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Keith Jarrett - Ritual - Dennis Russell Davies (1982/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Keith Jarrett (b.1945)
Artist: Dennis Russell Davies
Title: Ritual
Genre: Classical, Avant-Garde, Piano Jazz, Modern Composition
Label: © ECM Records GmbH
Release Date: 1982/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:32:11
Recorded: June 1977 at Tonstudio Bauer, Ludwigsburg

Ritual is something of an anomaly in the Keith Jarrett archive. It’s a solo album, as many of his best are, only this time it is pianist, conductor, and frequent collaborator Dennis Russell Davies at the keys playing a work penned entirely by Jarrett. The hallmarks of a Jarrett piano recital are all there—the rolling ostinatos, dense arpeggios, and profound doublings—yet are valenced differently under the rubric of “composition.” In this context, we get a sense of “once removed-ness” that might not present itself under improvisational circumstances. The piece’s modest 32 minutes are divided into two immodest parts. From the opening groundswell we get not only dense pockets of energy, but also nodes of emptiness. Put another way: the music’s glorious peaks share the same space as the shadowy valleys at their feet, thereby encompassing a harmonious middle ground. Like a geyser, its eruptions are predictable yet manage to enthrall every time. Despite its claustrophobic beginnings, Part 1 ends in bright solitude, like a room in which the curtain has been slowly opened to welcome the morning sun. Heavier chording marks Part 2, which resolves in a hopeful melancholy, but not before gelling the emotional plasticity of its precursor. This brings us full circle, ending on a solemn intonation of a single note.
Ritual is far more “regulated” than typical Jarrett fare, spun as it is from the surrogacy of another performer rather than through the alchemy of spontaneous creation (though there is, of course, some of each in the other). The results are captivating in their own way, stoked by every depressed key and lifted pedal. Its shapes are drawn not by what is, but what has been and will be. The present is invisible and lives on only as formless possibility, caught like a blown kiss in the cup of one’s hand.
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Julio Iglesias - Mexico (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Julio Iglesias
Title: México
Genre: Pop, Vocal, Latin Pop
Label: © Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 48:53

Julio Iglesias, one of the best selling artists of all time with millions of records sold worldwide, presents this very special collection that pays tribute to great Mexican composers. Mexico is his first Spanish recording in twelve years.
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Julio Iglesias - 1100 Bel Air Place (1984/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Julio Iglesias
Title: 1100 Bel Air Place
Genre: Pop, Soft Rock, Vocal, Latin Pop
Label: © Sony Music Entertainment
Release Date: 1984/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 40:27


1100 Bel Air Place was designed as Julio Iglesias' breakthrough to the American audience, finding the Latin superstar recording with producer Richard Perry -- the architect behind blockbusters by Barbra Streisand, Ringo Starr and Harry Nilsson -- and duetting with such established American superstars as Diana Ross, Stan Getz, the Beach Boys and Willie Nelson. The latter, of course, provided Iglesias with the key to his crossover with a duet on Hal David and Albert Hammond's "To All the Girls I've Loved Before," a song that became ubiquitous in 1984. If 1100 Bel Air Place is a bit too tied to that year -- not just through the presence of its blockbuster hit, but also through Perry's cavernous '80s production, a brittle affair where even studio pros sound like synthesizers -- it is nevertheless a testament to the commercial savviness of all involved. Perry captured the sound of adult contemporary radio circa 1984 just perfectly, creating the ideal vehicle for Iglesias' smooth vocals, which skirted just on the edge of being schmaltzy but never went over that edge. The material was well selected -- heavy on Hammond songs, including his other signature song "The Air That I Breathe" and "Moonlight Lady," and it was expertly executed according the conventions of mid-'80s soft rock. As a matter of fact, apart from "Me Va, Me Va" (also written by Hammond) and the accent in Iglesias' voice, this could pass as a straight-up adult contemporary record from the '80s -- which is why it was a hit, turning Iglesias into a true star in America, the one market he hadn't conquered -- but it's also why 1100 Bel Air Place may sound a little too dated to some ears: it is truly, thoroughly, an artifact of its time. But according to those standards, it works very well, and even if the sound of the record don't necessarily hold up, it's still easy to listen to this and realize exactly how it made Julio Iglesias a star in 1984. --AllMusic Review by Stephen Thomas Erlewine
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Jono McCleery - Pagodes (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Jono McCleery
Title: Pagodes
Genre: Pop Rock, Folk Rock, Alternative/Indie Rock, Acoustic, Electronic, Downtempo
Label: © If Music
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:44:59

