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Eberhard Weber - Encore (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Eberhard Weber
Title: Encore
Genre: Jazz
Label: © ECM Records GmbH
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 45:18
Recorded: Live recordings 1990 – 2007

Encore is a companion volume to Résumé the widely-praised solo album issued in 2011. Eberhard Weber returns once more to the many live recordings of his tenure with the Jan Garbarek Group, isolating his bass solos and reworking them into new pieces with the addition of his own keyboard parts. “I became what you might call a composer of New Music,” says Weber, “with the proviso that I make use of old things.”This season’s special guest is veteran Dutch flugelhorn player Ack van Rooyen. Van Rooyen, who played on Weber’s ECM leader date, The Colours of Chloë more than 40 years ago now adds his own subtle colours to Weber’s contemporary sound-montages. The bass solos were recorded between 1990 and 2007, in thirteen European cities, from Edinburgh to Seville, and the music was mixed and edited at Studios La Buissonne in the South of France in November 2014.
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Don Henley - The End Of The Innocence (1989/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Henley
Title: The End Of The Innocence
Genre: Rock, Pop Rock, Soft Rock
Label: © Geffen Records
Release Date: 1989/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 53:16
Recorded: 1988–89

Don Henley took some time before completing his highly anticipated third album, The End of the Innocence. Although he manages to duplicate much of the magic of his previous album, Henley has backed off of the synthesizers and expanded his musical palette. He uses background vocals to great effect, whether it's the tragic ballad "New York Minute" (with vocal group Take 6) or the angry rocker "I Will Not Go Quietly" (with Axl Rose of Guns N' Roses). His collaboration with Bruce Hornsby on the opening title track show a mature Henley singing about disillusionment over a beautiful piano riff that gives the song a timeless air of nostalgia. While he still tackles political issues and writes about small-town life in America, Henley also mixes in romantic ballads, including the closer "Heart of the Matter." In this epic song, Henley explores the emotional complexity of relationships and coming to terms with oneself during the aftermath. Throughout the album, he manages to balance being cynical yet hopeful, and his great melodies allow his poignant lyrics to penetrate. This album is highly recommended for those who like their pop music with a message. --Vik Iyengar
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Don Henley - Inside Job (2000/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Henley
Title: Inside Job
Genre: Rock, Pop Rock, Soft Rock
Label: © Warner Bros. Records
Release Date: 2000/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:10:03
Recorded: 1999-2000, Record Plant, Hollywood, CA; Samain Sound, Malibu; Royaltone, North Hollywood, CA; Jai Winding Studios, Santa Monica, CA; Le Mobile, Dallas, TX; ASC Sumet Studios, Dallas, TX.

Don Henley essentially sat out his '90s recording contract, waiting until he could sign to another label that would allow him greater artistic freedom and royalties. He finally signed to Warner and released his fourth solo album, Inside Job, in the spring of 2000. Considering his long absence from recording, it shouldn't come as a total surprise that the album sounds as if it could have been cut in 1990 or even 1986 (check out the obnoxious synth solo on the opening track). That is not entirely a bad thing, however. It would have been rather embarrassing if Henley was trying to run with the young boys, and he sounds very comfortable settling into a role that is something less than an old master and something more than a crotchety old-timer. It falls somewhere between that, since his simmering anger -- always apparent but raised to the surface on his solo records -- still can be heard, which makes him seem a little cranky on occasion, when he gets carried away with his temper. For the most part, though, he sounds relaxed, comfortable, and reflective on Inside Job, more so than he ever has. The heart of the record is in the slower numbers, where he honestly lays out his feelings about his new love and marriage. Whenever he sticks to personal relationships, and thereby gentler music, Inside Job stays winning. It's brought down when he steps up to the podium to rail against the modern world, but this isn't quite enough to sink the record. Inside Job lacks the melodic craftsmanship that made Building the Perfect Beast a blockbuster, and it isn't as focused as The End of the Innocence, but it is a solid comeback record from an artist who spent a little too long out of the spotlight. --Stephen Thomas Erlewine
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Don Henley - I Can't Stand Still (1982/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Henley
Title: I Can't Stand Still
Genre: Rock, Pop Rock, Soft Rock
Label: © Asylum Records
Release Date: 1982/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 42:45
Recorded: 1981-82, Record One, Sherman Oaks, California.

