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Grateful Dead - 30 Trips Around the Sun: The Definitive Story 1965-1995 (2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Grateful Dead
Title: 30 Trips Around the Sun: The Definitive Story 1965-1995
Genre: Rock
Label: © Grateful Dead Productions | Rhino Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: PonoMusic
Duration: 04:37:07
Recorded: 1965–1995


The Grateful Dead have an unparalleled gift for creating full-fledged pop culture events out of thin air, and it’s a gift they’ve demonstrated more than once this year. You may recall how the band had fans reaching into their wallets and preordering a live album documenting concerts that hadn’t even taken place yet (we’re referring, of course, to the audio document of the “Fare Thee Well” shows), and that’s certainly impressive enough in and of itself. To really get an idea of the definition of Dead-ication, though, consider that the announcement about the impending release of 30 TRIPS AROUND THE SUN, a limited-edition 80-disc box set of 30 previously-unreleased live shows – that’s one for each year between 1965 and 1995 – with a price tag of $699.98 - resulted in the set selling out before it’s even scheduled to ship.
Of course, we know that not every Deadhead has the kind of budget required to order a copy of an 80-disc box set, and while we can’t do a lot about the price tag of that particular collection, there’s a consolation prize of sorts that’s in stores today: a four-disc, 30-track compilation which features one song from each of those previously-released live shows.
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Glen Hansard - Didn't He Ramble (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Glen Hansard
Title: Didn't He Ramble
Genre: Pop Rock, Alternative/Indie Rock, Singer/Songwriter
Label: © Plateau Records/Anti
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 39:22
Recorded: New York by Patrick Dillett and in France at Black Box Studio by David Odlum; Additional recording in Chicago at The Loft by Tom Schick, and in Dublin by Karl Odlum


The new album is his first in over three years and follows 2012’s solo debut Rhythm & Repose, which Billboard hailed as “Hansard at his most engaging,” while The Wall Street Journal furthered, “Hansard’s distinguishing trait as a songwriter is a heavy-handed earnestness.”
Didn’t He Ramble was produced by Thomas Bartlett (The National, Sufjan Stevens), a frequent collaborator of Hansard’s, and Grammy winner and former Frames band-mate David Odlum (Paloma Faith, Tinariwen). The album, which was recorded in New York, Dublin, Chicago and France, is Hansard’s most intimate and elegant record since his work in Once and features guest appearances by John Sheahan (Dubliners), Sam Beam (Iron and Wine) and Sam Amidon.
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Gary Clark Jr. - The Story of Sonny Boy Slim (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Gary Clark Jr.
Title: The Story of Sonny Boy Slim
Genre: Blues Rock, Neo-Soul, R&B, Hard Rock, Modern Electric Texas Blues
Label: © Warner Bros. Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: PonoMusic
Duration: 53:41


Grammy Award-winning singer, songwriter and virtuoso guitarist Gary Clark Jr. releases his second full-length studio album, entitled The Story of Sonny Boy Slim, on Warner Bros. Records. The Story of Sonny Boy Slim is the uncanny evolution of an artist embracing his roots with a rarified grace, style, and an inextinguishable passion which reflects his vision as a songwriter, groove master, and the vocal force of nature he has become, while his guitar virtuosity already speaks (quite voluminously) for itself.
The record was written, produced, arranged by Clark, who also plays most of the instruments, with assistance from his long-time live soundman, Bharath “Cheex” Ramanat and Jason Sciba. Backing vocals are provided by his sisters Shawn and Savannah Clark. The album was recorded by Ramanath and Sciba.
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Artist: Erroll Garner
Title: The Complete Concert by the Sea
Genre: Jazz, Bop, Cool Jazz, Mainstream Jazz, Swing, Piano Jazz
Label: © Columbia Records
Release Date: 2015
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: PonoMusic
Duration: 02:38:50
Recorded live in Carmel, California, September 19, 1955

Esteemed jazz pianist Erroll Garner will be the focus of an upcoming 60th anniversary tribute from Sony Legacy. The Complete Concert By the Sea will be released on Sept. 18, 2015 -- the 60th anniversary of the original live concert produced in Carmel, Calif.
The three-CD box set, being released jointly by Sony Legacy and Octave Music Publishing Corp., is available for pre-order on Amazon. In addition to 11 previously unreleased tracks, the package includes the digitally restored and remastered edition of the original edited 1956 Columbia release. Bonus material -- featuring interviews with Garner and namesake trio members Denzil DaCosta Best and Eddie Calhoun plus announcer commentary -- round out the offering.
In making the announcement today, Garner’s birthday, Sony Legacy president Adam Block states, “Concert By the Sea is a marvelous, mystical album that has been allowed to dangle on the periphery of broader recognition for far too long. This is a significant release -- critically important to the preservation of one of the truly epic moments in live recorded performances.”
Liner note writers include jazz pianist Geri Allen, who also produced the complete live concert recording with Grammy Award-winning producer Steve Rosenthal. Allen additionally serves as director of jazz studies at the University of Pittsburgh, which will be the permanent home of the Erroll Garner Archive.
The original recording of Concert By the Sea helped foster the start of the longstanding Monterey Jazz Festival. To mark that historical note, the 58th Monterey Jazz Festival will present a tribute performance on the album’s Sept. 18 release date. Among the performers will be Jason Moran, Jimmie Cobb and Allen.
Garner was an influential piano virtuoso known for his swing playing and his most famous composition, the jazz standard "Misty." The Pittsburgh native died in 1977.


