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Ludwig van Beethoven - Symphony No. 3 - London Symphony Orchestra, Josef Krips (1960/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: London Symphony Orchestra, Josef Krips
Title: Beethoven - Symphony No. 3 „Eroica“
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1960/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 44:57
Recorded: Walthamstow Assembly Hall, London, January 1960

Beethoven's Eroica represents his symphonic declaration of independence from the domination of Haydn and Mozart. He spent two years composing it, polishing and refining each phrase until he had exactly what he wanted. The results must have proved startling to the symphony's first hearers. Not only was it probably by far the longest symphony written up to that time but it had more daring innovations.
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Ludwig van Beethoven - Symphony No.3 'Eroica'; Overtures - Simon Bolivar Symphony Orchestra of Venezuela, Gustavo Dudamel (2012) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770 - 1827)
Artist: Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel
Title: Beethoven: Symphony No.3 'Eroica'; Overtures
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:07:11
Recorded: March 2012, Centro de Acción Social por la Música, Sala Simón Bolivar, Caracas, Venezuela

Gustavo Dudamel and the Simón Bolívar Orchestra bring their unique energy to one of the summits of the orchestral repertoire - Beethoven’s mighty Symphony No.3, the “Eroica”
Beethoven’s third symphony is not only one of his most personal works – powerful in both grandeur and pathos – but also the source of some of classical music’s most instantly recognizable melodies
The album also includes two of Beethoven’s best-loved overtures, Egmont, inspired by Goethe’s play, and the ballet, The Creatures of Prometheus
No longer a ‘youth orchestra’, the Simón Bolívar Symphony Orchestra of Venezuela is a world-class ensemble in its own right, touring the world’s great concert halls as ambassadors for their country’s unique system of musical education, ‘El Sistema’
The combination of powerful, accessible repertoire, Dudamel’s irrepressible charisma and the remarkable story of the Simón Bolívar Orchestra make this recording not only desirable for Dudamel fans and those of Beethoven’s music, but a must for anyone wishing to discover the power of classical music at its very best
Feted like a rockstar in his homeland, Gustavo Dudamel was recently awarded a Grammy® for Best Orchestral Recording of 2011. His epic cycle of Mahler symphonies in Los Angeles and Caracas made him front page news in The New York Times and his record-setting Mahler 8 was shown live in hundreds of cinemas around the world. Gustavo made a stellar debut in the Wiener Philharmoniker’s prestigious subscription concerts in December and takes the Berliner Philharmoniker on tour this Spring
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Hector Berlioz - Symphonie fantastique - Los Angeles Philharmonic, Gustavo Dudamel (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Hector Berlioz (1803-1869)
Artist: Los Angeles Philharmonic, Gustavo Dudamel
Title: Berlioz - Symphonie fantastique, Op.14
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 01:00:58
Recorded: Walt Disney Concert Hall, Los Angeles, United States, May 2008

In his “Fantastic Symphony in Five Parts,” a literal translation of the composer’s final title, Berlioz tells a musical tale with himself as the central character – creating not only a mood (as in Liszt’s symphonic poems), but states of mind and precise, physical situations. Nothing like it had been attempted on this scale before.

Berlioz’s new concept of how far one could go in dramatic music without resorting to a vocal text once caused considerable polemicizing over whether such music was viable without reference to the “story.” Wagner’s great friend and champion, Eduard Dannreuther, took the negative tack: “The Symphonie fantastique, particularly its finale, is sheer nonsense when the hearer has no knowledge of the program.”
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Bill Withers - Live At Carnegie Hall (1973/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Withers
Title: Bill Withers Live At Carnegie Hall
Genre: Soul, R&B, Smooth Soul, Funk
Label: © Columbia Records | Mobile Fidelity Sound Lab UDSACD 2156
Release Date: 1973/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:19:23
Recorded live October 6, 1972 at Carnegie Hall in connections with The Record Plant. Remixed at Record Plant, 8456 W. 3rd St., Los Angeles

