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Eugen Cicero - Rokoko-Jazz (1965/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Eugen Cicero
Title: Rokoko-Jazz
Genre: Jazz, Piano Jazz, Third Stream
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:32:26
Recorded at MPS Studios, Villingen, March 14, 1965


Pianist (bürgerlich: Ciceu), von dem Deutschen Peter Witte am Baß und dem Schweizer Charly Antolini am Schlagzeug begleitet, versetzt Domenico Scarlatti, Francois Couperin, Mozart und Bach in modegemäßen Swing - nur: Diesmal klingen durch alle Jazz-Entfremdungen die Original -Musiken unverhofft originell hindurch. Ob Mozarts d-Moll -Phantasie oder Bachs Matthäus-Passion - Cicero improvisiert sich jederzeit ehrfurchtsvoll und wohlkonturiert durchs 17. und 18. Jahrhundert. (Saba SB 15027 ST; 21 Mark.)
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Eric Dolphy - At the Five Spot, Vol.2 (1961/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Eric Dolphy
Title: At the Five Spot, Vol.2
Genre: Jazz, Hard Bop, Avant-Garde Jazz, Saxophone Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1961/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:07:33
Recorded: July 16, 1961 at the Five Spot in New York, NY
Remastered: 2009, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ


In mid-July of 1961, the New York Times reported that the city-home of the Five Spot, where this short-lived quintet played its one and only engagement-was experiencing warmer than usual temperatures. Pianos hate extremes of temperature. In addition, heavy rainstorms had pummeled the metropolitan area the day before this recording, with clouds and scattered storms continuing the next few days; we can guess that the humidity played its part in sapping the piano strings of their necessary tension. Whatever the reason, Mal Waldron found himself playing what may be the most ferociously, obtrusively, and at times comically out-of-tune piano on any major jazz recording of the last 60 years.
That night at the Five Spot, the Dolphy-Little quintet recorded ten tunes. Four of them (including one alternate take) appeared on the New Jazz label as Eric Dolphy at the Five Spot. The first two tunes heard here arrived later as Volume 2 on Prestige; "Number Eight (Potsa Lotsa)" and "Booker's Waltz," included here as bonus tracks, first appeared on Memorial Album; and the remaining two, "God Bless the Child" and "Status Seeking," were issued posthumously on Dolphy's Here and There, also on Prestige.
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Eric Dolphy - At the Five Spot, Vol.1 (1961/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Eric Dolphy
Title: At the Five Spot, Vol.1
Genre: Jazz, Hard Bop, Avant-Garde Jazz, Saxophone Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1961/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 56:52
Recorded: July 16, 1961 at the Five Spot in New York, NY
Remastered: 2008, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

This is the first of three sets that document the Eric Dolphy/Booker Little quintet's playing at the Five Spot. It features a group made up of pianist Mal Waldron, bassist Richard Davis and drummer Ed Blackwell really stretching out during long versions of Little's "Aggression" and the standard "Like Someone in Love." Dolphy's playing -- whether on alto, bass clarinet or flute -- always defied categorization, while Little (who passed away less than three months later) was the first new voice on the trumpet to emerge after Clifford Brown's death in 1956. An excellent set that records what may have been Dolphy's finest group ever, as well as one of that era's best working bands.
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Eric Dolphy - Out There (1960/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Eric Dolphy
Title: Out There
Genre: Jazz, Post Bop, Hard Bop, Avant-Garde Jazz, Saxophone Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1960/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 34:11
Recorded: August 15, 1960 at the Van Gelder Studio, Englewood Cliffs, NJ
Remastered: 2005, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ


Out There was the second album for the Prestige subsidiary New Jazz by the inestimable multi-reedman/composer Eric Dolphy (1928-1964). It was in every way stunning—from the eerie cover painting to the starkly beautiful colors of an ensemble consisting of reeds, cello, bass, and drums, to the ways in which the compositions (four by Dolphy) fused bebop solos and ever-expanding freebop harmonies with contemporary classical chamber works.
This was a deeply personal statement by a musician who in 1960 was beginning to establish himself as one of the most expressive instrumental voices of his time. Dolphy and young Ron Carter, heard here on cello rather than bass, interact throughout with a closeness bordering on the extrasensory, and on Charles Mingus’s “Eclipse” and especially Hale Smith’s “Feathers,” Dolphy produces two of the most moving performances of a life that ended all too soon.
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Eric Dolphy Quintet feat. Freddie Hubbard - Outward Bound (1960/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Eric Dolphy Quintet feat. Freddie Hubbard
Title: Outward Bound
Genre: Jazz, Hard Bop, Avant-Garde Jazz, Saxophone Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1960/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:01:27
Recorded: April 1, 1960 at Van Gelder Studio, Englewood Cliffs, NJ
Remastered: 2006, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ


Eric Dolphy has sometimes been described as an iconoclast, but in Outward Bound, he was not overturning his idol, Charlie Parker; he was building on Bird’s legacy. So deep was Dolphy’s musicianship, so free his imagination, that he enchanted trailblazers like John Coltrane and Charles Mingus. Partnering in this collection with the brilliant trumpeter Freddie Hubbard and a stunning rhythm section, Dolphy is at a peak of energy and creativity on alto saxophone, bass clarinet, and flute. He and Hubbard work with empathy reminiscent of the young Parker and Dizzy Gillespie. Pianist Jaki Byard, bassist George Tucker, and drummer Roy Haynes were ideal accompanists and co-conspirators in this widely influential work. This edition of Outward Bound contains two alternate takes and “April Fool,” a piece not on the original album.
On this album you will hear Eric playing alto sax, bass clarinet and flute. He also plays tenor sax. When we asked Eric about his early career on the West Coast he was quick to express his gratitude to the people who had taken an interest in his career. If you think the young jazz musician doesn’t get any encouragement from the experienced guys, you would do well to listen to Eric. The effect on us when the group went into the first take at the session is difficult to describe. The number was “G.W.,” written by Eric in 1957 as a tribute to Gerald Wilson. Our immediate thoughts were that these five amazing musicians were right at that moment adding a new dimension to modern jazz.
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Enrico Pieranunzi - The day after the silence (1976/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Enrico Pieranunzi
Title: The day after the silence
Genre: Jazz, Piano Jazz, Contemporary Jazz
Label: © Alfa Music
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-Onkyo
Duration: 00:40"15
Recorded: September 8/9, 1976, Emmequattro Studios, Rome, Italy
Remastered: 2013, Forward Studios (Hi-Jazz), Grottaferrata, Rome, Italy


