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Elvis Presley - Elvis Is Back! (1960/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Elvis Presley
Title: Elvis Is Back!
Genre: Pop Rock, Rhythm & Blues, Rock & Roll, AM Pop
Label: © RCA Records, a division of Sony Music Entertainment/Analogue Productions XAPP2231D64
Release Date: 1960/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:32:26
Recorded: March–April 1960, RCA Studio B, Nashville, Tennessee

Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
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Edward Elgar - Enigma Variations; Vaughan Williams - The Wasps; Greensleeves - Michael Stern, Kansas City Symphony (2013) High-Fidelity FLAC Stereo 24bit/176,4kHz

Сomposer: Ralph Vaughn Williams (1872-1958), Sir Edward Elgar (1857-1934)
Artist: Michael Stern, Kansas City Symphony
Title: Elgar: Enigma Variations; Vaughan Williams: The Wasps; Greensleeves
Genre: Classical
Label: © Reference Recordings
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 176,4kHz/24bit
Source: AcousticSounds
Duration: 01:01:11
Recorded: May 4–6, 2011 Community of Christ Auditorium, Independence, Missouri

ClassicsToday Review by David Hurwitz :: The universe is not exactly desperate for more recordings of this repertoire, but this one, surprising as it might seem, is pretty excellent. Michael Stern and his Kansas City Symphony take to the music as if to the manner born. The Wasps, here given as the complete suite and not just the overture, is delightful. Perhaps the only slight miscalculation in the entire performance is the overly swift March Past of the Kitchen Utensils, which loses some of its comic swagger at Stern’s tempo. Otherwise the overture and (especially) the Ballet and Final Tableau offer pure enjoyment from start to finish. The Fantasia on Greensleeves, un-killable in just about any circumstances, sounds just fine as well.
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Antonin Dvorak - Violin Concerto - Jan Mracek, Czech National Symphony Orchestra, James Judd (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Antonín Dvořák (1841–1904)
Artist: Jan Mrácek, Czech National Symphony Orchestra, James Judd
Title: Dvořák - Violin Concerto
Genre: Classical
Label: © Onyx Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:07:27
Recorded: CNSO Recording Studios, Prague, Czech Republic, 19 & 20 November 2015

"Jan is a worthy winner. He has fascinated us from the first round. Not only with his technical skills, but also with his charisma on stage" the chairman of the jury of the 2014 Fritz Kreisler Competition announced after Mrácek’s performance with the Vienna Philharmonic Orchestra was met with thunderous applause. Prior to this Mrácek has studied with the great Czech master Václav Hudecek, as well as with Levon Chilingirian, Gavriel Lipkind and Ida Haendel.
For his debut CD, Jan Mrácek has chosen an all Czech programme devoted to Dvorák. The violin concerto sits on the margins of that exclusive club of 'great' concertos but this is to misunderstand the originality and genius of this concerto, dedicated to Joseph Joachim, written by a superb violinist with a deep understanding of the capabilities of his instrument.
The easy charm and lyricism of the music has always appealed to the public. The haunting 'Romance in F' originally formed the slow movement of an early String Quartet Op. 9, and has the ability to stick in the listener’s memory long after the music has stopped. 'Mazurek' Op.49 was dedicated to Pablo de Sarasate and is typical of Dvorak’s Slavonic style. The 'Four Romantic Pieces' Op. 75 were composed for a group of friends of varying musical abilities, and are charming, easy-going works.
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Duke Ellington - Blues In Orbit (1960/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Duke Ellington
Title: Blues In Orbit
Genre: Jazz, Big Band, Swing
Label: © Columbia Records, a division of Sony Music Entertainment/Analogue Productions XAPJ056D64
Release Date: 1960/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:36:27
Recorded: Columbia's 30th Street Studio, New York City, February 25, 1959 & December 2-3, 1959; Radio Recorders, Los Angeles, February 4 & February 12, 1958. Remastered by Bernie Grundman from the original analog tapes.


