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Paul Kuhn with John Clayton & Jeff Hamilton - The L.A. Session (2013/2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Paul Kuhn with John Clayton & Jeff Hamilton -
Title: The L.A. Session
Genre: Jazz
Label: © In+Out Records GmbH
Release Date: 2013/2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 49:16
Recorded: November 08th & 09th 2011, Capitol Studios, Los Angeles


The L.A. Session' by the veteran German jazz pianist and vocalist Paul Kuhn was recorded at the legendary Capitol Studios in Los Angeles. Backed by an A-list rhythm section - drummer Jeff Hamilton and bassist John Clayton - he performs a set of classic jazz standards as well as two of his own compositions. With his unmistakable sense of rhythm and melody, Kuhn appears to absorb each individual note and transforms it into a very special art of timeless swing.
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Paul Kuhn & The Best - As Time Goes By (2008/2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Paul Kuhn & The Best
Title: As Time Goes By
Genre: Jazz
Label: © IN+OUT Records
Release Date: 2008/2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 01:03:14
Recorded: August 15-30, 2007

Er ist einer der größten, vielseitigsten und rührigsten Musiker der deutschen Nachkriegsgeschichte. Wer den Namen Paul Kuhn erwähnt, wird in fast jedem Menschen des deutschsprachigen Raums Bilder und Töne zum 'Swingen' bringen. Dass der Mann am Klavier am 12. März des kommenden Jahres 80 Jahre alt wird, ist für ihn wie für uns ein großes Geschenk.
Es war stets das Bedürfnis des Vollblut-Entertainers Paul Kuhn, sein Publikum an Jubiläen teilhaben zu lassen. Zu seinem Achtzigsten erfüllt er sich nun den lang gehegten Wunsch, sein Trio (mit Martin Gjakonovski (Bass) und Willy Ketzer (Schlagzeug)) und die Musiker der Paul Kuhn & The Best - Band (Ack van Rooyen / Claus Reichstaller (Trompete), Peter Weniger / Gustl Mayer (Saxofon), Jiggs Whigham (Posaune), Tom Wohlert (Gitarre)) zu einer opulenten Streicher-Begleitung zu präsentieren. Diese steuert nicht irgendein Klangkörper bei: Für die Geburtstagstournee wurde kein Geringerer als das legendäre Deutsche Filmorchester Babelsberg gewonnen - ein Garant für einen wunderbaren Abend, an dem er selbst die Leitung übernahm, und elegante Strings mit dem typisch Kuhn'schen Swing verschmelzen.
Im August 2007 wurde Paul Kuhn's neue CD mit neuen oder neu eingespielten Songs wie 'Almost The Blues', 'As Time Goes By', 'A Child Is Born' oder 'That Old Feeling' und vielen anderen an der historischen Wirkungsstätte des Filmorchesters, im ehemaligen Funkhaus Berlin in der Nalepastraße aufgenommen.
'Alle swingen nach Herzenslust, hie und da singt der jung gebliebene Jubilar mit char- manter Stimme. Dieses Geburtstagsalbum in frischem Sound verbindet Nostalgie, Entertainment und Drive.'
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Paul Kuhn - I Wish You Love - The Philharmonic Concert (1997/2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Paul Kuhn
Title: I Wish You Love - The Philharmonic Concert
Genre: Jazz
Label: © In+Out Records GmbH
Release Date: 1997/2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 59:39
Recorded: 1997 at Kölner Philharmonie, Köln, Germany

A set featuring some imperishable standard songs and some lively jazz originals by the inimitable trio of Paul Kuhn, Paul G. Ulrich and Willy Ketzer, augmented here by the sterling talents of Til Brönner (trumpet), Georg Mayr (clarinet and alto saxophone), Gustl Mayer (tenor saxophone) and Ludwig Nuss (trombone). Recorded in the Kölner Philharmonie, the album includes Lionel Hampton’s „Flying Home“, Horace Silver’s „Sister Sadie“ and Sonny Stitt’s „Stitt’s Tune“.
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Johann Joachim Quantz - Sei Duetti - Elysium Ensemble (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Joachim Quantz (1697-1773)
Artist: Elysium Ensemble, Greg Dikmans, Lucinda Moon
Title: Quantz: Sei Duetti, Op. 2 (Berlin, 1759)
Genre: Classical
Label: © Resonus Limited
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:07:07
Recorded: The Salon, Melbourne Recital Centre — 10–13 October 2011

