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Nina Simone - Nina Simone's Finest Hour (2000/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Nina Simone
Title: Nina Simone's Finest Hour
Genre: Jazz, Standards, Vocal Jazz, Soul Jazz
Label: © The Verve Music Group
Release Date: 2000/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:02:11
Recorded: March 21, 1964 - August 26, 1966

Nina Simone communicates with a unique force on this Finest Hour collection, a welling, riveting power that's beyond the range of other singers. It's there whether the song is romantic or political, whimsical or sentimental, and these recordings from the 1960s demonstrate the range of material that she could make her own, from Gershwin to Jacques Brel, from Screamin' Jay Hawkins to Nat Adderley. With her own civil rights era anthems like 'Mississippi Goddam' and the Brecht-Weill 'Pirate Jenny,' Simone commands our attention with a profoundly brooding, searing rage, while there's potent sensuality in her 'Wild Is the Wind' and Willard Robison's 'Don't Smoke in Bed.' Whether she's accompanying herself with her spare piano or defying studio orchestras with the intensity of her performance, Simone is a special singer, her art consisting in stripping away the decorative artifice of a song to reveal a molten core beneath.
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Nickel Creek - A Dotted Line (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Nickel Creek
Title: A Dotted Line
Genre: Folk, Country, Bluegrass, Progressive Bluegrass, Americana
Label: © Nonesuch Records Inc.
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 37:58

The Grammy Award–winning, multi-platinum selling trio Nickel Creek—Chris Thile (mandolin/vocals), Sara Watkins (fiddle/vocals), and Sean Watkins (guitar/vocals)—officially reunites for the first time since its 2007 self-described “indefinite hiatus” with a new album, A Dotted Line.
As Nickel Creek’s 25th anniversary approached, the band members decided they ought to mark it in some way, so they got together to write music in Chris Thile’s apartment last year. They ended up with six new co-written songs, which they eventually took to a Los Angeles studio, along with one tune by Thile, one by Sean Watkins, and two covers: Sam Phillips’ “Where Is Love Now” and Mother Mother’s “Hayloft.” There they worked with Valentine (Queens of the Stone Age, Smash Mouth), who had produced Nickel Creek’s previous album, Why Should the Fire Die?.
“We were excited every day to be there,” Sara Watkins says. “Having grown up singing together, there is something natural about our voices and it’s really fun to harmonize. Our voices have come to match each other’s really well. Sean and I are siblings, and Chris is about as close to a sibling as you could get.” Sean Watkins continues: “It feels more natural and easy than it ever did, by far. Getting to spend time alone with our own musical personalities has helped us mature.” “There’s a joyful aspect to Nickel Creek no matter what we’re doing. Things just steer themselves into that sort of place,” concurs Thile. “We will go poke around in the dark corners but always with a heavy dose of optimism.”
Formed in 1989 when Thile and Sara Watkins were eight years old and Sean Watkins (Sara’s older brother) was eleven, Nickel Creek earned a loyal following playing the festival circuit for nearly a decade. The band’s self-titled debut album was released in 2000 to commercial and critical acclaim: it sold nearly one million copies, and Time called the trio “music innovators for the new millennium.” Nickel Creek released two more records: 2002’s This Side, which won a Best Contemporary Folk Album Grammy, and 2005’s Why Should the Fire Die?. Beginning as bluegrass child prodigies, Nickel Creek grew into an acoustic band known for its breadth of musical influences—from Bach to Radiohead—and its surprisingly large sound on stage. The New York Times described their music as “postmodern” and “polystylistic,” and USA Today said, “This acoustic trio moves farther and farther from anything Bill Monroe would have recognized as bluegrass...” The band members always explored their own solo work as well as collaborations, which they were able to pursue more fully during their hiatus, and will continue to do.
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Wolfgang Amadeus Mozart - Concertos KV 207, 211, 218 - Salvatore Accardo, Prague Chamber Orchestra (2011) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Salvatore Accardo, Prague Chamber Orchestra
Title: Mozart - Concertos KV 207, 211, 218
Genre: Classical
Label: © Fonè Records/Audiophile Productions
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 01:16:45
Recorded: 1990

