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Giuliana Soscia & Pino Jodice Italian Tango Quartet - Il Tango da Napoli a Buenos Aires (2010) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Giuliana Soscia & Pino Jodice Italian Tango Quartet
Title: Il Tango da Napoli a Buenos Aires
Genre: Jazz, Latin Jazz, Tango
Label: © Alfa Music
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-Onkyo
Duration: 01:03:19
Recorded: #1-5 - Alfamusic Studio; #6,7,9 - Telecinesound Studio, #8 - Riff Raff Studio, Rome, Italy

Napoli e Buenos Aires, due città incantevoli, piene di vita, fantasia e creatività. Ma anche due città di immigrazione e di conseguente tristezza e nostalgia. Due città che si somigliano morfologicamente, che hanno in comune la variante spagnola nel loro sangue e nelle arterie urbanistiche. Una è la capitale di un grande stato americano, l'altra è stata la capitale di un regno passato che è rivissuto nella sua cultura millenaria. Giuliana Soscia e Pino Jodice, due squisiti compositori e musicisti, hanno creato un ponte tra queste due culture che si somigliano ma che hanno un gran mare e tanta nostalgia di mezzo. I due hanno dato vita ad un progetto, l'Italian Tango Quartet, che partendo dal jazz si è aperto alle sonorità del tango e della musica partenopea non usando i soliti clichè legati a queste musiche, ma apportando variazioni e fughe sonore improvvise ed improvvisate. Nulla è scontato in questo disco, le partiture sono aperte e piene di varianti ma il quartetto fila via senza esitazioni restituendo alla fine di ogni brano il pathos e la natura originaria dei nove pezzi che compongono questo bel disco. Come dicevamo, il jazz c'è e si sente, per esempio, preponderante nell'assolo di pianoforte di Migration, firmato dal duo Soscia/Jodice. Non sono da meno la sentimentale e movimentata Milonga Mediterranea oppure la nostalgica ed irrequieta Ricordando Buenos Aires. E poi come non soffermarsi e apprezzare il lavoro fatto con l'esecuzione di Suite Napoli Antica del maestro De Simone, oppure la storica Serenata a Pullecenella. Soscia e Jodice non potevano tener fuori da questo progetto l'anima di Buenos Aires, e cioè Astor Piazzolla. Lo fanno con scrupolo e rispetto verso una grande compositore proponendo quattro brani presi dal repertorio di Piazzolla ed eseguendoli in maniera moderna, non ortodossa, arricchendoli con spunti e trovate free, assoli di pianoforte che fanno il paio con gli svolazzi della fisarmonica. Ed a chiusura una splendida e riconciliante Oblivion.
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Gianni Savelli Media Res - Que la Fete Commence (2009) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Gianni Savelli Media Res
Title: Que la Fête Commence
Genre: Jazz, Post Bop, Modern Jazz, Saxophon Jazz
Label: © Alfa Music
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-Onkyo
Duration: 00:57:38
Recorded by Simone Sciumbata, Aldo Amici at Telecinesound Studio, Rome, Italy

La Gianni Savelli Media Res Ensemble trae la sua ispirazione da fonti così numerose e diverse tra loro che realmente si muove al di là di qualsiasi etichetta e categorizzazione. La loro combinazione di musica ampiamente scritta e di improvvisazione, intesa come fulcro della composizione, è assolutamente unica in un ensemble piccolo come questo. Formata da Gianni Savelli (sax tenore e soprano, flauto, flauto contralto e traversiere), Aldo Bassi (tromba, filicorno), Pierpaolo Principato (pianoforte), Luca Pirozzi (contrabbasso) e Marco Rovinelli (batteria e percussioni), l'ensemble propone una sua originalissima lettura dell'universo del jazz contemporaneo. Filtrata attraverso i suoni e ritmi di varie culture lontane fuse con le armonie jazz ed europee, la musica della Gianni Savelli Media Res Ensemble emerge come qualcosa di completamente originale e suggestivo che conduce l'ascoltatore in un viaggio immaginifico. Da questa volontà di abbattere confini e limiti nasce "Que la Fete Commence".
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Gavin Bryars - The Fifth Century (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Composer: Gavin Bryars (b.1943)
Artist: PRISM Saxophone Quartet, The Crossing
Title: The Fifth Century
Genre: Classical, Choral, Vocal Music, Avant-Garde, Modern Composition
Label: © ECM Records GmbH
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88.2kHz/24bit
Source: HDTracks
Duration: 00:50:12
Recorded: #1-7 July 2014 at Gould Hall, Curtis Institute of Music, Philadelphia; #8,9 June 2015 at Saint Paul's Episcopal Church, Philadelphia

