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Thelonious Monk Quartet - Misterioso (1958/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Thelonious Monk Quartet
Title: Misterioso
Genre: Jazz, Post Bop, Hard Bop, Piano Jazz
Label: © Riverside Records | Concord Music Group
Release Date: 1958/2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:15:43
Recorded in performance by Ray Fowler at the Five Spot Cafe, New York City; July 9 (#8 only) and August 7 (other selections), 1958.
24-bit Remastering by Joe Tarantino at Joe Tarantino Mastering, Berkeley, CA


The most impressive point to be made about this record is that it is a product of precisely the same night's work as the earlier Riverside album, Thelonious in Action (now OJCCD-103-2); the two are in all respects a matched set. On the evening of August 7, 1958, recording equipment was rather precariously set up in the always-overcrowded Five Spot, the room where Monk had made his triumphant recent return to the New York club scene and was now appearing with a new quartet featuring Johnny Griffin. This turned out to be the first successful live recording of Thelonious (he had rejected the results of a night's work here a month earlier), and the substantial numbers of Monk-approved performances were readily programmed onto two full and equally memorable albums.
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The Pretenders - Pretenders II (1981/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Pretenders
Title: Pretenders II
Genre: Rock, Alternative Rock, New Wave, Punk Rock, Hard Rock
Label: © Warner Music
Release Date: 1981/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 46:32
Recorded: 1980–81 at Wessex Studios, London and Pathe Marconi Studios, Paris


The Pretenders' debut album was such a powerful, monumental record that its sequel was bound to be a bit of a disappointment, and Pretenders II is. Essentially, this album is an unabashed sequel, offering more of the same sound, attitude, and swagger, including titles that seem like rips on their predecessors and another Ray Davies cover. This gives the record a bit too much of a pat feeling, especially since the band seems to have a lost a bit of momentum -- they don't rock as hard, Chrissie Hynde's songwriting isn't as consistent, James Honeyman-Scott isn't as inventive or clever. These all are disappointments, yet this first incarnation of The Pretenders was a tremendous band, and even if they offer diminished returns, it's still diminished returns on good material, and much of Pretenders II is quite enjoyable. Yes, it's a little slicker and more stylized than its predecessor, and, yes, there's a little bit of filler, yet any album where rockers as tough as "Message of Love" and "The Adultress" are balanced by a pop tune as lovely as "Talk of the Town" is hard to resist. And when you realize that this fantastic band only recorded two albums, you take that second album, warts and all, because the teaming of Hynde and Honeyman-Scott was one of the great pairs, and it's utterly thrilling to hear them together, even when the material isn't quite up to the high standards they set the first time around. --Stephen Thomas Erlewine
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The Pretenders - Get Close (1986/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Pretenders
Title: Get Close
Genre: Rock, Alternative Rock, New Wave, Punk Rock, Hard Rock
Label: © Warner Music
Release Date: 1986/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 45:04
Recorded: At Air Studios, London; Power Station and Right Track Recording, New York; Bearsville Studio, Bearsville N.Y.; Polar Studios, Stockholm


In the first edition of the Pretenders, Chrissie Hynde was a smart and streetwise rock & roller with just enough maturity to make something of what life had shown her by her mid-twenties -- and she had the rough-and-tumble band to match for her first two albums. The second version of the group cast her as an unwitting but unbowed survivor, determined to move on and keep rocking despite the deaths of two of her bandmates, and the tough, no-nonsense approach of her new collaborators on Learning to Crawl reflected her attitude. Released in 1986, Get Close marked the debut of the Pretenders' Mark Three, and on this album listeners are introduced to Chrissie Hynde, Mature Professional Musician with a band to match. Get Close is never less than solid as a work of craft, and guitarist Robbie McIntosh, drummer Blair Cunningham, and bassist T.M. Stevens deliver tight and emphatic performances throughout, but they also sound like what they are -- journeymen musicians who bring their chops to their projects while leaving their personalities at the door. While Hynde always dominated the Pretenders, by this time it was obvious that this was fully her show, and if she felt less like rocking and more like exploring her emotions and thoughts about parenthood on midtempo pop tunes, no one in the group was going to prod her into doing otherwise; the presence of a large number of additional session players further buffs away any of Get Close's potential sharp edges. Despite all this, Hynde's voice is in great form throughout, and when she gets her dander up, she still has plenty to say and good ways to say it; "How Much Did You Get for Your Soul?" is a gleefully venomous attack on the musically unscrupulous; "Don't Get Me Wrong" is a superb pop tune and a deserved hit single; and the Motown-flavored "I Remember You" and the moody "Chill Factor" suggest she'd been learning a lot from her old soul singles. But after three great albums from the Pretenders, Get Close sounded good but not especially striking, and its hit-and-miss approach, with a few great songs surrounded by lesser material, was something Hynde's fans would find themselves getting used to over the group's next few releases. --Mark Deming
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The Dramatics - Whatcha See Is Whatcha Get (1971/2011) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Dramatics
Title: Whatcha See Is Whatcha Get
Genre: Soul, R&B, Funk, Smooth Soul
Label: © Stax Records | Concord Music Goup
Release Date: 1971 (Tracks 9-16 are the album " A dramatic experience ", originally released in 1973)/2011 Stax Remasters
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:09:27
Recorded: #1-8: 1971, United Sounds, Artie Fields Studio, Stax Records; #9-16: Detroit, MI, September and October 1972. Remastered at Joe Tarantino Mastering, Berkeley, CA.