Salvatore Accardo is a renowned Italian violin master, most recognized for his interpretation of works by Niccolo Paganini. On this cherished recording by audiophile label Fone Records, Accardo leads the Prague Chamber Orchestra through three concertos and rondeau for violin and orchestra. The works are some of Mozart’s finest and most inspired melodies.
Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolò Paganini, but equally accomplished across a wide variety of repertory for the instrument. Here, from Italy's audiophile label Fone records, comes two concertos for violin and orchestra, featuring some of Mozart's most beautiful and inspired melodies. Accardo conducts and is accompanied by the Prague Chamber Orchestra.
The peculiar and almost impromptu importance of the genre of the Violin concerto in the catalogue of Mozart’s musical production is highlighted by the very limited space of time in which the five most important compositions of this type appeared (all within the one year 1775). It is not easy to understand the reason for this constriction in time, especially if we consider that Mozart was one of the few great composers able to play the piano and the violin perfectly; whereas his activity as a virtuoso pianist remained a constant throughout his life, his activity as a concert violinist came to an abrupt and inexplicable end after flourishing so signally in that 1775.
Perhaps psychoanalysis alone will shed light on this peculiar aspect of Mozart’s creativity, starting with an investigation of the complex relationship that the musician had with his father Leopold, an important violinist and theoretician, author of a seminal treatise (Versuch einer grundlichen Violinschule – published coincidentally in the very year in which Wolfgang was born). And yet the notion of an “inferiority complex” would seem to be contradicted by a famous letter from Leopold to his son: referring to Wolfgang’s recent success as a concert violinist in Germany, Leopold writes: “I’m not at all surprised. You yourself do not realize how well you play the violin”. Mozart undoubtedly used the five Violin concertos that he composed in 1775 (KV 207, 211, 216, 218 and 219) for his own activity as a soloist in his home town in Salzburg. Only later did these works become part of the repertoire of the violinist Gaetano Brunetti, who entered the court of Prince Colloredo as official soloist. These concertos, which reflect French style gallant but also borrow from the grand Italian violin tradition, contain some of Mozart’s most beautiful and inspired melodies.
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Minoru Nojima Plays Franz Liszt (1987/2011) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Franz Liszt (1811-1886)
Artist: Minoru Nojima
Title: Nojima Plays Liszt
Genre: Classical, Piano
Label: © Reference Recordings
Release Date: 1987/2011
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: ProStudioMasters
Duration: 61:51
Recorded: December 17-18, 1986, Oxnard, California Civic Auditorium

Reclusive pianist virtuoso Minoru Nojima, one of Japan’s most internationally respected musicians, recorded this classic album in 1986. When first released in 1988, Nojima Plays Liszt became a reference work and established Minoru's reputation as a fine interpreter of the music of Liszt. The album had been hard to find for many years until this reissue became available. Nojima, a "pianist's pianist," is not very well known in North America as he records and performs live very infrequently, but has been compared to some of the piano greats, was a silver prize winner of the Van Cliburn International Piano Competition in 1969 and has performed with orchestras around the world.
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Minnie Riperton - Perfect Angel (1974/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Minnie Riperton
Title: Perfect Angel
Genre: R&B, Soul, Smooth Soul, Soul-Jazz, Quiet Storm
Label: © Capitol Records
Release Date: 1974/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Duration: 00:36:39
Recorded: 1974, The Record Plant, Los Angeles

Minnie Riperton's first album for Epic – and the record that broke her from a hip Chicago underground artist into one of the seventies' biggest soul divas! The record moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney – and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph – and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons".
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Michael Jackson - Blood On The Dance Floor: HIStory In The Mix (1997/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Michael Jackson
Title: Blood On The Dance Floor: HIStory In The Mix
Genre: Pop, Electronic, R&B, Dance-Pop, House, Downtempo
Label: © Epic Records, MJJ Productions
Release Date: 1997/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: AcousticSounds
Duration: 01:15:57

Blood on the Dance Floor: HIStory in the Mix is a remix album by American recording artist Michael Jackson. It was released on May 20, 1997 by Epic Records and is the second album released by Jackson's own record label, MJJ Productions. The album is made up of eight remixes from Jackson's previous studio album HIStory, and five new songs. Jackson was heavily involved with the production of the new material while the remixes were produced by other artists. The new material dealt with themes such as drug addiction, sex and relationships, and paranoia. The album, like HIStory, featured Michael playing several instruments.
The album received minimal promotion by Jackson's standards, particularly in the United States. Still, a film, two singles ("Blood on the Dance Floor" and "HIStory/Ghosts") and three music videos were issued as promotion. Reviews at the time of release were largely mixed, some critics felt that Jackson had already explored these musical themes while others criticized what they perceived as weak vocals. Other critics were favorable, with praise issued for similarities to the music of Marilyn Manson and Trent Reznor.
Since its debut, the album has sold an estimated six million copies worldwide, making it the best selling remix album ever released. Several contemporary critics view the material in an increasingly favorable light and believe the album could have been more successful—commentators argue that certain sections of the world took interest in tabloid stories about the singer's personal life over his musical career.
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Masabumi Kikuchi Trio - Sunrise (2012) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Masabumi Kikuchi Trio
Title: Sunrise
Genre: Jazz, Modern Jazz, Avant-Garde Jazz, Piano Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:51:32
Recorded: September 2009 at Avatar Studios, New York

