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Tim Berne's Snakeoil - You've Been Watching Me (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Tim Berne's Snakeoil
Title: You've Been Watching Me
Genre: Jazz, Avant-Garde Jazz, Modern Creative, Improvisation
Label: © ECM Records GmbH | ECM Player
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Duration: 01:07:37
Recorded: December 2014 at The Clubhouse in Brooklyn, NY

Tim Berne’s third ECM album, You’ve Been Watching Me, sees the saxophonist-composer again leading his dynamic New York band Snakeoil, but now a quintet with the arrival of guitarist Ryan Ferreira, whose sound adds textural allure. The group’s 2013 release, Shadow Man, garnered Berne some of the highest praise of his career as a composer and bandleader. DownBeat said: “This music rocks and thinks, explores, deconstructs, and swings, in its own identifiably angular, Berne-ian way.” If Berne has hit a new peak with his writing on You’ve Been Watching Me, his band has reached a heightened state of collective interaction. Snakeoil can still be bracingly kinetic. But there is new space in these compositions and more lyrical focus to the improvisations, leading to a dramatic, even cinematic experience in such tracks as ‘Embraceable Me’. Berne’s music has never been richer or more arresting.
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The Postal Service - Give Up (2003/2013) (Deluxe 10th Anniversary Edition) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: The Postal Service
Title: Give Up
Genre: Electronic, Alternative, Indie Rock, Indie Pop, IDM
Label: © Sub Pop Records
Release Date: 2003/2013
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:44:22
Recorded: December 2001 and 2002 at Dying Songs, Los Angeles and Computerworld, Seattle

You can spend all the time and money in the world trying to craft the perfect pop-music scenario, but sometimes the stars have to align all by themselves. Even though early on the members of The Postal Service jokingly referred to Such Great Heights as “the hit” on their debut album, Give Up, there’s no way anyone could have predicted the eventual impact made by a mail-order album designed in a pair of West Coast bedrooms.
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The Allman Brothers Band - 2014-10-24 - Beacon Theatre, New York, NY (2014) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: The Allman Brothers Band
Title: 2014-10-24 - Beacon Theatre, New York, NY
Genre: Blues Rock, Southern Rock, Boogie Rock, Hard Rock
Label: © MunckMix
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Duration: 02:33:23
Recorded live at the Beacon Theatre, New York City, October 24, 2014.

The Allman Brothers Band returned to the Beacon Theatre for the third show of their six-night farewell run yesterday. As was the case on Wednesday, guitarist Derek Trucks once again took up Duane Allman’s long-lost (and recently rediscovered) 1957 Goldtop Les Paul for a number of tunes.
Highlights from the show included emotional first set takes on “No One to Run With” and “Soulshine,” marking the first time that the Warren Haynes-penned tune has appeared during the farewell run. Haynes also took up vocals for “Blue Sky” during the second set, which also featured extended takes on “Rocking Horse” and “You Don’t Love Me,” with the latter playing into a rare “Soul Serenade” to close things out. The farewell run’s “Will The Circle Be Unbroken?” theme then continued as the band slipped the gospel classic into this week’s first “Whipping Post” for the night’s finale.
The Allman Brothers Band have just three more shows to go before calling it quits after 45 incredible years...
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Terence Blanchard feat. The E-Collective - Breathless (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Terence Blanchard feat. The E-Collective
Title: Breathless
Genre: Jazz, Fusion, Post-Bop, Crossover Jazz, Electric Jazz
Label: © Blue Note Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:17:57
Recorded: 2014-2015