In diversifying the A&R focus of Stax, Al Bell brought in Detroit producer Don Davis to work with core artists Carla Thomas and Johnnie Taylor. He brought with him a Motor City vocal group called the Dramatics. Davis turned to fellow Detroit producer and songwriter Tony Hestor to work with the group. Hestor wrote a great song with "Whatcha See Is Whatcha Get" and crafted an extraordinary arrangement as well. Annotator Bowman writes, "The slight Latin feel fit the first wave of disco like a glove while the use of claves and congas combined with a fuzzed lead guitar line and seraphonous strings and horns." The chemistry of artist, song, and arrangement drove the record all the way to #3 R&B and #9 Pop in the summer of 1971 on the Volt label. The follow-up was "In the Rain," of which then-lead vocalist Ron Banks recalls, "We looked at each other and said, ‘Whoa, that's a smash.' And for once we were right." The song went to #5 Pop. The Whatcha See Is Whatcha Get reissue contains no fewer than nine bonus tracks including charting hits "Fell for You" and "Hey You! Get Off My Mountain," both recorded in Detroit instead of Memphis. The closer "Hum a Song (From Your Heart)" was produced at Atlantic South Criterion Studios by the legendary production triumvirate of Jerry Wexler, Tom Dowd, and Arif Mardin.
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Georg Philipp Telemann - Ouverture & Concerti pour Darmstadt - Les Ambassadeurs, Alexis Kossenko (2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Georg Philipp Telemann (1681-1767)
Artist: Les Ambassadeurs, Alexis Kossenko, Zefira Valova
Title: Telemann - Ouverture & Concerti pour Darmstadt
Genre: Classical
Label: © Alpha | Outhere Music
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: e|classical.com
Duration: 01:09:50
Recorded: 3, 4 et 7 septembre 2014 au Temple St. Marcel, Paris


Alexis Kossenko returns to centre stage with a project focussing on works by Georg Philipp Telemann, one of the most prolific composers in the history of music, with more than 6,000 works to his name! From them, Alexis Kossenko has chosen two concertos with orchestra: one for flute, the other for flute and violin, preceded by an overture.

This programme is perfectly composed to demonstrate what a great Baroque conductor he has become as well as, of course, showcasing his impressive qualities as a flautist. It is also the occasion to again find Zefira Valova as Konzermeister and soloist in one of the concertos.
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Peter Ilyich Tchaikovsky - Symphonies Nos. 4, 5 & 6 - Leningrad Philharmonic Orch, Evgeny Mravinsky (1961/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Peter Ilyich Tchaikovsky (1840-1893)
Artist: Leningrad Philharmonic Orchestra, Evgeny Mravinsky
Title: Tchaikovsky: Symphonies Nos. 4, 5 & 6 "Pathétique"
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 1961/2006/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 02:09:08
Recorded: Symphony No.4 (London, Wembley Town Hall, September 14-15, 1960), Symphony No.5 & No.6 (Vienna, Musikverein, Grosser Saal, November 7-10, 1960)


At the height of the Cold War, the Leningrad Philharmonic Orchestra under its legendary principal conductor Evgeny Mravinsky visited Britain in September 1960, giving sensational concerts in Edinburgh and London which drew ecstatic responses from both press and public.
Since this virtuoso orchestra was then poorly represented in Western record catalogues, Deutsche Grammophon’s engineers astutely seized the opportunity to capture their playing in far superior sound to anything that could be produced by their Soviet counterparts. Among the most notable sessions taped in Wembley Town Hall was Mravinsky’s blazingly urgent account of Tchaikovsky’s Fourth Symphony.
Ever the perfectionist, the conductor was so pleased with the quality of this recording that two months later he and the orchestra agreed to record the last two symphonies for DG, this time in Vienna’s Musikverein. Initially released on three separate stereo LPs, these Tchaikovsky performances convey a highly-strung raw energy that remains undimmed up to the present day. The Finale of No. 5, delivered at a manically swift pace, is one of high points, guaranteed to take your breath away.
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