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Tomasz Stanko New York Quartet - Wislawa (2013) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Tomasz Stanko New York Quartet
Title: Wisława
Genre: Jazz, Avant-Garde Jazz, Modern Creative, Free Improvisation, Trumpet Jazz
Label: © ECM Records GmbH | ECM Review | ECM Player
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 01:39:28
Recorded: June 2012, Avatar Studios, New York

Like his early hero Miles Davis, Polish trumpeter Tomasz Stanko has a gift for shaping great bands, and this one, formed in the world’s jazz capital, overflows with promise. The bass and drums team of Thomas Morgan and Gerald Cleaver is one of the most sensitive in contemporary improvising, and Cuban-born pianist David Virelles, inspired by ritual music as well as by Thelonious Monk and Andrew Hill, seems particularly well-attuned to the brooding darkness and sophisticated dread of Stanko’s free ballads. In the uptempo pieces all four players seem to enter new territory, with very exciting results. The double-album programme of new Stanko compositions is inspired also by the poetry of Wisława Symborska, the Polish poet, essayist and Nobel Laureate, who died in 2012. As Stanko writes in the CD booklet, “Reading Wisława Szymborska's words gave me many ideas and insights. Meeting her and interacting with her poetry also gave impetus to this music, which I would like to dedicate, respectfully, to her memory.”
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The Velvet Underground - Live At Max's Kansas City (1972/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Velvet Underground
Title: Live At Max's Kansas City
Genre: Rock, Proto-Punk, Rock & Roll
Label: © Atlantic Records
Release Date: 1972/2016
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 01:19:47
Recorded: August 23, 1970 at Max's Kansas City, New York City, New York, United States

“Good evening, we’re called the Velvet Underground. You’re allowed to dance, in case you didn’t know, and…uh, that’s about it. This is called ‘Waiting for the Man,’ a tender folk song from the early ’50s about love between man and subway, and I’m sure you’ll all enjoy it.”
The preceding words were selected by Lou Reed as his opening salvo when the Velvet Underground took the stage of Max’s Kansas City in New York City on August 23, 1970... and, in turn, they were the words that the band’s fans heard within seconds of putting on Side One of the Velvet Underground’s first live album, Live at Max’s Kansas City, which was released 42 years ago today.
Although it’s certainly an enjoyable enough listen for fans, particularly those who never actually got to experience a Velvet Underground concert for themselves, it’s always a little disappointing to recall that its release really only came about because Atlantic Records had no faith in the band’s chances of becoming a commercial success and didn’t want to invest the time or money in the recording of a new studio album. In the label’s defense, though, they’d just watched Reed – the last songwriter left standing from the original V.U. lineup – depart the ranks, leaving Doug Yule as the driving force of the band…and if you’ve ever heard Squeeze, then you know Atlantic made the right decision.
Given that the show took place as the band were in the final stages of finishing the Loaded album, it’s no surprise that the set list is somewhat heavy on songs from that particular record, including “Sweet Jane,” “Lonesome Cowboy Bill,” “New Age,” and “Who Loves the Sun,” it’s filled with plenty of earlier classics, including the aforementioned “I’m Waiting for the Man” as well as “White Light / White Heat,” “I’ll Be Your Mirror,” “Pale Blue Eyes,” “Sunday Morning,” and “Femme Fatale.” The original release of the album featured a pared-down and re-sequenced version of the performance, with Reed teaming with producer Geoff Haslam to create a loud side and a quiet side, but – ahem! – when Rhino reissued the album in 2004, we took both of the band’s sets from that evening, put them in their original running order, and released the whole thing as a 2-disc deluxe edition.
Granted, the fact that the proceedings were recorded on cassette – with Jim Carroll handling the microphone, no less – means that it’s always going to sound a little more “real” than some listeners might prefer from their live-album purchases, but, c’mon, it’s the Velvet Underground: if you can’t handle the sound getting a little raw and unkempt at times, you’re in the wrong place, anyway.
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The Swallow Quintet - Into The Woodwork (2013) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: The Swallow Quintet
Title: Into The Woodwork
Genre: Jazz, Modern Jazz, Contemporary Jazz
Label: © ECM Records GmbH | ECM Review
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 56:18
Recorded: November 15/16, 2011 and mixed and mastered at Studios La Buissonne, Pernes-les-Fontaines

