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Herbie Hancock - Empyrean Isles (1964/2013) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: Herbie Hancock
Title: Empyrean Isles
Genre: Jazz, Hard Bop, Modal, Piano Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4175/BST 84175)/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 35:20
Recorded: June 17, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey.


Empyrean Isles is the fourth album by American jazz pianist Herbie Hancock, recorded on June 17, 1964 for Blue Note Records. It features the debut of two of his most popular compositions, "One Finger Snap" and "Cantaloupe Island".
From the original liner notes by Duke Pearson: "This is a quartet album for trumpet and rhythm section. In this circumstance, a problem was created for the composer-arranger, in that the lack of another instrument supporting the lower, richer register, such as a tenor saxophone, might result in a shallow sound. With this problem in mind, Herbie Hancock, who composed and arranged all the tunes, wrote them to sound more like improvisations than ensemble melodies, so that the warmth and fullness of a supporting melody would not be missed. Free sketches were written in such a way that each instrument is allowed great flexibility of interpretation. In many cases, no melodic line was laid out over the chords nor atonal clusters written, so that the trumpeter could supply any melody he wished."
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Haydn 2032, Vol. 2: Il filosofo - Il Giardino Armonico, Giovanni Antonini (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Franz Joseph Haydn (1732–1809), Wilhelm Friedemann Bach (1710–1784)
Artist: Giovanni Antonini, Il Giardino Armonico
Title: Haydn 2032, Vol. 2: Il filosofo
Genre: Classical
Label: © Alpha Productions | Outhere Music
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:15:11
Recorded: Teldex Studio Berlin, 16-20 June 2014


For this second volume in the Haydn 2032 project, the complete recording of his symphonies, Giovanni Antonini has chosen to put forward the Symphony Der Philosoph. He associates with it a symphony by Wilhelm Friedemann Bach, eldest son of the Kantor of Leipzig, who is generally considered the most gifted of his sons. Different reasons brought these two great composers the originality and sometimes eccentricity that characterize their works, one suffering from the fame of his father, the other from his own genius. Whereas Haydn’s symphonies differentiate themselves by form, orchestration and keys, W. F. Bach’s begins in the style of a Baroque overture, gradually turning into a tempestuous piece and perhaps already reflecting the transition from a ‘Golden Age’ to the more tormented world that will follow the Age of Enlightenment.
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Hank Mobley - Hank Mobley Quartet (1955/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Hank Mobley Quartet
Title: Hank Mobley Quartet
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1955 (BLP 5066)/2015
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: ProStudioMasters
Duration: 00:25:08
Recorded: March 27, 1955 at Van Gelder Studio, Hackensack, New Jersey.

Recorded in 1955 and released on 10-inch vinyl, this session from saxophonist Hank Mobley was his debut as leader and features an all-star quartet of former Jazz Messengers members Horace Silver on piano, Doug Watkins on bass and Art Blakey on drums. With the exception of Cole Porter's show tune Love For Sale, the rest of the album consists of Mobley originals.
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Gilad Hekselman - This Just In (2013) High-Fidelity FLAC Stereo 24bit/88.2kHz


Artist: Gilad Hekselman
Title: This Just In
Genre: Jazz
Label: © Jazz Village | Harmonia Mundi
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 50:37
Recorded, mixed and mastered by Michael Perez-Cisneros at Peter Karl Studios, December, 2011 - January, 2012


This Just In is the compelling fourth studio album by Gilad Hekselman. It plays out like a news broadcast, peppered with short, improvised news breaks that highlight his compositions and their openness to a multitude of influences. Jazz, rock, folk, African, Israeli and North Indian classical music are dispersed throughout the album where Gilad’s harmonic creativity and rhythmic mastery prove to be natural elements of the melodic virtuosity that has become his trademark. Leading his powerful trio with Joe Martin on bass, Marcus Gilmore on drums and guest saxophonist Mark Turner, Gilad Hekselman’s deliciously dynamic music truly shines.
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Florence + the Machine - How Big, How Blue, How Beautiful (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Florence + the Machine
Title: How Big, How Blue, How Beautiful
Genre: Pop Rock, Alternative/Indie Rock, Blues Rock, Left-Field Pop, Baroque Pop
Label: © Island Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:09:52
Recorded: 2014


