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Norah Jones - Day Breaks (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Norah Jones
Title: Day Breaks
Genre: Jazz, Vocal Jazz, Torch Songs, Jazz Blues, Singer/Songwriter
Label: © Blue Note Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:48:55
Recorded: 2015


Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described “moody little record” that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 Grammy Awards and signaling a paradigm shift away from the prevailing pop music of the time. Since then, Norah has sold over 45 million albums worldwide and become a 9-time Grammy-winner. She has released a series of critically acclaimed and commercially successful solo albums—Feels Like Home (2004), Not Too Late (2007), The Fall (2009), and Little Broken Hearts (2012)—as well as albums with her collective bands The Little Willies and Puss N Boots. The 2010 compilation …Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Little Broken Hearts, which was produced by Danger Mouse, was a fascinating step in the artistic evolution of one of the music world’s most consistently intriguing singer-songwriters.
However, when Norah first moved from Texas to New York City in the Summer of 1999 it was with the hope of being a jazz singer, and she quickly found gigs singing jazz standards in restaurants and clubs around town. Around the same time she met Jesse Harris (who would collaborate on her debut album and write her breakout song “Don’t Know Why”) and soon fell into the singer-songwriter scene at the Living Room on Manhattan’s Lower East Side. By the time she recorded Come Away With Me her sound had changed direction and evolved into something much broader and more her own. But her jazz influences—from Bill Evans and Miles Davis to Billie Holiday and Nina Simone—have always remained.
In 2014, Norah travelled to Washington DC to take part in the Kennedy Center’s historic “Blue Note at 75” concert celebrating the 75th anniversary of the legendary label that Norah has called home since the late Bruce Lundvall signed her in 2000. Surrounded by a family of Blue Note musicians including McCoy Tyner, Wayne Shorter, Dr. Lonnie Smith, Robert Glasper and others, Norah was inspired. After performing a gorgeous solo piano rendition of Hoagy Carmichael’s “The Nearness of You” she was joined by what she referred to on-stage as “one of the best bands I’ve ever played with” featuring Shorter on saxophone, Brian Blade on drums, John Patitucci on bass, and Jason Moran on piano for a stunning version of the Jesse Harris song “I’ve Got To See You Again” that appeared on Come Away With Me. That thrilling experience planted a seed…
Now Norah has come full circle with Day Breaks, a remarkable new album that finds her returning to her jazz roots while also proving her to be this era’s quintessential American artist, the purveyor of an unmistakably unique sound that weaves together the threads of several bedrock styles of American music: country, folk, rock, soul, jazz. Day Breaks is a kindred spirit to Come Away With Me, though it is unquestionably the work of a mature artist who has lived life and grown immensely in her craft. The album features jazz luminaries including saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade who played on Norah’s debut album and became the backbone (and backbeat) of the new album. Day Breaks is a set of 9 originals written or co-written by Norah with collaborators Sarah Oda and Pete Remm whose themes range from love in all its guises to the socio-political, as well as 3 covers of songs by Horace Silver (“Peace”), Duke Ellington (“Fleurette Africaine”) and Neil Young (“Don’t Be Denied”).
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Carl Nielsen - Violin, Flute & Clarinet Concertos - New York Philharmonic Orchestra, Alan Gilbert (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Carl Nielsen (1865–1931)
Artist: New York Philharmonic Orchestra, Alan Gilbert
Title: Nielsen: Violin Concerto, op.33; Flute Concerto, FS 119; Clarinet Concerto, op.129
Genre: Classical
Label: © Dacapo Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: ProStudioMasters
Duration: 01:17:16
Recorded: Avery Fisher Hall, Lincoln Center, New York City, 10–13 October 2012 (Violin and Flute Concertos)
and 7–10 & 13 January 2015 (Clarinet Concerto)


