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Dexter Gordon - One Flight Up (1964/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: One Flight Up
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4176/BST 84176)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:37:11
Recorded: June 2, 1964 at CBS Studios, Paris, France.

When he expatriated to Scandinavia just before this session in Paris was recorded, Dexter Gordon said he was liberated in many ways, as a jazz musician and as a human being. This is reflected in the lengthy track on this album, a testament to that newly found freedom, addressing the restrictions the American music scene placed on artists to do the two- to three-minute hit. With the nearly 18-minute "Tanya" and the 11-minute "Coppin' the Haven," Gordon and his quintet, featuring trumpeter Donald Byrd, were able to jam at length with no thought of being edited, and they fully prolong their instrumental remarks in a way few other musicians -- jazz or otherwise -- would allow themselves. Yes, it would be difficult to hear these tracks on the radio, but the tradeoff was a listening experience for their fans that would also showcase a rare commodity in the lexicon of their style of post-bop mainstream jazz -- consistency. The simple, sweet, and lightly swinging "Tanya" has become a classic song, and it is a staple in most saxophonists' diets, even though the supportive chord structures from pianist Kenny Drew and Byrd's up-front brass are more attractive or noticeable than Gordon's bluesy tenor. Memorable for many reasons, Drew's brilliant composition "Coppin' the Haven" is textbook modern jazz, a modal minor-key delight as Byrd again dominates with a shining, gliding melody tacked on to an easy swing that exemplifies the song form for jazz in its best sense. Gordon steps up apart from the trumpeter on the great ballad "Darn That Dream," and is at his best, wringing every regretful emotion out of his horn as only he can. At around 37 substantive minutes of music, One Flight Up stands as a testament to Dexter Gordon's viability as a bandleader and teammate, while his individualism is somewhat sublimated. It's a good listen to digest all the way through, especially if you are as patient as the performers, who have a lot to say. --Michael G. Nastos,
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Dexter Gordon - Gettin' Around (1965/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: Gettin' Around
Genre: Jazz, Bop, Hard Bop, Latin Jazz, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1965 (BLP 4204/BST 84204)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:41:19
Recorded: May 28 & 29, 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop. It's hard to resist how Gordon massages the light and sweet bossa nova "Manha de Carnaval" hand in hand with Hutcherson, the heartfelt way "Who Can I Turn To?" or "Everybody's Somebody's Fool" is turned into a personalized statement, or how the co-leaders take Frank Foster's Count Basie staple, "Shiny Stockings," beyond a classic and into immortal territory. Where Gordon and Hutcherson's true strength lies is in their ability to listen and balance their sound into a unified whole beyond any other tenor sax-vibraphone combination you might care to name, unless it's Hutch's partnership in the ensuing years with Harold Land. Picking up on a Sonny Rollins idea, "Heartaches" is a loping cowboy-type swinger with some lustrous comping from Hutcherson and Harris, while the light, cat-prancing "Le Coiffeur" is the highlight among highlights, a stealth calypso with Gordon's deftly rendered staccato notation. One has to listen closer to the pianist on this date, as he buoys the others without demanding equal space, but he is just as reverberant. While this is not Gordon's ultimate hard bop date, it is reflective of his cooling out in Europe, adopting a tonal emphasis more under the surface than in your face. It's not essential, but quite enjoyable, and does mark a turning point in his illustrious career. --Michael G. Nastos, AllMusic

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Dexter Gordon - Doin' Allright (1961/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: Doin' Allright
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1961 (BLP 4077/BST 84077)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:41:05
Recorded: May 6, 1961 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

The title of this Blue Note set, Doin' Allright, fit perfectly at the time, for tenor saxophonist Dexter Gordon was making the first of three successful comebacks. Largely neglected during the 1950s, Gordon's Blue Note recordings (of which this was the first) led to his rediscovery. The tenor is teamed with the young trumpeter Freddie Hubbard, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood for a strong set of music that is highlighted by "You've Changed" (which would become a permanent part of Gordon's repertoire), "Society Red" (a blues later used in the film Round Midnight), and "It's You or No One." --Scott Yanow, AllMusic
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Dexter Gordon - A Swingin' Affair (1962/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: A Swingin' Affair
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4133/BST 84133)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:38:15
Recorded at the Van Gelder Studio in Englewood Cliffs, New Jersey on August 29, 1962.