Previously unrecorded as a complete set using Quantz’s preferred instrumentation, the Sei Duetti, op. 2 (Berlin, 1759), are works of high quality and interest. Quantz presents his musical ideas as a continuously evolving conversation. They embody wonderfully the idea of Dialogue: The Art of Elegant Conversation.
These historically significant works are excellent examples of Quantz’s intermediate position between the Baroque and Classical periods. They deserve to be heard by a wider audience.
The CD was recorded in the crystal clear and resonant acoustic of The Salon at the Melbourne Recital Centre, Australia. The natural acoustic of the space shines through (no artifical reverb has been added). This acoustic is ideal for the performance and recording of Baroque and Classical chamber music.

“I listened with great pleasure to the Quantz duet recording of Greg Dikmans and Lucinda Moon. They made me rediscover these works, that have too often been undervalued as dry and uninteresting compositions.
“I am glad that Greg Dikmans and Lucinda Moon did not take the easy superficial approach, but made the effort to take these light and charming works “seriously” enough and bring out so many different shades of colours.
“Quantz himself recommends playing these pieces with two different instruments in order to do justice to the polyphonic writing, and I am particularly happy hearing them being performed on flute and violin rather than two flutes.
“Thanks, Greg and Lucinda!”— Barthold Kuijken, Gooik, May 21st 2015
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Sergei Prokofiev - Symphonies Nos. 4 & 7 - Bergen Philharmonic Orchestra, Andrew Litton (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Sergei Prokofiev (1891–1953)
Artist: Bergen Philharmonic Orchestra, Andrew Litton
Title: Prokofiev - Symphonies Nos. 4 & 7
Genre: Classical
Label: © BIS Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 01:20:17
Recorded: January 2014 (No. 4) and May 2015 (No. 7) at the Grieg Hall, Bergen, Norway


There is nothing unusual about a composer returning to a major work in order to make revisions, but among such works Sergei Prokofiev's Fourth Symphony is a unique case in that it exists in two such different versions that the composer considered them quite separate works and gave each its own opus number. Composed in 1929–30, the first version, Op. 47, met with lukewarm response at its Boston and European premières as well as at performances given before Soviet audiences following Prokofiev's final return to Russia in 1936. In 1947 Prokofiev decided to return to the symphony, producing not so much a revision as a complete reworking of the original material. The differences between the versions are too many to detail, but the main point is that the 1947 version, given the opus number 112, is a much bigger and more ambitious score. Some four years later Prokofiev began work on what would become his last major work, Symphony No. 7 in C sharp minor. The composer announced that he aimed at simplicity and was writing ‘a symphony for children’, a statement that was possibly influenced by the fact that he in 1948 had been accused for ‘formalism’ by the Soviet authorities. In any case, there is nothing childish – or simple – about the work. After the first performance, Prokofiev was persuaded into change the ending, adding a more up-beat and optimistic twenty-bar alternative to the original coda. Both endings are included on the present recording, giving listeners the opportunity to judge the very different effect each makes. The disc is the third instalment in a Prokofiev cycle from Andrew Litton and the Bergen Philharmonic Orchestra, with previous discs receiving warm acclaim from, for instance, Fanfare (‘One of the best performances of the Fifth that I have ever heard…’) and the German website Klassik-Heute, which selected the recording of Symphony No. 6 as one of its recommended releases.
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Christina Pluhar - Orfeo Chaman - L'Arpeggiata, Christina Pluhar (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Christina Pluhar (b.1965)
Artist: L'Arpeggiata, Christina Pluhar
Title: Pluhar - Orfeo Chamán
Genre: Classical
Label: © Parlophone Records Limited, a Warner Music Group Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:09:22
Recorded: Institut Culturel Roumain de Paris, Salle Byzantine, Palais de Béhague, Paris, 8-12 November 2015


