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Richard Strauss - Vier Letzte Lieder - Elisabeth Schwarzkopf, Radio-Sinfonie-Orchester Berlin, George Szell (1969/2012) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Richard Strauss (1864-1949)
Artist: Elisabeth Schwarzkopf, Radio-Sinfonie-Orchester Berlin, George Szell
Title: Strauss - Vier Letzte Lieder
Genre: Classical
Label: © EMI Classics
Release Date: 1969/2012 (2011 Remaster)
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:03:56
Recorded: 09/1965, Grünewald Church, Berlin, Germany; 09/1968, Kingsway Hall, London, England

Esteemed interpreter Elisabeth Schwarzkopf and the Berlin Radio Symphony Orchestra under the baton of conductor George Szell deliver a landmark reading of this Strauss’ masterpiece. Schwarzkopf’s gorgeous vocal gifts add a new dimension to the pieces, while the warm maestro brings forth a technically flawless performance by the ensemble. The extraordinary attention to detail is lush and passionate. There is no finer rendition of these beloved works.

About the Mastering :: Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI's archive in London and comparing different sources and any previous CD reissues. We consult each recording's job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.
In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.
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Sokratis Sinopoulos Quartet - Eight Winds (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Sokratis Sinopoulos Quartet
Title: Eight Winds
Genre: Jazz, Modern Jazz, Folk, World
Label: © ECM Records GmbH | ECM Player
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:57:02
Recorded: Sierra Studios in Athens in April 2014

The distinctive cry of Sokratis Sinopoulos’ lyra has previously been heard on ECM recordings of Charles Lloyd/Maria Farantouri (Athens Concert) and Eleni Karaindrou (Trojan Women, The Weeping Meadow, Elegy of the Uprooting, Medea). Sokratis has played a key role in the revival of interest in the lyra in Greece, both in traditional music contexts and in the shaping of new music. To see him in concert for the first time is to marvel at the range of emotion and expression conveyed through the lyra and the power of the sound projected from this small, bowed instrument.
Eight Winds, the debut album of the quartet and Sokratis’s leader debut for ECM, was produced by Manfred Eicher at Sierra Studios in Athens in April 2014. The reflective compositions and yearning ballads on the album cede the central melodic role to the lyra, sensitively supported by the piano of Yann Keerim and the subtle bass and drums of Dimitris Tsekouras and Dimitris Emmanuel. But there is more happening here than a cross-referencing of folk instrument and jazz trio.
“We’re not ‘fusing’ anything,” Sinopolous cautions. “Each of us has acquired and internalized a lot of knowledge and experience of different styles, before approaching the others. The spirit of the recording session, and also with Manfred Eicher’s direction as producer, was very free. In my one recommendation to the other players, the night before the session, I said: ‘Especially in the solos, if you find yourself playing something that could be easily described as ‘jazz’ or ‘folk’ or ‘classical’, then try and avoid it. Without censoring ourselves, let’s find instead the common roots of our improvising’.” One unifying factor is “the basic modality, which we all relate to, because of our backgrounds.” For Sokratis, the “eight winds” of the title could be construed as the musical streams which influence and swirl around the project. “It can be great to follow such winds, or to fly with them, but in this album we did not allow them to disorient us from our musical centre. And if I had to describe a place where we feel at home and try to stand in stillness and just feel the eight winds passing by, that place would be the ‘Aegean Sea’ [see track 5], in which I try to blend in some ancient sounds from the islands. And by the way, the lyra used to be – indeed it still is – one of the characteristic instruments of the Aegean Islands.”
The lyra is popular in Greece in several regions today, “but as a folk instrument it is always playing folk dance music. And for the musicians – especially those of the older generation – no matter how skilled they are, it hasn’t been easy for them to present their music outside its specific social context. But this is changing now, as a new generation searches for new voices for old instruments.”
In terms of his own development, Sokratis says he has learned from all the musical contexts he has found himself in over the years, but amongst recent experiences counts the work with Charles Lloyd as particularly significant. “The chance to work with Charles Lloyd arrived at a time when I felt I’d heard almost everything. I can’t describe how magical it was to be on stage with Charles and the incredible musicians of his quartet, night after night. The feeling of freedom in the music was really important to me, and it was an experience that gave me new ideas for the musical form of Eight Winds.”
In addition to his playing activities Sokratis Sinopoulos has been involved in research and production for the Domnia Samiou Greek Folk Music Association, has worked with the Centre for Asia Minor Studies on diverse projects, and is a lecturer in the Department of Music Science and Art at the Macedonia University of Thessaloniki.
Yann Keerim began playing piano at the age of four and received his diploma in classical music at the age of 16. His compositions have been featured in numerous films and productions. As pianist he has performed with jazz and ‘world music’ artists including Ara Dinkjian, Manos Achalinotopoulos, and Haig Yazdjian.
Dimitris Tsekouras (born 1985 in Athens) comes from a musical family. He played piano, violin, guitar and drums before settling on the bass, which he studied at the Conservatory of Athens.
Dimitris Emmanuel graduated from the Music High School of Pallini, specialized in Greek traditional percussion and Latin percussion. He won the Greek Young Artist Award in 1997 and since then has worked with many group of traditional Greek music and dance companies.
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Slayer - Seasons In The Abyss (1990/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Slayer
Title: Seasons In The Abyss
Genre: Rock, Heavy Metal, Speed/Thrash Metal
Label: © American Recordings
Release Date: 1990/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Duration: 42:28
Recorded: March – June 1990, Hit City West, Hollywood Sound, and Record Plant in Los Angeles, California, United States