Dexter Gordon was on a roll in 1962 when he recorded A Swingin' Affair. Two days earlier he and this same quartet recorded his classic album Go!; the band included pianist Sonny Clark, bassist Butch Warren, and drummer Billy Higgins. Gordon wrote two of the set's six tunes, the first of which, the Afro-Cuban-flavored "Soy Califa," is a burner. Higgins' drumming double-times the band as Gordon lays out the melody -- even his solo doesn't stray far from it and he returns to it repetitively. Clark vamps with beautiful minor-key chords that he then adds to his own solo, moving all around the lyric with his right hand. And Higgins and Warren are truly wonderful on this one. There are also three standards here. Gordon was always a master of them because his own approach to improvisation was essentially one of melodic invention. "Don't Explain" is ushered in by Clark stating the changes; Gordon's low and slow playing is romantic and sensual. On "You Stepped Out of a Dream," Gordon and Clark take the melody and invert it in the bridge; they turn it into a kind of groove as Higgins plays Latin-tinged rhythms throughout. Warren's "The Backbone" is a hard bop groover with a bossa nova flavor, as he and Gordon twin on the tune's head before Dex moves off into his solo. It's easily the best thing here. This is a hot hard bop band, playing a program that's relaxed and mostly upbeat; they even manage to stretch a bit. --Thom Jurek
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Charlie Winston - Running Still (2011) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Charlie Winston
Title: Running Still
Genre: Pop, Rock, Alternative, Indie
Label: © Real World Records
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Bowers & Wilkins
Duration: 00:53:14
Recorded: Zeitgeist Studio and Berkeley St. Studio, Los Angeles; Studio La Frette, Paris.

"My sole objective on the album Running Still was to be able to engage people's feet first and slowly rise to the mind," says Charlie Winston. "So by the time they get absorbed in the lyrics, they're fully engaged but realize there's something more going on."
Opener 'Hello Alone' makes for an inviting call, a shared solitude, if you will, that's at the root of the art experience. But the next song, 'Speak to Me', makes it clear that no one should limit Winston in terms of expectations, the all-vocal beat-boxed tour de force showing one of his many facets, with more to come. The snappy 'Happiness' offers soulful yearning, while 'The Great Conversation' is in fact a chat with Beethoven, one of Winston's musical heroes, whose Moonlight Sonata can be found within the tune, though in shards. 'She Went Quietly' is a searching piano ballad (inspired by a heart-wrenching tale of separation involving his great aunt and, to lesser though crucial extent, the movie Million Dollar Baby). 'Until You're Satisfied' is '80s-referencing pop-funk celebrating Winston's Prince fandom. 'Lift Me Gently' is a stand out track for Peter Gabriel - "An amazing song, and possibly the best Charlie has ever written....". 'Wild Ones' is charging blues-rock, 'Rockin' in the Suburbs' is all vibrant energy ... and that's just part of the picture. Not a surprise given that Winston also, with natural ease, refers to such diverse inspirations as Nick Cave, Steve Reich and Jacques Brel (and T.S. Eliot, Wim Wenders and Ingmar Bergman, for that matter) in discussing the album.
Most prominently there's a sense of joy and discovery throughout the album, which follows up the breakthrough of his 2009 album, 'Hobo' - a big hit throughout Europe and Canada.
'Running Still' finds Winston and his richly talented band in collaboration with producer Tony Berg (Michael Penn, Aimee Mann, Bruce Hornsby, Ozomatli) to reach new emotional and sonic colors. The band features drummer Medi, bassist Daniel Marsala and harmonica ace Benjamin "Ben Henry" Edwards along with Winston's piano and guitar - with keyboard additions from Patrick Warren and a touch of guitar from Tiny B (Berg, under a Winston-bestowed alias).
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Charlie Winston - Curio City (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Charlie Winston
Title: Curio City
Genre: Pop, Rock, Alternative, Indie
Label: © Atmosphériques
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:56:35
Recorded: 2014

Seul. Tout seul. C’est ainsi que Charlie Winston a écrit et enregistré Curio City. Celui qui plafonna au sommet des charts en 2009 avec son tubesque Like A Hobo se remet totalement en question pour sa cuvée 2015. Et même si l’on retrouve ici son attachant parfait alliage entre pop et folk, Winston ose s’aventurer en terre soul (Just Sayin’) voire électro (Too Long). Difficile aussi de ne pas penser à celui qui fut un peu son mentor, Peter Gabriel, sur des titres hybrides comme Another Trigger ou Evening Comes. A l’arrivée, Charlie Winston prouve qu’il peut se renouveler sans se renier, s’affiner sans s’éclipser, bref qu’il est un songwriter loin d’avoir dit son dernier mot… © CM/Qobuz
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Epica - Retrospect: 10th Anniversary (2013) {2-Disc Edition} Blu-ray 1080p MPEG-2 DD5.1 2.0

