Sort articles by: Date | Most Rates | Most Views | Comments | Alphabet
» Articles for January 2016 Year » page 6
Mozart, W.A.; Schoenberg, A. - Piano Concertos - Glenn Gould, CBC Symphony Orchestra, Walter Susskind, Robert Craft (1962/2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791), Arnold Schoenberg (1874-1951)
Artist: Glenn Gould, CBC Symphony Orchestra, Walter Susskind, Robert Craft
Title: Mozart, W.A.; Schoenberg, A. - Piano Concertos
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1962/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:51:26
Recorded: 1961

The very combination of these two concertos was willful, still more Gould’s playing of Mozart, with its extra embellishments and even new counter-melodies in the piano part. What seemed revolutionary at the time has become a matter of course in today’s age of “historical performance practice.” In contrast, the Schoenberg Concerto sounded, in Gould's hands, almost as familiar as Mozart …
  • 0
Wolfgang Amadeus Mozart - Piano Sonatas Nos. 14, 17 & 18; Fantasia - Glenn Gould (1975/2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Glenn Gould
Title: Mozart, W.A. - Piano Sonatas Nos. 14, 17 & 18; Fantasia
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1975/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:58:10
Recorded: 1966-74

Glenn Gould could not have timed his professional entrance to the recording studio any better than with his première recording in 1955. Five years had passed since the lacquer disc medium had been retired and the industry had fully embraced tape recording.
The availability of digital tools for remastering and restoration has never been greater, or more refined. Yet everything starts with the original masters. Columbia Records kept very good archives of session logs, documenting which takes were recorded on which job reel, and to which musical work they belong. Gould often worked with the producer on choosing how the takes would be edited together, marking directly in the score where one take would end and the next would begin. The session reels were assembled into a “master edit reel.” If the master edit reel was mono or stereo, it would go directly to mastering, where the proper EQ (equalization) was applied for generating a “vinyl master.” If the master edit was three-track or higher, a master stereo mix would be made; this might be a generation before the vinyl master, should further vinyl EQ be necessary for LP manufacturing. Thankfully, the archives have preserved previous generations, so today we can ignore the numerous later copies and work with the original master edits.
In the remastering studio, we maintain original analogue Studer A80, A820 and A807 machines for playback of the Gould recordings. Most of these machines are modified by JRF Magnetics in order to ensure perfect reading from the playback head stack. The signal is converted to DSD via Mytek digital converters, all the while being monitored through Bowers & Wilkins Nautilus 802 series speakers (powered by Krell 600 watt amplification). This level of professional playback ensures that we hear exactly what was recorded at the studio without coloration and with greater clarity than even Glenn Gould had heard. The audio is treated in the computer using Cube-Tec restoration tools when needed, tools that allow us to remove such noises as electrical tics, pops, random studio noises, or even electrical buzzing.
Now, in 2015, we have accomplished a project that took more than three years: the analogue (and digital) remastering of Gould’s entire recorded legacy for Columbia. Remastering and restoration is not, however, a process of creating something new, but the art of bringing clarity and enhancement to the original masterpiece. Just as the restoration of the Sistine Chapel brought new life to Michelangelo’s paintings, so we’ve tried to bring new life to Glenn Gould’s recordings.
  • 0
Wolfgang Amadeus Mozart - Piano Sonatas Nos. 11, 15 & 16, Fantasia - Glenn Gould (1973/2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Glenn Gould
Title: Mozart, W.A. - Piano Sonatas Nos. 11, 15 & 16, Fantasia
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1973/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:47:33
Recorded: 1965-73

No Gould recording received a more solid thrashing than his reading of the A-major Sonata, K. 331: “The most loathsome record ever made!”—“It all conjures up an image of a tremendously precocious but very nasty little boy trying to put one over on his piano teacher.”—“It is very difficult to see what Gould is out to prove, unless the rumor that he actually hates this music is true.”
  • 0
Wolfgang Amadeus Mozart - Piano Sonatas Nos. 8, 10, 12 & 13 - Glenn Gould (1972/2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Glenn Gould
Title: Mozart, W.A. - Piano Sonatas Nos. 8, 10, 12 & 13
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1972/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:49:47
Recorded: 1965-70

“The Sonata [No. 12] K. 332 was the first I began to study, I think, and I simply couldn’t understand how my teachers, and other presumably sane adults of my acquaintance, could count this piece among the great musical treasures of Western man.”
  • 0
Wolfgang Amadeus Mozart - Piano Sonatas Nos. 6, 7 & 9 - Glenn Gould (1969/2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Glenn Gould
Title: Mozart, W.A. - Piano Sonatas Nos. 6, 7 & 9
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1969/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:49:39
Recorded: 1968

“Even though ‘shorter is better’ represents my attitude in regard to Mozart generally, I’d have to say that the sonata in D, K. 284, which is probably the longest of the sonatas, is my favorite.” The critics were on the whole benevolent and at most poked fun at some of Gould’s ultra-fast tempos.
  • 0
Mozart - Concertos; Haydn - Sinfonia concertante - Arcangelo, Jonathan Cohen (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Joseph Haydn (1732-1809), Wolfgang Amadeus Mozart (1756-1791)
Artist: Arcangelo, Jonathan Cohen
Title: Mozart - Concertos; Haydn - Sinfonia concertante
Genre: Classical
Label: © Hyperion Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 57 minutes 42 seconds
Recorded: St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom


Mozart’s sublime Oboe Concerto and Bassoon Concerto (he wrote only one of each) are conjured into thrilling life by Arcangelo under the direction of Jonathan Cohen. In the Haydn Sinfonia concertante—written at the very zenith of the composer’s artistic popularity—four soloists combine with the orchestra in a spiral of theatrical competition.