Slayer built a rabid following with faster-than-light thrash metal, eerie, disturbing lyrics, and bassist/singer Tom Araya's screamed vocals. 1986's „Reign In Blood“, a blinding metal classic that clocked in at below a half hour in length and was produced by Rick Rubin, put the band on the metal map. Although Slayer was a bunch of longhairs, it wasn't uncommon to see hardcore skinheads slamming away at the band's shows. But 1988's „South Of Heaven“ alienated many of Slayer's punk fans, as the group slowed their speed metal to a Black Sabbath-like crawl.
1990's „Seasons In The Abyss“ follows its predecessor's formula. The album was embraced by metal-heads everywhere, eventually earning Slayer its first gold-certified record. The furious opening 'War Ensemble' is a throwback to Slayer's earlier speed metal direction, while the album-closing title track is a murky, swarming chunk of metal. Other standouts include the chilling 'Dead Skin Mask,' which dealt lyrically with notorious killer Ed Gein, 'Blood Red,' 'Expendable Youth,' 'Hallowed Point,' and 'Skeletons of Society.' For fans of extreme-metal, it doesn't get any better than Slayer's „Seasons In The Abyss“.
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Shelby Lynne - Just A Little Lovin' (2008/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Shelby Lynne
Title: Just A Little Lovin'
Genre: Pop, Vocal Jazz, Folk, Traditional Pop, Ballad
Label: © Lost Highway | Analogue Productions XAPP041D64
Release Date: 2008/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:39:03
Recorded: Capitol Studio A, Los Angeles, January 2007

Just a Little Lovin' is the tenth studio album by Shelby Lynne, released in the United States and Canada on January 29, 2008. The album is a tribute to British singer Dusty Springfield, and features covers of nine songs popularized by her, in addition to "Pretend", an original song written by Lynne. Three of the covers are of songs from Springfield's debut album, while another four are of selections from Springfield's widely acclaimed fifth album, Dusty in Memphis.

Lynne's tenth studio album is also her debut album for Lost Highway Records; the label released a promotional EP recorded in conjunction with radio station KCRW four days prior to the album. This album marks a return to Universal Music Group after Lynne released her previous two studio albums through Capitol Records. Though recorded at Capitol's Studio A in Los Angeles, California during January 2007, Lynne initially found her completed album without a distributing label amidst Capitol's merge with Virgin Records. Lynne told the Sydney Morning Herald in a January 25, 2008, interview, "We cut the record the week Capitol Records busted up. So we're downstairs wondering why upstairs isn't coming down to check us out. Turns out there was no upstairs there."

Outside the United States and Canada, the album is distributed by Mercury Records, the initial distributing label for her critical breakthrough album, I Am Shelby Lynne, when it was released in the United Kingdom prior to its American distribution.
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