Title: Epica – Retrospect – 10th anniversary
Released: 2013
Genre: Symphonic metal, gothic metal, progressive metal
Performers: Mark Jansen – rhythm guitar, grunts, screams; Coen Janssen – synthesizer, piano; Simone Simons – lead vocals; Ariën van Weesenbeek – drums, grunts, spoken words; Isaac Delahaye – lead guitar, backing vocals; Rob van der Loo – bass.

Released: Nuclear Blast
Duration: 1:34:24
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio Codec: AC-3, PCM
Video: MPEG-2 24998 kbps 1920 * 1080p / 23,976 fps / 16: 9
# 1 Audio: English Dolby Digital 5.1 / 48 kHz / 448 kbps
Audio # 2: English LPCM 2.0 / 48 kHz / 1536 kbps / 16-bit
Size: 19.3 GB+23 GB

With more than half a million albums sold and multiple triumphant tours across Europe, North America, South & Central America, Asia and Australia, EPICA has more than earned its reputation as one of Holland’s most popular musical exports. Now the band will celebrate a decade of success by once again raising the bar for symphonic metal across the world with »Retrospect«, which will be released on November 8, 2013 by Nuclear Blast Records as 2 DVD/3 CD and 2 Blu-ray/3 CD. The show was filmed with 10 high-definition cameras and is edited, mixed and mastered by Jochem Jacobs (TEXTURES) at Split Second Sounds. »Retrospect« was captured this past March during the band’s very special sold-out tenth anniversary performance in front of thousands of ecstatic fans at Klokgebouw (Bell Building) in Eindhoven, the Netherlands. Add a couple of thousand additional fans who streamed this unique event live in their homes, and you can imagine the impact of this evening. The three-hour concert – which included accompaniment from the seventy piece Extended Reményi Ede Chamber Orchestra and The Miskolc National Theatre Choir – is presented here up-close and in-your-face, with a level of energy, musicianship, and dynamism about which most bands can only dream. In addition to a collection of the band’s biggest hits from across the spectrum of their entire catalog, this once-in-a-lifetime spectacular also features the live debut of the previously-unreleased ‘Retrospect’ and fan favorite ‘Twin Flames’, covers of classics of Vivaldi, Pergolesi, and Oscar-winning film composer John Williams, two guest collaborations with the venerable Floor Jansen (NIGHTWISH, REVAMP), and a very special performance of their breakthrough single, ‘Quietus’, with founding members Jeroen Simons, Ad Sluijter, and Yves Huts. »Retrospect« features the unforgettable performance in its entirety, as well as exclusive interviews with all band members and behind-the-scenes footage from the show. Fan reverence for EPICA has grown exponentially since the release of their acclaimed 2003 debut, »The Phantom Agony«. Their most recent release, last year’s »Requiem For The Indifferent«, not only broke the top 10 of the charts in the band’s native Holland, but also breached the top 40 in Germany, France, Austria, Switzerland, Portugal, Finland and Belgium, the top 50 in Australia, the Czech Republic and Sweden, and the top 100 in the U.S. and the U.K. Always looking for new opportunities, the band has performed in over 50 different countries worldwide, drawing crowds of up to 4,000 fans per night in South and Central America, up to 4,500 fans per night in Europe, Asia and Australia, and up to 1,500 fans at each performance in North America. With almost 2 million likes on Facebook, 100,000 followers on Twitter, tens of millions of views on YouTube, EPICA’s popularity shows no signs of hitting a ceiling anytime soon. »Retrospect« is destined to take the band to the next level.
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Cannonball Adderley with Bill Evans - Know What I Mean? (1961/2002) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Cannonball Adderley with Bill Evans
Title: Know What I Mean?
Genre: Jazz, Hard Bop, Piano Jazz, Soul Jazz, Saxophone Jazz
Label: © Riverside Records | Analogue Productions
Release Date: 1961/2002
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 51:41
Recorded at Bell Sound Studios, New York City; January 27 (2-3, 7, 9-10), February 21 (5, 6), and March 13 (1, 4, 8), 1961.

