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John Legend - Love In The Future (2013) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: John Legend
Title: Love In The Future
Genre: R&B, Pop, Soul
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:07:33
Recorded: 2011–13

Love in the Future is John Legend's first solo album since 2008. Featuring the production work of Kanye West, Ali Shaheed Muhammad, Q-Tip, Doc McKinney, the Runners, 88 Keys, Bink, and Hit-Boy, this Deluxe Version contains four additional tracks. The album is brimming with the work of five years put in by this R&B master songsmith, as well as several covers, including one of "Angel" by Anita Baker. Love in the Future is a fantastic album for old and new John Legend fans alike.
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Joe Chambers - Landscapes (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Joe Chambers
Title: Landscapes
Genre: Jazz, Post Bop, Mainstream Jazz, Modern Creative, Vibraphone/Marimba Jazz, Piano Jazz
Label: © Savant Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 48:23
Recorded: 2015

Ever since Joe Chambers made his recording debut on Freddie Hubbard's classic LP, Breaking Point! he's remained a nearly peerless jazz figure in terms of consummate musicianship. His career throughout the 1960s established Chambers as both a noteworthy hard-bop and avant-garde jazz drummer and as an intriguing composer, particularly through his partnership with vibraphonist Bobby Hutcherson. Chambers released his debut LP, The Almoravid in 1974 for Muse Records. After recording several other releases for the Denon, Candid and Blue Note labels, Chambers reconnected with Muse's Joe Fields in 2005 and released The Outlaw in 2006. Here on his newest disc Chambers reflects all of his well-honed talents as superb multi-instrumentalist, composer and bandleader in a pared down trio setting with bassist Ira Coleman and pianist Rick Germanson.
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Jackson 5 - ABC (1970/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Jackson 5[192-24]
Title: ABC
Genre: R&B, Soul, AM Pop
Label: © Motown Records, a Division of UMG Recordings, Inc.
Release Date: 1970/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Duration: 38:11
Recorded: 1970

Easy as 'ABC,' the Jackson Five have rocketed to the top of the soul and pop markets with an exciting sound that can only be described as that marvelous Motown sound of the early Supremes and Stevie Wonder. A bundle of energy and perpetual motion, the Five rip it up with their smash, plus sure shots like 'The Love You Save,' 'One More Chance,' and 'I Found that Girl.' Motown standards also get the hit treatment. Look out! --Billboard, 1970
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Itzhak Perlman - Encores: virtuoso perfomances of works by Paganini, Wieniawski, Sarasate, Rachmaninov, Kreisler (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Itzhak Perlman, Samuel Sanders
Title: Encores: virtuoso perfomances of works by Paganini, Wieniawski, Sarasate, Rachmaninov, Kreisler
Genre: Classical
Label: © Parlophone Records/Warner Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:38:08
Recorded: Abbey Road Studios, London, 5–7 November 1972 (tracks 1–13); Kingsway Hall, London, 23–24 February 1978 (tracks 14–18, 20–26); Philadelphia, 10 November 1978 (track 19)

