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Emily Palen - Glass: Live at Grace Cathedral (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Emily Palen
Artist: Emily Palen, violin
Title: Glass: Live at Grace Cathedral
Genre: Classical, Modern Classical, Improvisation
Label: © Valence Records
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: valencerecords.downloadsnow.net
Duration: 00:50:45
Recorded live at Grace Cathedral, San Francisco by Cookie Marenco using Extended Sound Environment (E.S.E.)
Mixed & Mastered by Cookie Marenco at OTR Studios, Belmont, CA


Glass is an album of complete on the spot improvisations. My only intention was to be honest. The Inevitability of Water title was intuited and remains my favorite. To claim I can explain its meaning would probably cut it short but it points to the base, essential nature of water. Water is primal to our makeup, to our planet. Its gentle and relentless quality is unmatched by any other substance. Water is life as is love. Perhaps water and love are the same.
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Elmo Hope Sextet - Informal Jazz (1956/2013) High-Fidelity DSF 2.0 Mono DSD64/2.82MHz

Artist: Elmo Hope Sextet
Title: Informal Jazz
Genre: Jazz, Hard Bop, Mainstream Jazz
Label: © Prestige Records | Analogue Productions
Release Date: 1956/2013
Quality: DSF 2.0 Mono DSD64/2.82MHz
Source: ISO SACD
Duration: 38:40
Recorded: May 7, 1956 at Van Gelder Studio in Hackensack, NJ


Overshadowed throughout his life by his friends Bud Powell and Thelonious Monk, Elmo Hope was a talented pianist and composer in his own right. He recorded in New York as a band leader (starting in 1953), and with greats Sonny Rollins, Lou Donaldson, Clifford Brown and Jackie McLean. But the loss of his cabaret card due to drug use made it difficult for him to make a living in New York. After touring with Chet Baker in 1957, Hope relocated to Los Angeles. He performed with Lionel Hampton in 1959, recorded with Harold Land and Curtis Counce, and returned to New York in 1961. A short prison sentence did little to help his drug problem; he died in May 1967.
Although the album is titled Informal Jazz, reality dictates that a good deal of thought and care went into the recording session. The dynamic drum and bass team of Philly Joe Jones and Paul Chambers is "hardly the kind of rhythm section playing heard at a jam session, except possibly in heaven," All Music Guide notes. And Hope’s solo spots are the best part of the record — "It is a stretch to imagine an ’informal’ recording session where even material as complicated as this is played."
Lastly, some of the most well-known and influential horn artists of the time make their presence known — tenor sax greats John Coltrane and Hank Mobley, as well as trumpeter Donald Byrd.
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Ella Fitzgerald Sings Songs from Let No Man Write My Epitaph (1960/2014) High-Fidelity DSF Stereo DSD64/2.82MHz


Artist: Ella Fitzgerald
Title: Ella Fitzgerald Sings Songs from Let No Man Write My Epitaph
Genre: Jazz, Bop, Standards, Traditional Pop, Vocal Jazz, American Popular Song
Label: © Verve Records | Analogue Productions
Release Date: 1960/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 42:37
Recorded: April 14–19, 1960 at United Western Recorders, Hollywood, Los Angeles

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

"Since 1977, I've treasured Bernie Grundman's Classic Compact Disc remastering (out of print) of this great collection, initially recorded for the soundtrack of the film "Let No Man Write My Epitaph" (1960). Now that Chad Kassem's Analogue Productions has augmented the late George Marino's 45 RPM remastering, made with the George Massenburg GML 20-bit A/D, with a stereo SACD/CD edition, silver-disc lovers can again enjoy the brilliance of Ella Fitzgerald in her prime, singing 13 great classics. Suprisingly, for a collection that includes Dorothy Fields and Jimmy McHugh's "I Can't Give You Anything But Love (Baby)," and Maxwell Anderson and Kurt Well's "September Song," every close-miked, impeccably voiced performance catches Fitzgerald in a mellow mood. In the face of such great singing, arguments about the depth of her interpretations seem tantamount to Grinches bickering about how best to steal Christmas." — Jason Victor Serinus, Stereophile, February 2014.

