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Xiomara Laugart - Tears and Rumba (2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Xiomara Laugart
Title: Tears and Rumba
Genre: Jazz, Latin, Folk, World, Bolero, Trova, Rumba, Afro-Cuban
Label: © Chesky Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 46:48
Recorded: January 31 st 2014 at The Hirsch Center for Performing Arts, Brooklyn, New York

For singers, recording a collection of classic tunes can be viewed as a rite of passage. These classics after all have helped define a generation. Jazz vocalists face this when they interpret the songs of Cole Porter and George Gershwin, along with many others that make up the great American Song Book. Cuban music has a significant canon as well. Songs which are not just memorable to Cubans, but well known favorites that resonate throughout Latin America.
On her new record, her third for Chesky Records, Xiomara Laugart steps up to the plate with her own distinctive style to interpret some Cuban classics from the golden era of the 1920s.“
People are familiar with Cuban rhythms, but they don’t know the songs or the composers,” said Laugart, who came to New York City in 1998 from Havana. “That’s what I wanted to do, introduce these songs to a new generation.”
Lagrimas y Rumba is a fine introduction to the singer-songwriter’s driven trova style from the city of Santiago and features works by two extremely influential composers of that era, Maria Teresa Vera and Miguel Matamoros. Laugart grew up listening and singing these tunes with her father, who encouraged her to sing starting at the age of five. “We heard these songs on the radio and everybody listened to the radio then,” she said of her Havana childhood.
As the title of the record suggests, the songs that Laugart interprets so elegantly range from the moody trova style standards like Vera’s “Ausencia” to the danceable son montuno of Matamoros’ “La Mujer de Antonio.” The heart wrenching lyrics of “Ausencia” speak about a love that will never be. Mixed with Yunior Terry’s stirring acoustic bass, they will have you sobbing in your mojito. But not to worry, Laugart, who has been influenced by Chaka Khan as much as by Vera and Matamoros, will have everyone packing the dance floor in a New York minute with her swinging versions of “La Mujer de Antonio” and “Nadie Se Salva de la Rumba,” made popular again during the 1980s by Celia Cruz.
Laugart excels at navigating shifts in style and mood thanks to a quintet of excellent musicians who are part of a new generation from Cuba that continues to flow into New York City. Terry provides the anchor giving the small band a big sound. Throughout the record, the melodies by guitarist Roman Lajara and flautist Javier Porta create a layer of sound joining Terry in creating the perfect intimate setting for Laugart’s nuanced phrasing. The Venezuelan Luis Quintero is the veteran of the group having played with everyone from Eddie Palmieri to Diana Krall. Gerardo Contino provided backup vocals and one of the youngsters of the group, Axel Tosca Laugart, the singer’s son, was responsible for the new arrangements.
Laugart’s fans from her days leading the Grammy nominated band Yerba Buena, the raucous ensemble that experimented with all kinds of urban Latin America rhythms, might be surprised by her approach here, but this is roots music. This is Xiomara Laugart unplugged. The closer you listen, the more you’ll appreciate the nuances. Her subtle phrasing weaves around the melodies and highly poetic lyrics. The country flavor of Lajara’s guitar is intensely expressive with the rustic sound of Quintero’s percussion and the culture that it all comes from. Lagrimas y Rumba will have them crying and dancing all night long, well into the morning at clubs like Hoy Como Ayer in the heart of Miami’s Little Havana where Xiomara performs regularly. That too is a serious rite of passage, one that she has already overcome and this album is her next. —Alfredo Alvarado
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Ralph Vaughan Williams - On Wenlock Edge - James Gilchrist, Anna Tilbrook, The Fitzwilliam String Quartet (2007) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Ralph Vaughan Williams (1872-1958)
Artist: James Gilchrist, Anna Tilbrook, The Fitzwilliam String Quartet
Title: Ralph Vaughan Williams - On Wenlock Edge
Genre: Classical, Vocal
Label: © LINN Records
Release Date: 2007
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: LINN
Duration: 01:09:34
Recorded: Christ’s Hospital School, Horsham, West Sussex, November 21st-23rd, 2006