Although “encores” were very fashionable between the wars, they later began to be seen as perhaps less worthy than other, more substantial works. It was Itzhak Perlman, whose repertoire of these charming or virtuosic miniatures is more extensive than that of any other violinist of his generation, who did the most to restore their former prestige. There was even a time when, to his audiences’ delight, he would fill the entire second half of a recital with them, picking pieces at random (or at least giving the impression of doing so!) from a pile of scores on the piano and announcing the titles himself from the stage. No one could resist the kind of firework display that he would crown with a fiery performance of Bazzini’s Ronde des lutins, tearing through the music with disconcerting ease, communicating with the audience with his facial expressions as much as his playing. Unlike some of his predecessors — chief among them Kreisler and Heifetz — he has not written any encores himself, or made many arrangements, with the exception of Scott Joplin’s Ragtimes (see volume 10), and yet as a performer he has explored every corner of this particular musical universe. As early as 1965, a very young Perlman recorded a selection of pieces by Bloch, Paganini, Sarasate and Bazzini for RCA, although for some reason they were only released in 2004. Then, in 1972 and 1978, he recorded the two complete albums of encores for EMI that appear on this reissue. In the meantime he had added three Kreisler LPs to his incredible collection of miniatures (volume 12), establishing the foundations of a repertoire on which he continued to build over the years as he discovered new gems of the genre (volumes 23, 39, 43, 50 & 53). As well as works by the most eminent virtuoso-composers in the history of the violin, men such as Paganini, Sarasate, Vieuxtemps and Wieniawski, all suitably represented here, Perlman has also enthusiastically plundered the most diverse sources in search of new inspiration. From Debussy to Ben-Haim, via Novácˇek, Rachmaninov, Foster and Godowsky, every piece is a delight, and a reminder that alongside the grand concertos and sonatas of the core repertoire there exist a myriad of little marvels, all competing with one another for charm, skill and inventiveness, representing an indispensable and wonderfully mouthwatering side to the violin literature. In this anthology of pieces by turns gentle, funny, heart-rending, straightforwardly mischievous or resolutely diabolical, Perlman reveals his innermost soul and a thousand-faceted talent. With such a display of matchless generosity, assurance, humour and sheer joie de vivre, it is perhaps in such music that he appears most radically different from the other violinists of his time. --Jean-Michel Molkhou
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Iggy Pop - Post Pop Depression (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Iggy Pop
Title: Post Pop Depression
Genre: Rock, Hard Rock, Garage Rock
Label: © Loma Vista Recordings
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Pono Music
Duration: 41:37
Recorded: January 12 – March 9, 2015, Rancho De La Luna, Joshua Tree, California; Pink Duck Studios, Burbank, California

Fate has a way of putting things into an interesting context. When it was announced that Iggy Pop would be collaborating with Josh Homme of Queens of the Stone Age, the music press buzzed with anticipation about the project. What would the proto-punk icon and the snarky hard rock smart guy come up with? The surprise answer is, in many respects, 2016's Post Pop Depression, an unwitting but loving tribute to Pop's friend and collaborator David Bowie. Post Pop Depression arrived two months after Bowie's death, and was completed before his health problems became common knowledge. More than anything, though, this music evokes the sound and feel of Pop's first two solo albums. 1977's The Idiot and Lust for Life were cut with Bowie in Germany as Pop struggled to make sense of his life and career after the Stooges collapsed. With the reunited Stooges gone following the deaths of Ron and Scott Asheton, Post Pop Depression finds Pop returning to the work he made in 1977, in ways that count the most. Post Pop Depression is smart and thoughtful, intelligent without being pretentious, and full of bold but introspective thinking. While Josh Homme is certainly no David Bowie, he's a skilled musician who challenges Pop in a way many of his previous producers have not. The sound of Post Pop Depression occasionally gestures to Bowie's work, with and without Pop, but Homme has given this music a personality of its own. Dark and richly textured, Post Pop Depression puts Pop's craggy but authoritative voice and intelligent tirades front and center. Homme and his rhythm section of Dean Fertita and Matt Helders have created strong, muscular backdrops for Pop's lyrics that add to their power. They counter his thoughtful anger with sounds that are rich, cleanly designed, and a successful compliment for the star's work. Pop has suggested that Post Pop Depression may be his last album, and if that's true, it wraps up his career with a strong and atypical work. It tips its hat to Bowie, but also to the freedom and creative possibilities Pop discovered in their collaborative work. It confirms that Pop has never lost the ability to surprise and upend expectations. In the bitter rant that closes "Paraguay," Pop declares he wants to run away and live as "your basic clod." It's an ironic thought, closing an album that once again proves Pop never was and never will be an ordinary guy. --AllMusic Review by Mark Deming
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Honegger & Ibert - L'Aiglon - Orchestre Symphonique de Montreal, Kent Nagano (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Jacques Ibert (1890-1962), Arthur Honegger (1892-1955)
Artist: Orchestre Symphonique de Montréal, Kent Nagano
Title: Honegger & Ibert - L'Aiglon
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 01:32:16
Recorded: March 17, 19 and 21, 2015, at the OSM’s new home, the Maison symphonique de Montréal, which was inaugurated in September 2011. Recordings with Hélène Guilmette and Marie-Nicole Lemieux took place at the Maison symphonique de Montréal in September 2015