#27 :: 50 Greatest Live Albums of All Time :: This rainy Friday night in October 1972 was less than a year and a half after Bill Withers' commercial breakthrough allowed him to quit a day job in an aircraft parts factory, but the rising soul star holds the stage at one of the world's most prestigious venues like a seasoned pro. Withers reminisces about his grandma's church ("At the funeral they used to have tie the caskets down!") and describes the dating scene (he's encountered many "ladies who are not too prone to trust anybody") as coolly as if he's entertaining guests in his own living room. His band, propelled by drummer James Gadson and led by pianist Ray Jackson, roughs up "Use Me" to accentuate its carnality and plays the sweaty closer "Harlem/Cold Baloney" like part of a revival meeting. --Keith Harris, RollingStone
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Amanda Martinez - Amor (2009/2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Amanda Martinez
Title: Amor
Genre: Pop, Latin Pop, Flamenco, Vocal Jazz
Label: © 2xHD
Release Date: 2009/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: ProStudioMasters
Duration: 44:44
Recorded: Phase One Studios in Toronto, Canada.

This album exultingly blends Amanda Martinez’ unique Mexican and South African roots with flamenco soul. Usually described as a Latin jazz singer, her style is more eclectic, with world music, cabaret and pop elements also coming to play.
Local music lovers are fortunate that Amanda Martinez let her heart rule her head in terms of her career. After graduating with a Masters degree in business (her earlier degree was in biology), opportunities in the world of banking presented themselves to the Toronto-born singer/songwriter. Simultaneously, her passion for Latin music remained strong, as shown when Martinez began producing and hosting a popular weekly radio show, Café Latino, on local radio station JAZZ FM, as well as performing in city clubs. “I had a decision to make,” she tells Tandem in our recent interview. “Do I go for it, or just keep playing music for my friends as a hobby?” Thankfully, she went for it, and Martinez is now reaping the rewards of that courageous step. On Oct. 20, she releases her second album, Amor, and then launches it in grand fashion with a concert in the prestigious setting of the new Koerner Hall at The Royal Conservatory of Music. That show will be something of a homecoming for Martinez.
“When I was growing up I studied classical piano, and I used to take my exams at The Conservatory. I’d always have these butterflies and a nervous feeling going into that building. It’s very cool to be performing there now. I got to see Koerner Hall while it was under construction, and it’s just beautiful,” she explained. Performing at such a venue confirms the following Martinez has built since releasing her first album, Sola, in 2006. An acclaimed and highly accomplished work, it went on to sell 7,000 copies, a very impressive figure for a jazz-accented release in Canada. It helped earn Martinez multiple nominations at the National Jazz Awards and a Best World Music Artist trophy at Toronto’s Independent Music Awards, while touring with Jesse Cook helped expand her audience beyond Toronto. With Amor, she’ll have a realistic chance at success outside Canada too, and a November performance at New York City’s famed jazz club, The Blue Note, will test the waters there.
Reflecting on the success of Sola, the singer admits she had no specific expectations. “You’d think that as a business graduate, I’d have had sales targets and a big plan,” she says. “I really just went on blind faith. I had the fire in me that I had to get this music out there. I just felt I was bringing some good energy to the universe and was hoping people would respond. In that sense, I guess it did exceed any expectation I must have had somewhere.”
As the daughter of a Mexican-born father and South African Jewish mother, she was exposed to a wide range of music and culture. “I had my first taste of the stage when I was nine-years-old and quite shy,” she says. “I got a part in a camp play and being onstage, I felt the electricity you feel from the audience. That is what I live for; it’s my favourite thing. I love the chemistry that happens in the moment between the musicians and with the audience as well. That’s something I genuinely live for.”
Assisting the chemistry in her band of ace Toronto players is the fact that Martinez is married to her bass player, Drew Birston. Also featured in her group are longtime guitarist Kevin Laliberte, and her Cuban bandmates, Rosendo Leon, Alexander Brown, and Osvaldo Rodriguez. “The Cubanos in the group have so much energy and passion for the music. It always feels like a big party when we get together. I usually cook for the rehearsals, and it is just fun!”
Her group’s prowess and versatility is showcased on Amor, a record that also demonstrates Martinez’s growth as a songwriter (the majority of the tunes are originals) and as a fluent and expressive vocalist. The album stretches beyond the confines of Latin jazz, incorporating world music, cabaret and pop elements. Outside material on Amor includes Mexican favourite “Cucurrucucu Paloma” and “Alcoba Azul,” featured in the film Frida. When it comes to choosing covers, Martinez explains “a song just has to move me. It’s as simple as that. A song that gets me and makes me feel something.”
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Malcolm Arnold - 4 Scottish Dances & Symphony No. 3 - London Philharmonic Orchestra, Malcolm Arnold (1959/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Malcolm Arnold (1921-2006)
Artist: London Philharmonic Orchestra, Malcolm Arnold
Title: Arnold - 4 Scottish Dances & Symphony No. 3
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1959/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Duration: 44:26
Recorded: November 1958 at the Walthamstow Assembly Hall in London, UK

