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Rob Thomas: Live At Red Rocks - Something To Be Tour (2009) BLU-RAY 1080i AVC DTS-HD 5.1

Title: Soundstage: Rob Thomas – Live At Red Rocks
Released: 2008
Genre: Rock
Directed by: Joe Thomas
Starring: Rob Thomas

Issued: United States | Koch Entertainment
Duration: 1:26:36

The Red Rocks Amphitheatre in Colorado – a legendary venue that has been graced by rock luminaries from The Beatles to U2 – provides the awe-inspiring backdrop for Rob Thomas in one of the most memorable stops on his “Something To Be Tour.” Featuring the multi-platinum recording artist performing 18 hits from his solo career and Matchbox Twenty, this incredible set also includes a special acoustic arrangement of “Smooth” and a cover of the David Bowie classic “Let’s Dance.”

Features: Something To Be, Fallin’ To Pieces, If You’re Gone, When The Heartache Ends, Ever The Same, Not Just A Woman, 3 AM, You Won’t Be Mine, The Difference, Bent, Problem Girl, Let’s Dance, Lonely No More, I Am An Illusion, Now Comes The Night, Smooth, You Know Me, This Is How A Heart Breaks

Bonus: Streetcorner Symphony Video
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Roxy Music: Live At The Apollo (2001) Blu-ray 1080i MPEG-2 DD5.1

Title: Roxy Music: Live At The Apollo
Released: 2001
Genre: Pop Roscoe

Issued: Germany | Intergroove
Duration: 1:45:03

Recorded live at the Apollo in London, Roxy Music perform their greatest hits. Roxy Music are an English art rock band formed in 1971 by Bryan Ferry, who became the group’s lead vocalist and chief songwriter, and bassist Graham Simpson. The other members are Phil Manzanera (guitar), Andy Mackay (saxophone and oboe) and Paul Thompson (drums and percussion). Former members include Brian Eno (synthesizer and & treatments),and Eddie Jobson (synthesizer and violin). Although the band took a break from group activities in 1983, they reunited for a concert tour in 2001, and have toured together intermittently since that time. Roxy Music attained popular and critical success in Europe and Australia during the 1970s and early 1980s, beginning with their debut album, Roxy Music (1972). The band were highly influential, as leading proponents of the more experimental, musically sophisticated element of glam, as well as a significant influence on early English punk music. They also provided a model for many New Wave acts and the experimental electronic groups of the early 1980s. The group is distinguished by their visual and musical sophistication and their preoccupation with style and glamour. Ferry and co-founding member Eno have also had influential solo careers, the latter becoming one of the most significant record producers and collaborators of the late 20th century. Rolling Stone magazine ranked Roxy Music number 98 on its The Immortals, 100 Greatest Artists of All Time list. Their music was influenced by other British artists of the time such as Ferry’s favorite band The Beatles, The Rolling Stones, The Kinks, The Who, The Pretty Things, Pink Floyd, The Creation, The Move, Traffic, David Bowie, King Crimson, and Elton John. Eno’s treatments were influenced by the experimental sound of The Velvet Underground.
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Vincenzo Bellini - La Sonnambula - Maria Callas, Orch del Teatro alla Scala di Milano, Antonino Votto (1957/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Vincenzo Bellini (1801-1835)
Artist: Maria Callas, Fiorenza Cossotto, Nicola Zaccaria, Nicola Monti, Eugenia Ratti, Giuseppe Morresi, Franco Ricciardi, Coro e Orchestra del Teatro alla Scala di Milano, Antonino Votto
Title: Bellini - La Sonnambula
Genre: Classical, Opera
Label: © Warner Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 02:00:56
Recorded: 3–9.III.1957, Basilica di Sant’Eufemia, Milan

While all of Callas’s bel canto roles were revelatory, her first Amina achieved instant legendary status partly because of the Luchino Visconti production surrounding it. Visconti replicated a bygone era visually by costuming the slimmed-down diva in the manner of a 19th-century ballerina, while Callas replicated that time vocally, combining bel canto style with a full dramatic impersonation not associated with a role owned at the time by bird-like coloraturas. Callas transported Bellini’s lyric masterpiece back to the age of Giuditta Pasta, for whom it was created, offering her share of vocal fireworks – but in the name of expression. Suddenly, the opera itself was understood anew.