Don Henley's first solo album may still have had the ghost of the Eagles lingering in the corners, but for the most part it showcases his stalwart partnership with producer and songwriter Danny Kortchmar. Lyrically, Henley's songs are a tad weak, but for an inaugural album from a man who had spent most of his career surrounded by multi-talented musicians and writers, on the whole it fairs quite well. His material deals with the hardships of love, the fickleness of the media, and the declining state of education, all induced with a friendly pop sound. The title track, a trouble-in-paradise love song, has Henley pouring his heart out with sugary angst, but is helped along with some avid keyboard work. "Dirty Laundry" is Henley's attack on the shallowness of the network newsperson that peaked at number three on Billboard's Top 40. Its bouncy chorus and contagious organ riffs proved that his role as a musician could conform to any style. His social commentary comes into fruition with "Johnny Can't Read," loosely based on the increasing amount of high-school dropouts at the time and helped bolster Henley's reputation as a musician with a concern for pressing issues. Numerous musicians help him out on this album as well, including former Eagles members Timothy B. Schmidt, Joe Walsh, and J.D. Souther; drummer Jeff Porcaro and guitarist Steve Lukather, both from Toto; and even Warren Zevon. Don Henley's adept combination of lyrical wit and thought-provoking staidness begins to materialize on I Can't Stand Still, paving the way for an extremely accomplished solo career. --Mike DeGagne
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Dexter Gordon - Clubhouse (1979/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: Clubhouse
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1979 (LT 989)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:39:08
Recorded May 27, 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

In a three day period 25th – 27th May in 1965 Dexter Gordon returned from "exile" in Europe to make two jazz albums with Barry Harris (piano), Bob Cranshaw (bass) and Billy Higgins (drums), the powerhouse rhythm trio behind Lee Morgan's 1963 album "The Sidewinder", who appear together with surprising infrequency considering the success of the Lee Morgan album.
On the first of those days, joined by Freddie Hubbard on trumpet, the material for "Clubhouse" was recorded. In the second two days, with Bobby Hutcherson replacing Freddie Hubbard in the same quintet, material for the album "Gettin' Around" was recorded in that same long run of sessions. "Clubhouse" remained unreleased until 1979. "Gettin' Around" was released back in 1965.
The opener "Hanky Panky", a Dexter Gordon original, starts poorly with a theme of near remedial simplicity and is a reminder of Alfred Lion's insistence on an attempt at one new "Sidewinder" on just about every Blue Note album in the period. However, it rapidly becomes clear that the interplay of Dexter Gordon and Freddie Hubbard is going to be no subdued and tentative affair like "Gettin' Around". Freddie Hubbard is at a peak of his abilities and musical imagination at this time and there is a real rapport with Dexter Gordon that lifts the sax player into creative territory. (Listen to "Generation", an Original Jazz Classics from 1972, where Freddie Hubbard and Dexter Gordon play off each other to even better effect on top of Billy Higgins' ever so solid drumming to hear an even better example of the rapport between these two great jazz musicians). "Hanky Panky" develops as a genuine jazz piece as soon as Dexter Gordon's solo first breaks the ice and Freddie Hubbard's solo is clearly breaking out of the groove and determined to challenge any easy orthodoxy.
"I'm A Fool To Want You", a Sinatra ballad, conforms to the Blue Note formula of a "tender ballad to shift the mood from the bracing opener" but again goes well beyond any mere formula. Dexter Gordon is melodically inventive in a way that keeps open the thought that all along he may have been an influence on John Coltrane. Freddie Hubbard is once again superb and insightful. "Devilette" is a modal piece reminiscent of "Tanya" or "Coppin' The Haven" from Dexter Gordon's 100 Greatest Jazz album "One Flight Up". Written by Ben Tucker who sits in on bass in place of Bob Cranshaw on this track, "Devilette" explores more of the openness that is available in modal jazz.
The title track "Clubhouse", Dexter Gordon's second composition on the album, is a good vehicle for sustained blowing by sax and trumpet and provides space for a typically spiny piano solo by Barry Harris. "Lady Iris B" is a second ballad, not as convincing as "I'm A Fool To Want You" but still strong in the interplay between Dexter Gordon and Freddie Hubbard. The final track "Jodi", the third Dexter Gordon composition is a good gospel tinged blues piece with plenty of drive and emotion.
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Daniil Trifonov - The Carnegie Recital (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Daniil Trifonov
Title: The Carnegie Recital
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 1:21:08
Recorded: Carnegie Hall, New York City, 2013