CREEP INTO THE SOULS OF THE INSTRUMENTS :: Carl Nielsen’s three solo concertos, along with his six symphonies, constitute the core of his orchestral music. Like the symphonies, each of the three concertos relates to the classical tradition in its own way. At the same time they show how Carl Nielsen developed, and increasingly distanced himself from the conventions. “I began by composing with the piano, later rearranging for the orchestra. The next stage was that I wrote my score directly for the instruments. Now I think in terms of the instruments themselves – I sort of creep into their souls,” said Carl Nielsen at the age of 60. It is this personification of the instruments that makes the three solo concertos so individual. In the Violin Concerto there is moreover a quite personal empathy with the solo instrument, because Nielsen was originally a violinist himself.
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Carl Nielsen - Symphonies Nos. 1 & 4 - New York Philharmonic Orchestra, Alan Gilbert (2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Carl Nielsen (1865-1931)
Artist: New York Philharmonic Orchestra, Alan Gilbert
Title: Nielsen - Symphonies Nos. 1 & 4
Genre: Classical
Label: © Dacapo Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: dacapo-records.dk
Duration: 01:09:20
Recorded: Avery Fisher Hall, Lincoln Center, New York City, 12-15 March 2014


Ruthless but innocent – like a child playing with dynamite. This was how Carl Nielsen’s Symphony No. 1 was described in the Danish press after the first performance in 1894.
The formulation drives home the unorthodox features of Carl Nielsen that make him such a unique composer: the polarities of tradition and the modern, popularity and experiment, the playful and the brutal. If you appreciate this complexity you have the key to one of the wildest and most dynamic composers of early modernism.
While Carl Nielsen’s music comes from the periphery of Europe, it is quite in its nature that the New York Philharmonic and its Music Director Alan Gilbert are now positioning it in the globalized throng of humanity that is the USA. That the music is full of Nordic features does not mean that it is chilly. There has to be full steam on the boilers, for Nielsen’s music has great physical energy and must be played without pulling any punches. “I think it’s really full-blooded, passionate, dramatic and ultimately human music. That’s what I’m going for, and that’s what the Philharmonic is good at,” says Alan Gilbert.
After living in Scandinavia for some years Alan Gilbert knows the roots of the music. “Carl Nielsen’s music is based on classic Germanic traditions, but it’s just so Danish! Strong, beautiful and independent,” he says.
So what are the origins of this music? Throughout his life Carl Nielsen stressed his roots in the countryside. Born in 1865, the son of a village painter and folk musician on the island of Funen, he grew up in poverty. He was taught to play the violin and trumpet by his father, who also took him along to a local music society, the only place in the surroundings where one could hear some classical music.
The family could not afford to pay for an education, so at the age of 14 Carl Nielsen got work as a regimental musician. The wages were a few coins and a four-kilo loaf of rye bread. But in the Danish provinces people felt a sense of implied inferiority when local talent went to waste. So benefactors in Odense clubbed together to send the boy to Copenhagen (as had happened to his fellow-townsman Hans Christian Andersen a few generations earlier). Nielsen was admitted to the Academy of Music as a violinist, and in 1889 he won the competition for a permanent position in the Royal Danish Orchestra. In just ten years he had progressed from hopeless poverty to the cultural elite of the capital.
Carl Nielsen was part of a development in society where the rural population emerged as the body and soul of democratic Denmark. The capital was full of Nielsens, Jensens and Petersens who arrived in a wave of enthusiasm about the future. The anaemic and delicate was to be replaced by the wholesome and bold. Bricks rather than marble. Wholemeal bread rather than cream cakes. And often with an admixture of zestful, wry humour. As has been pointed out, Danish music is rarely 100% serious, and Carl Nielsen clearly represented the attitude that you have to laugh – not least at yourself. Once you have seen photos of the composer’s droll look, you know that side of him was fundamental to his personality.
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Carl Nielsen - Symphonies Nos. 5 & 6 - New York Philharmonic Orchestra, Alan Gilbert (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Carl Nielsen (1865-1931)
Artist: New York Philharmonic Orchestra, Alan Gilbert
Title: Nielsen - Symphonies Nos. 5 & 6
Genre: Classical
Label: © Dacapo Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: dacapo-records.dk
Duration: 01:11:25
Recorded: Avery Fisher Hall, Lincoln Center, New York City, 1-3 October 2014

