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Slide Hampton & Joe Haider Orchestra - Give Me a Double (1975/2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Slide Hampton & Joe Haider Orchestra
Title: Give Me a Double
Genre: Jazz, Bop, Hard Bop, Post Bop, Mainstream Jazz, Modern Big Band
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1975/2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 01:33:18
Recorded live January 16-18, 1974 in the Domicile, Munich


With his ever-fresh and expansive musical outlook, Slide Hampton is the personification of the composer-arranger-instrumentalist in jazz. His composing and arranging prowess have long been sought by all manner of ensembles, from small groups to orchestras, student ensembles to professional bands. His superb trombone playing once elicited an ultimate seal of approval from the father of the modern jazz trombone and Hampton mentor, J.J. Johnson. From a backstage vantage point at a Kennedy Center performance, Johnson was overheard referring to a solo Slide performed as part of a tribute to Dizzy Gillespie as "?one of the most articulate ever given on a trombone."
Growing up musically in Indianapolis, Slide was recruited for the family band by his father's order that he must fill the vacant trombone chair. So as fate would have it, and music lovers would later decree it, though initially indifferent towards the instrument, Slide Hampton became a trombone master. Luckily, besides the obvious familial influence, Slide Hampton came up at a time when Indianapolis was prosperous with budding jazz musicians who would go on to greatness; these included Johnson, Wes Montgomery, and such peers as Freddie Hubbard and David Baker.
By the time he reached 20, young Slide was prepared to pursue a career in music. Among his stellar affiliations were the bands of Dizzy Gillespie, Art Blakey, Barry Harris and Max Roach. On the big band side, where he also began earning his stripes as arranger and composer, was work with Maynard Ferguson and the Thad Jones/Mel Lewis Orchestra. One of Slide's earliest bands, the Slide Hampton Octet, was obviously designed to further hone his writing. Although the band featured such stellar soloists as Hubbard, Booker Little, and George Coleman, a band of that size obviously afforded the young Hampton a good canvas on which to paint his compositions and arrangements. From there he spent much of the '60s as musical director for several bands and artists.
More big band work followed, including a European tour with Woody Herman that led to work in radio and television, as well as performances with some of the many expatriate jazz musicians then residing on the continent, including Benny Bailey, Kenny Clark, Kenny Drew, Art Farmer, and Dexter Gordon. He returned stateside towards the end of the 1970s, soon forming a pioneering trombone choir with rhythm section band called Slide Hampton and His World of Trombones. Since that time he has served as composer and arranger in residence with various ensembles, and as sought after clinician at education institutions. His long-standing relationship with Dizzy Gillespie culminated in his serving as co-music director with fellow 2005 Jazz Master Paquito D'Rivera of Dizzy Gillespie's Diamond Jubilee.
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Jean Sibelius - Symphony No 2 & Pohjola's Daughter - London Symphony Orchestra, Sir Colin Davis (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Jean Sibelius (1865–1957)
Artist: London Symphony Orchestra, Sir Colin Davis
Title: Sibelius: Symphony No 2 & Pohjola's Daughter
Genre: Classical
Label: © LSO Live
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:58:38
Recorded: Barbican Centre, London; Pohjola's Daughter recorded September and October 2005; Symphony No 2 recorded September 2006


Sibelius’s Pohjola’s Daughter is usually classified as a ’tone poem’– in other words, not a ’pure’ symphonic work, but one in which a literary or pictorial idea is represented in music. But Sibelius’s description was ’Symphonic Fantasy’ – which is exactly how the onemovement Seventh Symphony was entitled when it first appeared in 1924. It is quite possible to appreciate Pohjola’s Daughter simply as a colourful and highly compact one-movement symphony. All the same, unlike the Seventh Symphony, Pohjola’s Daughter does come with a story, printed in verse form in the score. It tells how V.in.m.inen – the wizard-hero of the Finnish folk-epic, the Kalevala – sees the daughter of the moon-god Pohjola sitting at her spinning wheel atop a rainbow. Instantly he falls in love with her, and begs her to join him. She agrees to come down when V.in.m.inen has conjured a boat from her spindle – in other words: ’Thanks, but no thanks’. V.in.m.inen tries heroically, but fails. Furious, humiliated, he springs onto his sleigh and vanishes.
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Dmitri Shostakovich - Cello Concertos Nos. 1 & 2 - Alisa Weilerstein, Bavarian Radio Symphony Orchestra, Pablo Heras-Casado (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Dmitri Shostakovich (1906-1975)
Artist: Alisa Weilerstein, Bavarian Radio Symphony Orchestra, Pablo Heras-Casado
Title: Shostakovich - Cello Concertos Nos. 1 & 2
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 1:00:47
Recording: Herkulessaal der Residenz, Munich, Germany, 28–30 September 2015