A brilliant and moving recital coupling song cycles by Vaughan Williams, Warlock, and Gurney along with a very special stand alone song by Bliss, this disc by tenor James Gilchrist with the Fitzwilliam String Quartet, pianist Anna Tilbrook, flutist Michael Cox, and English hornist Gareth Hulse will thrill fans of English twentieth century vocal music. Each of the works had an interesting genesis. Vaughan Williams' On Wenlock Edge setting of six poems from A.E. Housman's "A Shropshire Lad" was written in 1909 at the high tide of the composer's keenness on French music. Ivor Gurney's Ludlow & Teme setting of seven poems from "A Shropshire Lad" was written in 1919 immediately following the composer's first hearing of On Wenlock Edge. Peter Warlock's The Curlew setting of four poems by W.B. Yeats was written in 1915 -- without the poet's permission (Yeats capitulated only after the work was published in 1923). And Arthur Bliss' Elegiac Sonnet setting of a poem by Cecil Day Lewis for Noel Mewton-Wood, the Australian virtuoso pianist and film composer -- remember his ornithological comedy Tawney Pitpit? -- who killed himself after his lover Bill Fredricks died from a ruptured appendix, was written in 1954 immediately after the composer and poet had collaborated on A Song of Welcome greeting Queen Elizabeth II and the Duke of Edinburgh on their return from a grand tour of the Commonwealth. And each of the performers is equally interesting. Gilchrist, a full-time doctor before he became a full-time tenor, sings with unfeigned enthusiasm, undisguised affection, and consummate musicality. The Fitzwilliam Quartet, the group that got its big break performing Shostakovich for Shostakovich, plays with tonal beauty, robust energy, and complete sympathy for the music and singer. Pianist Tilbrook is a big-toned but sensitive player, flutist Cox is a subtle but soulful player, and English hornist Hulse is a throaty but touching player. They all perform together with polish, power, and passion and the result is a superb disc of English art songs. Linn Records' super audio sound is incredibly clear and unbelievably real. --James Leonard
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Wayne Shorter - The All Seeing Eye (1965/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Wayne Shorter
Title: The All Seeing Eye
Genre: Jazz, Post Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1965 (BLP 4219/BST 84219)/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 44:34
Recorded: October 15, 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

The All Seeing Eye is the ninth jazz album by saxophonist Wayne Shorter, recorded on October 15, 1965, and released on the Blue Note label as BLP 4219 and BST 84219. The album features performances by Shorter with Freddie Hubbard, Grachan Moncur III, James Spaulding, Herbie Hancock, Ron Carter and Joe Chambers with Shorter's brother Alan Shorter guesting on one track. The Allmusic review by Scott Yanow states: "it is clear from the start that the music on this CD reissue is not basic bop and blues... the dramatic selections, and their brand of controlled freedom has plenty of subtle surprises. This is stimulating music that still sounds fresh over three decades later".
In the album's original liner notes, Shorter explains that the album was conceived as an attempt to depict the meaning of life, existence and the nature of God and the universe. In the long interview with Nat Hentoff, the saxophonist mentions the meanings of each piece, which will be hereby shortly summarized: "The All Seeing Eye" depicts the ubiquitous eye of God; "the solos, moreover, depict the machinery involved in the process of creation". "Genesis" obviously refers to the creation of all things; if the first part mostly consists in free tempo phrases, it "goes into 4/4 straight time to indicate that everything is beginning to settle down". Shorter further explains that he tried to give "Genesis" an open-endedness feeling "because, once begun, the creative process keeps going". "Chaos" reflects "wars, disagreements and the difficulty men have in understanding each other", whilst "Face of the Deep", a ballad in a minor key - the more cohesive piece of the album -, mirrors God bethinking on His creation. Shorter meant the composition as hopeful. The closing piece, "Mephistopheles", is a composition by Wayne's older brother Alan, and it emphasizes the ominous presence of evil; Wayne notes: "At the end, that loud, high climax can be taken as a scream. If you consort with the Devil, and are fooled by his unpredictability, that scream is a measure of the price you pay [...] and you are consigned to an eternity of torture, fire and brimstone".
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Vijay Iyer Trio - Break Stuff (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Vijay Iyer Trio
Title: Break Stuff
Genre: Jazz
Label: © ECM Records GmbH | ECM Player
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 1:10:42
Recorded: June 2014 at Avatar Studios, New York

Break Stuff features Vijay Iyer's long-running and widely-acclaimed trio with bassist Stephan Crump and drummer Marcus Gilmore, a band in existence for eleven years now. 'We keep learning from each other and from experiences and try to set challenges for ourselves so that growth is part of the equation.' It's a group whose musical language is informed by more than the jazz piano trio tradition.

While Iyer acknowledges the influence of, for instance, Ahmad Jamal, Andrew Hill and Duke Ellington's Money Jungle album (with Charles Mingus and Max Roach) upon his own trio aesthetics, he points out that his group has also been inspired by 'James Brown's rhythm section, Hendrix's Band of Gypsys, Miles Davis's rhythm section, Charlie Parker's rhythm section, soul music from the 1970s, electronic music and hip-hop from very recent times...'

