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Dvorak & Martinu - Cello Concertos - Christian Poltera, DSO Berlin, Thomas Dausgaard (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Antonín Dvořák (1841–1904), Bohuslav Martinů (1890–1959)
Artist: Christian Poltéra, DSO Berlin, Thomas Dausgaard
Title: Dvořák & Martinů - Cello Concertos
Genre: Classical
Label: © BIS Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical
Duration: 63:00
Recorded: August 2014 at the Jesus-Christus Kirche, Berlin-Dahlem, Germany


Since 2007, cellist Christian Poltéra has recorded a number of acclaimed discs for BIS, of less often heard concertos by composers such as Othmar Schoeck, Frank Martin and Samuel Barber, as well as contemporary classics including Henri Dutilleux’s ‘Toute un monde lointain…’. Across the world, reviewers have been bowled over by Poltéra’s effortless technique, but even more so by his communicative skills and beautiful sound, typically using adjectives such as ‘glowing’, ‘lyrical’, ‘ripe’ and ‘singing’. These are of course qualities that will enhance any repertoire, and here, on his latest disc, Poltéra has occasion to apply them to one of the truly great Romantic concertos. Dvořák once famously expressed as his opinion that the cello was unsuitable as a solo instrument, going on to compose what was to become one of the most beautiful, as well as popular, concertos in the repertoire. Although the solo part is demanding, the work is by no means a bravura showpiece. Instead, the orchestra and soloist form an integral whole, something which is admirably brought out in the interaction between Poltéra and the Deutsches Symphonie-Orchester Berlin under Thomas Dausgaard. When he composed his First Cello Concerto, in 1930, Dvořák’s compatriot Bohuslav Martinů also wanted to create a work involving dialogue between soloist and orchestra. Inspired by the concerto grosso form of the baroque era, he wrote a first version for cello and chamber orchestra, which he revisited in 1939, expanding it for large orchestra. In 1955 he returned to the concerto once again to create a third and final version, which has become one of his most popular works.
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Dean Martin - French Style (1962/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: French Style
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Vocal jazz, Swing
Label: © Reprise Records
Release Date: 1962/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 35:49
Recorded: February 1962

French Style is Dean Martin's first LP for Reprise Records. Recorded during February 1962, it features French-themed popular songs and Chansons arranged by Neal Hefti. Among them C'est si bon, which frequently appears on Dean Martin compilation albums, a rendition of Edith Piaf's classic La Vie En Rose, the title song from the MGM classic Gigi (1958 film) and two classic Cole Porter tunes.
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Dean Martin - Dino Latino (1962/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Dino Latino
Genre: Pop, Easy Listening, Latin Pop, Traditional Pop, Vocal Pop
Label: © Reprise Records
Release Date: 1962/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:25:04
Recorded: 1962

Dino Latino is an album by Dean Martin. Recorded during August 1962, the album is a collection of Latin standards and popular songs composed in the same vein. While the first side of the record features five uptempo songs (among them are "Mañana" (popularized by Peggy Lee) and "South of the Border", which he later re-recorded for the soundtrack of The Silencers), Side 2 consists of five ballads. All songs on the album were arranged and conducted by Don Costa, except for the closing track, "La Paloma", which is credited to Chuck Sagle.
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Dean Martin - (Remember Me) I'm the One That Loves You (1965/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: (Remember Me) I'm the One That Loves You
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Vocal jazz, Swing
Label: © Reprise Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 31:52
Recorded: 1965

By the summer of 1965, the formula that arranger Ernie Freeman and producer Jimmy Bowen had used to come up with hits for Dean Martin starting with "Everybody Loves Somebody" a year earlier -- piano triplets, a 4/4 beat, swooping strings, a female chorus -- had become so obvious that even the unsigned liner notes to his new album, named after his most recent hit, (Remember Me) I'm the One Who Loves You, referred to it as "the Formula." In fact, however, Bowen and Freeman were moving beyond the formula by this time, having developed for Martin what those same notes called "an updated pop-country sound." With the hits still coming ("Remember Me" was his fifth straight Top 40 entry), Martin was willing to let them do what they liked, and the team looked around for current material suitable to the singer and chose Roger Miller's "King of the Road," Jewel Akens' "The Birds and the Bees," and "Red Roses for a Blue Lady," the old Vaughn Monroe hit recently revived by Vic Dana. They also picked good vintage country and countrypolitan songs like Jim Reeves' "Welcome to My World," Ray Price's "My Shoes Keep Walking Back to You," Leroy Van Dyke's "Walk on By" (not to be confused with the Bacharach/David song that had been a hit for Dionne Warwick in 1964), Hank Williams' "Take These Chains From My Heart," and Dottie West's "Here Comes My Baby." Martin was fortunate to have a producer with such a broad knowledge of pop and country music and a sense of what would work for him. The country market never bit at these records, but Martin had a clutch of material that sounded fresh to pop fans. And, the liner notes notwithstanding, Bowen and Freeman knew that the time had come to vary the formula. --AllMusic Review by William Ruhlmann
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Dean Martin - Houston (1965/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Houston
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Swing
Label: © Reprise Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 29:33
Recorded: 1965