Malcolm Arnold (1921-2006) was a successful English contemporary composer, known for his musical versatility. He was a renowned professional trumpeter, joining the London Philharmonic Orchestra as third trumpeter in 1941; within a year had graduated to the first chair in the trumpet section.
The Four Scottish Dances were composed early in 1957, and are dedicated to the BBC Light Music Festival. They are all based on original melodies but one, the melody of which was composed by Robert Burns. Arnold's Symphony No. 3 was composed between 1954 and 1957, is written for normal symphony orchestra without harp or percussion. It is in three movements. The symphony was dedicated to the Royal Liverpool Philharmonic Society.
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Anders Jormin, Lena Willemark, Karin Nakagawa - Trees of Life (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Anders Jormin, Lena Willemark, Karin Nakagawa
Title: Trees of Life
Genre: Jazz, Modern Jazz, Jazz Folk, World, Contemporary Jazz, Nordic, Free Improvisation
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:56:35
Recorded: May 2013, Konstepidemin, Göteborg

Anders Jormin’s new Swedish-Japanese project returns the highly distinctive voice and fiddle of Lena Willemark to ECM (her first appearance on the label in more than a decade), and introduces koto player Karin Nakagawa. In their collaborative music the Japanese classical tradition and the stark, archaic sounds of the koto, allied to Jormin’s muscular bass improvisations, form a unique context for Lena’s sung poems, delivered in her native Älvdals-dialect. Traditions and non-idiomatic improvising are cross-referenced, and new paths are opened up.
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Amy Winehouse - Frank (2003) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Amy Winehouse
Title: Frank
Genre: Jazz, Vocal Jazz, R&B
Label: © Island Records
Release Date: 2003
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Duration: 58:47
Recorded: Creative Space, Miami; EMI Studios, Mayfair Studios, London; The Headquarters, New Jersey; Platinum Sound Recording Studios, New York

If a series of unfortunate comparisons (like the ones to follow) cause listeners to equate British vocalist Amy Winehouse with Macy Gray, it's only natural. Both come on like a hybrid of Billie Holiday and Lauryn Hill who's had a tipple and then attempted one more late-night set at a supper club than they should have. Despite her boozy persona and loose-limbed delivery, though, Winehouse is an excellent vocalist possessing both power and subtlety, the latter an increasingly rare commodity among contemporary female vocalists (whether jazz or R&B). What lifts her above Macy Gray is the fact that her music and her career haven't been marketed within an inch of their life. Instead of Gray's stale studio accompaniments, Winehouse has talented musicians playing loose charts behind her with room for a few solos. Instead of a series of vocal mellifluities programmed to digital perfection, Winehouse's record has the feeling of being allowed to grow on its own -- without being meddled with and fussed over (and losing its soul in the process). Simply hearing Winehouse vamp for a few minutes over some Brazilian guitar lines on "You Sent Me Flying" is a rare and immense pleasure. Also, like Nellie McKay (but unlike nearly all of her contemporaries), Winehouse songs like "Fuck Me Pumps," "Take the Box," and "I Heard Love Is Blind" cast a cool, critical gaze over the music scene, over the dating scene, and even over the singer herself. With "In My Bed," she even proves she can do a commercial R&B production, and a club version of "Moody's Mood for Love" not only solidifies her jazz credentials but proves she can survive in the age of Massive Attack. --AllMusic Review by John Bush
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Al Di Meola - Elysium (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Al Di Meola
Title: Elysium
Genre: Jazz, Jazz Rock, Fusion, Latin Jazz, Guitar Jazz, Guitar Virtuoso
Label: © Songsurfer Records | Valiana Music And Media
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:05:47
Recorded: Churchill Studios, New Jersey; Park Studios, Tutzing, Germany; SuperSize Recording Studio, Budapest, Hungary; LAFX Studios, Hollywood, CA

