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John Ogdon - The Complete RCA Album Collection (2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Various
Artist: John Ogdon
Title: The Complete RCA Album Collection
Genre: Classical
Label: © RCA Red Seal/Sony Music Entertainment
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 04:05:44
Recorded: 1968-1972


Sony Classical releases a six-album collection encompassing John Ogdon’s complete recordings for the RCA Victor label to mark the 25th anniversary of this legendary British pianist’s untimely death in 1989.
Four LPs appear here for the first time on CD, while a 1972 Liszt recital is released for the first time outside of Japan. The repertoire reflects different facets of Ogdon’s large-scale pianism and unusual musical proclivities. From an early age he displayed a passion for Liszt that never abated. His penchant for surmounting the piano repertoire’s most challenging edifices brilliantly manifests itself in Beethoven’s mighty “Hammerklavier” Sonata, Rachmaninoff’s two piano sonatas and the first complete recording of Alkan’s Concerto for Piano Solo.
One album featuring piano music by Carl Nielsen drew attention to this composer’s often undervalued keyboard output, as well as Ogdon’s lifelong curiosity about important works outside the central repertoire. Ogdon’s recording of Peter Mennin’s Piano Concerto and the first of two recordings he made of Richard Yardumian’s Passacaglia, Recitative and Fugue for piano and orchestra also represent the pianist’s fervent advocacy for the music of his time.
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John McEuen - Made In Brooklyn (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: John McEuen
Title: Made In Brooklyn
Genre: Bluegrass, Country, Folk
Label: © Chesky Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:05:03
Recorded: April 5th & 6th, 2016 at The Hirsch Center, Brooklyn, New York

Made in Brooklyn, the new album from Nitty Gritty Dirt Band founder, John McEuen, is coming your way on September 30th via Chesky Records. The album is a time capsule of American Roots music that features guest performances from the likes of Steve Martin, David Bromberg, David Amram, John Carter Cash, and a dozen other well known stars of the genre. Featuring both original material from John, as well as unexpected covers such as Warren Zevon's "Excitable Boy", Made in Brooklyn is a “music-to-your-ears” audio feast.

Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings. Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure cool music ever recorded.
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Idris Muhammad - Power Of Soul (1974/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Idris Muhammad
Title: Power Of Soul
Genre: Jazz, Post Bop, Soul Jazz, Jazz Funk, Fusion
Label: © Kudu/CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1974/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:34:12
Recorded: March, 1974 at Van Gelder Studio, Englewood Cliffs, New Jersey

This album is one of the reasons that Idris Muhammad is regarded as the drumming king of groove. Featuring the arrangements and keyboards of Bob James, the saxophone punch of Grover Washington, Jr., guitarist Joe Beck, trumpeter Randy Brecker, percussionist Ralph MacDonald, and the knife-edge slick production of Creed Taylor, this 1974 issue is a burning piece of deep, jazzy soul and grooved-out bliss. The funk flies fast and heavy, particularly on the title track (Jimi Hendrix's tune), with soaring solos by Grover and James, who fall down in the groove to Muhammad's powerful pace, setting from the heart of the pocket. Beck's own solo is special in that he moves against the tempo just a bit, but that only increases the listener's dependence on the groove of Muhammad. Clocking in at only 34 minutes it's a perfect slice of the raw-onion emotion Muhammad was pulling down at the time. While there isn't a weak track in the four, it's Washington's "Loran's Dance" that takes the cake, even over Hendrix. While the former is dark and heavy, and the immediately preceding tracks by James and Beck, respectively, are light, fancy, free nods to Creed Taylor's hoping for a jazz radio single, it's "Loran's Dance" that showcases not only Washington as an aspiring writer in his own right (this is only a year before Feels So Good and Mr. Magic appeared), but also as a talented interpreter of the edges where jazz and soul come together. James' arrangements are tight, and everybody gets to solo with a little more freedom and grace. Muhammad keeps the pocket wide and Brecker and Washington dance all around in it as James plays the accents furtively. This is some easy-moving, yet musically complex jazz. There is great power in these four tracks to make you move or reflect or just tap your foot while nodding "yeah" at your speakers imperceptibly. --AllMusic Review by Thom Jurek
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Ibrahim Maalouf - Red & Black Light (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Ibrahim Maalouf
Title: Red & Black Light
Genre: Jazz, Fusion, Contemporary Jazz, Jazz Funk, Jazz Rock
Label: © Mi'ster Productions / Impulse! A Division of Universal Music France
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:42:00
Recorded by Florent Bobet at Studio Diasporas (Ivry sur Seine, France). Choirs recorded by Vincent Joinville at Studio Babel (Montreuil, France)


