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The Isley Brothers - The Complete RCA Victor & T-Neck Album Masters 1959-1983 (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Isley Brothers
Title: The Complete RCA Victor & T-Neck Album Masters 1959-1983
Genre: R&B, Soul, Quiet Storm, Smooth Soul, Funk
Label: © Legacy Recordings/Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 20:36:45
Recorded: 1959-1983

A Definitive 23-Disc Collection Chronicling the Evolution and Enduring Genius of America's Preeminent R&B/Rock/Pop/Funk Ensemble
Essential Isley Brothers Library Includes 84 Rare & Unreleased Bonus Tracks Plus First-Ever Complete Issue of Live-In-The-Studio Album Recorded in 1980
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Witmer Trio - En Azul (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Witmer Trio
Title: En Azul
Genre: Jazz
Label: © Sound Liaison
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: soundliaison.com
Duration: 44:41
Recorded on March 15th and March 16th, 2015 in Studio 2 of the Muziekgebouw van de Omroep in Hilversum.


Cajan Witmer came up with the idea of recording a collection of songs, with the focus primarily on the melody and have every improvisation and embellishment being inspired by the song itself.
Witmer's almost vocal presentation of the melody and refined melodic improvisations, Slinger's lyrical touch and strong secure rhythmic feel combined with Kruiswijk's inventive drum patterns, which on some songs resembles 3 subtle percussion players instead of one drumset, are fulfilling the task admirably.
Cajan Witmer and his companions, bassist Han Slinger and drummer Maarten Kruiswijk, has worked together for 21 years, and the empathy they feel for each other is evident throughout this recording.
When creating the sound stage, we spent a great deal of time getting the balance of the trio as optimal as possible using the ambient microphone stereo pair placed in the ''sweet spot'' in studio 2, before adding the spot microphones.
We wanted to create a sound field that was intimate but also with enough depth to have a visual representation of the instruments.
In a sense we adopted the same philosophy as Cajan Witmer in his arrangements, we wanted the melodic part of each instrument to stand out but not overshadow the whole, thus the paino and the drums have been given a position in the sound field, not spread out Left to Right as are more common in commercial recordings.
The benefit with this approach is that you can actually see the trio in front of you between the speakers, standing left to right, instead of the more common, commercial radio friendly approach, with the instruments piled on top of each other.
In a sense we are old fashioned, maybe we listened to too many old jazz recordings, but on the other hand...
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