On Elysium Al Di Meola is playing both electric and acoustic guitar, in the style that is uniquely Al Di Meola's. Elysium features many new originals from one of the world's greatest guitarists.
He came from the 'Land Of The Midnight Sun', sparkled on the jazz-rock stage as an 'Elegant Gypsy', came up trumps in the 'Casino' with all the right chords and melodies, and his 'Splendido Hotel' was the number one address for fusion fans around the globe. He finally achieved immortality together with John McLaughlin and Paco de Lucia on 'Friday Night In San Francisco'. For guitar lovers, the name Al Di Meola carries the same guarantee of quality that Ferrari does for sports car enthusiasts or Chateau Mouton-Rothschild for wine connoisseurs.
Al Di Meola was born in New Jersey in 1954 to an Italian-American family, and from his early days as a rising star in Chick Corea's legendary fusion combo Return To Forever right up to the present day, he has continually managed to refine his qualities: breathtakingly fast picking, skilful percussion effects the like of which had never been heard before, the effortlessness with which he can instantly switch from muscular axe-man rock to spinning gentle, romantic webs of melody. In the nineties, inspired by his love of the acoustic sounds of Latin America and the works of nuevo tango pioneer Astor Piazzolla, he made some delightful chamber music recordings with his group World Sinfonia. On more recent albums such as 'Consequence Of Chaos' (2006) and 'Pursuit Of Radical Rhapsody' (2011), all these penchants, influences and musical movements have fused into an unmistakeable sound: jazz rock meets world jazz. It's a stylistic aerobatics display, circling up to dizzying heights reminiscent of the boisterous solos Al used to play in his youth.
'Elysium' is the climax of this process so far. The artist has arrived where he always wanted to be. He himself thinks of Elysium as a 'place of perfect happiness'. A paradise where acoustic and electric components, triumphant rock and finely entwined jazz, delicate and pumping rhythms, guitars and keyboards, wide panoramas of rock and diaphanous carpets of sound come together in harmony. In this magical Elysium, everyone complements each other. Al Di Meola has brought together a five piece band with no bass. While he plays all the guitar parts himself, both acoustic and electric, including unbelievably fast and elegant riffs and effervescent rocking chords, three keyboard players and pianists provide shades of colour. This trio includes new recruit Philippe Saisse, who also contributes the composition 'La Lluvia'. The others have shared musical accomplishments with their band leader going back decades. Barry Miles has known Al since the seventies. Mario Parmisano can be heard on recordings such as 'Orange And Blue' (1994) and 'Flesh On Flesh' (2002). Two new rhythm players have now joined the team: percussionist Rhani Krija and drummer Peter Kaszas. Both of them are wide awake and always right up with the beat. The gates to paradise for guitar aficionados are open to everyone with 'Elysium'.
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Aaron Diehl - Space, Time, Continuum (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Aaron Diehl
Title: Space, Time, Continuum
Genre: Jazz
Label: © Mack Avenue Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 55:36

Widely acknowledged as a modern master in the aftermath of his acclaimed 2012 Mack Avenue debut, The Bespoke Man’s Narrative, 29-year-old pianist-composer Aaron Diehl ups the ante with the 2015 release Space, Time, Continuum.
Diehl first documented his inclusive, across-the-timeline conception on the self-released late ʼ00s albums Live At Caramoor, a solo date on which he navigated the stride piano canon with deep assurance; and Live At The Players, on which he applied a broad lexicon of piano trio vocabulary to a program spanning classical music, bebop and the blues. On The Bespoke Man’s Narrative, Diehl presented original music drawing on antecedent bandleader-composers like John Lewis and Duke Ellington for strategies that facilitated individualistic performances from his unit of A-list peers.
On Space, Time, Continuum, an eight-piece program, Diehl assembles a pan-generational ensemble of masters. Joining his core trio of bassist David Wong and drummer Quincy Davis, in different configurations, are the iconic tenor saxophonist-composer Benny Golson and the magisterial baritone saxophonist Joe Temperley, both 85 years young; the 39-year-old underground tenor saxophone giant Stephen Riley; and the rising star trumpeter Bruce Harris, not yet 30.
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