Carl Nielsen wrote six unorthodox symphonies. None of them follows the standards of his time for a sym­phony. And then there is Carl Nielsen’s deeply original musical language – idiosyncratic, straightforward and visionary all at once. That makes his music difficult to place in the usual stylistic and historical cate­gories.
“It’s very difficult to pin Nielsen down”, says Alan Gilbert, the music director of the New York Philharmonic. “His music can be exciting and fun, but also bleak and austere. He likes to juxtapose really contrasting images, and sudden switches are characteristic. What’s coming next? I like to read it that he is painting a picture of life.”
Carl Nielsen came from the periphery in two ways: he was a Dane, on the margins of Europe, and as a village child he grew up far from the professional musical life of the capital. He was born on Funen in 1865, the son of a village painter and folk musician, who taught him to play violin and trumpet.
The family could not afford to pay for an education, so at the age of 14 Carl Nielsen got work as a regimental musician. The wages were a few coins and a four-kilo loaf of rye bread. But in the Danish provinces people felt a sense of implied inferiority when local talent went to waste, so benefactors in Odense clubbed together to send the boy to Copenhagen (as had happened to his fellow-townsman Hans Christian Andersen a few generations earlier). Nielsen was admitted to the Academy of Music as a violinist, and in 1889 he won the competition for a permanent position in the Royal Danish Orchestra. In just ten years he had progressed from hopeless poverty to the cultural elite of the capital.
A powerful drive prevented Carl Nielsen from staying in one place too long at a time. In 1905 he resigned from his orchestral post to concentrate on composing. Musically, he sought out new paths right up to his death, even after winning wide recognition at a mature age. His last two symphonies complete the picture of Nielsen’s artistic development, which remained far ahead of his surroundings – cost what it might.
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Neil Diamond - Brother Love's Travelling Salvation Show (1969/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Neil Diamond
Title: Brother Love's Travelling Salvation Show
Genre: Pop Rock, Soft Rock, AM Pop, Ballad, Singer/Songwriter
Label: © Geffen Records
Release Date: 1969/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:36:35
Recorded: 1968-1969

Neil Diamond's second album for Uni offered the typical strengths and weaknesses of his LPs for the label. The strengths? A good single (the title track) and a rather remarkable stylistic diversity. The weaknesses? The failure of any of the other tracks to stand out nearly as much as the single, and the feeling that sometimes Diamond was doing something just to prove he could do it, without the quality material to justify the experimentation. Although taken by itself almost any track sounds normal, running all together the record sounds kind of weird. There's a rather respectable Dion-esque bluesy groove on "Dig In" (cool stuttering organ on this one); "River Runs, New Grown Plums" has the stop-start rhythm and crisp AM production of earlier singles like "Kentucky Woman," but isn't as strong a tune. Less impressively, "Long Gone" is tinged with country-rock; "And the Grass Won't Pay No Mind" and "Juliet" are above-average MOR pop; "Hurtin' You Don't Come Easy" is introspective singer/songwriting; and "You're So Sweet Horseflies Keep Hangin' 'Round Your Face" is dumb country satire. At other points, it just sounds like his late-'60s singles, without being strong enough to justify inclusion on a 45. The album was improved considerably when the hit "Sweet Caroline" was added after its initial release, and the title changed to Sweet Caroline: Brother Love's Traveling Salvation Show. --AllMusic Review by Richie Unterberger
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Nancy Ames - As Time Goes By (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Nancy Ames
Title: As Time Goes By
Genre: Pop, Vocal Pop, Vocal Jazz, Swing, Easy Listening
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:31:12
Recorded: 196?

Born in Washington, D.C., Nancy Ames reached the Top 100 twice in 1966; "He Wore the Green Beret," her answer song to Staff Sgt. Barry Sadler's "Ballad of the Green Berets," hit number 89, and later in the year "Cry Softly" also placed in the charts. --Artist Biography by John Bush
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Walter Piston: Symphony No. 6 / Bohuslav Martinu: Fantasies Symphoniques - Boston Symphony Orchestra, Charles Munch (1957/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Composer: Walter Piston (1894-1976), Bohuslav Martinů (1890-1959)
Artist: Boston Symphony Orchestra, Charles Munch
Title: Piston: Symphony No. 6 / Martinu: Fantasies Symphoniques
Genre: Classical
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1957/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: AcousticSounds
Duration: 00:49:25
Recorded: 1957