Celebrated young cellist Alisa Weilerstein presents Shostakovich’s two cello concertos, accompanied by the Bavarian Radio Symphony under Pablo Heras-Casado, in performances recorded live. Weilerstein worked on both these cornerstones of the repertory with legendary cellist Mstislav Rostropovich, for whom the concertos were written and who was a great friend of the composer. Here, she performs the intense, challenging and emotionally suppressed Cello Concerto No. 1, contrasted by the sarcasm and isolation of the Cello Concerto No. 2.
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Dmitri Shostakovich - Cello Concerto No.1; Symphony No.5 - David Grimal, Les Dissonances (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Dmitri Shostakovich (1906-1975)
Artist: David Grimal, Xavier Phillips, Les Dissonances
Title: Shostakovich - Cello Concerto No.1; Symphony No.5
Genre: Classical
Label: © Dissonances Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:16:23
Recorded: Opéra de Dijon, 2 December 2014 (#1-4); 23 January 2016 (#5-8)


Les Dissonances made its first recordings for Ambroise-Naïve, the critical success of which led to the birth of its own label in March 2014.
To celebrate its 10 anniversary, the orchestra’s new Shostakovich album, recorded live at the Opéra de Dijon, is presented complete with an extended tribute piece by Xavier Phillips in memory of his mentor, Mstislav Rostropovich, dedicatee of Shostakovich’s two cello concertos. It follows the label’s high production and design values, offering the disc as part of a hardbound book containing detailed programme notes, Phillips’ essay, artist biographies and monochrome photographs.
"My memories are of an immensely gifted pedagogue, whose advice could be very diverse in nature. With me his approach wasn’t really focused on the instrumental dimension. It was above all a way of talking about music, with images, impressions, sensations, anecdotes. He shed new light, he showed you things, he made you think". --Xavier Phillips
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Shai Maestro Trio - The Stone Skipper (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Shai Maestro Trio
Title: The Stone Skipper
Genre: Jazz
Label: © Sound Surveyor Music
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:59:59
Recorded, mixed and mastered by Lars Nilsson and Michael Dahlvid at Nilento Studios


Avec The Stone Skipper, Shai Maestro et ses complices Jorge Roeder et Ziv Ravitz signent une pure merveille ! Se jouant des frontières de ce que l’on appelle communément le jazz, le trio du pianiste israélien n’hésite plus à s’aventurer sur des territoires autres, mariant les touches électroniques élégantes et l’apparition de voix en osmose avec son univers singulier. Depuis ses débuts en trio en 2011, la trajectoire musicale de ce bien nommé Maestro semble accompagner la recherche d’une humanité pleine et entière. Enregistré à Nilento au milieu de la campagne suédoise, The Stone Skipper, quatrième album de ce trio plus soudé que jamais, est construit comme un récit qui se déploie et s’appuie sur un motif musical central, fil rouge garant d’une unité scénaristique prégnante connectant les morceaux entre eux. « Cet album est, de loin, le plus personnel que nous ayons fait. Nous n’avons pas cherché à jouer les virtuoses sur nos instruments mais plutôt à se mettre au service de ce récit du mieux possible. » Un disque qui accueille quatre voix habitées et envoûtantes. Celles de Gretchen Parlato, Theo Bleckmann, Neli et Kalina Andreeva, comme quatre respirations, amples, qui ne prennent jamais le dessus sur le récit musical qui mélange instruments acoustiques et électroniques. A l’arrivée, avec un tel outil, Shai Maestro et ses complices viennent de franchir un nouveau cap, humain sans aucun doute, artistique assurément...
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Robert Schumann - Pieces for Oboe and Piano - Alexei Utkin, Igor Tchetuev (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Robert Schumann (1810–1856)
Artist: Alexei Utkin, Igor Tchetuev
Title: Schumann - Pieces for Oboe and Piano
Genre: Classical
Label: Caro Mitis/Essential Music
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:48:59
Recorded: 5–8.09.2008, 5th Studio of The Russian Television and Radio Broadcasting Company (RTR), Moscow, Russia