What's better than a Bill Evans Trio album? How about a Bill Evans trio album on which the bassist is Percy Heath, the drummer is Connie Kay, and the leader is not Evans but alto sax god Cannonball Adderley, making the group actually a quartet? It's a different sort of ensemble, to be sure, and the musical results are marvelous. Adderley's playing on "Waltz for Debby" is both muscular and sensitive, as it is on the other Evans composition here, a modal ballad called "Know What I Mean?" Other treats include the sprightly "Toy" and two takes of the Gershwin classic "Who Cares?" The focus here is, of course, on Adderley's excellent post-bop stylings, but it's also interesting to hear Evans playing with a rhythm section as staid and conservative as Kay and Heath (both charter members of the Modern Jazz Quartet). It's hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording. --Rick Anderson
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Johannes Brahms - The Piano Concertos - Stephen Hough, Mark Wigglesworth, Mozarteumorchester Salzburg (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Stephen Hough, Mark Wigglesworth, Mozarteumorchester Salzburg
Title: Brahms - The Piano Concertos
Genre: Classical
Label: © Hyperion Records
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 97 minutes 53 seconds
Recorded: January 2013 at Salzburger Festspielhaus, Austria

This attractively priced double set is one of Stephen Hough’s most important recordings. ‘Britain’s greatest living pianist’ (The Mail on Sunday) is joined by the Mozarteumorchester Salzburg and international conductor Mark Wigglesworth in their Hyperion debut for Brahms’s Piano Concertos. These works are among the greatest in the genre, and shore up Brahms’s reputation as both a symphonist and a piano composer. Separated by twenty-two years and widely differing in their reception (the first was scorned and the second a huge success), they are monumental in scale, impassioned and truly romantic, forward-looking in form and requiring both great virtuosity and intimacy from the pianist. Stephen Hough has performed them in concert for many years to ecstatic acclaim: this new recording is surely one of his most desirable offerings.
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Bill Evans Trio - Sunday At The Village Vanguard (1961/2002) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Evans Trio
Title: Sunday at the Village Vanguard
Genre: Jazz, Post Bop, Modal, Piano Jazz
Label: © Riverside Records | Analogue Productions
Release Date: 1961/2002
Quality: DFF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:08:38
Recorded by Dave Jones live at the Village Vanguard, New York City; June 25, 1961.

Sunday at the Village Vanguard is the initial volume of a mammoth recording session by the Bill Evans Trio, from June 25, 1961 at New York's Village Vanguard documenting Evans' first trio with bassist Scott LaFaro and drummer Paul Motian. Its companion volume is Waltz for Debby. This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. Tragically, LaFaro was killed in an automobile accident ten days after this session was recorded, and Evans assembled the two packages a few months afterward. While "Waltz for Debby" -- in retrospect -- is seemingly a showcase for Evans' brilliant, subtle, and wide-ranging pianism, this volume becomes an homage, largely, to the genius and contribution of LaFaro. That said, however, this were never the point. According to Motian, when Evans built this trio based on live gigs at the Basin Street East, the intention was always to develop a complete interactive trio experience. At the time, this was an unheard of notion, since piano trios were largely designed to showcase the prowess of the front line soloist with rhythmic accompaniment. Here, one need listen no further than the elegant and haunting, graceful modal reading of "My Man's Gone Now" from Porgy & Bess to know that there is something completely balanced and indescribably beautiful in their approach. Motian's brushes whisper along the ride cymbals and both Evans and LaFaro enter into a dialogue that emerges from a darkly hued minor mode, into the melody and somehow beyond it, into a form of seamless dialogic improvisation to know that in the act of one musician slipping over and under another -- as happens with all three in an aural basket weave -- is something utterly new and different, often imitated but never replicated. But in a sense it happens before this, on LaFaro's "Gloria's Step," which opens the recording. His thematic statement includes the briefest intro, hesitant and spacious before he and pianist enter into a harmonic and contrapuntal conversation underscored by the hushed dynamics of Motian's snare, and the lightning-fast interlocutions of single string and chorded playing of LaFaro. The shapshifting reading of Miles Davis' "Solar," is a place where angularity, counterpoint, and early modalism all come together in a knotty and insistent, yet utterly seamless blend of post-bop aesthetics and expanded harmonic intercourse with Motian, whose work, while indispensable in the balance of the trio, comes more into play here, and is more assertive with his half-time accents to frame the counterpoint playing of Evans and LaFaro. This is a great place to begin with Evans. --Thom Jurek
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