Kent Nagano leads the Orchestre Symphonique de Montréal on this live performance of the obscure five act play L’Aiglon by Arthur Honegger and Jacques Ibert. Recorded at the North American premiere in March 2015 amid the wonderful acoustics of the orchestra's home, la maison symphonique in Montréal, the OSM is joined by acclaimed soloists including soprano Anne-Catherine Gillet singing the title role and baritones Marc Barrard and Étienne Dupuis.
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Gustav Holst - The Planets - Berliner Philharmoniker, Sir Simon Rattle (2006) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Gustav Holst (1874–1934)
Artist: Berliner Philharmoniker, Sir Simon Rattle
Title: Holst - The Planets
Genre: Classical
Label: © Warner Classics
Release Date: 2006/2013
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:24:23
Recorded: 15–18.III.2006, Philharmonie, Berlin

Internationally recognized conductor Sir Simon Rattle and the Berliner Philharmoniker interprets Holst’s celebrated work, The Planets. The engaging listen vividly depicts the enthralling lyricism and dynamics of each movement creating spectacular dimensions. The release finds the extension of the solar system adding pieces by Mark-Anthony Turnage, Matthias Pintscher, Kaija Saariaho, Brett Dean and Colin Matthews.
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Herb Alpert - Rise (1979/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Herb Alpert
Title: Rise
Genre: Jazz, Pop Jazz, Easy Listening, Instrumental Pop, Soft Rock, Trumpet Jazz
Label: © A&M Records/Herb Alpert Presents
Release Date: 1979/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 41:17
Recorded: A&M Recording Studios, Studio D, Hollywood, CA

If the 12" single of Herb Alpert's "Rise" hadn't taken over the charts the way it did back in 1979, one wonders if anyone would have gotten around to checking out the Tijuana Brass, or if Alpert would have gone down in the books as the guy who had a number one with a Burt Bacharach tune ("This Guy's in Love with You"). Instead, the cut energized the entire dance club generation with DJs looking for new grooves and even ended up being used by Sean "Puffy" Combs on the Notorious B.I.G.'s Hypnotise, albeit in a drastically re-morphed form. The single began as a disc track composed by Alpert's nephew Randy and his pal Andy Armer. Alpert suggested they slow the groove way down and turn it into a slow mover. They issued it without an album to go with it, simply as a single on A&M. Club DJs picked up on it and began using duplicate copies either to let the percussion break go on a bit longer before trumpet kicked in, or playing one copy just behind another, creating a call and response melody with the trumpet and the rhythm section. After the single stormed the charts and stayed there all summer, eventually hitting the number one spot, Alpert, Armer and friends went about assembling an album to capitalize on it.
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Herb Alpert - Beyond (1980/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Herb Alpert
Title: Beyond
Genre: Jazz, Easy Listening, AM Pop, Jazz Pop, Fusion, Smooth Jazz
Label: © A&M Records/Herb Alpert Presents, Inc.
Release Date: 1980/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 40:22
Recorded: 1980 at A&M Recording Studios

Beyond is a fine successor to Rise and would be the prototype for many of Alperts following albums Beside the driving title track another Top 100 hit the rest of the tracks are easygoing and pleasant competently played by a virtual whos who of studio musicians Labelmate Peter Frampton contributes a tasty solo to the mechanical The Factory The Continental is not a new version of the tune featured on the Tijuana Brass album Warm it is instead a mild uptempo number penned by Armer and Badazz Alpert also covers the Earth Wind & Fire anthem Thats The Way of The World
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Helene Grimaud - Resonances (2010) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756 - 1791), Alban Berg (1885 - 1935), Franz Liszt (1811 - 1886), Béla Bartók (1881 - 1945)
Artist: Hélène Grimaud
Title: Resonances
Genre: Classical, Piano
Label: © Deutsche Grammophon GmbH
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:08:35
Recorded: Berlin, Rundfunk-Zentrum, 9/2010; Recorded, edited and mastered by Emil Berliner Studios

“I was eleven and could play perhaps the first page and a half. I’d no idea what the piece was about, but what I could read and play fascinated me,” Hélène Grimaud describes her early contact with the piece that is central to the present release, a piece she first encountered when she was still practically a child. “Alban Berg’s sonata”, she continues, “was the starting point for a programme that seems to trace an arbitrary line through the history of music.” And yet she identifies subtle links that take her on a geographical journey through the former Austro-Hungarian Empire, although she admits that “Mozart’s Salzburg did not officially belong to Austria, and Bartók would have strongly resisted this act of appropriation. But somehow Mozart’s music anticipates much that later returns in the music of Austro-Hungary, in Liszt and even in Berg, where it comes to full fruition.”
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