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Emilie-Claire Barlow - Live in Tokyo (2014/2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Emilie-Claire Barlow
Title: Live in Tokyo
Genre: Jazz, Vocal Jazz, Smooth Jazz
Label: © 2xHD
Release Date: 2014/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: ProStudioMasters
Duration: 52:06
Recorded live at Cotton Club, Tokyo on October 14 & 15 2013 by Taro Moriyama. 2xHD DSD mastering by René Laflamme.

Live in Tokyo will make you relive the beauty and the absolute joy of an Emilie-Claire Barlow concert experience. Canada's incomparable vocal-jazz jewel is dazzling the world and her energetic live performances have been thrilling sold-out audiences from Tokyo to Montréal. This Juno Award and National Jazz Award winning starlet leads her world class band through innovative arrangements of American-songbook treasures, rhythmic bossa novas and elegant ballads. Fresh off a career year, including a Juno win for Vocal Jazz Album of the Year, Emilie-Claire's sultry, "smooth as fine silk" voice and playful humour keep the audience glowing throughout her beautiful and mesmerizing performances.
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Eddie Graham Trio - S' Wonderful Jazz (1984/2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Eddie Graham Trio
Title: S' Wonderful Jazz
Genre: Jazz
Label: © Wilson Audiophile Recordings
Release Date: 1984/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 37:49
Recorded Live at Mario's Restaurant, Palm Desert, California by David A. Wilson

“The drummer is the boss of the band, not the bandleader,' Count Basie once said. “If the drummer's not right, nothing’s happening.' That is as true of a small group as of a big band, but audiences have not always recognized it, the importance of the drummer often being obscured by a lot of razzmatazz going on in front of him. Yet, paradoxically, audiences have always loved drum solos, good, bad and indifferent. For five years Eddie Graham was the drummer with Earl Hines, one of the greatest and most spontaneously inventive pianists in jazz history. Hines had routines on several numbers audiences demanded every night, but on others the performance varied according to his mood and inspiration. He himself had practically perfect time, but the counter-rhythms he delighted in setting up between his two hands created something of a problem for even the most talented of drummers. Eddie Graham quickly learned to cope with it and Hines remarked gratefully on the fact that during his tenure all members of the group were “comfortable with one another,” and that there was “no temperament, no selfishness, no conflict of personalities,” all of which he had endured in earlier phases of his career. “Eddie is a very gifted drummer,' he added, “who can put on an act that is a whole show in itself, and does.” This “act” was one Hines appreciated very much. “It takes the pressure off me,” he said on many occasions. After creating a percussion fantasy that enchanted most listeners, Eddie would rise up modestly from behind his glittering equipment to a storm of applause. Small and dark-haired, his appearance suggested a veritable Merlin of the drums. His solos, as this album demonstrates, were logically constructed and never a matter of loud, wild noise. The excellent recording here also shows the good, clean sound he consistently produced from the drums. Muffled thuds, as of backstage mahem, have never been a part of his stock in trade. His strong beat and accents have a positive definition that frequently brings to mind the work of one of his favorites, Buddy Rich. For this session, he left the selection of tunes to Jane Jarvis and Jim DeJulio, who chose fine standards written between 1927 and 1949. Tempos and rhythms were mutually agreed upon before each performance, most of which were made in one take. Where there was second or a third, the first, as is so often the case, usually turned out to be the freshest, because the musicians were listening more closely to one another and not thinking of recreating what they had played before.
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Eberhard Weber - Resume (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Eberhard Weber
Title: Résumé
Genre: Jazz, Modern Creative, Avant-Garde Jazz, Modern Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Duration: 47:18
Recorded: Live recordings 1990 – 2007; Mixed at Studios La Buissonne by Gérard de Haro, Eberhard Weber, Michael DiPasqua and Manfred Eicher

Eberhard Weber played hundreds of concerts in his time as a member of the Jan Garbarek Group, and each of them included an extended feature for the bassist alone, often effectively a spontaneous composition rather than a ‘bass solo’ in strict jazz sense. For “Résumé” Weber has returned to recordings of these solo sequences and reworked them into an album with its own sense of flow. The unique sound of Weber’s customised electric bass is heard here mostly in the context of his own keyboard settings and treatments, but also augmented by the saxophones and overtone flute of Jan Garbarek (on three tracks) and by the percussion of Michael DiPasqua. Based on live recordings made between 1990 and 2007 at locations from Karlsruhe to Santiago, the album was mixed in the South of France by Weber, Manfred Eicher, Michael DiPasqua and Gérard de Haro in 2011.
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Emily Barker & The Red Clay Halo - Dear River (2013) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Emily Barker & The Red Clay Halo
Title: Dear River
Genre: Folk, Americana, Country Folk, Singer/Songwriter
Label: © LINN Records
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: LINN
Duration: 01:15:54
Recorded: Gorbals Sound, The Doghouse Studio

Full of contrasting dynamics and a broad cavalcade of emotions 'Dear River' is a fascinating exploration of self, place and people which sees Emily blend her own story into the wider joys and sorrows gleaned from her rigorous researches into others' experiences of travel and emigration. With producer Calum Malcolm (The Blue Nile) at the helm, the result is a beautiful, sensitive, provocative and at times surprising album.
'I'm so happy with this album.' says Emily, barely containing her excitement, 'The whole concept means so much to me and although the songs are quite personal, they also feel like they could be other people's stories - it's the best recording we've done.'