Two years later, at the time of this 1957 recording, La Scala had revived the opera for Callas. She, her voice, and the score were all further slimmed: Conductor Votto made cuts to tighten the piece (fortunately barely affecting Amina’s role); Callas was more ballerina-like than ever; and most important, she had scaled down her sound, finding a new delicacy of delivery that made her Amina more tender, her singing more Bellinian than in those first Aminas. Her exchanges with Elvino here are meltingly sung, pianissimi ethereal, and even the vocal pyrotechnics are enhanced by this fleet lightness of execution – note the bell-like staccati in both her opening and final cabalettas, and the breathtaking (literally!) diminuendo on a high E flat in the latter.

Callas sang Amina 22 times in all, between 1955 and 1957. The chapter ended sadly, the soprano being accused of cancelling a performance with La Scala on tour in Edinburgh, for which she had actually not been scheduled. She never sang it again – save for a mesmerising rendition of ‘Ah! non credea mirarti’ on French television in 1965. The role had clearly remained deeply important to Callas, who had painstakingly tamed her powerful voice – fresh from performances of Medea and Andrea Chénier when she first tackled Amina – to become the thread of silvery perfection we hear on this recording.
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Vincenzo Bellini - I Puritani - Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge (1973/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Vincenzo Bellini (1801-1835)
Artist: Luciano Pavarotti, Joan Sutherland, Piero Cappuccilli, Nicolai Ghiaurov, London Symphony Orchestra, Richard Bonynge
Title: Bellini - I Puritani
Genre: Classical, Opera
Label: © Decca Music Group
Release Date: 1973/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 02:54:05
Recorded: Kingsway Hall, London, May–July 1973

Pavarotti made only one studio recording of I Puritani. In 1973 he recorded the opera with Richard Bonynge conducting the London Symphony Orchestra and with Joan Sutherland as Elvira.

“Sutherland's singing here is brighter and fresher than her earlier recording, with the lovely aria 'Qui la voce' no longer a wordless melisma...The recording is vivid and atmospheric and one marvels at Bellini's gorgeous melodies...with Sutherland, Bonynge and all on electrifying form.” --The Penguin Guide
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Vincenzo Bellini - Beatrice di Tenda - Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge (1966/2013 ) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Vincenzo Bellini (1801-1835)
Artist: Luciano Pavarotti, Joan Sutherland, Josephine Veasey, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge
Title: Bellini - Beatrice di Tenda
Genre: Classical, Opera
Label: © Decca Music Group
Release Date: 1966/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 02:27:45
Recorded: Walthamstow Assembly Hall, London, January & February 1966

„Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. More recent recordings include a Rizzoli set – Mariana Nicolescu in the title role – and a brand new one starring Edita Gruberova on the ominously named Nightingale label, which I have not yet heard.“ --Hugh Canning, BBC Music Magazine
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Art Blakey & The Jazz Messengers - Mosaic (1961/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Art Blakey & The Jazz Messengers
Title: Mosaic
Genre: Jazz, Hard Bop, Modal
Label: © Blue Note Records
Release Date: 1961 (BLP 4090/BST 84090)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:40:06
Recorded: October 2, 1961 at at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Mosaic is a 1961 jazz album released by Art Blakey & the Jazz Messengers on Blue Note Records. It was the first album recorded by one of the most critically acclaimed Jazz Messengers lineups: Wayne Shorter (tenor saxophone), Freddie Hubbard (trumpet), Curtis Fuller (trombone), Cedar Walton (piano), Jymie Merritt (bass) and Art Blakey (drums). They recorded and performed together from 1961 into 1964. Hubbard, Walton and Workman became permanent members of the group following the 1961 departures of trumpeter Lee Morgan, pianist Bobby Timmons and bassist Jymie Merritt, though Merritt and others would appear infrequently on subsequent recordings.
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Andrew Hill - Point Of Departure (1964/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Andrew Hill
Title: Point Of Departure
Genre: Jazz, Avant-Garde Jazz, Post Bop, Piano Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4167/BST 84167)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:39:48
Recorded: March 21, 1964 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Pianist and composer Andrew Hill is perhaps known more for this date than any other in his catalogue -- and with good reason. Hill's complex compositions straddled many lines in the early to mid-1960s and crossed over many. Point of Departure, with its all-star lineup (even then), took jazz and wrote a new book on it, excluding nothing. With Eric Dolphy and Joe Henderson on saxophones (Dolphy also played clarinet, bass clarinet, and flute), Richard Davis on bass, Tony Williams on drums, and Kenny Dorham on trumpet, this was a cast created for a jazz fire dance. From the opening moments of "Refuge," with its complex minor mode intro that moves headlong via Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. Hill's solo is first and it cooks along in the upper middle register, almost all right hand ministrations, creating with his left a virtual counterpoint for Davis and a skittering wash of notes for Williams. The horn solos in are all from the hard bop book, but Dolphy cuts his close to the bone with an edgy tone. "New Monastery," which some mistake for an avant-garde tune, is actually a rewrite of bop minimalism extended by a diminished minor mode and an intervallic sequence that, while clipped, moves very quickly. Dorham solos to connect the dots of the knotty frontline melody and, in his wake, leaves the space open for Dolphy, who blows edgy, blue, and true into the center, as Hill jumps to create a maelstrom by vamping with augmented and suspended chords. Hill chills it out with gorgeous legato phrasing and a left-hand ostinato that cuts through the murk in the harmony. When Henderson takes his break, he just glides into the chromatically elegant space created by Hill, and it's suddenly a new tune. This disc is full of moments like this. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation. This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz. --Thom Jurek, AllMusic
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Santana - Spirits Dancing In The Flesh (1990/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Santana
Title: Spirits Dancing In The Flesh
Genre: Rock, Blues-Rock, Hard Rock, Latin Rock, Psychedelic Rock
Label: © Columbia Records
Release Date: 1990/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:48:17
Recorded at The Plant Recording Studios, Sausalito, CA. Mastered at Precision Disc Mastering, Hollywood, CA. Mixed at The Plant Recording Studios, Sausalito, CA. and Sound Castle, Los Angeles, CA.

Following a 20th anniversary reunion tour in 1989 to promote Viva Santana!, Carlos Santana reorganized the band as a sextet and recorded Spirits Dancing in the Flesh, Santana's 15th and final studio album for Columbia Records. It was an unusually eclectic collection, featuring songs by Curtis Mayfield ("Gypsy Woman"), the Isley Brothers ("Who's That Lady"), and Babatunde Olatunji ("Jin-Go-Lo-Ba"). For all those influences, it was more of a straightforward, guitar-heavy rock album than usual. Coming more than three years after Santana's last new album, Freedom, it sold to the band's core audience only, reaching number 85. --William Ruhlmann, AllMusic
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Santana - Beyond Appearances (1985/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Santana
Title: Beyond Appearances
Genre: Rock, Blues-Rock, Hard Rock, Latin Rock, Psychedelic Rock
Label: © Columbia Records
Release Date: 1985/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:39:49
Recorded: Record One, Los Angeles; Additional recording at Plant Studios, Sausalito and Studio 55, Los Angeles between March 28, 1984 to November 1, 1984

Beyond Appearances is the thirteenth studio album by Santana, released in 1985 (see 1985 in music). The album took seven months to make, and (apart from Carlos Santana himself) involved a completely different line-up from Santana's previous album (released two and a half years earlier). It was firmly in the style of the 1980s, making much use of synthesizers and drum machines. Beyond Appearances performed relatively poorly, reaching only fifty on the Billboard album chart; one of its tracks, "Say It Again", reached number 46 on the Billboard Hot 100 singles chart (though it performed better on Billboard's Mainstream Rock Tracks chart, reaching number fifteen).
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