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Yeahwon Shin, Aaron Parks, Rob Curto - Lua Ya (2013) High-Fidelity FLAC Stereo 24bit/88.2kHz


Artist: Yeahwon Shin, Aaron Parks, Rob Curto
Title: Lua Ya
Genre: Jazz, Vocal Jazz, Modern Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:40:21
Recorded: May 2012 at Mechanics Hall, Worcester, MA


South Korean singer Yeahwon Shin’s ECM debut, “Lua ya” is a gentle album of songs and lullabies, recorded in 2012 in the spacious acoustics of Mechanics Hall, near Boston. It’s a very intuitive set, shaped by “improvising, listening to our childhood memories and letting the music flow”, as Yeahwon says. Shin and pianist Aaron Parks played together just once before the present recording, finding “an instant improvisational connection” which is further explored here. Accordionist Rob Curto shares with Yeahwon an affinity for Brazilian music and has collaborated with her previously (in contexts including her Latin Grammy-nominated album “Yeahwon” on ArtistShare). But this new disc is a project beyond the idiomatic borderlines: Korean children’s songs are amongst the inspirational sources, and jazz has influenced the phrasing and imagination of all three participants, yet “Lua ya” seems to emerge from a place of pure music and a common reservoir of feeling. Yeahwon Shin dedicates the set to mothers and children everywhere.
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Trio Chemirani - Dawar: The Universal Rhythm (2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Bijan Chemirani, Keyvan Chemirani, Djamchid Chemirani
Artist: Trio Chemirani
Title: Dawâr: The Universal Rhythm
Genre: World Music, Worldbeat, Iranian, Middle Eastern Traditions
Label: © Harmonia Mundi
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:05:52
Recorded: July 2014, Studio Vega, Carpentras, France

This release is really interesting, but also rather baffling. It’s the first issue in a new HM Series called Latitudes: Classical Music of the World. It’s very much to HM’s credit that they’re exploring world music in this way, and it’s typical of their exploratory outlook on the world. However, very untypically for HM, the accompanying notes seem to obscure rather than clarify what is going on, and that’s a problem if you’re a newcomer like me.
Supportive as I am of the project, its descriptive prose is rather purple. Comparing the music-making to gathering pollen is one thing, but throwing in ideas of a “universal scansion” is quite another, and other comments, which seem to be directed at insiders to this world, smack of obscurantism, not least in the talk of the universal love that is diffused between the three men; give me a break. Elsewhere the notes claim that "The Chemiranis speak to everyone." Well, yes: they spoke to me, but I wasn't entirely sure what they were saying.
That’s not to demean the playing or the music itself, which is no doubt excellent, but it’s a serious black mark against this disc that it doesn’t seem to offer a way in to a world music novice like me. Nor does it help that the texts which are spoken over some of the tracks, presumably in Persian, are translated only into French. So all I can do is respond to this disc from a position of ignorance but, I hope, honest ignorance.
The Trio Chemirani, a father and two sons, are primarily percussionists who make their music on traditional Persian instruments, most notably the zarb and the daf. Consequently, the disc consists of a lot of drumming, but it isn’t dull: they speak instead of a “universal rhythmic language”, and I could sense that. In fact, it’s as though the different drums are speaking to one another, holding a conversation and responding in kind, and that’s something that’s reinforced by the recording, which captures the positions of the three instrumentalists very well. Dawâr, the opening track, has a rhythmic circularity that drew me in as a listener, and this continues through most of the disc. There is never a sense of drumming for its own sake, but instead the players develop a sense of language to each number. What is striking is the sheer variety of sound the draw from the instruments, be it a thwack on the barrel of the instrument or a gentle stroke instead of a curt beat. I liked Mochaéré, the fourth track very much, and the tuned elements of Sahar, track seven, reminded me a little of folk song. I reveal my ignorance, however, by saying that the pounding variety of Adjab, track 10, recalled Stomp, which takes me back to my central point that a novice like me gets precious little help. Throughout this disc, which I enjoyed listening to, I had a definite sense that something was going on, but I was not at all sure as to what. --MusicWeb International
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The Who - Two's Missing (1987/2014) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: The Who
Title: Two's Missing
Genre: Rock
Label: © Geffen Records
Release Date: 1987/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 45:39
Recorded: 1965-1972


