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Bobby Timmons - Holiday Soul (1964/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bobby Timmons
Title: Holiday Soul
Genre: Jazz, Soul Jazz, Piano Jazz, Christmas, Holidays
Label: © Prestige Records/Concord Music Group
Release Date: 1964/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 42:21
Recorded: Rudy Van Gelder Studio in Englewood Cliffs, New Jersey on November 24, 1964

Pianist Bobby Timmons is joined by bassist Butch Warren and drummer Walter Perkins on these soul-jazz renditions of holiday standards, released for the 1964 Christmas season.
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Bob Kindred Quartet - Nights Of Boleros And Blues (2007/2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bob Kindred Quartet
Title: Nights Of Boleros And Blues
Genre: Jazz, Smooth Jazz, Mainstream Jazz, Saxophone Jazz
Label: © Venus Records, Inc. Manufactured by Venus Records, Inc., Tokyo, Japan | VHGD106
Release Date: 2007/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 56:10
Recorded at The Studio in N.Y. on August 10 & 11, 2006 by Katherine Miller
Mixed and Mastered by Venus 24bit Hyper Magnum Sound by Shuji Kitamura and Tetsuo Hara

b. Robert Hamilton Kindred, 11 May 1940, Lansing, Michigan, USA. Raised just outside Philadelphia, Pennsylvania, Kindred began studying clarinet and later played this instrument and the alto saxophone with the Philadelphia Youth Jazz Band, under the direction of Jimmy DePriest. At 17 he was with Pennsylvania Sixpence, a small band that played swing and dixieland and which played at many east coast venues and also toured Europe and made records. After graduating from college, Kindred left music and entered the business world, becoming a corporate head-hunter and forming his own company. At the age of 30 he heard Phil Woods in concert and decided to being playing again. He studied with Woods and after two years decided to re-enter the world of music on a full-time basis. He joined the ongoing Glenn Miller Orchestra and then joined Woody Herman, appearing on 1975’s Live At Carnegie Hall. Among other artists with whom he played around this time were Charles Earland, Harry ‘Sweets’ Edison, Hank Jones, Mel Lewis, Shirley Scott and Buddy Tate, and he has also played with the North Carolina Symphony Orchestra.
Kindred, who would gradually become better known as a tenor saxophonist, also plays baritone saxophone and flute. His own concert performances include a tribute to Ben Webster and Johnny Hodges, To Ben And Johnny, With Love, and an annual work, Bending Towards The Light … A Jazz Nativity, of which he is co-composer with his wife, singer Anne Phillips. During the 90s, Kindred appeared at many prestigious venues both in the USA and overseas, including among the former the Topeka Jazz Festival, the Colorado Springs Jazz Party, Carnegie Hall, in a tribute to the Nicholas Brothers, and the Fairbanks Arts Festival at which he conducted clinics for jazz woodwinds and performed as soloist with the symphony orchestra. In 2001, Kindred recorded two well-received albums with Little Jimmy Scott, Over The Rainbow and But Beautiful, and in the same year a duo set with Larry Willis for Mapleshade Records.
In addition to performing, Kindred is also active in jazz education as a clinician and has worked with the International Art Of Jazz, Festival Jazz and the Smithsonian Jazz Repertory Company. Although much reference has been made to other tenor saxophonists in reviews of Kindred’s work, his greatest quality is that while he might evoke occasional thoughts of these other players, he is at all times his own man, original, commanding and eloquent. Like Spike Robinson, whose late flowering was a thing of beauty, in the early years of the twenty-first century Kindred was attaining that same level of creative and popular success. That this recognition should not have happened until the mature years of his career is jazz’s loss but for all its tardiness, it is certainly very well deserved. --AllMusic Artist Biography
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Georges Bizet - L'Arlesienne Suite, Carmen Suite - Paris Conservatoire Orchestra, Andre Cluytens (1964/2012) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Georges Bizet (1838-1875)
Artist: Paris Conservatoire Orchestra, André Cluytens
Title: Bizet - L'Arlesienne Suite, Carmen Suite
Genre: Classical
Label: © EMI Classics
Release Date: 1964/2012 (2011 Remaster)
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 45:33
Recorded: 1964


Andre Clutyens conducts the Orchestra De La Societe Des Concerts Du Conservatoire through two works by Bizet, his L’Arlesienne and Carmen Suites. These two masterpieces have melodic and instrumental similarities that are brought to an emotional climax through Clutyens’ guidance. The remastered sound captures every nuance and instrumental subtleties. A masterful performance!
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Bill Evans Trio - Sunday At The Village Vanguard (1961/2002) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Evans Trio
Title: Sunday at the Village Vanguard
Genre: Jazz, Post Bop, Modal, Piano Jazz
Label: © Riverside Records | Analogue Productions XAPJ9376D64
Release Date: 1961/2002
Quality: DFF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 01:08:38
Recorded by Dave Jones live at the Village Vanguard, New York City; June 25, 1961.
Mastered by Doug Sax from the original analog master tapes. DSD Download authored by Gus Skinas.