A unique retelling of the Orpheus myth drawing on Baroque music and folksongs from South America to Sicily, with a real-life Orfeo – the blind Argentinean singer-guitarist Nahuel Pennisi – in the title role. The resulting opera composed and arranged by Christina Pluhar reveals the mysterious shamanic side of the legendary musician who ventures into the underworld for love.
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Pink Floyd - The Wall (1979/2016) High-Fidelity FLAC Stereo 16bit/44,1kHz

Artist: Pink Floyd
Title: The Wall
Genre: Rock, Art Rock, Prog Rock, Hard Rock
Label: © Parlophone Records Ltd
Release Date: 1979/2011/2016
Quality: FLAC Stereo 44,1kHz/16bit
Source: Qobuz
Duration: 01:20:46
Recorded: December 1978 – November 1979, Britannia Row, Super Bear Studio, Studio Miraval, France; CBS 30th Street Studio, New York; Producers Workshop, Los Angeles


The Wall was Roger Waters' crowning accomplishment in Pink Floyd. It documented the rise and fall of a rock star (named Pink Floyd), based on Waters' own experiences and the tendencies he'd observed in people around him. By then, the bassist had firm control of the group's direction, working mostly alongside David Gilmour and bringing in producer Bob Ezrin as an outside collaborator. Drummer Nick Mason was barely involved, while keyboardist Rick Wright seemed to be completely out of the picture. Still, The Wall was a mighty, sprawling affair, featuring 26 songs with vocals: nearly as many as all previous Floyd albums combined. The story revolves around the fictional Pink Floyd's isolation behind a psychological wall. The wall grows as various parts of his life spin out of control, and he grows incapable of dealing with his neuroses. The album opens by welcoming the unwitting listener to Floyd's show ("In the Flesh?"), then turns back to childhood memories of his father's death in World War II ("Another Brick in the Wall, Pt. 1"), his mother's over protectiveness ("Mother"), and his fascination with and fear of sex ("Young Lust"). By the time "Goodbye Cruel World" closes the first disc, the wall is built and Pink is trapped in the midst of a mental breakdown. On disc two, the gentle acoustic phrasings of "Is There Anybody Out There?" and the lilting orchestrations of "Nobody Home" reinforce Floyd's feeling of isolation. When his record company uses drugs to coax him to perform ("Comfortably Numb"), his onstage persona is transformed into a homophobic, race-baiting fascist ("In the Flesh"). In "The Trial," he mentally prosecutes himself, and the wall comes tumbling down. This ambitious concept album was an across-the-board smash, topping the Billboard album chart for 15 weeks in 1980. The single "Another Brick in the Wall, Pt. 2" was the country's best-seller for four weeks. The Wall spawned an elaborate stage show (so elaborate, in fact, that the band was able to bring it to only a few cities) and a full-length film. It also marked the last time Waters and Gilmour would work together as equal partners. --AllMusic Review by Rovi Staff
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Pink Floyd - Meddle (1971/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Pink Floyd
Title: Meddle (2016 Mix)
Genre: Rock, Art Rock, Prog Rock, British Psychedelia
Label: © Pink Floyd Music Ltd. under license to Parlophone Records Ltd., a Warner Music Group Company
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Blu-ray Audio
Duration: 00:46:49
Recorded: January–August 1971, AIR Studios, Abbey Road Studios, Morgan Studios, London


Meddle is the sixth studio album by English progressive rock group Pink Floyd, released on 31 October 1971 by Harvest Records. It was produced between the band's touring commitments, from January to August 1971. The album was recorded at a series of locations around London, including Abbey Road Studios and Morgan Studios.
With no material to work with and no clear idea of the album's direction, the group devised a series of novel experiments which eventually inspired the album's signature track, "Echoes". Although many of the band's later albums would be unified by a central theme with lyrics written mainly by Roger Waters, Meddle was a group effort with lyrical contributions from each member, and is considered a transitional album between the Syd Barrett-influenced group of the late 1960s and the emerging Pink Floyd. The cover, incorporating a close-up shot of an ear underwater was, as with several previous albums, designed by Hipgnosis, though Storm Thorgerson was unhappy with the final result.
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Pink Floyd - Cre/ation - The Early Years 1967-1972 (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Pink Floyd
Title: Cre/ation - The Early Years 1967-1972
Genre: Rock, Art Rock, Prog Rock, British Psychedelia
Label: © Pink Floyd Music Ltd. under license to Parlophone Records Ltd., a Warner Music Group Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:52:54
Recorded: 1965-1972

