Sort articles by: Date | Most Rates | Most Views | Comments | Alphabet
» Articles for January 2017 Year » page 6
Ariana Grande - Dangerous Woman (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Ariana Grande
Title: Dangerous Woman
Genre: Pop
Label: © Republic Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Pono
Duration: 55:41
Recorded: August 2014 – January 22, 2016


Republic Records is releasing Ariana Grande’s 3rd Album Dangerous Woman on 5/20. The GRAMMY® Award-nominated multiplatinum superstar was recently awarded with the 2016 Kids Choice Awards for Female Singer. She has released two tracks from the upcoming album Dangerous Woman and Be Alright , both of which have official videos to follow later in the release campaign. Ariana recently launched her Face of MAC Viva Glam campaign for 2016 and has confirmed that a new perfume will be released fall 2016
  • 0
Art Farmer - Farmer's Market (1956/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Art Farmer
Title: Farmer's Market
Genre: Jazz, Bop, Hard Bop
Label: © Prestige Records/Concord Music Group
Release Date: 1956/2014
Quality: High-Fidelity FLAC 2.0 Mono 44,1kHz/24bit
Source: HDTracks
Duration: 36:39
Recorded: Van Gelder Studio, Hackensack, NJ, November 23, 1956
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

By 1956, when this album was recorded, Art Farmer had come into his own as a trumpet soloist. His combination of earthiness, drive, respect for melody, harmonic sophistication, and a wistful sound on ballads produced a distinctive and immediately recognizable style. The catchy "Farmer's Market" had resulted in a semi-hit for Annie Ross after she was inspired by Farmer's 1951 version with Wardell Gray. Here, Farmer's remake has one of his best solos of the 1950s. His bassist twin brother Addison is in the rhythm section, along with pianist Kenny Drew and drummer Elvin Jones, new to New York from Detroit. The underrated Hank Mobley is on tenor saxophone.
  • 0
Aretha Franklin - Take A Look: The Clyde Otis Sessions (1964/2011) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Aretha Franklin
Title: Take A Look: The Clyde Otis Sessions
Genre: R&B, Soul, Soul Jazz, Vocal Pop, Vocal Jazz, Deep Soul, Quiet Storm, Southern Soul, Black Gospel
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1964/2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:54:34
Recorded: 1964 at Columbia Recording Studios

Aretha Franklin has simply been one of the greatest singers of the modern generation, and whether bringing her powerful, passionate voice to bear on gospel standards, songs from the Great American Songbook, jazz standards, pop ditties, or deep Southern soul and R&B, she has always had the presence -- much like Ray Charles -- to make anything she touches unmistakably hers. Franklin began her career in gospel when she was still a teenager, and her amazing vocal talents, coupled with her fine piano playing, marked her as a once-in-a-lifetime kind of artist, qualities very apparent to legendary talent scout John Hammond, who signed her to Columbia Records. The problem Hammond and Columbia immediately ran into, though, was how to best present that spirited voice to the secular pop world. Between 1960 and 1969 (her first release for the label was actually in 1961), Columbia tried Franklin in a variety of styles and settings, and if none of them exactly caught fire the way her legendary later sides for Atlantic Records would, they still allowed Franklin to explore a lot of avenues, and she was too good a singer not to be at least memorable in all of them. This wonderful box set includes CDs of Franklin's seven full-length albums for the label, two CDs of her work with producers Bobby Scott (in 1963) and Clyde Otis (in 1964), a CD of singles produced by Bob Johnston, plus rarities that were sweetened and released after Franklin left Columbia for Atlantic and a DVD featuring Franklin performing several songs at the piano on The Steve Allen Show in 1964. It’s a tremendous set, and it portrays an artist working her own way toward how to best present herself to the world. We all know she got there. --AllMusic Review by Steve Leggett (Take a Look: Aretha Franklin Complete on Columbia)
  • 0
Aretha Franklin - Runnin' Out Of Fools (1964/2011) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Aretha Franklin
Title: Runnin' Out Of Fools
Genre: R&B, Soul, Soul Jazz, Vocal Pop, Deep Soul
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1964/2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:38:54
Recorded: 1964