For over 120 years, New York’s Carnegie Hall has been the site for magic moments, with a special status reserved for notable debuts, from Tchaikovsky to the Beatles. When young Russian pianist Daniil Trifonov made his main-stage Carnegie Hall recital debut before a packed house in February 2013, there was indeed a sense of electric anticipation. Winner of the 2011 Tchaikovsky Competition in Moscow and the Arthur Rubinstein Competition in Tel Aviv the same year, Trifonov had already created a stir among connoisseurs; on the occasion of his first Carnegie recital, that anticipation gave way to the thrill, fulfillment, and delight of a full-fledged triumph.

For those in attendance that February night, there could be no other conclusion: this pianist – his boyish face and frame belying his command as a performer – was more than just another prize-winning prodigy. Blending extreme technical facility with a poetic refinement vastly beyond his years, here was a phenomenon. No less an authority than Martha Argerich has said of Trifonov: “What he does with his hands is technically incredible. It’s also his touch – he has tenderness and also the demonic element. I never heard anything like that.”
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Johannes Brahms - Works for Solo Piano, Vol.3 - Barry Douglas (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833 – 1897)
Artist: Barry Douglas
Title: Brahms - Works for Solo Piano, Vol.3
Genre: Classical
Label: © Chandos Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: theCLASSICAL|shop
Duration: 67:26
Recorded: West Road Concert Hall, Cambridge, 31 March and 1 April 2014

Barry Douglas returns for the highly anticipated third volume in his series devoted to Brahms’s solo piano music, the first two volumes having been met with widespread critical acclaim. Of Vol. 2, International Record Review wrote, ‘this is indeed Brahms playing of the utmost integrity and authority... this cycle looks set to become a benchmark’.
The selected Intermezzi performed here come from the collections of short piano pieces which Brahms published in 1892 – 93, his last works for piano. A sense of wistful, melancholic reflection pervades these exquisitely crafted masterpieces of Brahms’s late maturity.
Composed at the other end of his life, at the age of twenty, the Piano Sonata in F sharp minor is full of a youthful, strident energy. It was among the pieces that, when he heard them privately, convinced Robert Schumann of Brahms’s genius. It was dedicated to Robert’s wife, Clara, who was to remain a key figure in Brahms’s life. Indeed it was Clara who, having heard the movement, begged Brahms for a piano transcription of the noble Andante from the String Sextet in B flat major, the Theme with Variations in D minor heard here.
Brahms’s set of sixteen Waltzes, Op. 39 were originally conceived for piano four hands and were arranged, by popular demand, for solo piano soon after, in 1867. They capture the sense of joyful abandon often associated with the genre but their romanticism and nostalgia are uniquely Brahmsian.
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Johannes Brahms - Serenades - Gewandhausorchester Leipzig, Riccardo Chailly (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Gewandhausorchester Leipzig, Riccardo Chailly
Title: Johannes Brahms - Serenades
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 1:05:13
Recorded: Gewandhaus zu Leipzig, 22–24, 29 & 30 May 2014

Following the ‘Gramophone Record of the Year’ award-winning set of the Brahms Symphonies, Riccardo Chailly turns his “rare talent for transforming music ripe for rediscovery” to Brahms’s Serenades. This exquisite recording renews these unjustly neglected and rarely performed works in performances of “trademark clarity” (Gramophone Record of the Year 2014) and marks the first Decca recording of these works since Kertesz in 1968.

