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Kenny Drew - Undercurrent (1961/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Kenny Drew
Title: Undercurrent
Genre: Jazz, Hard Bop, Piano Jazz
Label: © Blue Note Records
Release Date: 1961 (BLP 4059/BST 84059)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:38:37
Recorded: Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 11, 1960

Kenny Drew was an unsung master of bebop. A brilliant pianist who started with the example of Bud Powell and then developed his own sound within the style, in the '50s Drew worked with some of the most important innovators of all time including Coleman Hawkins, Lester Young, Charlie Parker, Buddy DeFranco, Dinah Washington and Art Blakey. By 1960 when he recorded Undercurrent, Drew had already led ten albums of his own, mostly with duos and trios.
Oddly enough he only had the opportunity to lead two albums in his life for Blue Note, an early effort from 1953 and the classic Undercurrent. Joined in a quintet by the young firebrand trumpeter Freddie Hubbard, the always-stimulating tenor-saxophonist Hank Mobley, bassist Sam Jones and drummer Louis Hayes, the 32-year old pianist shows that he was ready to truly make his mark on the jazz world. All six compositions are his, and in his accompaniment of the passionate horn men and also in his soulful solos, Drew shows that he was one of the major hard bop stylists.
This high energy album, which finds Hubbard, Mobley and Drew consistently inspiring each other to come up with heated statements, has many of the pianist’s finest compositions including the roaring “Undercurrent,” the bluesy “Funk-Cosity,” the gospellish “The Pot’s On,” the well titled “Groovin’ The Blues” and the beautiful “Ballade.” Kenny Drew, who would move permanently to Europe in 1964 and would not lead another album until 1973, is heard throughout at the peak of his powers, creating his finest recording.
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Joy Division - Substance (1988/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Joy Division
Title: Substance
Genre: Rock, Alternative, Post-Punk, New Wave
Label: © Warner Records 90 Limited
Release Date: 1988/2015 (2010 Remaster)
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:08:25
Recorded: December 1977–March 1980

Substance is a compilation album featuring singles by the 1970's English rock band Joy Division. The compilation was originally released in 1988, it peaked at number 7 on the UK charts and made it to the Billboard 200 chart at number 146. The singles are taken from four EPs: An Ideal for Living, A Factory Sample, Earcom 2: Contradiction and Licht und Blindheit. The record also includes a few singles that were previously unreleased on albums by the group.
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Joe Satriani - Shockwave Supernova (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Joe Satriani
Title: Shockwave Supernova
Genre: Rock, Instrumental, Hard Rock, Guitar Virtuoso
Label: © Legacy Recordings
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:03:28
Recorded by John Cuniberti at Skywalker Sound and 25th Street Recording. Additional recording by Joe at Studio 21 and Mike Fraser at Skywalker Sound. Mixed and Mastered by John Cuniberti at Digital Therapy Lab.

Shockwave Supernova is the upcoming fifteenth studio album by guitarist Joe Satriani, set to be released on July 24, 2015.[1] It will feature bassist Bryan Beller and drummer Marco Minnemann of The Aristocrats, as well as progressive rock multi-instrumentalist Mike Keneally.
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Jill Scott - Woman (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Jill Scott
Title: Woman
Genre: R&B, Neo Soul
Label: © Blues Babe Records | Atlantic Recording Co.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 57:49

The thought provoking titled album is coming off the heels of Jill’s latest singles, “Fool’s Gold” that debuted on May 11th and is currently #7 on Billboard R&B charts and the critically acclaimed, “You Don’t Know”. Executive produced by the vocal powerhouse herself alongside producer extraordinaire Andre Harris (“Long Walk Home” & “Is It The Way”) and Nashville great Aaron Pearce, Jill is describing the sound of this album as “classic Philly soul meets Country rhythm served with impeccable and captivating storytelling”.
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Jerry Garcia Band - On Broadway: Act One - October 28th, 1987 (2015) High-Fidelity FLAC Stereo 24bit/176.4kHz