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Fats Navarro - Memorial Album (1951/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Fats Navarro with The Tadd Dameron Sextet, The Howard McGhee Sextet and Bud Powell's Modernists
Title: Fats Navarro Memorial Album
Genre: Jazz, Bop, Bebop
Label: © Blue Note Records
Release Date: 1951 (BLP 5004)/2015
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:23:03
Recorded: WOR Studios, NYC, September 26, 1947 (#1, 4, 6, 7), Apex Studios, NYC, September 13, 1948 (#3), Apex Studios, NYC, October 11, 1948 (#5) and WOR Studios, NYC, August 9, 1949 (#2)

One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw. Navarro originally played piano and tenor before switching to trumpet. He started gigging with dance bands when he was 17, was with Andy Kirk during 1943-1944, and replaced Dizzy Gillespie with the Billy Eckstine big band during 1945-1946. During the next three years, Fats was second to only Dizzy among bop trumpeters. Navarro recorded with Kenny Clarke's Be Bop Boys, Coleman Hawkins, Eddie "Lockjaw" Davis, Illinois Jacquet, and most significantly Tadd Dameron during 1946-1947. He had short stints with the big bands of Lionel Hampton and Benny Goodman, continued working with Dameron, made classic recordings with Bud Powell (in a quintet with a young Sonny Rollins) and the Metronome All-Stars, and a 1950 Birdland appearance with Charlie Parker was privately recorded. However, Navarro was a heroin addict and that affliction certainly did not help him in what would be a fatal bout with tuberculosis that ended his life at age 26. He was well documented during the 1946-1949 period and most of his sessions are currently available on CD, but Fats Navarro could have done so much more. --Scott Yanow
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Dexter Gordon - Daddy Plays The Horn (1955/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dexter Gordon
Title: Daddy Plays The Horn
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Bethlehem Records | Verse Music Group
Release Date: 1955 (BCP 36)/2013
Quality: High-Fidelity FLAC 2.0 Mono 96kHz/24bit
Duration: 00:41:39
Recorded: Hollywood, CA, September 18, 1955

Dexter Keith Gordon was born on February 27, 1923 in Los Angeles, California. Aside from being one of the tallest musicians during the ’50s Jazz Era, Dexter Gordon was also referred to as the “Father of the Tenor Saxophone” and the first musician to translate the language of Bebop to the tenor saxophone. Gordon’s 1956 release of “Daddy Plays the Horn” is a half-dozen sides of Gordon’s emotive expressions all of which embrace the warmth of his tenor & sensual phrasing.
His broad legendary sound is widely remembered for it’s sense of style, sophistication and tremendous magnetism. His music influenced jazz fans and the collective psyche of American pop-culture; breathing life into the terms “cool,” “hip,” and “slick.”
„Before Dexter Gordon became more known as a mainstream tenor saxophonist with a strong blues influence, as well as a master balladeer; in the early ’50s he held his own with beboppers like Wardell Gray in bop sax duels.
For a 1955 Hollywood session, Gordon was recorded on Bethlehem Records with a rhythm section of pianist Kenny Drew, walking bassist extraordinaire Leroy Vinnegar, and drummer Lawrence Marable. Song selection was a mixture of standard ballads and tunes written by Charlie Parker and Dexter himself.
On the title track, a twelve-bar blues taken at a mid-tempo, Dexter sets a comfortable mood strongly supported by Drew, who gets an extended soulful solo. “Confirmation,” a Bird bop staple has Dex blowing a little less frenetic than the standard for that time period. Again Kenny Drew gets to have several full choruses, almost getting equal time with Gordon, making the tune as much his as the leader. I dug Leroy’s walking bass lines here. Dexter’s strongest work is on the ballads “Darn that Dream” as well as on “Autumn in New York.” Gordon has few tenor peers who could match him for the lyricism that these ballads deserve. Only Ben Webster comes to mind.
Other highlights can be found on “Number Four” and “You Can Depend on Me,” with the former a medium tempo tune, and the latter having a little more heat. Both show Dex fully in command and a true master of the tenor, which he would continue to demonstrate for another three decades. The time given to Kenny Drew for some extended solos is a nice bonus on this LP. The remastering is first rate as each musician is warmly presented in the sound mix.“ --Jeff Krow, Audiophile Auditions
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Diane Schuur - I Remember You: With Love to Stan and Frank (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Diane Schuur
Title: I Remember You: With Love to Stan and Frank
Genre: Jazz, Vocal Jazz, Standards, Contemporary Jazz
Label: © Jazzheads
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 51:53
Recorded: Avatar Studios, NYC, December 9-12, 2013