The music of English composer Gavin Bryars has long managed the distinction of being both “defiantly personal” (The New York Times) and “utterly accessible” (The Guardian). A deep yet unsentimental emotional resonance and a patient, contemplative view of time – whether relating to harmonic rhythm or human experience – are complementary characteristics that run through his instrumental, vocal and theatrical catalogue like a red thread, the composer inspired by disparate spirits from Wagner and Satie to Cage and Silvestrov. The ECM New Series released multiple recordings of Bryars’ music in the 1980s and early ’90s, including the classic albums After the Requiem and Vita Nova. The first full ECM album from Bryars in decades is The Fifth Century, which includes the seven-part title work: a slowly evolving – yet immediately involving – setting of words by 17th-century English mystic Thomas Traherne, performed by the mixed choir of The Crossing with saxophone quartet PRISM. The album also features Two Love Songs, luminous a cappella settings of Petrarch for the women of The Crossing.
Both Two Love Songs and The Fifth Century underscore the primacy of gradually unfurling melody in Bryars’ music, the quality that both deepens his works and makes them distinctly approachable. He learned the art of vocal music by working closely with singers, especially The Hilliard Ensemble (including for such albums as Vita Nova). “I spent a lot of time with The Hilliards, particularly John Potter,” he recalls. “Learning from them the value of detail in vocal music – intonation, vibrato, diction, breathing – was an important process. Since then, I’ve written a few hundred vocal pieces, and I'm working on my seventh and eighth books of madrigals. Still, I continue to listen closely to what performers tell me about their craft, to both address practical considerations and come up with productive challenges. It’s a joy to work with Donald Nally and The Crossing, which is one of the finest North American choirs, to my mind.”
The congruent mix of voices with wind instruments in The Fifth Century yields a haunting effect, human breath driving the musicality of each. About this, Bryars says: “I’ve always liked the saxophone quartet as a vehicle, and I wrote for it initially as a kind of surrogate string quartet in Alaric I or II, recorded on my ECM album After the Requiem, from 1991. And in my first opera, Medea, I replaced the oboes in the orchestra with saxophones. With my background in improvised music, I’ve always loved jazz saxophone players, from John Coltrane to Lee Konitz to Evan Parker. Percy Grainger’s transcriptions of early music for saxophones were also an inspiration – such pieces can sound beautiful on the saxophone, which is a relatively modern invention that can evoke much older sounds. With limited vibrato, a choir of saxophones and a choir of voices share a strange sort of purity, as well as that quality of human breath.”
As for the text of The Fifth Century, Bryars describes Traherne’s Metaphysical writings – a rediscovery of the late 20th century – as having “an intense spirituality, celebrating the glory of creation and an almost conversational relationship with his God. In many ways, Traherne’s work is astonishingly modern.” Brian Morton, author of this album’s liner notes, points out that T.S. Eliot believed that the power of the Metaphysical writers was that they experienced thought with the intensity of physical sensation, acknowledging “no gap between the sensuous and the intellectual.” That feeling – the sensuous and the intellectual synergistically in sync – comes out in the music of The Fifth Element as a kind of radiance, a warm glow. Bryars says: “My natural instinct is more toward the elegiac and melancholic, such as that Elizabethan regret in Dowland and Taverner. And a lot of religious writing can be dark, even doom-laden. But Traherne writes about ideas of time, eternity and omnipresence with a smile on his face, a kind of optimism. It felt absolutely fresh and inspiring to me.”
The mysterious kind of music within words speaks to Bryars, who has always been drawn to Petrarch’s sonnets for “the heartrending beauty of the poetry and their sheer technical brilliance,” he says. “As a composer, I live by commissions and these can take me in many different directions. But in an ideal world, where I could be free to write whatever I like, I would choose to write vocal music, especially settings of Petrarch.” With Two Love Songs, Bryars returns to the Italian humanist poet so beloved of Renaissance madrigalists, as well as to the sound of unaccompanied female voices. Prior to those of The Crossing, Bryars worked closely with Trio Mediaeval, the Scandinavian group having included pieces by him on their ECM New Series album Soir, Dit-Elle, from 2004. “There can be something very touching about the ethereal sound of high women’s voices,” Bryars says. “The spatial effect can be very beautiful. With the bass note way up there, the music lives on a higher plane.”
The sense of contemplative movement in Two Love Songs and The Fifth Century is characteristic of Bryars’ music and the way he thinks. “I do enjoy experiencing time in a way that is structured but not hectic or hyperactive,” he explains. “In choral music, I like to slow down the harmonic movement, not that it’s static but so that it’s gradually evolutionary. I like the effect of suddenly finding yourself in new harmonic territory without quite realizing how you got there. Most people think time is strictly objective, but it’s also subjective, a matter of perception. There’s a Zen-like idea that I appreciate: that time is going on forever, that time will go on whether you’re part of it or not. The challenge is to keep the focus concentrated. When that works, you can perceive a kind of eternity, one of infinite space.”
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Gabor Szabo - Mizrab (1972/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Gábor Szabó
Title: Mizrab
Genre: Jazz, Post Bop, Fusion, Guitar Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1972/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:36:31
Recorded: December, 1972 at the Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Wonderful work from guitarist Gabor Szabo – a record that really helped to shift his sound and style into the 70s! The groove here is often open and free – taking off from some of the exoticism of Gabor's 60s albums on Impulse and Skye, but with a bit more of the CTI electric groove – thanks to arrangements from Bob James, who also plays keyboards on the set! The mix of Gabor's exotic tones and the deeper groove of CTI is a surprisingly great blend – and really helps to open up the guitarist's sound for a whole new generation. Drums are by Billy Cobham and Jack DeJohnette, who's especially funky on the great track "Thirteen" – and titles also include a great cover of "Summer Breeze", and the cuts "Mizrab", and "Concerto".
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Frankie Yankovic and His Yanks - Polkas & Waltzes: Just for Fun (1965/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Frankie Yankovic and His Yanks
Title: Polkas & Waltzes: Just for Fun
Genre: Folk, World, Polka, Easy Listening
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1965/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:26:33
Recorded: 1965


