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Felix Mendelssohn - The Complete Solo Piano Music, Vol. 1 - Howard Shelley (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Felix Mendelssohn (1809-1847)
Artist: Howard Shelley
Title: Mendelssohn - The Complete Solo Piano Music, Vol. 1
Genre: Classical
Label: © Hyperion Records
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 74 minutes 6 seconds
Recorded: March 2012at St Michael's Church, Highgate, London, United Kingdom

Howard Shelley is acclaimed as the living master of early Romantic piano music. So much of this music was ignored throughout the twentieth century that there is still a sense of discovery at each new recording. Shelley here presents the first instalment of a six-volume set of Mendelssohn’s complete solo piano music—perhaps the least well-known part of the composer’s repertoire.
Mendelssohn composed or began nearly two hundred works for piano. Nevertheless, he saw only about seventy through the press, released in seventeen opera from the Capriccio Op 5 (1825) to the sixth volume of the Lieder ohne Worte Op 67 (1845). Some twenty-five additional pieces appeared posthumously in eleven additional opera. The remainder, whether fully drafted or fragmentary, were left to his musical estate or have disappeared.
Volume 1 includes Opp 5, 6, and 7, the first three piano compositions Mendelssohn published between 1825 and 1827, as well as Op 19b, the first volume of his Lieder ohne Worte, released in 1832.
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Lucian Ban, Mat Maneri - Transylvanian Concert (2013) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Lucian Ban, Mat Maneri
Title: Transylvanian Concert
Genre: Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:55:41
Recorded: June 5, 2011 by Tibor Kacso at Culture Palace, Targu Mures, Transylvania

“Transylvanian Concert” marks an ECM debut for Romanian pianist-composer Lucian Ban and a welcome return for US violist Mat Maneri, in his 9th appearance for the label. The album documents a spontaneously organised performance in Targu Mures, in the region where Lucian Ban grew up. A large, highly-attentive audience follows Ban and Maneri through a programme of their self-penned ballads, blues, hymns and abstract improvisations, plus Mat’s chilling solo performance of the spiritual “Nobody Knows The Trouble I’ve Seen”, the whole informed by the twin traditions of jazz and European chamber music. Rain, drumming upon the stained-glass windows of the Culture Palace, offers occasional melancholy commentary. In all, a unique and compelling set.
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Louis Hayes - Return of the Jazz Communicators (2014) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Louis Hayes
Title: Return of the Jazz Communicators
Genre: Jazz
Label: © Smoke Sessions Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: ProStudioMasters
Duration: 75:26
Recorded live at Smoke Jazz Club, New York City, November 16, 2013

DRUMMER LOUIS HAYES, one of the chief architects of modern jazz drumming, was the rhythmic drive for historic recordings by Horace Silver, Cannonball Adderley, Oscar Peterson, Joe Henderson, Dexter Gordon, and McCoy Tyner. His playing has a rhythmic intensity that is as subtle as it is complex creating a musical feel and vibe on every track that is unmistakably Louis Hayes. When he reformed this band that he co-founded in the late ’60s with Freddie Hubbard and Joe Henderson—which Freddie dubbed the Jazz Communicators—Louis purposefully deviated from a conventional quintet lineup by featuring a vibraphone / tenor saxophone out front. It’s the esteemed pair of Steve Nelson and Abraham Burton, respectively, and their chemistry with Louis, pianist David Bryant and bassist Dezron Douglas makes The Return of the Jazz Communicators an inspired and rewarding set of music. The selections include a nice balance of standards and originals such as a ballad-feature for Nelson, Lush Life, and one for Burton, A Portrait of Jennie as well as the deep, loose groove of Mulgrew Miller’s Soul-Leo, which opens the record. Return of the Jazz Communicators captures this important jazz quintet in front of an enthusiastic and appreciative live audience. In the words of Louis Hayes, “I try to do what I do best and what makes me feel good…I guess I might as well keep on swinging. And, that’s basically what I’m going to do.” Return of the Jazz Communicators is available for purchase as a 8-panel CD-Deluxe Album complete with liner notes, interview and additional photos or as a high resolution download mastered for iTunes.
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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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