Correva l'anno 1976 quando Enrico Pieranunzi approcciava solitario il suo pianoforte per dare vita a dieci composizioni originali, tutte a sua firma, che hanno traccia to un significativo percorso della sua illuminata via di pianista e compositore. "The Day After The Silence" ci racconta quello che Pieranunzi era, ciò da cui è partito: la ricerca continua. Perché il pianista romano, allora ventisettenne, si abbandona ai suoi riferimenti: Jelly Roll Morton, Chick Corea, McCoy Tyner, James P. Johnson, Bill Evans. E' il suo primo disco in piano solo, il terzo da leader dopo "Jazz a confronto 24" e "New & Old Jazz Sound", nei quali si respira ancora la coralità assimilata nel sestetto di Dino Piana-Oscar Valdambrini.
In questa solitaria sgroppata con gli ottantotto tasti Pieranunzi declina il suo verbo, accende le luci sulla sua già ben determinata tecnica, padroneggiando tutti gli aspetti del pianoforte. "Prolusion" già contiene tutte le figurazioni reiterate, le sequenze piene di volute contrappuntate dagli accordi della mano sinistra. Il ritmo insinuato, sensuale e un tocco armonicamente più ricco e lucente di cromatismi caratterizza il brano eponimo e anche "Trichromatic Line", con le frasi rapide e nitide, il ritmo saltellante e un tocco sempre più che autoritario. Si fa strada anche la passione per i dettami classici, nella romantica "Blue Song". Pieranunzi sa forgiare sul suo fuoco anche il blues, che scoppietta sotto una gragnuola di note e, a un certo punto sembra anche citare il Gershwin di Rhapsody in Blue ("Our Blues"); sorprende negli enunciati ragtime/boogie di "Blues Up". In "The Mood Is Good" è capace di celare la forza narrativa della composizione con espressioni incisive, rapsodiche e swing a tutto campo. "Aurora" ci restituisce il mood carezzevolee romantico, sempre con una punta di ferro incandescente: le pennellate di Pieranunzi sono sempre intrise di colori intensi. "The Flight Of Belphegor" ha quella bellezza "gemellare": due anime racchiuse in un solo brano, intensamente luminoso: da una parte brandelli quasi operistici e dall'altro un linguaggio forte e sicuro, con note scolpite nella roccia. "A Gay Day" è un happy ending con la tradizione che passa per le dita del pianista romano. Una ristampa di cui ce ne era bisogno, per ricordare a tutti come si suona un pianoforte. --Alceste Ayroldi per Jazzitalia
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Enrico Intra - Piani diversi (2011/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Enrico Intra (b.1935), Béla Bartók (1881-1945)
Artist: Enrico Intra
Title: Piani diversi
Genre: Jazz, Piano Jazz, Improvisation, Modern Classical
Label: © Alfa Music
Release Date: 2011/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-Onkyo
Duration: 00:47:01
Recordings, Mixing and Mastering: AlfaMusic Studio, Rome, Italy by Alessandro Guardia


“Piani diversi”, l’ultimo progetto discografico di Enrico Intra è un nuovo, grande segno della vitalità creativa di questo maestro assoluto del Jazz italiano ed europeo. E’ il primo album pensato quasi interamente in piano solo, con nuove composizioni e improvvisazioni che formano un percorso titolato Anbahnen op. 10. Il Cd propone un Jazz europeo nel quale la musica di Intra dialoga con la suite op. 14 di Béla Bartók, eseguita da una giovane allieva dei Civici Corsi di Jazz, Giulia Molteni. L’attenzione ai giovani è sottolineata anche dalla bonus track: il brano 442 secondi, realizzato al Piccolo Teatro di Milano con sette nuovi talenti del Jazz Italiano: Alessandro Lanzoni, Francesco Diodati, Andrea Andreoli, Paolo Orlandi, Gabriele Evangelista, Dino Rubino e Mattia Cigalini. Musicista imprevedibile, Intra si muove ancora una volta nell’ambito di un Jazz che senza perdere il proprio senso estetico, incontra l’universo sonoro euro colto in maniera unica.
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George Enescu - Symphony No. 2 & Chamber Symphony - Tampere Philharmonic Orchestra, Hannu Lintu (2012/2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: George Enescu (1881-1955)
Artist: Tampere Philharmonic Orchestra, Hannu Lintu
Title: Enescu - Symphony No. 2 & Chamber Symphony
Genre: Classical
Label: © 2xHD/Ondine Oy, Helsinki
Release Date: 2012/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:09:21
Recorded: Tampere Hall, 24.8.2011 (Chamber Symphony), 3–5.1.2012 (Symphony No. 2)
A 24-bit recording in DXD (Digital eXtreme Defnition)

There is a pedigreed narrative about the emergence of canonic composers in the eastern half of Europe in the late nineteenth and early twentieth centuries. Like social modernisation, cultural renewal during the nineteenth century was supposedly a response to ideas and practices from the charismatic cultural capitals of Western Europe: an appropriation and then a transformation of modalities developed elsewhere.
And because of this response mode, so it is argued, there was initially an element of ‘forms without substance’ about the process. Then, as this response slowly fused with a developing nationalist commitment, music in these regions found its ‘historical moment’, initially in the Czech lands, and then in Hungary, Poland and Romania. When the conditions were right, significant composers, including Béla Bartók, Karol Szymanowski and George Enescu, appeared on cue.
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