On Dean Martin's previous album, (Remember Me) I'm the One Who Loves You, he had turned in an excellent version of Roger Miller's "King of the Road," and Lee Hazlewood wrote him a similar easygoing country-pop ballad about a drifter in "Houston," which he took into the Top 40 in the summer of 1965. The song therefore lent its name to his next album, handled, as usual, by producer Jimmy Bowen, although arranger/conductor Ernie Freeman was replaced by Bill Justis. Freeman had done the chart for "Everybody Loves Somebody," the record that launched Martin's 1960s comeback, but Justis proved he could write in a similar style, notably on "The First Thing Ev'ry Morning (And the Last Thing Ev'ry Night)," which shared its 1950s-style rock & roll arrangement with many of the hits Martin had scored over the last year. And Justis was not afraid to take Martin even further into pop/rock with Tommy Boyce and Bobby Hart's "Little Lovely One." He also had a good sense of middle-of-the-road pop, best shown on "I Will," which was on its way to the Top Ten when the album was released. All of this demonstrated that Bowen was shrewdly expanding Martin's contemporary base beyond the formula records he had made in the wake of "Everybody Loves Somebody," and doing it successfully. Houston actually charted higher than Martin's last two albums (it didn't hurt that he now had a television series on which to promote his records), indicating that his comeback was being sustained, not diminishing. --AllMusic Review by William Ruhlmann
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Dean Martin - Dream with Dean (1964/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Dream with Dean
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Swing
Label: © Reprise Records
Release Date: 1964/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:34:08
Recorded: 1964


A profile of a rugged Dean Martin by the fireplace with a cigarette adorns the jacket of this very interesting concept album. As Stan Cornyn's liner notes explain, "his longtime accompanist" on piano, Ken Lane, with "three of Hollywood's most thoughtful rhythm men" -- those being drummer Irv Cottler, bassist Red Mitchell, and guitarist Barney Kessel -- do create a mood, Dean Martin performing as if he were a lounge singer at 1:15 a.m. as the Saturday night crowd is dwindling. His signature tune, "Everybody Loves Somebody," is here in a laid-back style, produced by Jimmy Bowen, who would go on to produce Reba McEntire, Kenny Rogers & the First Edition, and so many others, also the same man who was behind the 1964 number one smash. This album with the original Martin recording was released after the hit single version and on the same day as the Everybody Loves Somebody LP, but how many times does the audience get a different studio reading of a seminal hit record? Not only that, but the version that preceded the hit. The backing is so sparse it is almost a cappella, with Kessel's guitar noodlings and Ken Lane's piano. The bass is mostly invisible, coming in only when needed. It's a slow and sultry version that caps off side one. There is a rendition of Rodgers & Hart's "Blue Moon" that strips away the doo wop of the Marcels' number one 1961 remake, and a run-through of the Bloom/Mercer hit for Glen Miller, "Fools Rush In," which Rick Nelson had launched into the Top 15 in 1963. Martin is just crooning away, and if the album has one drawback, it is that the 12 songs are incessant in their providing the same atmosphere. The backing quartet does not deviate from their job, nor does producer Jimmy Bowen add any technique, other than putting Martin's voice way out in the mix. But Dream With Dean was no doubt excellent research and development as Bowen landed 11 Top 40 hits with the singer from 1964's "Everybody Loves Somebody," which evolved out of this original idea to 1967's "Little Old Wine Drinker, Me." It sounds as if they tracked the album in one afternoon, and it is not only a very pleasant listening experience, it shows what a tremendous vocalist Dean Martin truly was. --AllMusic Review by Joe Viglione
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Dean Martin - Dean Martin Hits Again (1965/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Dean Martin Hits Again
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Swing
Label: © Reprise Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 24:37
Recorded: 1965

By the beginning of 1965, Reprise Records had adjusted itself to the commercial success Dean Martin had begun to enjoy in the spring of 1964 with his hit recording of "Everybody Loves Somebody." Dean Martin Hits Again was the label's first album to be constructed entirely by Jimmy Bowen, producer of that hit, and Ernie Freeman, who had arranged and conducted it, and they used the same arranging formula that had worked before, employing a 4/4 beat, piano triplets, female backup vocals, and swooping string effects to the songs here. In attempting to keep up with demand, Reprise had recycled old songs on Martin's last two albums. This one was mostly new, although "You're Nobody 'Til Somebody Loves You" had appeared on The Door Is Still Open to My Heart the previous October and then gone on to become a Top 40 pop hit (number one on the easy listening charts) and "You'll Always Be the One I Love," its B-side, had also charted. But if the material was recent, there was less of it; Reprise cut the usual 12 tracks for an LP to ten, with a running time of only 24 minutes. The made the album skimpy, even though it produced another hit, "Send Me the Pillow You Dream On," which went Top 20 pop and Top Five easy listening. And even at the shortened time, the Bowen/Freeman formula was already sounding very repetitious. But that didn't keep the LP from being a Top 20 hit that eventually became Martin's fourth gold album. --AllMusic Review by William Ruhlmann
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