Artist: Jerry Garcia Band
Title: On Broadway: Act One - October 28th, 1987
Genre: Rock, Rhythm and Blues, Folk, Bluegrass
Label: © ATO Records | Jerry Garcia Family LLC
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 176,4kHz/24bit
Duration: 02:57:31
Recorded at the Lunt-Fontanne Theatre in New York City on October 28, 1987

e’re excited to announce the debut of On Broadway, a new archival series celebrating Jerry’s magical 13 night run at the historic Lunt-Fontanne Theatre in New York City’s Broadway theater district. The first installment, On Broadway: Act One – October 28th, 1987, will arrive June 23rd on Round Records as a 3CD set or digital download and is currently available for pre-order in the Official Garcia Store.
On Broadway: Act One – October 28th, 1987 presents three complete sets of music, including previously unreleased matinee and evening acoustic sets from the Jerry Garcia Acoustic Band, as well as the evening electric set from the Jerry Garcia Band. The release was produced from newly remastered two-track soundboard recordings originally captured to digital audio tape and includes previously unpublished live photos, and a liner note essay by author, historian and Grateful Dead publicist, Dennis McNally.
“The (two) Garcia Bands’ – Jerry Garcia Acoustic Band, and the electric JGB – 1987 run on Broadway from October 15th through Halloween was destined to be memorable for many reasons,” as Dennis McNally states in the liner note essay. There’s record setting ticket sale figures, a destiny tied to Jerry’s namesake (Broadway composer Jerome Kern) and of course the sheer visual oddity that is Deadheads descending upon The Great White Way, but what shines brightest is Garcia’s jovial and relaxed mood which sets the stage for the inspiring performances contained within the release. The below excerpt from McNally’s liner notes sums up the magic contained within the collection perfectly:
“The electric JGB was its usual solid self, ripping up Jerry’s customary mix of Dylan (note especially Melvin’s gorgeous, outstanding synthesizer work on “Knockin’ on Heaven’s Door”), reggae (Peter Tosh’s “Stop That Train”), Motown (Marvin Gaye’s [well, Holland-Dozier-Holland’s] “How Sweet It Is”), and Los Lobos’s “Evangeline.” The most interesting original here is the not-so-commonly sung “Gomorrah,” which Garcia simply nails.
But it was the acoustic band that was unusual in this context, and it’s worth some particular attention. There are bluegrass songs – the Stanley Brothers’ “If I Lose,” among others – folk songs – Libba Cotten’s “Oh Babe It Ain’t No Lie” – and country songs like the Tex Logan-arranged “Diamond Joe” or Mel Tillis and Webb Pierce’s “I Ain’t Never,” which has a Garcia/Nelson vocal duet that sounds just like the Everly Brothers. The material was classy and fun and in some odd way just exactly right for Broadway.”
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James Brandon Lewis - Days of FreeMan (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: James Brandon Lewis
Title: Days of FreeMan
Genre: Jazz, Free jazz, Mainstream jazz, Hip-Hop
Label: © Okeh / Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 01:02:39
Recorded February 16 & 17, 2015 at Charlestown Road Studios in Hampton, NJ.