The list goes on. The piece 'Hood' on the new recording is a tribute to Detroit minimal techno producer and DJ Robert Hood. 'He did all this really interesting music with numerical patterning - different rhythms unfolding through each other, but still in a very clear dance music framework, very textural and sound-oriented. You hear the evolution of timbre. It became a point of reference for us, to see if we could capture some of that spirit in a purely acoustic framework.'
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VA - Boardwalk Empire Volume 3 - Music From The HBO Original Series (2014) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Various
Title: Boardwalk Empire Volume 3 - Music From The HBO Original Series
Genre: Soundtracks, Stage & Screen, Traditional Pop, Vocal Pop
Label: © ABKCO Music & Records, Inc.
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 1:02:34

This is the third and final volume of the soundtrack to the critically acclaimed HBO original series Boardwalk Empire. This volume encompasses the music heard in the final two seasons of the show. Consistent with both previous volumes, it is a collaborative work of the series's music producer Stewart Lerman, music supervisor Randall Poster and bandleader Vince Giordano, the musical backbone of the project. The concept of recruiting contemporary musicians to record both popular and obscure Prohibition-era songs worked so brilliantly that the first volume received a Grammy for Best Compilation Soundtrack for Visual Media. Many of the artists who participated in the first two volumes return here including Elvis Costello, Loudon Wainwright III, Regina Spektor and cast members Margot Bingham (Daughter Maitland) and Stephen DeRosa (Eddie Cantor).

1. I Surrender Dear — Elvis Costello (feat. Vince Giordano & The Nighthawks) 03:31
2. Love Me Or Leave Me — Regina Spektor (feat. Vince Giordano & The Nighthawks) 03:03
3. The Peanut Vendor — Pedrito Martinez (Vince Giordano & The Nighthawks) 03:37
4. Where The Blue Of The Night (Meets The Gold Of The Day) — Loudon Wainwright III (feat. Vince Giordano & The Nighthawks) 02:58
5. I'm A Little Blackbird — Margot Bingham (feat. Vince Giordano & The Nighthawks) 03:16
6. Tiger Rag — Johnny Gale, Little Isidore & Buzz Garland 01:57
7. I Wish I Could Shimmy Like My Sister Kate — JD McPherson (feat. Vince Giordano & The Nighthawks) 02:32
8. Choo Choo — Vince Giordano & The Nighthawks 02:48
9. Farewell Daddy Blues — Margot Bingham & David Mansfield (feat. Vince Giordano & The Nighthawks) 03:12
10. Out Of Nowhere — Marshall Crenshaw (feat. Vince Giordano & The Nighthawks) 04:26
11. What Is It — Vince Giordano & The Nighthawks 05:28
12. Down In The Jungle Town — Vince Giordano & The Nighthawks 02:58
13. Son Que Quita Las Penas — David Oquendo 01:57
14. The Yodeling Chinaman — Stephen DeRosa (feat. Vince Giordano & The Nighthawks) 02:56
15. There Ain't No Sweet Man — David Johansen, Johnny Gale & Little Isidore (feat. Vince Giordano & The Nighthawks) 03:30
16. Don't Mind the Rain — Angela McCluskey (feat. Vince Giordano & The Nighthawks) 03:04
17. (I'm A Dreamer) Aren't We All — Johnny Gale & Little Isidore (feat. Vince Giordano & The Nighthawks) 03:32
18. Dream A Little Dream Of Me — Margot Bingham (feat. Vince Giordano & The Nighthawks) 04:16
19. If You Want The Rainbow (You Must Have The Rain) — Norah Jones (feat. Vince Giordano & The Nighthawks) 03:33

