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Vladimir Horowitz in Recital at Academy of Music, Philadelphia, December 1, 1968 (2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Joseph Haydn (1732-1809), Frédéric Chopin (1810-1849), Robert Schumann (1810-1856), Sergey Rachmaninov (1873-1943), Claude Debussy (1862-1918), Moritz Moszkowski (1854-1925)
Artist: Vladimir Horowitz
Title: Vladimir Horowitz in Recital at Academy of Music, Philadelphia, December 1, 1968
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:23:31
Recorded: Academy of Music, Philadelphia, December 1, 1968

After the overwhelming success of Vladimir Horowitz Live at Carnegie Hall, Sony Classical presents Vladimir Horowitz: The Unreleased Live Recordings 1966–1983. Available October 23, this 50-CD edition takes you on tour with the legendary pianist from his home town of New York to the great halls of the USA, from New Haven to Chicago, Washington D.C., Philadelphia, Boston and beyond. This special collector's set features 13 programs recorded at 25 solo recitals in 14 different concert halls. It comprises the complete live recordings made by Columbia Masterworks between 1966 and 1968, as well as the live recordings made by RCA Red Seal between 1975 and 1983. While a few extracts from these live recordings were selected for release as award-winning albums, the vast majority rested untouched in secure storage and has remained unreleased for more than 30 years – until today. This new edition presents Vladimir Horowitz's musical artistry, live and unedited in state-of-the-art mastering.
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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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Georg Philipp Telemann - Recorder Sonatas and Fantasias - Pamela Thorby (2015) High-Fidelity FLAC Stereo 24bit/96kHz
Сomposer: Georg Philipp Telemann (1681-1767)
Artist: Pamela Thorby
Title: Telemann - Recorder Sonatas and Fantasias
Genre: Classical
Label: © LINN Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: LINN
Duration: 109 minutes 27 seconds
Recorded: 29–30 April (sonatas) and 24–25 July (fantasias) 2014, National Centre for Early Music, York, United Kingdom

Telemann's legacy as a composer of recorder music is among the richest of the age. The warmth and conviviality of Telemann's writing, the easy beauty of his melodies, as well as the knowing playfulness and ingenuity across many national styles are fully explored in this engaging programme.
Pamela utilises a range of recorders in many sizes, known to players in the eighteenth century but only recently again perfected by makers for modern use. Accompanying Pamela are Ensemble Marsyas' Peter Whelan (bassoon), Alison McGillivray (cello), Elizabeth Kenny (archlute/guitar) and Marcin Swiatkiewicz (harpsichord/organ).
Telemann's virtuosic ‘concerto style' writing provides many opportunities for Pamela to further cement her deserved reputation as ‘queen of the recorder'.
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Tedeschi Trucks Band - Let Me Get By (2016) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Tedeschi Trucks Band
Title: Let Me Get By
Genre: Blues Rock, American Trad Rock, Modern Blues, Retro Soul, Roots Rock
Label: © Swamp Family Music LLC. Under exclusive license to Concord Music Group, Inc.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit (#11-18 48kHz/24bit)
Source: HDTracks
Duration: 01:39:23
Recorded: Swamp Raga Studios, Jacksonville, FL

Let Me Get By features ten new, original songs that together stand as a testament to the hard work, independent spirit, and full-on commitment of the entire Tedeschi Trucks Band. The album’s artwork—a Mongolian golden eagle pictured a moment after flying from its handler’s glove—and even the album title itself reflect the sense of total dedication that serves as the driving force behind this recording. From that wellspring of dedication come the most powerful TTB recordings yet. Some songs you may have heard on stage in 2015, and some others that were deliberately held back for this occasion. Susan’s vocals and Derek’s guitar soar, tumble and glide through each song, as powerful as ever, even in the album’s most understated moments.
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Tarquinio Merula - Arpa Davidica - Nova Ars Cantandi, Giovanni Acciai (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Tarquinio Merula (1595-1665)
Artist: Nova Ars Cantandi, Giovanni Acciai
Title: Merula - Arpa Davidica
Genre: Classical, Choral
Label: © ARCHIV Produktion/Universal Music Italia Srl
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: AcousticSounds
Duration: 01:06:33

Italian vocal and chamber ensemble Nova Ars Cantandi is led by founder Giovanni Acciai on the world premiere recording of Arpa Davidica by Baroque composer Tarquinio Merula. This album, released in 2015, commemorates the 350th anniversary of Merula's death.
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Sergey Ivanovich Taneyev - Complete String Quartets, Vol. 4 - Carpe Diem String Quartet (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Sergey Ivanovich Taneyev (1856-1915)
Artist: Carpe Diem String Quartet
Title: Taneyev - Complete String Quartets, Vol. 4
Genre: Classical
Label: © Naxos Rights US, Inc.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 01:05:04
Recorded: Distler Hall, Granoff Music Center, Tufts University Department of Music, Medford, Massachusetts, USA, on 15th and 16th December, 2013 (tracks 1-4), and at Jemison Auditorium, Sanborn Hall, Ohio Wesleyan University, USA, on 29th and 30th May, 2014 (tracks 5-8)

A pupil of Tchaikovsky, who called him the ‘Russian Bach’, Sergey Taneyev is best known today for his four symphonies, although he also composed a sizeable body of chamber music, including nine complete String Quartets. Quartet No. 9 is a memorably melodic work, while the beautifully crafted Quartet No. 6, his last completed quartet, is rather more austere, though marked by a playful Jig, and even more masterful in construction.

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