. Not at Sony, not at Thrill Hill Archives, not at the archiving company. Last known location was the Rock'n Roll Hall of Fame. They informed me what box to look in and there they were, marked with the original indication of speed, tracks and show date.
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Black Sabbath - 13 (2013/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Black Sabbath
Title: 13
Genre: Rock, Hard Rock, Heavy Metal, British Metal, Doom Metal
Label: © Vertigo Records | Universal Music
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Blu-ray Audio
Duration: 01:08:49
Recorded: August 2012 – January 2013 at Shangri La Studios, Malibu, CA, and Tone Hall, Lapworth, Warwickshire, England

13 is the 19th studio album by British rock band Black Sabbath. The album was released on 10 June 2013 in Europe and 11 June 2013 in North America, via Vertigo Records and Republic Records in the US, and via Vertigo Records worldwide. It is the first studio album released by Black Sabbath since Forbidden (1995), and their first studio recording with original singer Ozzy Osbourne and bassist Geezer Butler since the live album Reunion (1998), which contained two new studio tracks. It is also the first studio album with Osbourne since Never Say Die! (1978), and with Butler since Cross Purposes (1994). This is also the first Black Sabbath studio album since Never Say Die! not to feature longtime keyboardist Geoff Nicholls, and the first since The Eternal Idol (1987) on Vertigo (outside the US and Canada).
Black Sabbath's original line-up first began work on a new studio album in 2001 with producer Rick Rubin. The album's development was delayed because Osbourne was in the middle of finishing his eighth solo album Down to Earth, and the rest of the band members eventually went on to pursue other projects, including GZR and Heaven & Hell. When Black Sabbath announced the end of their hiatus on 11 November 2011, the band announced that they would restart work on a new album with Rubin. In addition to original members Osbourne, Butler and guitarist Tony Iommi, they were joined at the recording sessions by drummer Brad Wilk, of Rage Against the Machine and Audioslave, following original drummer Bill Ward's decision to not participate in the reunion, due to a "contractual dispute".
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Billie Holiday - All Or Nothing At All (1958/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Billie Holiday
Title: All Or Nothing At All
Genre: Jazz, Swing, Blues, Traditional Pop, Vocal Jazz
Label: © Verve Records
Release Date: 1958/2014
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Duration: 51:17
Recorded: Radio Recorders and Capitol Studios, Hollywood, California on August 14 & 18, 1956 and from January 3-9, 1957

Recorded in 1956 and 1957, All Or Nothing At All was one of Billie Holiday's last releases before her death in 1959. A collection of jazz and pop standards by the Gershwins, Irving Berlin and Duke Ellington, among others, the album was produced by legendary producer Norman Granz. Holiday runs the emotional gamut from summery optimism (Love Is Here To Stay) to pathos-rich musings (Ill Wind) backed by a strong studio lineup of veterans including Red Mitchell on bass and Ben Webster on tenor saxophone.

"...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!" Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011
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Andrew Hill - Black Fire (1964/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Andrew Hill
Title: Black Fire
Genre: Jazz, Post Bop, Modal, Piano Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4151/BST 84151)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: hdtracks
Duration: 40:40
Recorded at the Van Gelder Studio in Englewood Cliffs, New Jersey on November 8, 1963.

Jazz pianist Andrew Hill wasn't a household name but his music had a far-reaching influence on jazz music of the 1960s. This 1964 release, his debut for Blue Note, was produced by Alfred Lion who called the pianist his "last great discovery." Hill is joined on this album of all-original material by a superb group of studio musicians including Joe Henderson on tenor saxophone, bassist Richard Davis and drummer Roy Haynes, performing in various trio and quartet combinations.

Black Fire, Andrew Hill's debut record for Blue Note, was an impressive statement of purpose that retains much of its power decades after its initial release. Hill's music is quite original, building from a hard bop foundation and moving into uncharted harmonic and rhythmic territory. His compositions and technique take chances; he often sounds restless, searching relentlessly for provocative voicings, rhythms, and phrases. Black Fire borrows from the avant-garde, but it's not part of it -- the structures remain quite similar to bop, and there are distinct melodies. Nevertheless, Hill and his band -- comprised of tenor saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes -- are not content with the limitations of hard bop. Much of the music is informed by implied Afro-Cuban rhythms and modal harmonics, resulting in continually challenging and very rewarding music. Hill's complex chording is thoroughly impressive, and Henderson's bold solos are more adventurous than his previous bop outings would have suggested. Their expertise, along with the nimble, unpredictable rhythm section, help make Black Fire a modern jazz classic. --Stephen Thomas Erlewine
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