Set across 2 CD’s, Cre/ation The Early Years 1967 – 1972 charts the evolution of the band and bears witness to their part in cultural revolutions, from their earliest recordings and studio sessions to the years prior to the release of The Dark Side Of The Moon, one of the biggest selling albums of all time. From the single Arnold Layne to the 24-minute epic Echoes, fans will see the invention of psychedelic progressive rock via an insightful collection that explores the Pink Floyd story from the time Roger Waters, Richard Wright, Nick Mason and Syd Barrett met at London’s Regent Street Polytechnic, through to Syd’s departure and David Gilmour joining to form the iconic lineup.
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Peter, Paul and Mary - Album 1700 (1967/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Peter, Paul and Mary
Title: Album 1700
Genre: Folk, Pop Rock, Folk Rock
Label: © Warner Bros. Records Inc./Analogue Productions XAPP993D64
Release Date: 1967/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:40:19
Recorded: 1966-1967, A&R Studios, New York City
Mastered by Kevin Gray at Cohearent Audio, DSD files created from the Analogue Productions SACD cutting master.


Arguably Peter, Paul and Mary's best record since their debut LP, Album 1700 (named for its catalog number) found the trio confidently incorporating the stylistic developments first introduced on Album while growing enormously as songwriters. As usual, their songwriting peers were included, as the album led off with Eric Andersen's "Rolling Home," followed by John Denver's "Leaving On A Jet Plane" (a recording that would find belated success in a couple of years) and also featured "Bob Dylan's Dream," another Freewheelin' alumnus.
But eight of the 12 songs were credited to the singers, singly, or in combination with co-writers. And they were of unusual quality. Yarrow's "The Great Mandella (The Wheel of Life)" was an agonizing anthem about the struggle and death of a pacifist. The song not only expressed what many in the anti-war movement felt, but predicted much of the cynicism and despair they would come to experience.
Stookey's "The House Song" was an extended metaphor that began a journey of self-discovery for the songwriter. "The House Song' was a curiosity for me because it truly began as a song about a house and then transformed itself," Stookey recalled. "It began walking, it became the shell of my life, and it was a beginning, really. The House Song was very significant for me because it was the beginning of telling the truth about my life, which then required me, in a sense, to take seven years off to implement because prior to that I had not been playing with a straight deck." Such songs were deeply felt statements, and they were only the highlights of an album that also boasted Yarrow's "Weep For Jamie" and concluded with the stirring, group-written (with Dave Dixon and PP&M on-stage bassist Dick Kniss) "The Song Is Love."
Yarrow identified one important new name in the credits as a force in achieving the album's artistic success: chief engineer Phil Ramone. "It is only, really, from my perspective, [with] our association with Phil that there [occurred] a kind of artistic flow and flex that united the album so it felt of one piece, even though each song sounded different," Yarrow explained. "Phil would make each song its own sonic world. He was officially only the engineer, but he was as much the producer as he ever was. He would suggest ideas that were very, very unusual. In a song for instance like "Weep For Jamie," he would get a little religious pump organ that would have this textural energy that was so strong, and he would set the echoes in a way that was masterful."
He adds, "It was just so present and so rich and so spatial, the echo that he created, and he was such a catalyst and such an innovative person. His treatment of echo, for instance, on 'The House Song' was just extraordinary. The Paul Winter Consort joined Noel on that. We for the first time used percussion on that album. There was a group called the Paupers, and their percussion player played on some of the songs, like 'If I Had Wings'. This was a real breakthrough album for us. It completely realized what the experiments were about, and it was really something which, when guided by Phil and led by Phil, really reached a new artistic high for Peter, Paul and Mary: I'd say the second wave of our recording experience was personified by that album. In terms of recordings in the studio, no doubt there was a great leap that we made for Album 1700."
Album 1700 entered the Billboard Top LP's chart for the week ending September 2, 1967, and peaked at #15 on October 21. It remained in the charts 28 weeks, falling out of the list in March 1968. Then it returned to the charts in July, stayed for two months and dropped off again. Peter, Paul and Mary were also nominated for the 1967 Grammy Award for Best Folk Performance for Album 1700.
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