Visionary composer and tenor saxophonist James Brandon Lewis's bravest, yet most palpable artistic feat, Days Of FreeMan, opens with a poignant and profound introductory monologue from a maternal sage. She says: "The best thing of living is living who you are. You can't be somebody else; you gotta be what God gave you to be and who you are. You look in the mirror and see yourself and say 'I'm James Brandon Lewis."' Next, bass and drums congeal around the sapphire melodic motif of "Brother 1976," recalling one of those jazzy jewel-like hooks from a 1990s Native Tongue hip-hop jam. The effect is like 1990s hip-hop's fascination with jazz being spit back by a prodigious jazz innovator. Welcome to Days Of FreeMan (OKeh) available July 24, 2015.
For his third album, James uses ideas from 1990s hip-hop to masterfully weave together threads of cultural identity, cross-generational identity, and personal reflection.
Days Of FreeMan is imaginatively organized in chapters with classic hip-hop style breaks and interludes functioning as chapter breathers. Like the cross cultural and generational mosaic on Freeman Street proper, the album invites the listener into many dialogues. It is a nod to 1990s hip-hop, and explores rhyme-scapes and the musical conventions of that golden age of hip-hop in a revolutionary way. The album also explores hip-hop as a culture through taking inspiration from the original four pillars of hip-hop: dance, rapping, graffiti, and DJ-ing.
The album also loosely functions as a memoir with an underlay of nostalgia for the carefree boyhood days of fly nicknames, basketball, and those first encounters with the transformative power of music. Adding to the power and emotionality of this thread on growing up, are pontifications on love, identity, and God peppered throughout the album, culled from informal conversations James recorded with his grandmother, Pearl Lewis.
James's immersive creative process to realize his vision for Days Of FreeMan include pouring over hip-hop documentaries for up to eight hours a day, and dissecting albums by KRS-One, Digable Planets, Pete Rock & CL Smooth, A Tribe Called Quest, Medeski, Martin & Wood, along with fearless jazz trumpeter Don Cherry's 1985 album Home Boy and Lauryn Hill's 1998 masterpiece the Miseducation Of Lauryn Hill.
How all of this preparation plays out musically is stunning. For years instrumentalists held fast to the lofty notion of "singing through the instrument," but on Days Of FreeMan, James aspires to MC through his tenor. The album's title track perfectly captures the clipped cadence of a master MC with speech-like phrases and a long flowing solo that conjures up a blazing freestyle battle rap session. "Black Ark" traces the legacy of hip-hop from the balmy and pioneering dub explorations of Lee "Scratch" Perry in Jamaica ("Black Ark" is the name of his famed studio) to the burgeoning sounds of hip-hop blaring out in the Bronx. On "Lament for JLew," in five vigorous minutes James ties together the dual lineages of classical music to hip-hop and classical music to rock using original classical-flavored motifs to illustrate the overlaps.
The second to last track of Days Of FreeMan is the political and timely "Unarmed With A Mic" and is a reminder of hip-hop's power as a form of protest music. On this track, James plays with seething sentimentality. The album concludes with "Epilogue," a reprise of the infectious melody of the opening track "Brother 1976."
On the album, James is accompanied by drummer Rudy Royston. Both took the weighty undertaking of album deeply, researching 1990s hip-hop jams for inspiration and vision. Their attention to the vocabulary of the era James sought to explore, and their panoramic musicality and sympathetic musical skills, match James's artistic ideal to authentically and thoroughly fuse genres and cultures without pandering to trends in jazz-groove records. The record also features a guest spot from the gifted freestyle rapper Supernatural on the track "Days Of FreeMan."
Days of FreeMan is one of James Brandon Lewis's most ambitious works and his most accessible. Reflecting on this intriguing duality he says: "The artist is charged with taking creative risks, but the universe lined up this time and I was able to connect with my audience conversationally."
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Jack DeJohnette - Made in Chicago (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Jack DeJohnette
Title: Made in Chicago
Genre: Jazz, Avant-Garde Jazz, Free Improvisation, Modern Creative, Free Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:17:35
Recorded live August 29, 2013 at the Pritzker Pavilion Millennium Park Chicago at the 35th Annual Chicago Jazz Festival.

With Made In Chicago, an exhilarating live album, Jack DeJohnette celebrates a reunion with old friends. In 1962, DeJohnette, Roscoe Mitchell and Henry Threadgill were all classmates at Wilson Junior College on Chicago’s Southside, pooling energies and enthusiasms in jam sessions. Shortly thereafter Jack joined Muhal Richard Abrams’ Experimental Band, and Roscoe and Henry soon followed him. When Abrams cofounded the Association for the Advancement of Creative Musicians in 1965, DeJohnette, Mitchell and Threadgill were all deeply involved from the outset, presenting concerts and contributing to each other’s work under the AACM umbrella. Jack brought them together again for a very special concert at Chicago’s Millenium Park in August 2013, completing the group with the addition of bassist/cellist Larry Gray. The concert recording – featuring compositions by Roscoe, Henry, Muhal and Jack, plus group improvising - was mixed by Manfred Eicher and Jack DeJohnette at New York’s Avatar Studio. Made In Chicago is issued as the AACM begins its 50th anniversary year.
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Holychild - The Shape of Brat Pop to Come (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Holychild
Title: The Shape of Brat Pop to Come
Genre: Pop, Dance Pop, Synthpop, Electropop, Indie Electronic
Label: © Glassnote Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:37:09