Few albums in the history of contemporary American music can be more deserving than this one of the designation Original Jazz Classic. It is the first of two Riverside albums derived from the legendary final appearance of the first Bill Evans trio - taped during the last day of a Village Vanguard engagement, barely ten days before the tragic death of bassist Scott LaFaro. The recordings have long been recognized as capturing the essence of the unique three-way interaction that characterized the trio. This album is further distinguished by its emphasis on the solo work and compositions of the innovative LaFaro.
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Ben E. King - Spanish Harlem (1961/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Ben E. King
Title: Spanish Harlem
Genre: Soul, R&B, Blues, Brill Building Pop, Latin, Marimba, Ballad
Label: © Atco Records/Atlantic Records
Release Date: 1961/2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 31:11
Recorded: 1960-1961

Ben E. King possesses one of the richest baritone voices in music history. The Rock N’ Roll Hall of Famer made a stellar debut with Spanish Harlem. This Latin-influenced work blends together pop and soul. It includes breathtaking renditions of “Besame Mucho,” “Perfidia,” “Frenesi” and the title track. Backed by a fantastic string section, the album is a full display of King’s repertoire.
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Ludwig van Beethoven - Missa Solemnis - Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Ludwig van Beethoven (1770 - 1827)
Artist: Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink
Title: Beethoven - Missa solemnis, Op. 123
Genre: Classical
Label: © BRmedia Service GmbH
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:19:19
Recorded live 25./26.09.2014 at Herkulessaal der Residenz, Munich, Germany

It was originally intended as a Solemn Mass for the investiture of the Archduke Rudolph, one of Beethoven's piano pupils, as the Archbishop of Olomouc. Beethoven did not complete the piece in time, however, and when he did finally finish it in 1823, it had developed into a work of art that far exceeded the liturgical requirements. With its dedication "Arising in the heart, may it return to the heart!" Beethoven's "Missa solemnis" enters entirely new territory as a musical interpretation – deeply personal, yet aspiring to general truth – of the old and venerable Mass Ordinary.
The old compositional techniques, modes, and traditional rhetorical formulae, the deeply contemplative prelude with the great violin solo, and also the plea for peace introduced by military sounds in the Agnus Dei, all combine on a large scale to form a unique tableau of Beethoven’s skills and ideas. Ever since its premiere in 1824 in St. Petersburg, this work has been at home in all the concert halls of the world.
With the current production of the “Missa solemnis”, BR-KLASSIK presents a premiere – just as it did with the previously released CD of Haydn’s “Creation”. This is the first recording of Beethoven’s “Missa solemnis” under the baton of Bernard Haitink, that grand seigneur among today’s world-class conductors. His choice of orchestra for it was no accident; he has after all been connected with the Symphonieorchester des Bayerischen Rundfunks for more than 55 years now. They are joined by the Chorus of the Bayerischer Rundfunk and a finely coordinated ensemble of soloists, consisting of Genia Kühmeier, Elisabeth Kulman, Mark Padmore and Hanno Müller-Brachmann. In this recording Bernard Haitink achieves a light and youthful urgency, plumbing all the musical depths of Beethoven’s score with great wisdom of age.
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Ludwig van Beethoven - Complete Works for Solo Piano Vol. 14 - Ronald Brautigam (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Ronald Brautigam
Title: Complete Works for Solo Piano Vol. 14
Genre: Classical, Piano
Label: © BIS Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical
Duration: 62:58
Recorded: August 2014 at Österåker Church, Sweden

Ludwig van Beethoven’s first printed work was a set of variations – published in 1783 when he was only twelve years old – and his final keyboard composition was the massive set of thirty-three variations on a theme by Anton Diabelli, composed almost four decades later. Not counting the several movements in variation form included in the sonatas, his twenty-one sets of piano variations thus trace a line of development in his production, parallel to those formed by the 32 piano sonatas or the 16 string quartets. On this the 14th volume in his acclaimed traversal of Beethoven's keyboard music, Ronald Brautigam performs five sets, composed between 1802 and 1809. In three of these Beethoven uses themes of his own, including the Ruins of Athens Variations, Op.76, nick-named after the play for which Beethoven later wrote incidental music, reusing the martial theme in a 'Turkish march'. The two remaining sets both use English themes; Beethoven’s choice of God save the King and Rule Britannia may well reflect his often expressed respect for that country – as well as his interest in the English market for sheet music. As the final part of the programme, Brautigam includes a selection of smaller pieces, most of them of an earlier date than the preceding variations. Some of these are probably student pieces, in particular the Preludes Op.39 and WoO 55 and the Fugue in C major, fruits of the counterpoint exercises Beethoven was assigned by his first teacher, Christian Gottlob Neefe, and by Johann Albrechtsberger. Six dances close a disc that offers many opportunities to glimpse another Beethoven than the composer we all believe we know.
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