RED & BLACK LIGHT is an ode to the woman of today and her founding, essential role in the hope of a better world. The women in my family have had (and still have today) immense influence on all my work in music. Especially due to the considerable inspiration they give me through the way they cope with their daily lives and that of their entourage. Despite having lives like labyrinths, complex and often dramatic, these women have inside them a strength and stability similar to a kind of unshakeable trance. They give me the impression they never lose sight of what’s essential.
Centred on an aesthetic that’s more contemporary, more electro (or even pop), this album is made up of my own compositions, plus one song from today’s diva Beyonce. Although the writing in these pieces is particularly complex (with polyrhythms in 19, 17 or 27 for example), we arranged them (with the three musicians who play with us) in such a way that you never hear the weight of this writing. So that was how we avoided the traps of elitism and didactic writing, and made an album that’s transparent and limpid, a record for people to dance to, or even sing, but which still has many, many unsuspected themes, harmonies and rhythms superimposed over each other, and whose secrets could be revealed only through a mathematical reading of the album.
Recorded in France in Ivry-sur-Seine with Eric Legnini (keyboards), François Delporte (guitar) and Stephane Galland (drums), this album is above all a desire to represent the importance and necessarily complex nature of things and persons that are essential.
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Hubert Laws - The Rite Of Spring (1971/2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Hubert Laws
Title: The Rite Of Spring
Genre: Jazz, Classical, Crossover Jazz, Hard Bop, Jazz Pop, Contemporary Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1971/2013
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 00:30:50
Recorded: June 8, 10 and 25, 1971 at Van Gelder Studio in Englewood Cliffs, New Jersey


Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster -- except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment. --AllMusic Review by Thom Jurek
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Harry Nilsson - The Point! (1971/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Harry Nilsson
Title: The Point!
Genre: Pop Rock, Soft Rock, AM Pop, Singer/Songwriter
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 39:08
Recorded: 1970

The Point! is the sixth studio album by American songwriter and musician Harry Nilsson, released in 1971. It was accompanied by an animated film adaptation directed by Fred Wolf, which aired a few weeks after the album's release. Its lead single, "Me and My Arrow", peaked at number 34 on the Billboard Hot 100.
The Point! is a fable that tells the story of a boy named Oblio, the only round-headed person in the Pointed Village, where by law everyone and everything must have a point. Nilsson explained his inspiration for The Point!: "I was on acid and I looked at the trees and I realized that they all came to points, and the little branches came to points, and the houses came to point. I thought, 'Oh! Everything has a point, and if it doesn't, then there's a point to it.' "
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Harry Nilsson - Son of Schmilsson (1972/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Harry Nilsson
Title: Son of Schmilsson
Genre: Pop Rock, Soft Rock, AM Pop, Singer/Songwriter
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1972/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 39:08
Recorded: March–April 1972, Trident Studios and Apple Studio, London


Son of Schmilsson is the eighth album by American singer Harry Nilsson. Nilsson was being pressured to produce a follow-up album similar to his 1971 breakthrough, Nilsson Schmilsson, but instead, he created a more eccentric work. The album was produced by Richard Perry and features musical contributions from former Beatles Ringo Starr and George Harrison. Other musicians on the recording include Nicky Hopkins, Klaus Voormann, Bobby Keys and Peter Frampton. Among the album's tracks are "You're Breakin' My Heart" and the US hit "Spaceman".
Most of the sessions were extensively filmed, at the request of Nilsson. The footage was to be used for a planned documentary, titled Did Somebody Drop His Mouse?, but the film was never released.
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Roy Harris, John Adams - Violin Concertos - Tamsin Waley-Cohen, BBC Symphony Orchestra, Andrew Litton (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Roy Harris (1898-1979), John Adams (b.1947)
Artist: Tamsin Waley-Cohen, BBC Symphony Orchestra, Andrew Litton
Title: Roy Harris, John Adams: Violin Concertos
Genre: Classical
Label: © Signum Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:02:20
Recorded: 4th to 6th April 2016 in Studio 1, BBC Maida Vale, London, UK