Los Angeles brat-pop band, HOLYCHILD debut full-length album, The Shape of Brat Pop to Come, is out June 2nd via Glassnote Records. Their debut album features single, Running Behind.
HOLYCHILD formed in college, found their artistic inclinations were in sync, and began making music together. Sure, there’s more to that story—a long trail of events that stretches from New York art galleries to the sun-baked streets of Los Angeles, where the duo now lives. But both members, Liz Nistico and Louie Diller, are far more concerned with the “why” behind their twisted electro pop creations than the “how” of where they are today.
Although in the past they have described their music as the halfway point between Katy Perry and Björk, the pair is more likely to name-check F. Scott Fitzgerald, Hemingway and Bukowski when describing their glittery dance tunes. The classic authors subverted the written form in order to make readers question their assumptions—why can’t they do the same thing with music? HOLYCHILD call their genre of music, brat pop. Their manifesto is simple but intense.
“It’s experimental pop, it’s often sarcastic, and it’s pretty thick with social commentary,” says Nistico. “If you make music within pop form, and just having poppy melodies, people are used to consuming that. People will consume that easily with no difficulty. If you are saying something beyond that, that’s when you can make people think. We definitely want to reach a very large audience and make them think differently, whether it be about gender roles, or the social economic status of the U.S. right now.”
But don’t expect HOLYCHILD to waste too much time preaching. From touring alongside the likes of Passion Pit and MØ, to turning NYC's Museum of Modern Art (MoMA) into an electro pop rave, they’re out to make the kind of music that’s aimed in equal parts at the intellect and lust.
“I feel like it’s safe to say, brat pop is one-half rebellion and one-half entertainment,” adds Diller. “We’re not in it to spoon-feed people, but we are in it to entertain, put on a show, make people happy and make people move.”
On their debut album The Shape Of Brat Pop to Come, the pair takes on nothing less than the ideas of power dynamics and inequality—be it racial, social status, or gender-motivated. The beats are wild (thanks in no small part to Diller’s stint in Cuba studying Afro-Cuban drumming), and the tongues are placed firmly in cheek.
“On one hand we use sex to sell things,” she muses. “We’re drawing people in by being like, “Look! Sex sex sex!’ And then raising the thought of, ‘Sex sells! Why do you buy into that?’ That concept is really fascinating to me. It’s definitely hypocritical, but at the same time I feel like we’re all hypocrites.”
Nistico assures that while their message is clear, it’s not definitive. After all, we’re all humans, right? At the end of the day HOLYCHILD is about posing questions—not providing answers.
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Hirundo Maris, Arianna Savall, Petter Udland Johansen - Chants du Sud et du Nord (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Various, Traditional
Artist: Hirundo Maris, Arianna Savall, Petter Udland Johansen
Title: Chants du Sud et du Nord
Genre: Classical, Vocal Music, Folk
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:19:43
Recorded: January 2011 Propstei St. Gerold

Hirundo Maris is Latin for “sea swallow” and, like that bird’s flight, harpist Arianna Savall’s quintet – part early music ensemble, part folk group – drifts on musical currents between Norway and Catalonia, and adds its own songs, created on the wing. Savall and co-leader Petter Udland Johansen have shaped a band with a bright, glistening timbral blend, capped by Arianna’s ice-clear voice, well-equipped to address songs of the north and the south.
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Heads of State - Search for Peace (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Heads of State
Title: Search for Peace
Genre: Jazz
Label: © Smoke Sessions Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:08:07
Recorded: January 11, 2015

Heads of State, featuring four of the most respected and admired jazz artists of our time releases its first recording Search for Peace. A band over 50 years in the making, Gary Bartz, Larry Willis, Buster Williams, and Al Foster had performed together countless times in different combinations and contexts over their storied careers, but it wasn’t until September 2014 that they appeared as a quartet. The occasion that night was a tribute to McCoy Tyner, and the results were so inspired and the response so overwhelming that they knew right away they had something worth keeping. As pianist Larry Willis puts it, “I don’t think there are any bands that are doing quite what we’re doing right now.” Now, their unique chemistry and musicianship is documented on Search for Peace. It features selections by John Coltrane (“Impressions”), Jackie McLean (“Capuchin Swing”), Benny Carter (“Summer Serenade”), Billy Strayhorn (“Lotus Blossom”) and, of course, the moving title track by Tyner (“Search for Peace”) Gary Bartz contributes two compositions (“Uncle Bubba” which Gary performed with McCoy and “Soulstice”) and there are two standards (“Crazy She Calls Me” and “I Wish I Knew” which Tyner famously recorded with Coltrane). It is a well-chosen and balanced set, but the selections are somewhat beside the point; this all-star quartet makes everything sound like magic.

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