Jono McCleery’s ever growing fanbase will be thrilled to hear that the Rotterdam-based singer songwriter has produced his definitive album. Pagodes is the deepest, most powerful work to date by a musician whose work has been described as like “Miles Davis, Massive Attack, John Martyn, Fink, and Radiohead wrapped up in one exquisitely produced sound.” It is no coincidence that much of the album was co-produced with Royce Wood Junior.
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Jon Hassell - Last night the moon came dropping its clothes in the street (2009) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jon Hassell
Title: Last night the moon came dropping its clothes in the street
Genre: Jazz, Avant-Garde, Electronic, New Age, Ambient, Experimental, Improvisation, Trumpet Jazz
Label: © ECM Records GmbH | ECM Review
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:03:48
Recorded: April 2008, Studios La Buissonne, Pernes-les-Fontaines; “Courtrais” recorded live in Courtrais, Belgium; “Abu Gil,” “Northline,” and “Light On Water” recorded live at Kings Place, London, November 2008

The strangely beautiful title of Jon Hassell's Last Night the Moon Came Dropping Its Clothes in the Street on ECM is taken from a poem by the great 13th century Sufi mystic Jalaluddin Rumi. The rest of it, in the context of the sound here, is also instructional: "Last night the moon came dropping its clothes in the street/I took it as a sign to start singing/Falling up into the bowl of sky." Hassell's electronically enhanced trumpet playing follows directly in a line from Miles Davis' experiments of the 1970s. It comes off more as "singing" than anything else. He sounds like no one else, but many trumpet players and sound collagists have been deeply influenced by his work. The "bowl of sky" in the poem is referent, too: it reflects the quality of Hassell's musical montages and sonic investigations. This has been true since the very beginning in the 1970s, but became his trademark "sound" while working with Brian Eno as he developed his "Fourth World" music -- showcased on his EG albums from the early '80s (Fourth World, Vol. 1: Possible Musics, Fourth World, Vol. 2: Dream Theory in Malaya, Aka/Darbari/Java ) -- and was acutely articulated on his last ECM release, 1985's brilliant Power Spot. Last Night the Moon Came Dropping Its Clothes in the Street is Hassell's first recording since 2005's Maarifa Street: Magic Realism, Vol. 2; it's an assembled montage of sessions recorded in France and Los Angeles, and concerts are also woven into the rich fabric here. Hassell's music, even now, sounds alien, beguiling, mercurial, seemingly formless and airy but full of subtle washes, shifts of tone, and polyrhythmic strategies. The ten cuts here are mostly middle-length pieces that range between five and eight minutes, but three -- "Time and Place," "Clairvoyance," and "Scintilla" -- act as transitions segmenting, however seamlessly, the album into roughly thirds.
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Hayden - Hey Love (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Hayden
Title: Hey Love
Genre: Pop Rock, Lo-Fi, Sadcore, Singer/Songwriter, Alternative/Indie Rock, American Trad Rock
Label: © Arts & Crafts Productions
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: arts-crafts.ca
Duration: 44:53
Recorded: Skyscraper National Park, Revolution Recording

On Hey Love, Hayden's eighth full-length record, the Toronto musician and songwriter writes the most intimate passage yet in his decades-deep story. The follow-up to 2013's Us Alone, his sonically warm and emotive debut record on Arts & Crafts, is a heartrending love letter of hope and disarray, the album's thirteen songs among Hayden Desser's most affective, tactile, rousing yet restrained work to date. The title track, a languid anthem exposed by chiming pedal steel, introduces this dialogue - about loves both comfortable and disconnected, exhilarating and naive - with Hayden's woozy pre-dawn falsetto propped up by a watchful chorus. Hayden sings plaintively: "It's been so rough, we have been through more than enough / But without this love, there would be no reason for either of us." On Hey Love's first single "Nowhere We Cannot Go", triumphant piano mingles with tattered synthesizer and electric guitar, conjuring resilience from the throes of personal reckoning. Both familiar and new, "Nowhere That We Cannot Go" places us on the rickety frontier of Hayden's home studio, where the certainty of pain and reward both figure prominently on the horizon. No clearer is this heard than on "Troubled Times", with its brilliant juxtaposition of the apocalypse-in-progress ("If it's not one thing it is another / These are sure troubled times") against a lilting backbeat and a soulful sun-soaked shuffle.

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