In his youth Schumann was reputed to be a tender-hearted and desperate Romantic. This is undoubtedly true. We need only recall his ardent love for future wife Clara and how passionately he fought for her, how fervently he poured his feelings into numerous piano pieces and spared no effort in writing critical articles, where he furiously attacked Philistines and waxed lyrical about talented young composers such as Berlioz and Chopin.
When Schumann later found family happiness and his life became more tranquil, at least to outward appearances, characteristics that had previously lain hidden finally surfaced. The pieces recorded for this album give an idea of what the mature Schumann was like as a person and what interested him. Nearly all of them (except the violin sonata) were composed in Dresden, where he lived from 1844 to 1849. It should be mentioned that the change in Schumann’s place of residence which involved leaving Leipzig, the epicentre of musical activity, and moving to quiet, peaceful Dresden was undertaken on the advice of his doctors. The composer suffered from bipolar affective disorder. He was overcome by bouts of terrible depression which, in the end, also led to his death. Initially the move brought no relief: ‘I am still badly afflicted and often quite despondent. I am not allowed to work at all, only to rest and take walks, but often I lack the strength even for a stroll,’ wrote the composer in October 1844.
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Robert Schumann - Pieces for Oboe and Piano - Alexei Utkin, Igor Tchetuev (2010) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Robert Schumann (1810–1856)
Artist: Alexei Utkin, Igor Tchetuev
Title: Schumann - Pieces for Oboe and Piano
Genre: Classical
Label: Caro Mitis/Essential Music
Release Date: 2010
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:48:59
Recorded: 5–8.09.2008, 5th Studio of The Russian Television and Radio Broadcasting Company (RTR), Moscow, Russia


In his youth Schumann was reputed to be a tender-hearted and desperate Romantic. This is undoubtedly true. We need only recall his ardent love for future wife Clara and how passionately he fought for her, how fervently he poured his feelings into numerous piano pieces and spared no effort in writing critical articles, where he furiously attacked Philistines and waxed lyrical about talented young composers such as Berlioz and Chopin.
When Schumann later found family happiness and his life became more tranquil, at least to outward appearances, characteristics that had previously lain hidden finally surfaced. The pieces recorded for this album give an idea of what the mature Schumann was like as a person and what interested him. Nearly all of them (except the violin sonata) were composed in Dresden, where he lived from 1844 to 1849. It should be mentioned that the change in Schumann’s place of residence which involved leaving Leipzig, the epicentre of musical activity, and moving to quiet, peaceful Dresden was undertaken on the advice of his doctors. The composer suffered from bipolar affective disorder. He was overcome by bouts of terrible depression which, in the end, also led to his death. Initially the move brought no relief: ‘I am still badly afflicted and often quite despondent. I am not allowed to work at all, only to rest and take walks, but often I lack the strength even for a stroll,’ wrote the composer in October 1844.
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Schulhoff, Dvorak - Cesko - Ragazze Quartet (2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Erwin Schulhoff (1894-1942), Antonín Dvořák (1841-1904)
Artist: Ragazze Quartet
Title: Schulhoff, Dvořák - Česko
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: channelclassics.com
Duration: 01:05:04
Recorded: December 2014, Doopsgezinde Kerk Deventer, The Netherlands


On Česko we go on a musical journey across Europe to the extraordinary land of Bohemia (popularly known as Česko, but officially means Czech), the homeland of two composers we have come to love so much. It doesn't seem to matter that we hardly know their country: the indescribable energy of the music, with its folk melodies and harmonies, revealing the essence of a nation steeped in a deep cultural history, takes us there instantly. These composers are the much celebrated and revered Antonín Dvořák, along with the younger and lesser-known Erwin Schulhoff, whose life and career was tragically cut short by the Nazi regime. Both were masters in harnessing the old to the new, fusing a rich musical heritage with the influence of new worlds. Their works take us through the full range of emotions, from the tranquil to the fiery, from the elated to the melancholic. A reflection of human life.
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Schubert Sessions - Lieder with guitar - Philippe Sly, John Charles Britton (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Franz Schubert (1797–1828)
Artist: Philippe Sly, John Charles Britton
Title: Schubert Sessions - Lieder with guitar
Genre: Classical, Vocal Music
Label: © Analekta
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: analekta.com
Duration: 00:59:20
Recorded: January 2016 at the St-Augustin-de-Mirabel Church, Québec