Runnin' Out of Fools is the seventh studio album by American singer Aretha Franklin. Runnin Out Of Fools is the birth of Aretha Franklin's soulful sound – a real change from the jazzier sound of her first two albums for Columbia, and a set that really shows some great sides of her talents! Arrangements are by Belford Hendricks, who creates an uptown-styled sort of sound – one that has fuller strings and a bit of backing vocals, but also a nice little groove at the bottom – territory that's somewhere between the country soul of the early 60s, and some of the tighter New York soul that was on the rise. Aretha's vocals are great – heartbreaking one minute, proud and righteous the next – and the album's proof that she was always a wonderful singer, no matter what the setting. Titles include 'Mockingbird', 'Walk On By', 'How Glad I Am', 'I Can't Wait Until I See My Baby's Face', 'Runnin' Out Of Fools', and 'One Room Paradise'.
  • 0
Aretha Franklin - The Electrifying Aretha Franklin (1962/2011) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Aretha Franklin
Title: The Electrifying Aretha Franklin
Genre: R&B, Soul, Soul Jazz, Vocal Pop, Vocal Jazz, Deep Soul, Quiet Storm, Southern Soul, Black Gospel
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1962/2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:48:45
Recorded: July 11, 1961; August 16, 1961; November 7, 1961; December 21, 1961; January 25, 1962 at Columbia Recording Studios, New York City, NY

Arethas second album for the Columbia label, The Electrifying Aretha Franklin still found the label unsure as to how to promote the singer, although this album was a step in the right direction.
Producer John Hammond created something of an intimate atmosphere in the studio, yet some of the material would appear to be better suited to the stage. Yet towering above even the mediocre material is Arethas voice, as strong and as powerful then as it would become later in the decade. Tracks like You Made Me Love You may be standards, but they are not standard Aretha Franklin, yet she manages to breathe life into each and every song.
  • 0
Aretha Franklin - Aretha: With The Ray Bryant Combo (1961/2011) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Aretha Franklin
Title: Aretha: With The Ray Bryant Combo
Genre: R&B, Soul, Soul Jazz, Vocal Pop, Deep Soul
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1961/2011
Quality: High-Fidelity FLAC Stereo/Mono 96kHz/24bit
Source: HDTracks
Duration: 01:03:35
Recorded: August 1, 1960 - January 10, 1961 at Columbia Recording Studios, New York City, NY

Aretha: With The Ray Bryant Combo is the second studio album by American singer Aretha Franklin, Released on February 27, 1961 by Columbia Records. The album is Aretha's first release for Columbia, and is also known under its working title Right Now It's Aretha and sometimes simply as Aretha. Following in the footsteps of close friend Sam Cooke, Aretha was "discovered" by famed Columbia Records producer John H. Hammond, who on the cover notes of the 1973 edition of "The Great Aretha Franklin: The First 12 Sides" mentions, that she was in fact recommended by the composer Curtis Reginald Lewis. With the support of her father, Reverend C.L. Franklin, Aretha venured out to New York City's Columbia Record Studios to record her debut album for the label. Hammond paired Aretha Franklin with the Ray Bryant combo and arranger J. Leslie McFarland, while taking charge of the album's production, which was received to mixed reviews.
  • 0
Aretha Franklin - A Bit Of Soul (1965/2011) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Aretha Franklin
Title: A Bit Of Soul
Genre: R&B, Soul, Soul Jazz, Vocal Pop, Vocal Jazz, Deep Soul, Quiet Storm, Southern Soul, Black Gospel
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1965/2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:53:45
Recorded: 1965