The result is How Big, How Blue, How Beautiful, a collection of songs, written and recorded over the course of 2014. Produced by Markus Dravs (Björk, Arcade Fire, Coldplay) with contributions from Paul Epworth, Kid Harpoon and John Hill, the third album by Florence + the Machine is live-sounding, tune-rich, unhinged in all the right places and powerful in all the best ways. In voice and, ultimately, outlook Florence has never sounded better.
Markus has done a few Arcade Fire albums, Florence tells us, and he s done Björk s Homogenic, which is a huge record for me. And I felt he had that balance of organic and electronic capabilities, managing those two worlds. And, you know, he s good with big sounds. And I like big sounds. And he s good with trumpets, and I knew I wanted a brass section on this record, she adds of a group of musicians who were arranged by Will Gregory of Goldfrapp.
And with Markus, Florence continues, clarifying, I wanted to make something that was big but that had a gentleness to it. That had a warmth, that was rooted. I think that s why we went back more to the live instruments. Something that was band-led almost.
A prime example is the future Florence classic Ship To Wreck: it opens the album, and showcases Florence and Dravs enthusiasm for reframing her distinctive voice.
Ship To Wreck was written with Kid Harpoon, the London-based songwriter/producer with whom she d written Ceremonials Grammy-nominated Shake It Out , during a month-long creative furlough in Los Angeles that also yielded first single What Kind Of Man : a full-force ear-pinning anthem of uplifting defiance.
Kid Harpoon is one of a clutch of old collaborator friends who reunited to help marshal these most personal of songs. Ceremonials producer Paul Epworth helped create the album closing psychedelic blues explosion Mother, while the inner-circle of her nearest and dearest was rounded out by her bandmate and long-time studio right-hand-woman Isa Summers, with whom she wrote the epic title track.
How Big, How Blue, How Beautiful was the first song I wrote for this record, literally as I just came off tour, she explains, and then I went off and had this incredibly chaotic year, and that all went into the record. But in the end, the feeling of How Big How Blue is what I came back to.
The trumpets at the end of that song that s what love feels like to me. An endless brass section that goes off into space. And it takes you with it. You re so up there. And that s what music feels like to me. You want it just to pour out endlessly, and it s the most amazing feeling.
It s alchemy. It s magic. It s the return of Florence + the Machine.
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Ella Fitzgerald - Clap Hands, Here Comes Charlie! (1961/2012) High-Fidelity DSF Stereo DSD64/2.82MHz


Artist: Ella Fitzgerald
Title: Clap Hands, Here Comes Charlie!
Genre: Jazz, Standards, Traditional Pop, Vocal Jazz, American Popular Song
Label: © Verve Records | Analogue Productions
Release Date: 1961/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 50:26
Recorded: 22-23 June 1961 in Los Angeles
Mastered by George Marino at Sterling Sound


Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945, played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella Fitzgerald in completely new and personal interpretations in 1961.
Clap Hands, Here Comes Charlie! is absolutely top notch as regards to musicality; perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz!
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Einojuhani Rautavaara - The Journey - Lahti Symphony Orch, Osmo Vanska (2004) High-Fidelity FLAC Stereo 24bit/44.1kHz


Сomposer: Einojuhani Rautavaara (b. 1928)
Artist: Lahti Symphony Orchestra, Osmo Vänskä
Title: Einojuhani Rautavaara - The Journey
Genre: Classical
Label: © BIS Records AB
Release Date: 2004
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: eclassical.com
Duration: 56:41
Recorded: September 2001 (Violin Concerto) and January 2002 (Symphony No. 8) at the Sibelius Hall, Lahti, Finland


Einojuhani Rautavaara, the grand old man of Finnish music, became instantly famous when his 7th Symphony, Angel of Light (BIS-CD- 1038), became a great success in Europe and the USA. The composer’s highly individual mix of modernism, mystical romanticism and love of the natural world has struck a deep chord with the audiences, and what in a Gramophone review of a recent disc of his songs (BIS-CD-1141) was called “Rautavaara’s genius as a communicator” will be obvious in the present programme too.

The composer, in his own liner notes, writes about Symphony No.8 ‘The Journey’: “Composed in the last year of the twentieth century, it might be described as a parallel process to the passage of time; to be a journey through the century – not a programmatic illustration, but a similar journey through time and through the world.” The Violin Concerto is an earlier work, from the end of the 1970s, the exuberant ending of which was inspired by the fact that it was composed in New York: “when from my studio window I saw the Downtown skyscrapers, with their thousands of windows in which lights were switched on and off incessantly through the day and night, when I heard Fifth Avenue’s constantly changing, unending current of sound, I knew that the violin solo had to live its last moments passionately, persistently piercing the orchestral texture right to the end.”