A genial conductor with a particular gift for French music, Charles Münch extended the Boston Symphony's glory years (begun under the baton of Serge Koussevitzky) into the early '60s. Münch was born in the province of Alsace-Lorraine, which at the time (1891) was controlled by Germany and has long hovered between two cultural worlds. Münch himself benefited from both French and German musical training, and his first important musical posts were in Germany. Yet he came to be regarded as the quintessential French conductor, and his recordings of French repertory with the Boston Symphony remain standards by which others are judged. Münch studied violin at the Strasbourg Conservatory, where his father was a professor, and, from 1912, in Paris with Lucien Capet. As an Alsatian, he was conscripted into the German army at the outbreak of World War I. Gassed and wounded as an artillery sergeant, he nevertheless survived the war through sheer resiliency. In 1919, upon returning to Alsace-Lorraine (now back in French hands), he took French citizenship, and a violin professorship in Strasbourg. Nevertheless, his professional interests soon sent him to Germany; he studied violin with Carl Flesch in Berlin, then moved to Leipzig to take a violin professorship at the conservatory there, and then became concertmaster of the Leipzig Gewandhaus Orchestra from 1926 to 1933, during Furtwängler's tenure.
But it was back in Paris, in 1933, where Münch made his successful conducting debut in a self-financed concert with the Straram Orchestra. He conducted the Paris Orchestre de la Société Philharmonique (1935-1938) and in 1937 was named director of the Société des Concerts du Conservatoire de Paris, a post he held through World War II. Münch introduced many new works, including, in 1945, Messiaen's L'Ascension; he quickly became known as a conductor attentive to music's larger formal structures, as well as details of color and sonority. Despite his allegiances 25 years before, Münch refused to collaborate with the Nazis, and indeed supported the French resistance; he was awarded the Légion d'honneur in 1945.
Münch's career quickly accelerated after the war. In 1946, he made his debut with the Boston Symphony (and several other American orchestras) as a guest conductor, and he toured America with the French National Radio Orchestra in 1948. The following year, he was appointed music director of the Boston Symphony, which he took on an unprecedented tour of the Soviet Union in 1956. Münch retired from the BSO in 1962 but continued to guest conduct, and helped Serge Baudo launch the Orchestre de Paris in 1967. On tour in America with that orchestra, he died the following year.
Münch was easygoing in rehearsal, reluctant to drill the spontaneity out of an orchestra. He was particularly noted as an elegant, colorful interpreter of French music of the nineteenth and twentieth centuries; his recordings of that material with the Boston Symphony for RCA are still regarded as classics of their kind. He was a strong advocate for the Franco-Swiss composers of his own generation, especially Roussel, Milhaud, and Honegger. But he also had a good touch with the conservative contemporary music of other lands, as may be heard in his few but important recordings of Martinu, Piston, and Barber. Indeed, during his Boston years Münch's commitment to American music was almost as strong as his allegiance to new French works. --Artist Biography by James Reel
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Phish - Big Boat (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Phish
Title: Big Boat
Genre: Rock, Jam Rock, American Trad Rock, Alternative/Indie Rock, Neo-Psychedelia, Jazz Rock, Prog Rock
Label: © JEMP Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: livephish.com
Duration: 01:07:19
Recorded: March 2015, Nashville, TN; Burlington, VT

Big Boat is the 13th studio album by the American rock band Phish. Recorded in Nashville, New York and the band's home studio, The Barn, in Vermont, Big Boat was produced with Bob Ezrin — who also successfully helmed the group's best record since the '90s, 2014's Fuego, thanks to a balanced ear for Phish's on-stage exuberance and sonic cohesion. It will be released on October 7, 2016 via JEMP Records/ATO Records.


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Philippe Petrucciani, Nathalie Blanc - Remember Petrucciani (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Philippe Petrucciani, Nathalie Blanc
Title: Remember Petrucciani
Genre: Jazz, Vocal Jazz, Guitar Jazz
Label: © Jazz Village
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:01:59
Recorded: March 3, 4 and 5, 2014 at Studio La Buissonne, Pernes-les-Fontaines, France


His brother, Philippe, and singer Nathalie Blanc bring us this very special album as a tribute to Michel Petrucciani. Philippe often accompanied Michel on guitar. Michel saw his compositions as songs and dreamed of putting words to them. This is a musical portrait of a highly accomplished artist and highlights his gifts as a vocalist who could juggle with words and make them swing. He was an ace on six strings, having grown up listening to Kenny Burrell and Wes Montgomery.
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