Blues In Orbit captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter.
Ellington and company were just back from a European tour when the bulk of this album was recorded. All of the takes were recorded during after midnight sessions recorded over two nights starting on December 2, 1959 in New York at Columbia Record's studio on East 30th Street. Each night Duke's late dinner arrived at 2 a.m. - a sizzling steak, a pot of coffee with lemons in it, portions of American cheese, and grapefruits. After dinner, and a breather for the band, the sessions finished around dawn in a swinging fashion.
Arrangements that had to be hastily written out when the copyist failed to appear for the gig. So on the one hand, the band was kicking back with these shorter pieces; on the other, the group was also improvising freely and intensely at various points. The title track, recorded more than a year before most of the rest, is a slow blues that puts Ellington's piano into a call-and-response setting with the horns, with Ellington getting in the last word.
If you're just getting into jazz, this album is highly recommended as a great way to initiate your collection.
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Chopin, Liszt - Piano Concertos - Martha Argerich, LSO, Claudio Abbado (1968/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Frédéric Chopin (1810-1849), Franz Liszt (1811-1886)
Artist: Martha Argerich, LSO, Claudio Abbado
Title: Chopin, Liszt - Piano Concertos
Genre: Classical
Label: © Deutsche Grammophon GmbH
Release Date: 1968/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 55:40
Recorded: 1968

Classical masterpiece: Frederic Chopin and Franz Liszt were both piano virtuosi of the highest order. So it's no surprise to find that their concertos were composed as vehicles for them to flaunt their digital wizardry -- though the two masters strutted their stuff in very different ways. Chopin adored the bel canto operas of Bellini and Donizetti, and both his concertos are like extended operatic scenes in which the piano acts the role of the prima donna, and the pianist is required to play the music with a limpid, singing tone and supple phrasing. Liszt's performances were much more of a spectacle; supposedly, his bravura displays had similar effect on women as Elvis Presley's gyrating hips would about a century later. In his Concerto No. 1, the pianist must thunder up and down the keyboard as well as dazzle in dizzying flurries of notes. In both concertos, the orchestra is there primarily to provide a solid, ornamental frame for the soloist. Martha Argerich's playing probably would have knocked the socks off of Chopin, Liszt, or any other 19th-century virtuoso, for that matter. She can thunder and dazzle with the best of 'em -- and she does so thrillingly in this performance of the Liszt Concerto. She also plays Chopin with melting beauty, which is perhaps one reason why this recording helped to gain Argerich a cultlike following.
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Frederic Chopin - Preludes, Piano Sonata No.2 - Martha Argerich (1977/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Frédéric Chopin (1810 -1849)
Artist: Martha Argerich
Title: Chopin - Préludes, Piano Sonata No.2
Genre: Classical
Label: © Deutsche Grammophon GmbH
Release Date: 1975/1977/2002/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:01:26
Recorded: 1974, 1977

"... (her) way with the 24 Préludes achieves a storm of contradictions. Mood follows mood, flashing and alternating like the play of the elements themselves ... her overall response could hardly be more vivid." --Gramophone

"At her most explosive in 1975, Argerich conveys the originality of the Sonata to perfection. Yes, she may play fast and loose with some of the composer's instructions, but when it's done with such conviction it seems entirely apt." --BBC Music Magazine
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Catherine Ribeiro + Alpes - Paix (1972/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Catherine Ribeiro + Alpes
Title: Paix
Genre: Rock, Folk Rock, Art Rock, Progressive Rock
Label: © Mercury Music Group
Release Date: 1972/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:46:34
Recorded: 1972