The two scores are in the more than capable hands of Osmo Vänskä and his Lahti Symphony Orchestra. Famed for their interpretations of Sibelius’s music, the team has also had great success with the works of more modern compatriots such as Joonas Kokkonen and Kalevi Aho. Jaakko Kuusisto, the soloist in the violin concerto, will be familiar to all BIS followers for his recordings of the chamber music of Sibelius, as well as for his acclaimed performance of the solo violin part in Kalevi Aho’s Third Symphony (BIS-CD-1186).
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Duke Ellington and Johnny Hodges - Side By Side (1959/2012) High-Fidelity DSF Stereo DSD64/2.82MHz


Artist: Duke Ellington and Johnny Hodges
Title: Side By Side
Genre: Jazz, Post Bop, Swing, Mainstream, Saxophone Jazz
Label: © Verve Records | Analogue Productions
Release Date: 1959/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 46:14
Recorded: August 14, 1958 at Nola Studios, New York City; February 20, 1959 at Columbia Studios, New York
Mastered by George Marino at Sterling Sound


When Norman Granz signed Johnny Hodges to a recording contract in 1951, it was a prelude to Hodges' leaving the Duke Ellington orchestra to lead his own small band. Four years later Hodges was back in the Ellington fold, but he continued to record for Granz under his own name. Side By Side, recorded in 1958 and 1959, is a throwback to the small-group sessions Ellington recorded with Hodges and other members of his orchestra in the Thirties, but with a couple of important differences: the absence of Ellington himself on several cuts (with Billy Strayhorn taking over on piano), and the presence of such notable non-Ellingtonians as drummer Jo Jones and trumpeters Roy Eldridge and Harry "Sweets" Edison.
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Duke Ellington and Johnny Hodges Play the Blues - Back To Back (1959/2012) High-Fidelity DSF Stereo DSD64/2.82MHz


Artist: Duke Ellington and Johnny Hodges
Title: Back To Back - Duke Ellington and Johnny Hodges Play the Blues
Genre: Jazz, Swing, Louisiana Blues, Piano Blues
Label: © Verve Records | Analogue Productions
Release Date: 1959/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 47:15
Recorded: Columbia Studios, New York, NY, February 20, 1959
Mastered by George Marino at Sterling Sound


Back to back, or side by side, Duke Ellington and Johnny Hodges form a duo which, in terms of sustained jazz artistry, has never been rivaled. The Ellington fanciers will be well rewarded, for there are many passages of Duke’s unusual and charming solo improvisations. “Johnny Hodges,” Duke said, “has complete independence of expression. He says what he wants to say on the horn, and that is it. He says it in his language, from his perspective, which is specific, and you could say that his is pure artistry.” Hodges carries most of the melodic statements of well-known blues standards, but gets in his share of ad lib choruses along with the swinging trumpet of Harry “Sweets” Edison. This is one of the most thoroughly relaxed, conversational jazz sessions ever recorded.
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Dele Sosimi - You No Fit Touch Am (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz


Artist: Dele Sosimi
Title: You No Fit Touch Am
Genre: Jazz Funk, Afrobeat, Fela Kuti, Nigeria, World
Label: © Wah Wah 45s
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: delesosimi.bandcamp.com
Duration: 53:04


Wah Wah 45s are very proud to present the first full-length album in almost a decade from vocalist, keyboard player, Fela Kuti collaborator and afrobeat legend, Dele Sosimi!
You No Fit Touch Am represents where Dele is today – something of an untouchable force in the music scene that he has always been such a vital part of. The title is an uncompromising message that this man means business, and with his mammoth afrobeat orchestra on board that is definitely the case. Recorded at the Fish Market Studios in North-West London by Benedic Lamdin (AKA Nostalgia 77) the album provides a musical representation of Dele’s strong socio-political opinions, as well as delivering classic song-writing that could have come straight out of 1970s Lagos!
Born in Hackney, East London, but soon to return to his parents’ native Nigeria at the age of four, Dele Sosimi was schooled and raised in Fela Anikulapo Kuti’s shadow at the height of early 70s afrobeat. Having been chosen by Fela to join his band at somewhat of a tender age, he was still a young man when sharing Fela’s Glastonbury stage in 1984, and became both Musical Director for both Fela’s Egypt 80 and Femi Kuti’s Positive Force.
After Fela’s passing in 1997, Dele went on to concentrate on his own solo career and, with diligent patience, carved out his own afrobeat crown. In London, where he now resides, his Afrobeat Vibration all-nighters are charged with his passion, labours and his unrelenting spirit.
Following on from his first two studio albums, Turbulent Times and Identity, this third long-player is sure to cement Dele Sosimi’s position as a major player within afrobeat and beyond!
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