Terence Blanchard's 2013 return to Blue Note, Magnetic, built upon his decades-long history of post-bop dynamism with a forward-thinking approach that blended edgy, modal improvisation with a sophisticated, genre-crossing compositional style. It was a concept he had been investigating on his previous efforts Bounce (2003), Flow (2005), and Choices (2009), and, though it had been years since Blanchard was considered a young lion, the eclecticism of the album matched the work of many of his younger contemporaries like trumpeter Christian Scott and pianist Robert Glasper, the latter of whom even played on Bounce. In keeping with this boundary-pushing trajectory, Blanchard's follow-up, 2015's Breathless, finds the New Orleans native jumping wholeheartedly into a funky stew of R&B, hip-hop, and fusion-influenced jazz. Blanchard is joined here by his band the E-Collective, an adroit group of young players centered around gifted keyboardist Fabian Almazan, the only carry-over from the Magnetic sessions. Along with Almazan, the E-Collective features Charles Altura (guitar), Donald Ramsey (bass), and Oscar Seaton (drums). Also showcased throughout is vocalist PJ Morton, who has released his own R&B- and contemporary gospel-infused albums and toured as a keyboardist with the pop group Maroon 5. Ambitious, adventurous, and steeped in the kind of sticky, psychedelic jazz-funk pioneered by trumpeter Miles Davis in the '70s, Breathless is Blanchard's most electrified album to date. While Blanchard has long drawn comparisons to Davis, they've mostly referenced the iconic trumpeter's classic quintet sides from the late '60s and not his effects-drenched fusion period. Similarly, while on previous efforts Blanchard has flirted with an electronic sound, he's never gone this far in a contemporary jazz direction. Here we get a very '90s hip-hop/jazz-infused reworking of Les McCann's classic 1969 socio-political anthem "Compared to What," several languid, new agey spoken word pieces with Morton, and some expansive, groove-oriented cuts like the bluesy midtempo "See Me as I Am" that allow for plenty of spaced-out solos. Also intriguing are Morton's several slow jam vocal numbers, including an inspired cover of Hank Williams' "I Ain't Got Nothin' But Time,' which replaces the country legend's cowboy twang and fiddles with sweeping, Stevie Wonder-esque orchestral synth backgrounds. Also compelling is the languid, dreamy ballad "Everglades," which impossibly balances Debussy-influenced impressionism with angular, synthy, '80s electro-funk. Ultimately, while Breathless is a break from the aggressive, acoustic swing that has marked much of Blanchard's career, it nonetheless retains all the jaw-dropping artistry and soulful creativity we have come to expect, albeit delivered in a vibrant, electric style. --Matt Collar
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Terence Blanchard - Magnetic (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Terence Blanchard
Title: Magnetic
Genre: Jazz, Modern Creative, Post-Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:07:58

Magnetic marks Terence Blanchard's return to Blue Note Records after an eight-year sojourn in which he wrote and performed large scale works for film, and cut smaller group offerings for Concord. He utilizes his fine live band in the studio here -- tenor saxophonist Brice Winston, drummer Kendrick Scott, dazzling pianist Fabian Almazan, and 21-year-old bassist Joshua Crumbly. Bassist Ron Carter guests on a pair of tracks, as does saxophonist Ravi Coltrane, while guitarist Lionel Loueke plays on three. Blanchard composed four tracks here, and the members of his quintet all contributed selections -- Almazan even has an unaccompanied solo piece on the record. Given the variety of composers, this is a more musically diverse set than the trumpeter has offered in a while. His title track utilizes funky syncopation and electronics on his horn (they play a part on most of his tunes) as the band engages knotty post-bop and modalism with gorgeous breakbeats by Scott and a fine solo by Winston. Almazan's "Pet Step Sitter's Theme Song," with Coltrane and Loueke, commences with an arpeggiated Latin tinge on piano before the frontline enters and begins to deconstruct it, using just enough of the theme to create a jumping off point for muscular abstraction. Loueke's guitar effects become a lovely foil for Coltrane's solo, and provide a bridge between the soloist and pianist. The electronics in Blanchard's solo multiply his lines which alternately deftly skate and take on the rhythm section. Scott's "No Borders Just Horizons" implies a kind of swinging, modal post-bop before it moves into Latin terrain and shifts back in Winston's solo ending, somewhere outside all these touch points. Blanchard's "Central Focus" is almost straight-ahead post-bop with elements of New Orleans jazz tossed into his solo. Winston's "Time to Spare" is introduced by a tight yet complex lyric line, and when joined by Blanchard and the rhythm section, the tune becomes an uptempo groover. His solo engages intensely with the rhythm section. With its wealth of ideas, colors, and textures, Magnetic is evidence of a band firing on all cylinders with enthusiasm, imagination, and considerable sophistication. --Thom Jurek, AllMusic
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Terence Blanchard - Lets Get Lost: The Songs of Jimmy McHugh (2001) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Terence Blanchard
Title: Lets Get Lost: The Songs of Jimmy McHugh
Genre: Jazz, Soul-Jazz, Swing, Straight-Ahead, Trumpet Jazz, Vocal Jazz
Label: © Sony Music Entertainment
Release Date: 2001
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 01:04:03
Recorded: January 16 - February 27, 2001