Two's Missing is a compilation album by The Who that was released in 1987. It gathered singles and EP tracks that hadn't appeared on an album or CD and was produced by Glyn Johns, Kit Lambert, Shel Talmy, and The Who.
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The Who - Who's Missing (1985/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Who
Title: Who's Missing
Genre: Rock
Label: © Geffen Records
Release Date: 1985/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 41:31
Recorded: 1965–1971


Who's Missing is a rare compilation album by the acclaimed British rock band comprised of previously unreleased tracks. The record was released in 1985 and was later superseded by the follow-up album Two's Missing. Who's Missing features James Brown cover "Shout and Shimmy", Paul Revere & the Raiders cover "Lubie (Come Back Home)" as well as a few original works by The Who.
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The Paul Butterfield Blues Band - The Studio Album Collection 1965-1971 (2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: The Paul Butterfield Blues Band
Title: The Studio Album Collection 1965-1971
Genre: Blues, Blues Rock, Chicago Blues, Electric Blues, Modern Electric Chicago Blues
Label: © Elektra Entertainment/Rhino Entertainment
Release Date: 1965-1971/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 04:06:29
Recorded: 1965-1971


With a style honed in the gritty blues bars of Chicago's south side, the Butterfield Blues Band was instrumental in bringing the sound of authentic Chicago blues to a young white audience in the mid-'60s, and although the band wasn't a particularly huge commercial success, its influence has been enduring and pervasive. The band was formed when singer and harmonica player Paul Butterfield met guitarist and fellow University of Chicago student Elvin Bishop in the early '60s. Bonding over a love of the blues, the pair managed to hijack Howlin' Wolf's rhythm section (bassist Jerome Arnold and drummer Sam Lay) and began gigging in the city's blues houses, where they were spotted in 1964 by producer Paul Rothchild, who quickly had them signed to Elektra Records. Guitar whiz Mike Bloomfield joined the band just before they entered the studio to record their debut album (and in time to be on-stage with the group when they backed up Bob Dylan at his infamous electric set at the 1965 Newport Folk Festival). Organist and pianist Mark Naftalin also came on board during the sessions for the self-titled The Paul Butterfield Blues Band, which was released by Elektra late in 1965. Lay became ill around this time, and his drum chair was taken by Billy Davenport, whose jazz and improvisational background came in handy during the recording of the band's second album, the Ravi Shankar-influenced East-West, released in 1966. Bloomfield departed to form Electric Flag in 1967, and Bishop handled all the lead guitar on the more R&B-oriented third album, The Resurrection of Pigboy Crabshaw, which was released later that year and featured an entirely new rhythm section of Bugsy Maugh on bass and Phil Wilson on drums. Bishop and Naftalin left the band following the recording of 1968's In My Own Dream, and Butterfield drafted in 19-year-old guitarist Buzzy Feiten to help with the recording of 1969's Keep On Moving, which also featured the return of drummer Billy Davenport. After a live album in 1970 and the lackluster Sometimes I Just Feel Like Smilin', released in 1971, Butterfield put the band to rest. In retrospect, the Butterfield Blues Band had pretty much put their cards on the table in their first two albums, both of which are classics of the era, featuring a heady mixture of folk, rock, psychedelia, and even Indian classical music played over an embedded base of good old Chicago blues. --Artist Biography by Steve Leggett
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The Paul Butterfield Blues Band - The Resurrection Of Pigboy Crabshaw (1968/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Paul Butterfield Blues Band
Title: The Resurrection Of Pigboy Crabshaw
Genre: Blues, Blues Rock, Chicago Blues, Electric Blues, Modern Electric Chicago Blues
Label: © Elektra Entertainment
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 45:44

The band's third album finds guitar hero Mike Bloomfield MIA and replaced by a horn section including the very young David Sanborn. (Ironically, Bloomfield departed to start his own horn band, the ill-fated Electric Flag). Stylistically, the band was inching away from blues purism, and moving toward jazz and r&b, particularly of the Stax-Volt variety, as witness the idiomatic cover of Albert King's 'Born Under a Bad Sign.' (The band must have been listening to Motown as well, hence the thoroughly rocked-out re-arrangement of Marvin Gaye's 'One More Heartache,') The album title, incidentally, refers to an alias of remaining guitarist Elvin Bishop, who gets plenty of room to work out here, particularly on 'Driftin and Driftin''.
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