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Tina Brooks - True Blue (1960/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Tina Brooks
Title: True Blue
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1960 (BLP 4041/BST 84041)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Duration: 37:32
Recorded on June 25, 1960 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Tina Brooks' star burned with intense brightness before disappearing in the same tragic manner of too many other bop players of the time. Many jazz fans missed Tina Brooks' recordings, the best of which were extraordinary by any measure. A soulful hard bop tenor-saxophonist with a sound of his own, Brooks (1932-74) had a brief life. Most of his better known recordings as a leader and sideman took place during a four year period from 1958-61. Unsung at the time, Brooks is now considered a true giant of the art. Brooks' passionate and full sound and forward-looking style, along with his exceptional compositional gifts, combined to make him a powerful force. True Blue has become one of the most sought-after Blue Notes of all time. True Blue, along with the album Back To The Tracks, contains most of Tina Brooks finest moments on record. Recorded in June of 1960, True Blue showcases Brooks along with the young firebrand trumpeter Freddie Hubbard in a set of highly inventive originals. Driven by an all-star rhythm section, True Blue is exhibit No. 1 for proof of Tina Brooks' majestic sound and soulful writing prowess. For many aficionados of the Blue Note label, Tina Brooks' True Blue is the very essence of the Blue Note sound and feel.
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The Who - The Who Sell Out (1967/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Who
Title: The Who Sell Out
Genre: Rock
Label: © Geffen Records
Release Date: 1967/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:21:53
Recorded: May – November 1967; Talentmasters Studios, New York City, New York; IBC Studios, Pye Studios, De Lane Lea Studios, CBS Studios, and Kingsway Studios, London, England; Gold Star Studios, Los Angeles, California

The Who Sell Out is the third studio album by The Who and was released in 1967. A concept album imitating a pirate radio broadcast, including actual commercials that the Who made during that period of their career. The album peaked at #48 on the Billboard Pop Albums chart in 1968 and was certified Silver in the UK.
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Sonny Clark - Leapin' and Lopin' (1961/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonny Clark
Title: Leapin' and Lopin'
Genre: Jazz, Hard Bop, Piano Jazz
Label: © Blue Note Records
Release Date: 1961/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Duration: 41:16
Recorded: November 13, 1961 at Van Gelder Studio in Englewood Cliffs, NJ.

Sonny Clark is not often heralded as one of hard bop's great talents, but albums like Leapin' And Lopin' should rectify that oversight. An excellent pianist, composer, and bandleader, Clark demonstrates all three capacities on this 1961 date, turning in a host of fine originals and even better performances.
The personnel includes tenor saxophonist Charlie Rouse and drummer Billy Higgins, among others, and there's fine playing all around, including Clark's elegant skills on the keys. This album was the artist's last as a leader (he died two years later), and it's a fitting swansong, as well as a thoroughly satisfying listen.

„Perhaps the names of the musicians in this supporting cast are not quite as lustrous in reputation, but the final result is the best album Sonny Clark has presented to date. Sonny Clark has come of age.“ --Ira Gitler, from the liner notes
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Sonny & Cher - Look At Us (1965/2014) High-Fidelity FLAC Mono 24bit/192kHz

Artist: Sonny & Cher
Title: Look At Us
Genre: Soft Rock, Pop Rock, Ballad, Folk Rock
Label: © Atlantic Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 35:31
Recorded: 1965 at Gold Star Studios

Sonny & Cher's debut album Look at Us was released after the duo's single "I Got You Babe" reached number one on both sides of the Atlantic. The album was a hit, peaking at #2 on the Billboard 200, where it stayed for 8 weeks.
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Scott Hamilton - Live at Smalls (2014) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Scott Hamilton
Title: Live at Smalls
Genre: Jazz
Label: © SmallsLIVE
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 1:08:13
Recorded: February 12 & 13, 2013 at Smalls Jazz Club, Greenwich Village NYC

Since the 1970s Scott Hamilton has kept alive old school swing mainstream tenor sax. He created a stir back then since he was only in his mid-20s at that time, and fusion jazz was hot then. A young tenor with a muscular tone like Ben Webster certainly stood out. Today Harry Allen has inherited a similar reputation and he and Scott sometime play together. So much for old moldy figs…
Hamilton is a ballad master and given an adequate rhythm section and a good acoustics in an intimate setting, mainstream tenor fans are in for a relaxing, yet swinging evening. Smalls, located in Greenwich Village in the Big Apple, is a perfect venue for Hamilton and his backing trio is spot-on for both comping behind Hamilton, and when given the opportunity to solo, acquit themselves well.
The song list are old school standards recorded over two nights in Feb. 2013 in front of an appreciative audience. Hamilton gets into a warm, easygoing groove on “Shake It, Don’t Break It,” and “Running Wild” and continues through such well known chestnuts as “The Nearness of You” and “If I Ever Love Again.” Nothing earth shattering, but when you are in the mood to hear ballads played like the masters (Hawkins, Webster, and Young), then Scott is your man. And he never disappoints.
I like the fact that Smalls is open to all kinds of jazz artists, from freewheeling avant to mainstream balladeers. We’ll cover the new Smalls Live CD from Frank Lacy soon. It’s all about good jazz in all its formats…. —Jeff Krow, Audiophile Audition
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