In this fine collection of Jimmy McHugh songs, Blanchard uses his rich trumpet tone and exquisite sense of harmonic proportion to create lyrical melodies in his improvisations. In straightforward solos like those on "I'm in the Mood for Love" and "Exactly Like You," he keeps his mannerisms under control and makes them the seasoning, not the main course. In his long, slow exposition of "Lost in a Fog" he makes judicious use of his special effects to achieve the kind of ache the 1930s singer Jane Froman gave the song. The swoops, slurs, slides and half-valve effects that have often distracted from his storytelling are under control.
Blanchard hired four singers for this album. Diana Krall makes one appearance, Dianne Reeves, Jane Monheit and Cassandra Wilson two each, all with Blanchard's obbligatos and solo interludes. Monheit's girlishness is perfect for the innocence of "Too Young to Go Steady." Blanchard's trumpet whines may be commentary on the sentimentality of the lyrics. Monheit approximates them as she follows his solo into the second appearance of the bridge. She has fun with the time on "I Can't Give You Anything but Love."
The other three singers are not girlish. Krall sings "Let's Get Lost" simply and sensually. Her piano accompaniment behind Blanchard is anything but simple, incorporating a stretch of 9/8 time and allusions to the "Resolution" section of Coltrane's "A Love Supreme." In great voice, on her second chorus of "I Can't Believe That You're in Love With Me" Reeves gives the kind of unselfconscious performance that often eludes her on her own albums. The relaxed swing of her entry on "Can't Get Out of This Mood" is reminiscent of Lester Young's. In her phrasing on "Sunny Side of the Street," Wilson seems to have Louis Armstrong in mind. She and Blanchard intertwine at the end of the out-chorus of "Don't Blame Me" and she throws him bursts of vocal encouragement as he plays an inspired coda.
Eric Harland is the drummer and Derek Nievergelt the bassist on all the songs, Edward Simon the pianist on all but Krall's. The inventive tenor saxophone solos on three pieces are by Brice Winston. Five of the 11 tracks end in engineered fades. Those are failures of imagination or missed opportunities, annoyances in an otherwise enjoyable album by a maturing trumpet soloist who is also an accomplished arranger. --Doug Ramsey, JazzTimes
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Peter Ilyich Tchaikovsky - Works for violin & orchestra - Julia Fischer, Yakov Kreizberg, Russian National Orchestra (2006) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Peter Ilyich Tchaikovsky (1840-1893)
Artist: Julia Fischer, Yakov Kreizberg, Netherlands Chamber Orchestra
Title: Tchaikovsky: Violin concerto - Sérénade mélancolique - Valse - Souvenir d'un lieu cher
Genre: Classical
Label: © PentaTone Classics
Release Date: 2006
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 01:08:25
Recorded: DZZ Studio 5, Moscow (1-5), 4/2006 MCO Studio 5, Hilversum (6-8), 4/2006