Diane Schuur, two-time GRAMMY award winner for Best Jazz Vocal Performance, pays first-ever album tribute to her two main mentors, Stan Getz and Frank Sinatra. Schuur tells of the journey of love through the selection and sequence of the songs and is backed by a stellar All-Star Band with Alan Broadbent, Ben Wolfe, Ulysses Owens, Jr., Romero Lubambo, Roni Ben-Hur, and Joel Frahm; with radiant new arrangements by Alan Broadbent.
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Dr. Dre - Compton (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Dr. Dre
Title: Compton: A Soundtrack by Dr. Dre
Genre: Hip Hop, Trap, Thug Rap, Gangsta, West Coast
Label: © Aftermath | Interscope Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Duration: 61:37

For 16 years, the third Dr. Dre album was supposed to be The Detox, but that once-mythical, canceled LP was replaced by Compton: A Soundtrack by Dr. Dre, a supposedly final effort that was "inspired" by the N.W.A. biopic Straight Outta Compton. When Dre says "inspired" he likely means the film gave him a reason to consider his history, and how he went from local gangsta to national threat, and on to billionaire businessman extraordinaire.
Still, the most pleasing element of Compton is that it touches on all of the above but lives in the present. This brilliant kaleidoscopic LP, which was recorded in under a year, focuses on the veteran producer's connection to the modern world as it references Eric Garner, frames it with N.W.A.'s history, and decides that little has changed. It also celebrates the new breed, taking the busy, jazz-inspired structure of Kendrick Lamar's masterpiece release To Pimp a Butterfly, and adds grooves that are entirely Dre, playing it steady, swaying, and locking listeners in.
Early highlight "Genocide" puts it all in one cut as robotic funk finds Kendrick in full rage, while Marsha Ambrosius and Candice Pillay provide the soul before the track exits with some wild dubstep doo wop, as the more developed Compton still has all the quirks and smart-ass humor of The Chronic. The music is crooked enough to put Snoop Dogg into the groove for the swaggering "Satisfaction," and remains raw enough to drive Eminem into dangerous territory on "Medicine Man," while fellow N.W.A. member Ice Cube is offered a challenging, compressed loop for the straight talking and rightfully agitated "Issues."
Quotes from past albums and past productions are all over this album, and the Aftermath roster comes alive again with Jon Connor and Justus shining in their spotlights, and after an angelic Jill Scott feature dubbed "For the Love of Money" paints this former Death Row artist as more serene than anyone ever thought, the closing "Talking to My Diary" ties up the loose ends as Dre professes a belief that Eazy-E is smiling at him from above. It's an excellent end to an attractive and rich LP, and as the man returns to icon status with this stoic and stern stance, the most unfortunate thing about this "final" effort is that this unproductive gangsta perfectionist who moves at a Golem's pace has now flourished under a tight timetable. Since Compton crackles with life and spirit, it seems a shame to shut that door. --David Jeffries, AllMusic
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Donna Summer - Bad Girls (1979/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Donna Summer
Title: Bad Girls
Genre: Pop, Disco, Soul, R&B, Pop Rock
Label: © Casablanca Records
Release Date: 1979/2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:11:21
Recorded: December 1978, January—March 1979

Bad Girls is the seventh studio masterpiece by pop singer Donna Summer. The album is one of Summer’s bestselling albums, achieving double platinum status and selling over four million copies worldwide. It is her second consecutive number one album and includes the massive hits “Hot Stuff,” “Bad Girls,” “Walk Away” and “Dim All The Lights.” It received several GRAMMY® nominations including Best Female Rock Vocal Performance, Best Female Pop Vocal Performance, Best Disco Recording and Album of the Year.
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Claude Debussy - Iberia / Maurice Ravel - La Valse, Rhapsodie Espagnole - Rochester Philharmonic Orchestra, Theodore Bloomfield (1960/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Claude Debussy (1862-1918), Maurice Ravel (1875-1937)
Artist: Rochester Philharmonic Orchestra, Theodore Bloomfield
Title: Claude Debussy - Iberia / Maurice Ravel - La Valse, Rhapsodie Espagnole
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1960/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 46:54
Recorded: Rochester, February 1960

With these three colorful French orchestral masterpieces, a brilliant American conductor – Theodore Bloomfield – and a great American orchestra – the Rochester Philharmonic – make their debuts on Everest Records. Thanks to the unsurpassed fidelity of Everest sound, it is possible to enjoy exact duplicates of the original live performances.

With these three colorful French orchestral masterpieces, a brilliant young American conductor – Theodore Bloomfield – and a great American orchestra – the Rochester Philharmonic – make their debuts on Everest Records. Thanks to the unsurpassed fidelity of Everest sound, it is possible to enjoy exact duplicates of the original live performances.

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