Her fourth album, Paix, is one of Catherine Ribeiro's more intense recordings. The band is less folkish on this outing and veering more into space rock, with a sound that is even more cosmic, especially on the 15-minute title track as well as the 24-minute "'Un Jour la Mort" that fills side two. Both tracks contain long instrumental passages with multi-layered keyboard and guitar soundscapes over pulsing percussion, as well as some of Ribeiro's more gutsy and emotional singing (especially on "Paix," where at some places she is practically screaming). "Jusqu'a Ce Que la Force" is a short moody piece, while "Roc Alpin," on the other hand, is joyful, with an upbeat rhythm and playful melody that Ribeiro vocalizes wordlessly. Her second album, simply titled N. 2, is just as good but almost impossible to track down, so Paix is probably the best place to start. --AllMusic Review by Rolf Semprebon
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Catherine Ribeiro + Alpes - Ame Debout (1971/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Catherine Ribeiro + Alpes
Title: Âme Debout
Genre: Rock, Folk Rock, Art Rock, Progressive Rock
Label: © Mercury Music Group
Release Date: 1971/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:35:09
Recorded: 1971

French progressive rock singer Catherine Ribeiro and her band Alpes released Âme debout in 1971, their third record together and one of several of their '70s albums now considered classics. Despite its influence and critical acclaim, Ribeiro's music has been hard to find in English speaking countries for many years.
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Dominique Pifarely Quartet - Trace provisoire (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Dominique Pifarély Quartet
Title: Tracé provisoire
Genre: Jazz, Modern Jazz, Avant-Garde, Contemporary Jazz
Label: © ECM Records GmbH
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:57:01
Recorded: Studios La Buissonne, Studios La Buissonne, Pernes-les-Fontaines, France in July 2015

Last year ECM issued Time Before And Time After, Dominique Pifarély’s richly creative solo recital. Now comes Tracé provisoire, a bracing quartet album, which provides a marvellous context for the wider range of the French violinist’s expression. Pifarély, as long-time followers are aware, is a musician who thrives in the unstable territory between improvisation and composition, and his pieces here establish ideas, structural elements and themes which encourage textural, lyrical and abstract improvising to develop in the moment. The interplay amongst the players is dynamic, exploratory and engaging, inspiring Dominique to fine and differentiated soloing. If the line-up of violin, piano, bass and drums appears more ‘jazz-like’ than some of Pifarély’s earlier ensembles, appearances can be deceptive. Jazz is certainly part of the story, but the band scarcely stays in one place long enough to be pigeonholed. The free movement of energy is central to the music, which incorporates group improvising, luminous counterpoint, intense inner pulsations and open, lyrical expanses.
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Diana Ross - Touch Me In The Morning (1973/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Diana Ross
Title: Touch Me In The Morning
Genre: R&B, Soul, Smooth Soul, AM Pop, Pop Soul
Label: © Motown Records, a Division of UMG Recordings, Inc.
Release Date: 1973/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:36:11
Recorded: 1972–1973

Arriving after Lady Sings the Blues, Touch Me in the Morning trades easily on Diana Ross’ status as a superstar. Grandiose and slick without being cloying, soft and seductive while retaining soul, the album veers away from R&B toward adult contemporary, a sound fitting a cross-platform, cross-genre star such as Ross, and the telling thing about Touch Me in the Morning is that for as soft as its surfaces are, this isn’t quite a makeout record thanks in part to the trace DNA from its origins as a concept album Diana Ross conceived for her children. This record, fittingly called To the Baby, didn’t appear until Hip-O Select reissued Touch Me in the Morning as an expanded double-disc Expanded Edition in 2010, whereupon it was easy to see just how much the two albums shared: “Brown Baby” shows up as its own track, “My Baby (My Baby My Own),” while “Imagine” is part of the medley with “Save the Children.” Apart from such specifics, the overall tone is indeed similar, particularly in how the music is sentimental without being syrupy, pushing the idea of Diana as a diva who can do it all, but there is a reason why To the Baby was scrapped in favor of Touch Me in the Morning: it lacked a single as sweeping as “Touch Me in the Morning” itself, a signal that it was just slightly too inward-looking to sustain Ross’ monumental success. Sensing that, Berry Gordy once again displayed remarkable commercial instincts, rejiggering the project just enough to turn the LP into something rich, gorgeous, and romantic, something of a slow-dance classic, something that To the Baby, no matter how sincere and interesting it was, couldn’t quite be. --AllMusic Review by Stephen Thomas Erlewine
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