Considered one of Ella's greatest recordings, she's backed on this 1960 release by pianist Paul Smith. "Let No Man Write My Epitaph" was a 1960 Hollywood movie featuring Fitzgerald. The album hits at a depth of emotional understanding that critics often complained was missing in Ella's reading of jazz lyrics, and once again establishes her as one of the supreme interpreters of the Great American Songbook.
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Antonin Dvorak - Requiem, Op. 89 - Christiane Libor, Ewa Wolak, Daniel Kirch, Janusz Monarcha, Warsaw Philharmonic Orchestra and Choir, Antoni Wit (2014) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Antonín Dvořák (1841-1904)
Artist: Christiane Libor, Ewa Wolak, Daniel Kirch, Janusz Monarcha, Warsaw Philharmonic Orchestra and Choir, Antoni Wit
Title: Dvořák - Requiem, Op. 89
Genre: Classical
Label: © Naxos
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Blu-ray Audio
Duration: 01:37:38
Recorded: Warsaw Philharmonic Hall, Warsaw, Poland, from 29th May to 5th June, 2012


Antonín Dvořák’s huge popularity in England was built largely on the success of his Stabat Mater, which he had conducted there in 1884 and 1885. It was well suited to the country’s choral traditions and led eventually to a commission for a Requiem, which was premièred in Birmingham in 1891. Written in ten months during tours to Russia, England and Germany, its success was immediate. Sitting closer to the tradition of Cherubini than Verdi, its tone is compassionate and reflective, devoid of unnecessary drama, and movingly crafted with great sophistication.
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Duke Ellington and His Orchestra - Masterpieces by Ellington (1951/2014) High-Fidelity DSF 2.0 Mono DSD64/2.82MHz

Artist: Duke Ellington and His Orchestra
Title: Masterpieces by Ellington
Genre: Jazz, Swing, Big Band
Label: © Columbia Records | Analogue Productions CAPJ 4418 SA
Release Date: 1951/2014
Quality: DSF 2.0 Mono DSD64/2.82MHz
Source: ISO SACD
Duration: 00:55:40
Recorded at Columbia's 30th Street Studio on December 18, 1950 (tracks 1-4) and August 7 (tracks 6 & 7), & December 11 (track 5), 1951
Remastered by Ryan Smith at Sterling Sound from the original analog tapes.


"Remastered by Ryan Smith at Sterling Sound from the original analog tapes, the record was plated and pressed at Quality Record Pressings. The depth and space when those rich chromatic harmonies create a wide and well-defined soundscape, the timbre of the orchestra as a whole as well as individual instruments, and the thick, wooden sound of Wendell Marshall's bass are among the aural pleasures provided when you drop a needle on this platter; expect goose bumps." — Music = 5/5; Sonics = 4.5/5 - Jeff Wilson, The Absolute Sound, May-June 2015.
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Death Cab for Cutie - We Have the Facts and We're Voting Yes (2000) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Death Cab for Cutie
Title: We Have the Facts and We're Voting Yes
Genre: Rock, Alternative, Indie Rock
Label: © Barsuk Records
Release Date: 2000
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 41:51
Recorded: 1999 at The Hall of Justice


Like the also-great Idaho or Wheat, to file Death Cab for Cutie under the mellow-pop umbrella that shelters tranquil chamber outfits such as Red House Painters, Low, or (post-dance-pop) Talk Talk would do them a gross, miscalculated service. While they're no strangers to the tickling knelling of guitars searching out the extra space found in laggard tempos, that predilection only encompasses a fourth of Death Cab for Cutie's output (like on "Title Track" and "Little Fury Bugs"). Heck, they're not even remotely quiet for half of We Have the Facts and We're Voting Yes -- the best and brightest LP of their three fine albums to date. Ben Gibbard has turned into a sublime composer, using melodies sparingly but with splendid tunefulness, as all four players marinate his writing with delicately plucked, picked, and pulled arpeggios, ringing chords, and non-obvious atmosphere building. Verily, the slow, broody stuff is but a change of pace; it's when the volume doubles (if only occasionally crashes), when the band shows potency, that We Have the Facts starts flying, soaring with exigency beyond even the threatening storm clouds from the last flight plan, 1998's Something About Airplanes. "Lowell, MA" and "Company Calls" are perfect examples: drummer Nathan Good actually gets to punish his snare and toms, the other three dig in with him, and the words "indie pop" suddenly sounds fresh and alive, with real aggressive, post-dream pop guitar popscapes. Loud and soft, or most of all both, and plenty of points in between, DCFC write and record finished songs that emote, that do more than merely fill a slot in a form in a preconceived genre. In short, they're superb. And getting greater. --Jack Rabid
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Craig Taborn - Avenging Angel (2011) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Craig Taborn
Title: Avenging Angel
Genre: Jazz, Modern Free, Piano Jazz, Avant-Garde Jazz, Improvisation
Label: © ECM Records GmbH | ECM Player
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 72:01
Recorded: July 2010, Auditorio Radiotelevisione svizzera, Lugano