Violinist Tamsin Waley-Cohen continues her series of concerto recordings on Signum with two contrasting works by American composers.
Already considered by many to be a modern classic, John Adams 1993 Violin Concerto was described by the composer as having a ‘hypermelody’, in which the soloist plays longs phrases without stop for the duration of the 35 minute piece.
Although composed in 1949, the first performance of Roy Harris’ Violin Concerto didn’t occur until 1984. Since then it has been championed for its “luminous orchestration and exalted tone" and has been rarely recorded.
For this recording Tamsin Waley-Cohen is joined by the BBC Symphony Orchestra under American conductor Andrew Litton.
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Harold Bradley - Guitar for Lovers Only (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Harold Bradley
Title: Guitar for Lovers Only
Genre: Pop, Traditional Pop, Easy Listening, Guitar Virtuoso
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:35:09
Recorded: 196?


Want to meet her Dadley...okay, another real stretch at a pun...but if you did love her madly, this Harold Bradley album just might be an appropriate backdrop. I won't pull any punches here, this is music that many would simply tag as easy listening. I found this on eBay several years ago and had no idea what to expect other than the hope that there might be some masterful guitar playing to enjoy. Then, when I ripped it I was a bit disappointed at the unusually reserved playing and also had a lot of LP noise on my vinyl. So I never thought to post it and haven't listened to it again. That is until I just today broke down and got the 'ClickRepair' software that has been touted so highly of late. And now, well, it's certainly cleaned up a lot, and now I kind of like this collection of pretty tunes. Yes, it includes beautiful voices and strings lusciously arranged and conducted by Bill McElhiney, and yes, Harold's playing is decidedly deliberate and at times almost painfully slow. But, as the title suggests, this is supposed to be romantic, mood music of sorts, and as such, it has its moments and generally provides some very nice guitar sounds for the intended mood. I know very little about Harold Bradley except that he was apparently a very successful guitarist during the 50's and 60's and beyond. According to the liner notes he was particularly busy as an accompanist to many pop-country artists like Brenda Lee, Connie Francis, Red Foley, Burl Ives, Patti Page, Anita Bryant and Ann Margret. He seems to have country roots but clearly understands the jazz sensibilities as he pretty much displays throughout this album of jazz-pop standards. He makes the guitar sound beautiful and every so often adds a nice run of single notes to bridge his pleasant 'chordings'.
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Hank Crawford - Wildflower (1973/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Hank Crawford
Title: Wildflower
Genre: Jazz, Jazz Funk, Soul Jazz, Crossover Jazz, Saxophone Jazz
Label: © Kudu/CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1973/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:31:30
Recorded: June 28 & 29, 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey


Hank Crawford's '60s sides for Atlantic rightfully established him among the preeminent soul-jazz saxophonists. For pure phrasing and feel, Crawford was in a class by himself. When Creed Taylor kicked off CTI in 1970, he brought Crawford on board immediately. This date from 1973 -- one of eight cut between 1971 and 1978 -- is Crawford's strongest for the label and one of the better records of his career, though jazz purists would never agree. Produced and arranged by Bob James with a smoking cast that includes Joe Beck, Idris Muhammad, Richard Tee, and Bob Cranshaw, as well as a brass section of crack New York studio cats, Wildflower is the album Crawford had been trying to make since 1971. Recorded in two days, the band provides a slick, right, colorful platform for Crawford's melodic improvisation that is rooted in the art of the phrase. One long note held on "Mr. Blues" or a series of carefully articulated verbal feelings, such as on "Corazon," may not step out of the groove, but make it both a deeper blue and as wide as the human heart's complexity. On the title cut, with a vocal chorus in the background, Crawford turns a pop melody into a torrent of raw emotionalism and savvy groove-conscious glory. James' charts are big but never obtrusive; they point in one direction only, to bring that huge soul sound out of Crawford's alto -- check out the way the melody line breaks down into the solo in Stevie Wonder's "You've Got It Bad Girl," or the backbeat arpeggio exercises in "Good Morning Heartache." This record is so hot the only soul-jazz it can be compared to in both its contemporary form and funky feel are Grover Washington's Feels So Good and Mister Magic issues. In other words, Crawford's Wildflower is indispensable as a shining example of '70s groove jazz at its best. --AllMusic Review by Thom Jurek
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