An ECM debut from Masabumi Kikuchi and a last session from the great Paul Motian. Motian and Kikuchi were friends for many years and Paul understood the idiosyncracies and the wayward charm of the Japanese pianist’s highly personal style perhaps better than anyone. The trio - completed by Zen bassist Thomas Morgan - makes new art out of the interactive free rubato ballad. A strangely beautiful album.
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Lee Ritenour - A Twist Of Rit (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Lee Ritenour
Title: A Twist Of Rit
Genre: Jazz, Contemporary Jazz, Crossover Jazz, Smooth Jazz, Guitar Jazz
Label: © Concord Music Group, Inc.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 01:10:27
Recorded: Sunset Sound and United Recording Studio

A Twist of Rit is Lee Ritenour’s new 2015 Concord Records release. A star-studded band performs a number of new compositions combining with fresh, “twisted” versions of some of his earliest funky, fusion material from the 70s and early 80s. Combining some of the hottest rhythm players out there, including Ron Bruner Jr., Chris Coleman, Dave Weckl, Melvin Davis, Paulinho Da Costa, Michael Thompson, John Beasley, Patrice Rushen, and Dave Grusin with a five piece Horn Section and Ernie Watts on tenor sax, A Twist of Rit will make for one of his most special releases to date.
It features Lee’s soaring guitar lines with 12 of his compositions ranging from the funky fusion and sophisticated jazz that Lee has become so well known for. All of the sessions were captured by his long time Grammy award-winning engineer Don Murray and the tracks were recorded with everyone performing together, old-school, but with the state-of-the-art recording techniques of 2015. Also included in this record, will be the debut of guitarist, Tony Pusztai, from Hungary, who was the grand prize winner in Lee Ritenour’s 2014 “Six String Theory Competition” He was selected from over 500 entries and 72 participating countries.
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INXS - Kick (1987/2011) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: INXS
Title: Kick
Genre: Alternative rock, pop rock, new wave
Label: © Atlantic Records
Release Date: 1987/2011
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: PonoMusic
Duration: 39:42
Recorded: 1986–1987 at Rhinoceros Recordings, Sydney, Australia and Studio De La Grande Armée, Paris, France

"What You Need" had taken INXS from college radio into the American Top Five, but there was little indication that the group would follow it with a multi-platinum blockbuster like Kick. Where the follow-ups to "What You Need" made barely a ripple on the pop charts, Kick spun off four Top Ten singles, including the band's only American number one, "Need You Tonight." Kick crystallized all of the band's influences -- Stones-y rock & roll, pop, funk, contemporary dance-pop -- into a cool, stylish dance/rock hybrid. It was perfectly suited to lead singer Michael Hutchence's feline sexuality, which certainly didn't hurt the band's already inventive videos. But it wasn't just image that provided their breakthrough. For the first (and really only) time, INXS made a consistently solid album that had no weak moments from top to bottom. More than that, really, Kick is an impeccably crafted pop tour de force, the band succeeding at everything they try. Every track has at least a subtly different feel from what came before it; INXS freely incorporates tense guitar riffs, rock & roll anthems, swing-tinged pop/rock, string-laden balladry, danceable pop-funk, horn-driven '60s soul, '80s R&B, and even a bit of the new wave-ish sound they'd started out with. More to the point, every song is catchy and memorable, branded with indelible hooks. Even without the band's sense of style, the flawless songcraft is intoxicating, and it's what makes Kick one of the best mainstream pop albums of the '80s. --AllMusic Review by Steve Huey
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Hank Mobley - The Turnaround! (1965/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Hank Mobley
Title: The Turnaround!
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 40:31
Recorded: March 7, 1963 (#2-3), February 5, 1965 (#1, 4-6) at Van Gelder Studio, Englewood Cliffs, New Jersey.

The Turnaround! is jazz tenor saxophonist Hank Mobley's 1965 Blue Note release. The hard bop, soul jazz instrumentalist and composer collaborated with some of the '60s most proficient jazz musicians on this release, including Herbie Hancock, Philly Joe Jones, Paul Chambers, Freddie Hubbard and Donald Byrd, among others.
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