  • 100
Leon Russell - Leon Russell And The Shelter People (1971/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Leon Russell
Title: Leon Russell And The Shelter People
Genre: Rock, Folk Rock, Singer/Songwriter
Label: © Capitol Records
Release Date: 1971/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 43:04
Recorded: August 23-26, September, December 23, 1970 and January 1971

Leon Russell and The Shelter People is the 1971 gem by multi-instrumentalist and music icon Leon Russell. The album is comprised of eight Russell originals, two Dylan covers and Harrison’s “Beware of Darkness.” It is a full display of Russell’s gifts as an instrumentalist and his abilities to produce timeless Rock & Roll classics. Russell’s soulful talents shine through on the tracks “Of Thee I Sing,” “Home Sweet Oklahoma” and “She Smiles Like a River.” Leon Russell and The Shelter People finds Russell at his prime and is an important document in his illustrious career.
  • 0
Keiko Matsui - Live In Tokyo (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Keiko Matsui
Title: Live In Tokyo
Genre: Jazz, Crossover Jazz, Smooth Jazz, Fusion, Piano Jazz
Label: © Shanachie Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:13:19
Recorded: 2014

Iconic keyboardist/composer Keiko Matsui has been wowing audiences around the world. Billed as “The Soul Quest Tour,” Keiko’s dynamic performances have been filling concert halls and garnering standing ovations and rave reviews. On this magical night in Tokyo, fellow Smooth Jazz superstars Kirk Whalum, Chuck Loeb and Tom Braxton joined Keiko to make musical history! This brilliantly captured album features some of Keiko’s biggest radio hits such as “Black Lion” and “Dream Seeker” as well as signature treasures “Deep Blue,” “Forever, Forever” and much more.
  • 0
Jeff Beck - Truth (1968/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jeff Beck (The Jeff Beck Group)
Title: Truth
Genre: Rock, Blues Rock, British Blues, Hard Rock, Psychedelic Rock, Rock & Roll
Label: © Epic Records
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 40:46
Recorded: 16 May 1966, 5 June 1967, 5 and 7 December 1967, 15-26 May 1968, Abbey Road Studios, London; Olympic Sound Studios, London; De Lane Lea Recording Studios, London


Despite being the premiere of heavy metal, Jeff Beck's Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream's two most popular LPs, mostly as a result of the erratic nature of the guitarist's subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated by practically every metal band (and most arena rock bands) that followed. Truth was almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums. Its attributes weren't all new -- Cream and Jimi Hendrix had been moving in similar directions -- but the combination was: the wailing, heart-stoppingly dramatic vocalizing by Rod Stewart, the thunderous rhythm section of Ron Wood's bass and Mickey Waller's drums, and Beck's blistering lead guitar, which sounds like his amp is turned up to 13 and ready to short out. Beck opens the proceedings in a strikingly bold manner, using his old Yardbirds hit "Shapes of Things" as a jumping-off point, deliberately rebuilding the song from the ground up so it sounds closer to Howlin' Wolf. There are lots of unexpected moments on this record: a bone-pounding version of Willie Dixon's "You Shook Me"; a version of Jerome Kern's "Ol' Man River" done as a slow electric blues; a brief plunge into folk territory with a solo acoustic guitar version of "Greensleeves" (which was intended as filler but audiences loved); the progressive blues of "Beck's Bolero"; the extended live "Blues Deluxe"; and "I Ain't Superstitious," a blazing reworking of another Willie Dixon song. It was a triumph -- a number 15 album in America, astoundingly good for a band that had been utterly unknown in the U.S. just six months earlier -- and a very improbable success. --AllMusic Review by Bruce Eder
  • 60
Jeff Beck - Beck-Ola (1969/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jeff Beck (The Jeff Beck Group)
Title: Beck-Ola
Genre: Rock, Blues Rock, British Blues, Hard Rock, Psychedelic Rock, Rock & Roll
Label: © Epic Records
Release Date: 1969/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 31:08
Recorded: 3–19 April 1969, De Lane Lea Studios

When it was originally released in June 1969, Beck-Ola, the Jeff Beck Group's second album, featured a famous sleeve note on its back cover: "Today, with all the hard competition in the music business, it's almost impossible to come up with anything totally original. So we haven't. However, this disc was made with the accent on heavy music. So sit back and listen and try and decide if you can find a small place in your heads for it." Beck was reacting to the success of peers and competitors like Cream and Led Zeppelin here, bands that had been all over the charts with a hard rock sound soon to be dubbed heavy metal, and indeed, his sound employs much the same brand of "heavy music" as theirs, with deliberate rhythms anchoring the beat, over which the guitar solos fiercely and the lead singer emotes. But he was also preparing listeners for the weakness of the material on an album that sounds somewhat thrown together. Two songs are rehauls of Elvis Presley standards ("All Shook Up" and "Jailhouse Rock") and one is an instrumental interlude contributed by pianist Nicky Hopkins, promoted from sideman to group member, with the rest being band-written songs that serve basically as platforms for Beck's improvisations. But that doesn't detract from the album's overall quality, due both to the guitar work and the distinctive vocals of Rod Stewart, and Beck-Ola easily could have been the album to establish the Jeff Beck Group as the equal of the other heavy bands of the day. Unfortunately, a series of misfortunes occurred. Beck canceled out of a scheduled appearance at Woodstock; he was in a car accident that sidelined him for over a year; and Stewart and bass player Ron Wood decamped to join Faces, breaking up the group. Nevertheless, Beck-Ola stands as a prime example of late-'60s British blues-rock and one of Beck's best records. --AllMusic Review by William Ruhlmann
  • 0
Dear visitor, you have not login. We recommend you to REGISTER and LOGIN to gain access to the full resource on our website.