Aretha Louise Franklin (born March 25, 1942) is an American singer and musician. Franklin began her career singing gospel at her father, minister C. L. Franklin's church as a child. In 1960, at age 18, Franklin embarked on a secular career, recording for Columbia Records only achieving modest success. Following her signing to Atlantic Records in 1967, Franklin achieved commercial acclaim and success with songs such as 'Respect', '(You Make Me Feel Like) A Natural Woman' and 'Think'. These hits and more helped her to gain the title The Queen of Soul by the end of the 1960s decade.
  • 0
Bela Bartok - Duke Bluebeard's Castle - Philharmonia Orchestra, Esa-Pekka Salonen (2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Béla Bartók (1881-1945)
Artist: Michelle DeYoung, John Tomlinson, Philharmonia Voices, Philharmonia Orchestra, Esa-Pekka Salonen
Title: Bartók - Duke Bluebeard's Castle
Genre: Classical
Label: © Signum Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: hyperion-records.co.uk
Duration: 66 minutes 38 seconds
Recorded: November 2011, Konzerthaus, Vienna, Austria

Sir John Tomlinson's world-weary enactment of the tortured Bluebeard is variously available under the batons of James Levine (Munich Philharmonic), Jukka-Pekka Saraste (BBC SO), Richard Fames (Orchestra of Opera North, in English) and Bernard Haitink with the Berlin Philharmonic (1996), Some little while ago I recommended the Haitink version as vocally superior, Levine as the most compelling interpretation and the BBC SO Prom as a valuable memento of an occasion that many will doubtless want to revisit. Salonen's memorable reading was recorded live at tile Vienna Konzerthaus on November 8, 2011, and for those who care about broken spells, I'm happy to report that there is no spell-breaking applause at the end of the performance. I wasn't sure about Juliet Stevenson's Listen with Mother-style delivery of the spoken Prologue - too polite by half - but as soon as Salonen cues the score's reptilian first bars, just after the one-minute mark, you can sense both a tightening of tension and Salonen's natural grasp of Bartok's richly suggestive tone-poetry. Tomlinson himself tends to favour a dry, 'lowing' delivery, at times suspending vibrato. Try 3'11" into track 1, where he invites Judith to answer his request to join him; and when he repeats his invitation, he seems almost desperate - needlessly, as it happens, because Michelle DeYoung sounds more than willing. Thereafter, Salonen pushes for some fierce accents while keeping the undulating Prologue restlessly on the move. Tomlinson suggests real menace when he asks Judith why she made the visit (track 1, 8'54"); and when she hammers on the first door three minutes later, the Philharmonia Voices do their bit with a ghostly sigh. As the subsequent doors open, Salonen and his players take centre stage, the instruments of torture sounding almost graphic in their impact, before the pace dips and the sunrise temporarily breaks through. DeYoung is at her best as she glides effortlessly among the flora and fauna of Bluebeard's garden, while her lacerating C as the fifth door flies open to reveal Bluebeard's vast and beautiful kingdom is breathtaking. There's a very audible organ, too. The final climax is overwhelming because Salonen understands so well how the music must simultaneously rise to greet her and express Judith's tragedy. Sound-wise, the score's vast dynamic curve is truthfully reproduced and while I would unhesitatingly recommend this recording for the sake of Michelle DeYoung, Salonen and the Philharmonia, Sir John's post-prime Bluebeard, although rich in drama and theatrical presence, can't compare with the best of his former selves, most notably under Bernard Haitink, with Anne Sofie von Otter and the Berlin Philharmonic on EMI. For opera-in-English fans, the Farnes recording is pretty impressive, too. --Gramophone, Rob Cowan, July 2014
  • 0
Baden Powell - Images on Guitar (1971/2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Baden Powell
Title: Images on Guitar
Genre: Jazz, Bossa Nova, Brazilian Traditions, Samba, Brazilian Jazz, Soul Jazz, Latin Jazz, Vocal Jazz, Guitar jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: DSD64
Duration: 41:35
Recorded: October 25 & 26, 1971, MPS-Studio, Villingen, Black Forrest, Germany