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Eden Atwood - This Is Always: The Ballad Session (2004) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Eden Atwood
Title: This Is Always: The Ballad Session
Genre: Jazz, Vocal Jazz, Standards
Label: © Groove Note Records
Release Date: 2004
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: DSD64 (converted at KORG AudioGate 2.3.3 / DSD Filter Sharp Roll-off -3dB/42kHz / TPDF Diter)
Duration: 00:55:03
Recorded by Michael C. Ross at Castleoaks in Calabasas, CA

Jazz and cabaret singer Eden Atwood returns to the Great American Songbook with a splendid collection of romantic ballads and other standards. Pianist Bill Cunliffe contributes the arrangements and leads the backing ensemble of Tom Harrell on flugelhorn and trumpet, Darek Oleskiewciz on bass and Larance Marable on drums.
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Eden Atwood - This Is Always: The Ballad Session (2004) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Eden Atwood
Title: This Is Always: The Ballad Session
Genre: Jazz, Vocal Jazz, Standards
Label: © Groove Note Records
Release Date: 2004
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:55:03
Recorded by Michael C. Ross at Castleoaks in Calabasas, CA

Jazz and cabaret singer Eden Atwood returns to the Great American Songbook with a splendid collection of romantic ballads and other standards. Pianist Bill Cunliffe contributes the arrangements and leads the backing ensemble of Tom Harrell on flugelhorn and trumpet, Darek Oleskiewciz on bass and Larance Marable on drums.
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Don Henley - Cass County {Deluxe Edition} (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Henley
Title: Cass County
Genre: Country, Pop Rock, Singer/Songwriter
Label: © Capitol Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:01:52

Cass County is Don Henley's fifth studio album and first solo album in 15 years. Named for the northeastern Texas county in which Henley was raised, Cass County is a 16-track deluxe album released through Capitol Records.
Cass County was produced by Don Henley and Stan Lynch, who also co- wrote 11 of the songs on the album, and represents both Henley’s roots and the next stop on his creative journey. “I was born and raised in Texas. I'm a Southerner and a Texan. So this is a natural progression for me. It's who I am and where I come from,” says Don Henley.
Recorded primarily in Nashville, Tennessee, and Dallas, Texas, the album includes guest appearances from Merle Haggard, Miranda Lambert, Mick Jagger, Martina McBride, Jamey Johnson, Alison Krauss, Vince Gill and Dolly Parton. When asked about making the album, Henley exclaimed, “I can truthfully say, I enjoyed making this record more than any record I’ve made in my career because of the people who participated. John Sebastian was dead right in 1965 or 1966 when he wrote that song ‘Nashville Cats.’ It’s still true all these years later. There are some amazing musicians here.”
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Dominique Pifarely - Time Before and Time After (Live) (2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Dominique Pifarély
Title: Time Before And Time After
Genre: Jazz, Modern Jazz, Avant-Garde, Improvisation
Label: © ECM Records GmbH | ECM Player
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:03:08
Recorded in concerts in September 2012 at Auditorium Saint_Germain, Poitiers, France and in February 2013 at Cave Dîmière, Argenteuil, France