Forming part of the wider Brahms project undertaken by Chailly and his Leipzig orchestra, this release restores an importance to these works which they rarely receive. In Chailly’s hands they emerge not just as precursors of the symphonies but powerful and individual works in their own right.
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Bobby Hutcherson - Components (1965/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Bobby Hutcherson
Title: Components
Genre: Jazz, Hard Bop, Post Bop, Avant-garde Jazz, Modal Music, Vibraphone/Marimba Jazz
Label: © Blue Note Records
Release Date: 1965 (BLP 4213/BST 84213)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:40:56
Recorded on June 10, 1965 at Van Gelder Studio, Englewood Cliffs, New Jersey.

Perhaps the single album that best sums up Bobby Hutcherson's early musical personality, Components is appropriately split into two very distinct halves. The first features four Hutcherson originals in a melodic but still advanced hard bop style, while the latter half has four free-leaning avant-garde pieces by drummer Joe Chambers. Hutcherson allots himself more solo space than on Dialogue, but that's no knock on the excellent supporting cast, which includes Herbie Hancock on piano, James Spaulding on alto sax and flute, Freddie Hubbard on trumpet, and Ron Carter on bass. It's just more Hutcherson's date, and he helps unite the disparate halves with a cool-toned control that's apparent regardless of whether the material is way outside or more conventionally swinging. In the latter case, Hutcherson's originals are fairly diverse, encompassing rhythmically complex hard bop (the title track), pensive balladry ("Tranquillity," which features a lovely solo by Hancock), down-and-dirty swing ("West 22nd Street Theme"), and the gaily innocent "Little B's Poem," which went on to become one of Hutcherson's signature tunes and contains some lyrical flute work from Spaulding. The Chambers pieces tend to be deliberate explorations that emphasize texture and group interaction in the manner of Dialogue, except that there's even more freedom in terms of both structure and tonal center. (The exception is the brief but beautiful closing number, "Pastoral," an accurate title if ever there was one.) Components illustrated that Hutcherson was not only the most adventurous vibes player on the scene, but that he was also capable of playing more straightforward music with intelligence and feeling. --Steve Huey
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Bob Dylan - Shadows in the Night (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Bob Dylan
Title: Shadows in the Night
Genre: Rock
Label: © Columbia Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 35:22
Recorded: Studio Capitol Studios, Los Angeles

Bob Dylan's newest studio album, Shadows In The Night, was released on February 3, 2015 on Columbia Records. Featuring ten tracks, the Jack Frost-produced album is the 36th studio set from Bob Dylan and marks the first new music from the artist since 2012’s worldwide hit Tempest.

Upon Columbia’s announcement of the album’s forthcoming release, Bob Dylan commented, “It was a real privilege to make this album. I've wanted to do something like this for a long time but was never brave enough to approach 30-piece complicated arrangements and refine them down for a 5-piece band. That's the key to all these performances. We knew these songs extremely well. It was all done live. Maybe one or two takes. No overdubbing. No vocal booths. No headphones. No separate tracking, and, for the most part, mixed as it was recorded. I don't see myself as covering these songs in any way. They've been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”

As Columbia Records Chairman Rob Stringer explains, “There are no strings, obvious horns, background vocals or other such devices often found on albums that feature standard ballads. Instead, Bob has managed to find a way to infuse these songs with new life and contemporary relevance. It is a brilliant record and we are extremely excited to be presenting it to the world very soon.”
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