Frank John "Frankie" Yankovic (July 28, 1915 in Davis, West Virginia – October 14, 1998 in New Port Richey, Florida) was a Grammy Award-winning polka musician. Known as "America's Polka King," Yankovic was considered the premier artist to play in the Slovenian style during his long career.
Born to Slovene immigrant parents, Yankovic was raised in South Euclid, Ohio. He released over 200 recordings in his career. In 1986 he was awarded the first ever Grammy in the Best Polka Recording category. He rarely strayed from the Slovenian-style polka, but did record with country guitarist Chet Atkins and pop singer Don Everly. He also recorded a version of the “Too Fat Polka” with comedian Drew Carey. --wikipedia
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Ferenc Snetberger - In Concert (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Ferenc Snétberger
Title: In Concert
Genre: Jazz, Acoustic, Neo-Classical, Flamenco, Improvisation, Guitar Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:00:11
Recorded live December 2013, Liszt Academy, Grand Hall, Budapest

In Concert is Ferenc Snétberger’s first recording for ECM and a coming full circle for the Hungarian guitarist. It is drawn from a live performance at Budapest’s Franz Liszt Academy of Music, where he once had formative experiences as a young listener: “I heard Bach and it changed my life.” When Snétberger first encountered Johann Sebastian Bach, he was already steeped in jazz. In his richly musical Roma household his father and two brothers also played guitar and the records of John Coltrane, Charlie Parker, Jim Hall and especially Django Reinhardt were a constant. “I started with jazz, and then the influence of classical music became very strong for me.”
Later came exposure to the great touchstones and references of the guitar-player’s universe: Brazilian, South American and flamenco. The elevating shock of hearing Egberto Gismonti in duo with Nana Vasconcelos provided a trigger. The gamut of these stylistic, cultural and personal exposures and influences spreads like a colour infusion through the music of In Concert. Snétberger has apprehended something essential of the purity of each of these strands. It’s precisely the combination and diversity of Snétberger’s heterogeneity, open and generous yet rarefied, that makes the ebb and flow of the music so captivating.
Eight of the pieces on the album are named for Budapest, Ferenc’s ville de coeur if not his home town (which is Salgótarján, about 120km to the north). “Budapest I” opens with an improvisation, comprising about half the performance, before the melody finally arrives – the tune Ferenc has performed in other formats notably in duo with trumpeter Markus Stockhausen, but here it is wholly transformed. As Snétberger describes it, the tune sits in him at all times “almost ready” for performance.
Also largely improvised, “Budapest II” gives witness to the impact of Bach on Snétberger's musical conception. “Before I play it, I hear Bach’s tones,” he says. The listener has the impression of multiple reflections, at various stages three voices — treble, bass and middle register.
“Budapest III” begins slowly with sounds like harp notes. The guitarist says Argentine ‘nuevo tango’ composer Astor Piazzolla inspired the melody which was originally written for a film, but is largely subsumed here in an extended improvisation. “Budapest IV” is another evocation of multiple voices, the catchy chordal melody redolent of a Brazilian samba. Suddenly, seductively, the melody is suspended and one has the impression of a saxophone or right-hand improvisation on the piano.
“Budapest V” is a free improvisation. The piece is without a fixed pulse but the timing inside it — a distinction (timing versus tempo) Ferenc keenly makes — helps explain perhaps the sense of both looseness and precision.
“Budapest VI” announces an entirely different mood. Listeners familiar with the guitarist’s oeuvre may recognise the melody, a motive from a tune (“Empathy”) written for large ensemble and performed previously with Arild Andersen and Paolo Vinaccia.
The light-touch, open harmonies of “Budapest VII” evoke springtime for the guitarist. This was the first time this tune was ever performed. With the ballad “Budapest VIII”, the music takes a reflective turn. A version of “Over the Rainbow” rounds out the album, the concert encore at the Liszt Academy. Further ECM recordings with Ferenc Snétberger are in preparation, including a recording of his new trio with Anders Jormin and Joey Baron.
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