French violinist Dominique Pifarély – last heard on ECM a decade ago on Stefano Battaglia’s Re: Pasolini – returns to the label with an outstanding solo violin recital, drawn from performances at the Auditorium Saint-Germain in Poitiers and Cave Dimière in Argenteuil. The music is totally improvised – apart from a free interpretation of the jazz standard “My Foolish Heart” by Victor Young – and it roves through a range of moods and atmospheres, textures and tone colours, dynamically and unpredictably.
“Playing solo is exciting for me,” says Dominque. “It’s like a very personal workshop. More than in any other configuration it is in the solo playing that I work on and develop my improvisational language – the grammar, the style and the shape of the music.”
Solo performance has been a major part of Pifarély’s work in recent years. “It was important to me to document the music in a live context.
To be able to play with this kind of intensity I find I need the audience, the feeling of having someone to address the music to. There is a certain rapport that develops, based on shared listening.”
Pifarély says that he allows himself to think “only ten or twenty seconds before a performance” of how he will begin an improvised set, to keep the edge of discovery in the music. “So it’s as spontaneous as I can make it. At the same time, of course, the instrumental techniques used are things I have practised. But the form is not prepared – each piece is invented or discovered in real time.”
Amid the abstract playing, and the obvious deep involvement with the play of sounds and extended techniques, messages from the deep musical past emerge, sometimes including hints of the baroque. Does Pifarély feel the weight of solo violin history bearing down on him at such moments?
“Well, I feel it, but it’s not a weight! It’s a musical richness which I try not to forget. And it’s very useful in this music, this improvised music which is more or less related to jazz – in quite what proportion I’m not sure. Maybe the way I play solo violin can be considered ‘orchestral’ in a sense. I’m thinking about the violin as a small orchestra and I have to pay attention to every detail. And of course Bach is in the air because Bach is polyphonic, and the violin is polyphonic.”
Of My Foolish Heart, which concludes the recital, Dominique says, “I usually like to include a standard in my solo performances, also to assert the autonomy of the violin. Conventionally in jazz we violinists are supposed to need a piano or guitar or a double bass, something to support the harmonies. And of course, Bach told us a long time ago that we really don’t.”
Time Before And Time After borrows its generic title from TS Eliot’s poem “Burnt Norton”, and the individual tracks are also named for poets and poetry, with dedications to Mahmoud Darwish, Fernando Pessoa, André du Bouchet, Henri Michaux, Paul Celan, Juan Gelman, and Bernard Noël. The literary references are, however, afterthoughts. “I’m a big reader of poetry and my idea was that the album could resemble a collection of poems. For me the gesture of improvisation and the gesture of poetry are quite close. After the recordings were made, I thought about relating a particular piece to this or that poet, and used a few words from each as titles for the improvisations.”
Dominique Pifarély takes his solo violin music to the concert stages in September and October with a three-week Baltic tour through Latvia, Estonia and Finland. Details can be found on Dominique’s website: www.pifarely.net
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CHVRCHES - Every Open Eye (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: CHVRCHES
Title: Every Open Eye
Genre: Pop Rock, Indie Electronic, Synth Pop, Alternative/Indie Rock
Label: © Glassnote Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 55:22

Chvrches' impact on the pop landscape made itself known almost immediately after the release of The Bones of What You Believe -- in the years that followed, artists big and small were borrowing the Scottish trio's flair for heart-on-sleeve lyrics wrapped in soaring, synth-laden choruses. Even if the sensitive synth-pop field was more crowded at the time of Every Open Eye's release than it was in 2013, Chvrches distinguish themselves by continuing to do this sound better than just about anyone. Rather than expanding on their debut's combination of hooks and huge soundscapes, they streamline the formula that made songs like "Recover" and "The Mother We Share" so beloved. "Never Ending Circles," with its staccato verses and sweeping choruses, might be the quintessential Chvrches song. This isn't to say that Every Open Eye is predictable. The band makes some subtle adjustments, opting for a bright, punchy approach inspired by Quincy Jones' work with Michael Jackson on Off the Wall and Thriller, where the producer made a handful of elements sound massive. Sometimes the '80s influence is understated, adding a more urgent bounce to songs like "Keep You on My Side" and "Bury It;" sometimes it's more blatant, with the synth tones on "Make Them Gold" evoking the theme song to St. Elmo's Fire, and the giddy arpeggios on "Clearest Blue" echoing Depeche Mode's "Just Can't Get Enough." But even if Every Open Eye is cheerier-sounding than The Bones of What You Believe, its emotions are just as complex. As on their debut, it's Lauren Mayberry who brings Chvrches' skyward sounds back down to earth. On songs such as "Empty Threat" and "Playing Dead," she's vulnerable yet clear-eyed, open to letting people into her heart and strong enough to let them go if and when the time comes. Martin Doherty sings one of the album's most disillusioned songs, the Twin Shadow-esque "High Enough to Carry You Over" and shines on "Down Side of Me," a mournful duet with Mayberry that delivers one of the album's stand-out moments and proves the band's dark side is alive and well. It's another example of how Chvrches give fans what they want without rehashing their debut on Every Open Eye, an almost uncannily well-crafted second album. --AllMusic Review by Heather Phares
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Christian McBride Trio - Live at the Village Vanguard (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Christian McBride Trio
Title: Live at the Village Vanguard
Genre: Jazz
Label: © Mack Avenue Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:08:34

This record is the fruit of McBride’s long association with the Vanguard, where his first appearance as a leader for the historic club was in 1995. In 2007, the bassist and charismatic club owner Lorraine Gordon started an annual one-week residency, which featured McBride’s quintet, Inside Straight. “Lorraine enjoyed my trio and my quintet, Inside Straight. We had such large crowds, so after a few years with such supportive audiences, we added an extra week. Instead of doing the same band for two weeks, I just started bringing in a different band. This has been an ongoing relationship that I look forward to maintaining as long as I can.”
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