“Avenging Angel” is Craig Taborn’s distinguished contribution to the great solo piano tradition at ECM, a powerful, purposeful and rigorous album, which rises to the challenges of the format and transcends them. The disc explores the textural dimensions of sound, builds new structures, uncovers a rugged lyricism. Recorded in the optimal acoustics of the recital room at Lugano’s Studio RSI, with Manfred Eicher producing, it’s Taborn’s first disc under his own name for ECM, following on from inspired sessions with Roscoe Mitchell, Evan Parker, David Torn and Michael Formanek.
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Coleman Hawkins, Ben Webster - Coleman Hawkins Encounters Ben Webster (1959/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Coleman Hawkins, Ben Webster
Title: Coleman Hawkins Encounters Ben Webster
Genre: Jazz, Bop, Swing, Cool Jazz, Saxophone Jazz
Label: © Verve Records | Analogue Productions
Release Date: 1959/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 00:36:31
Recorded: Capitol Studios, Hollywood, CA, October 16, 1957

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
As critic Nat Hentoff makes clear, Coleman Hawkins and Ben Webster were larger than life. Formidable, even forbidding presences, they revealed a depth of feeling in their playing that spoke of their vast life experiences, as great writers or painters speak through their work.

Ben Webster emulated the big, breathy saxophone style of his influence, Coleman Hawkins. When the two legendary tenor sax players joined forces on this historic 1957 recording, the results were magical. The two players show off how they can swing and yet display sensitivity playing the beautiful melodies of the mid-tempo ballads, backed by an incredible rhythm section starring Oscar Peterson on piano along with Herb Ellis on guitar, Ray Brown on double bass and drummer Alvin Stoller. Coleman Hawkins Encounters Ben Webster combines standards by Cole Porter, Johnny Mercer and Rodgers and Hart with a raunchy Hawkins original tune, Blues For Yolande that turns into a tenor sax duel between Hawkins and Webster. This album has been released in some countries under the title Blue Saxophones.
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Coleman Hawkins, Ben Webster - Coleman Hawkins Encounters Ben Webster (1959/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Coleman Hawkins, Ben Webster
Title: Coleman Hawkins Encounters Ben Webster
Genre: Jazz, Bop, Swing, Cool Jazz, Saxophone Jazz
Label: © The Verve Music Group
Release Date: 1959 (MGVS 6066)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: acousticsounds.com
Duration: 00:36:33
Recorded: Capitol Studios, Hollywood, CA, October 16, 1957


Ben Webster emulated the big, breathy saxophone style of his influence, Coleman Hawkins. When the two legendary tenor sax players joined forces on this historic 1957 recording, the results were magical. The two players show off how they can swing and yet display sensitivity playing the beautiful melodies of the mid-tempo ballads, backed by an incredible rhythm section starring Oscar Peterson on piano along with Herb Ellis on guitar, Ray Brown on double bass and drummer Alvin Stoller. Coleman Hawkins Encounters Ben Webster combines standards by Cole Porter, Johnny Mercer and Rodgers and Hart with a raunchy Hawkins original tune, Blues For Yolande that turns into a tenor sax duel between Hawkins and Webster. This album has been released in some countries under the title Blue Saxophones.
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Cava Menzies, Nick Phillips - Moment to Moment (2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Cava Menzies, Nick Phillips
Title: Moment to Moment
Genre: Jazz, Cool Jazz, Post Bop, Trumpet Jazz, Piano Jazz
Label: © Cava Menzies | Nick Phillips
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 56:00
Recorded and Mixed by Adam Muñoz at Fantasy Studios, Berkeley, CA; July 8-13, 2013
Mastered by Joe Tarantino at Joe Tarantino Mastering, Berkeley, CA


Ballads reign on Moment To Moment, the extraordinarily self-possessed new album by pianist Cava Menzies and trumpeter Nick Phillips. But this recording is much more than just a “ballads album.”

Many artists have produced albums filled with love songs and torch tunes at slow tempos; they’re designed to pull at the heartstrings, or turn up the nostalgia, or to highlight the introspective phrasemaking that ballads allow. But very few succeed at also doing what this album accomplishes. It creates a cocoon of space around the listener. It lowers the blood pressure; it slows the heartbeat; it seems to slow time itself. (If it weren’t so supremely musical, you might consider marketing it as a medical device.) On Moment To Moment, Menzies and Phillips locate their music very much in the present – in that space, Menzies explains, “where you have a moment to breathe.” And they transport their listeners to a place where each of those moments really counts.
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