For a work so popular, and so highly favored by record companies, Tchaikovsky's Violin Concerto hasn't been getting too much attention lately. In any case, great performances are few and far between, but this performer certainly belongs on anyone's short list of truly outstanding versions. It has everything: transcendent virtuosity, tons of excitement in the finale, and perhaps most importantly of all, a soloist with both taste and a personal sound that allows her to make the music her own. Today's violin soloists are so well trained that we tend to forget the difference between great technique and great timbre. Julia Fischer has both. Right from the opening of the first movement her sound positively glows.
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Susan Wong - Woman In Love (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Susan Wong
Title: Woman In Love
Genre: Vocal Jazz, Pop
Label: © Evosound
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 49:40
Recorded: 2014

Woman In Love is Susan’s tribute to great women singers before her who made their fame with sensuous and endearing love songs. Woman In Love features romantic long songs old and new from Olivia Newton-John’s I Honestly Love You and Barbra Streisand’s classic Woman in Love to Rihanna’s hit Stay and Adele’s Make You Feel My Love. Woman in Love bears Susan’s signature sultry enticing vocal with fresh brilliant arrangements. The album features Susan’s original song Can’t You See (I’m Falling In Love), a heartfelt declaration of love.

Woman In Love is Susan’s fifth studio album with the evosound label. 2 1⁄2 years in the making, recorded over 8 studios in 3 continents – Woman In Love finally released digitally on January 2015 – Lovingly recorded, mixed and mastered at 96bit/64khz.
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Stuff - Stuff (1976/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stuff
Title: Stuff
Genre: Jazz, Fusion, Jazz-Funk, R&B
Label: © Warner Bros. Records | Warner Music Japan WPGR-10019
Release Date: 1976/2011
Quality: DSF Stereo DSD64/2.82MHz
Duration: 00:41:35
Recorded: 1975-1976, Longview Farm

Stuff is the debut studio disc by the group Stuff, a team of renowned session musicians who came together around the core of bassist Gordon Edwards. Released in 1976 on Warner Bros., it was produced by Herb Lovelle and legendary jazz producer Tommy LiPuma. The record earned RIAA gold status, and the group would go on to record two more studio discs, each of which also went gold.
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Simply Red - Big Love (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Simply Red
Title: Big Love
Genre: Pop Rock, Blue-Eyed Soul, Sophisti-Pop, Soul, Rhythm & Blues
Label: © East West Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:46:09

Simply Red release their first new studio album in eight years with Big Love out June 1st on East West Records. When the band announced a massive world tour to celebrate their 30th anniversary last autumn, main man Mick Hucknall started thinking about recording again. “Once I began wondering how Simply Red were going to sound, I started writing songs,” says Mick. And once he started, he couldn’t stop. Big Love is the first Simply Red album to feature only original compositions since 1995’s ‘Life’. All twelve tracks are written by Mick Hucknall and produced by Andy Wright. Highlights include the celebratory first single ‘Shine On’ driven by their trademark blue-eyed soul sound and ‘The Ghost Of Love’, a big soul song punctuated by wah-wah guitar and the kind of bold orchestral strokes that once powered Barry White and his Love Unlimited. The break has done Mick Hucknall a power of good, newly refreshed he now has a much clearer appreciation of Simply Red’s considerable legacy. He admits that the band’s last studio album in 2007, ‘Stay’, was an attempt to pull away from their sound. “With ‘Stay’ I was running away from Simply Red,” Mick admits. “But now I’m comfortable with the notion of us as a blue-eyed soul group. I had to stop myself fighting that idea. Our sound is original too. I honestly don’t know of another band that has pulled so many musical strands together.” Quite simply, Big Love is Simply Red at their best, 12 tracks to cherish. With a 16 date UK tour this winter, including 3 shows at London’s 02 Arena, Simply Red are once again a band in their prime.
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