A shy, modest genius, Franz Peter Schubert never held an official musical position, unlike his contemporaries. Living frugally, surrounded by friends from the artistic and literary worlds, Schubert was the focal point of occasional informal artistic gatherings dubbed “Schubertiades”. These meetings were an occasion for him to show off his most recent compositions, foremost among them his lieder. Many of these – he wrote over 600 in all – may very well have taken shape at the guitar; Schubert learned to play the instrument early on in life, and he owned several instruments, which he would play before breakfast, occasionally honouring the impromptu visit of a friend with the performance of a freshly composed lied. Schubert’s financial situation meant he could not afford a piano, so the guitar was one way he could hear how his compositions sounded. Since at the time, the instrument enjoyed great popularity, many music publishers, including Schubert’s publisher Diabelli, offered transcriptions of his works for guitar. It is unsurprising, then, that the first edition of the lieder cycle Die Schöne Müllerin – from which Der Müller und der Bach on this recording is taken – was published with a guitar accompaniment. Uncontestably a master of the lied, Schubert may also be considered as one of the forefathers of the modern song. From the time of Ars nova (new art) – the 14th century musical style of which the poet and musician Guillaume de Machaut was among the principal proponents – lyric forms underwent numerous poetical and stylistic innovations that ultimately led to the first strophic songs for solo voice in the early 16th century. Gradually, lyric forms from the age of the troubadour – when the lute, cousin of the guitar, was a preferred means of expression – converged into the German lied.
This meeting of Philippe Sly and guitarist John Charles Britton (who made the arrangements for this recording) is defi nitely not coincidence. Collaborators for a number of years, the two artists see these Schubert Sessions as a way to broaden and heighten Schubert’s place in popular culture, in particular in terms of his infl uence on modern popular song. The recording also fulfills a need to revisit these lyric masterpieces in a form that emphasizes not only their idiom (many of these pieces, including Wohin? and Auf Dem Wasser zu singen, exhibit writing that is more guitaristic than pianistic) but their polymorphic essence. A seemingly simple task, yet a daring one: to present, in its most natural form, a collection of pieces whose expressiveness allows them to fly free of basic principles, or to avoid a certain dogmatism – fictional or real – present in the world of classical music. It would be impossible to conclude without mentioning friendship, a value dear to Schubert’s heart that Sly and Britton also share. Compared with the piano, the guitar gives the accompanist greater proximity to the singer. This artistic rapport will be even more perceptible to the attentive listener. The composer Albert Stadler wrote about his friend Schubert: “If Schubert was with us, we shut him in the ‘Kamerate’ [living room and study] during this time, gave him a few scraps of manuscript paper, and any volume of poetry which happened to be at hand, so that he could while away the time. When we returned from church there was usually something fi nished, and this he gladly let me have… He faithfully brought us what he composed at home, and we rushed, with or without him, to a far-off room that had a pianoforte – we were enthusiastic and admiring. And when we expressed our feelings thus, he sat quietly at the instrument, smiled, or told a joke. But he was nevertheless pleased that we had understood him.”* This last sentence alone conveys the breadth of sensitivity and generosity that was Schubert’s genius. © Claudio Pinto
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Franz Schubert - String Quartets #1: Live in Barcelona - Cuarteto Casals (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Franz Schubert (1797-1828)
Artist: Cuarteto Casals
Title: String Quartets #1: Live in Barcelona
Genre: Classical
Label: Neu Records · Neu Música Contemporània, S.L.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:12:38
Recorded live at L’Auditori Sala Oriol Martorell Barcelona, Spain, 5th of November, 2013


Why, one might ask, would a Spanish string quartet make a live recording in Barcelona of the complete quartets of a long-dead Viennese composer for a label which insists upon working with living composers? What binds Cuarteto Casals, Franz Schubert and Neu Records together?
Outward perception and inward imagination: these hallmarks of Schubert’s style could serve equally well as the distillation of a string quartet’s ideals. We look above all inward: it is our very private and personal conversation that you, the listener, happen upon, a given concert only one more step in our individual and collective evolution. And at the same time the concerts documented here, performed in the hall we inaugurated and know best, depend on outside perception – on the audience in the hall or the listener alone at home. We have lived with these great works for well over a decade; indeed Cuarteto Casals was founded so as to be able to play ‘Death and the Maiden.’ What we present to you here is a snapshot of our experience with these masterpieces, hopefully bringing the unfamiliar listener into our collective imagination.
When we began performing the Schubert cycle (Barcelona was the last stop on a tour that included London, Schwarzenberg, Florence, Lisbon and Madrid, among other cities) a colleague asked why we agreed to this massive undertaking. Are the early Schubert quartets worthwhile in the way that the Opus 18 Beethoven quartets undeniably are? Of course the comparison is inherently unjust: at around the same age that Beethoven was publishing his first quartets, Schubert was writing his late masterpieces.
The unfair comparison notwithstanding, the early Schubert quartets are rich with so many of the characteristics with which we identify his mature style: daring harmonic turns, an elegant yet unpredictable sense of meter and phrasing and his assimilation of myriad styles from Ländler to overture, from fugal intricacies to folksong. That is to say, to discover the young Schubert is to find a treasure trove of materials, waiting to be moulded into their most perfect form.
Schubert remains a ‘modern’ composer even nearly 200 years after his death. The Schubert we experience in this great body of quartets, ‘wandering into far-off lands’ and ‘divided by love and pain’ has as much to say about our condition in the 21st Century as it did to his close circle of friends in Vienna. It was in this spirit that we set about making this live recording, in hopes that a listener beyond the limits of that hall on those nights would join us in discovering these great works anew. --Vera, Abel, Arnau & Jonathan
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