Crowned with one of the most fanciful covers in the entire MPS catalogue, this October 1971 Baden Powell recording heralded in the second trilogy of the six LPs he recorded for the label between 1966 and 1975. Fueled by his artistic partnership with writer-producer Joachim Ernst Berendt (Berendt helped further Powell’s European career by inviting him to play at the Berlin Jazz Festival in 1967), Powell was without a doubt the most inventive Brazilian guitarist of the period. On this album Powell and his new quartet sketch the sound tableaus that color the background for French singer Janine Waleyne. The singer had partnered with the likes of Stan Getz and Michel Legrand. For Powell she was an ideal counterpart to his guitar playing. The journey begins with the sedate, almost somber samba “Até-Eu”. With its wandering nocturnal melancholy “Violão Vagabundo” follows a similar musical path. There’s a funky feel to the popular hit “Blues À Volonté”. It also harbors one of the most brilliant scat choruses to be heard between Rio, Paris, and Baden-Baden. The theatrical finesse of “Images” insures that virtuoso solo interludes shine between the vocal pieces. This is where we find the LP’s other famous pieces – the classy “Petit Waltz” with its capricious, careening rhythms in the second section, and “Conversação Comigo Mesmo” (conversation with myself), a fantastic hybrid of choro and baroque with a percussive foundation. The unpretentious serenade “Sentimentos” presents Powell as a profound lyricist; and “É De Lei” is a tongue-in-cheek celebration of chromatics. With its intensive dialogue between rock-oriented improvisation and a magical sensuousness, “Canto” closes out this richly colored album.
  • 80
Baden Powell - Images on Guitar (1971/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Baden Powell
Title: Images on Guitar
Genre: Jazz, Bossa Nova, Brazilian Traditions, Samba, Brazilian Jazz, Soul Jazz, Latin Jazz, Vocal Jazz, Guitar jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1971/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: highresaudio.com
Duration: 41:35
Recorded: October 25 & 26, 1971, MPS-Studio, Villingen, Black Forrest, Germany

Crowned with one of the most fanciful covers in the entire MPS catalogue, this October 1971 Baden Powell recording heralded in the second trilogy of the six LPs he recorded for the label between 1966 and 1975. Fueled by his artistic partnership with writer-producer Joachim Ernst Berendt (Berendt helped further Powell’s European career by inviting him to play at the Berlin Jazz Festival in 1967), Powell was without a doubt the most inventive Brazilian guitarist of the period. On this album Powell and his new quartet sketch the sound tableaus that color the background for French singer Janine Waleyne. The singer had partnered with the likes of Stan Getz and Michel Legrand. For Powell she was an ideal counterpart to his guitar playing. The journey begins with the sedate, almost somber samba “Até-Eu”. With its wandering nocturnal melancholy “Violão Vagabundo” follows a similar musical path. There’s a funky feel to the popular hit “Blues À Volonté”. It also harbors one of the most brilliant scat choruses to be heard between Rio, Paris, and Baden-Baden. The theatrical finesse of “Images” insures that virtuoso solo interludes shine between the vocal pieces. This is where we find the LP’s other famous pieces – the classy “Petit Waltz” with its capricious, careening rhythms in the second section, and “Conversação Comigo Mesmo” (conversation with myself), a fantastic hybrid of choro and baroque with a percussive foundation. The unpretentious serenade “Sentimentos” presents Powell as a profound lyricist; and “É De Lei” is a tongue-in-cheek celebration of chromatics. With its intensive dialogue between rock-oriented improvisation and a magical sensuousness, “Canto” closes out this richly colored album.
  • 0
Dear visitor, you have not login. We recommend you to REGISTER and LOGIN to gain access to the full resource on our website.