A quintet with electric guitar, electric bass and organ—this thing is going to cook with grease, right? Wrong. Bassist Steve Swallow had a more sophisticated sort of jazz in mind when he assembled tenor saxophonist Chris Cheek, guitarist Steve Cardenas, drummer Jorge Rossy and pianist Carla Bley, who returned to organ for this project at Swallow’s suggestion.
From the first notes of the first tune, “Sad Old Candle,” it is clear that this is not your typical guitar-and-organ band. The composition feels more like classical than like anything approaching swing. That changes as the group segues into “Into the Woodwork,” which does, in fact, swing within a hard-bop framework. Part of Swallow’s mission, it seems, is to punch a hole in assumptions, and he does that much in the way that organist Larry Young did half a century ago. Across these dozen tunes, all written by Swallow, we hear five brilliant musicians in cohesion. The pianist just happens to be playing organ.
This is smart, economical jazz, with no superfluous bars in these songs, which range from under three minutes to five and a half. Cheek takes the spotlight on “From Whom It May Concern” (whose opening and closing passages seem lifted from “Cry Me a River”), with hopscotching phrases that both play off the melody and entangle themselves with Cardenas’ bluesy fingerings. Bley, who spends much of Into the Woodwork reserved and in the background, breaks out with some nifty accents on “Grisly Business,” a blues with a loping, country-and-western rhythm. (Unfortunately, she offsets that with ridiculous, off-putting quotes from “I’ve Been Working on the Railroad” when she solos on “Still There.”) The band—especially Swallow—gets a workout on “Unnatural Causes,” with its breakneck tempo and rapidly changing chord structure. Then there’s the pastoral beauty of “Small Comfort,” with Swallow, Cardenas and Bley proving that three electric instruments can play with just as much elegance as any chamber trio. --Steve Greenlee, JazzTimes

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The Modern Jazz Quartet - Live At The Lighthouse (1967/2011) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Modern Jazz Quartet
Title: Live At The Lighthouse
Genre: Jazz, Cool Jazz, Third Stream, Soul Jazz, Vibraphone/Marimba Jazz
Label: © Atlantic Records SD 1486
Release Date: 1967/2011
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 38:03
Recorded live at the Lighthouse in Hermosa Beach, California, March 16 & 17, 1967

Live at the Lighthouse is an emotionally-charged live set featuring bold improvisations and new material from the historic quartet. The album bursts with vibraphonic innovations, rousing piano runs and bluesy moods. The seasoned players perform deeply moving renditions of “The Shadow Of Your Smile” and “What’s New.” Wonderfully spaced and perfectly timed, it is impossible not to be intrigued by this remarkable album.
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The Clarinotts - Ernst, Daniel & Andreas Ottensamer (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: The Clarinotts: Ernst, Daniel & Andreas Ottensamer
Title: The Clarinotts
Genre: Classical
Label: © Deutsche Grammophon | Mercury Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 56:50
Recorded: Vienna, Casino Baumgarten, 1, 3 & 5 May 2014

The Clarinotts are formed of father Ernst and his sons Daniel (both solo clarinettists at Vienna Philharmonic) and Andreas Ottensamer (solo clarinettist at Berlin Philharmonic) – dubbed the Viennese ‘royal family of clarinet’. The ensemble goes back to when Daniel and Andreas were children and the family played music together at home. “My brother and I felt a natural pull towards the instrument. It’s like the attraction of your mother’s voice, or a familiar smell you love: it was that sort of connection. We’d grown up with the sound of it. And when we were too lazy to practise on our own we’d get together and play something fun,”
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