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Johann Sebastian Bach - Organ Works, Vol. 2 - Masaaki Suzuki (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685–1750)
Artist: Masaaki Suzuki
Title: Bach, J.S. - Organ Works, Vol. 2
Genre: Classical
Label: © BIS Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical
Duration: 70:47
Recorded: January 2016 at Kobe Shoin Women’s University Chapel, Japan

Before releasing his first disc of Bach’s organ works, Masaaki Suzuki had recorded the composer’s complete sacred cantatas, as well as the large-scale choral works and much of the music for harpsichord. His achievements in these fields obscured the fact that Suzuki originally trained as an organist, and began working as such already at the age of twelve. So when Volume 1 of this series reached reviewers around the world, it was something of a revelation to many: the disc went on to be named Choice of the Month in BBC Music Magazine, Diapason d’Or in Diapason and Recording of the Month in Gramophone, which then went on to include it on its list of the ‘50 Greatest Bach Recordings’.
Volume 1 featured the celebrated Schnitger/Hinz organ of Groningen’s Martinikerk in the Netherlands. For the present instalment, Suzuki returned to more familiar ground – the chapel of the Kobe Shoin Women's University where the great majority of his recordings with Bach Collegium Japan have taken place. The chapel houses a French classical organ built in 1983 by Marc Garnier, and on it Suzuki performs a highly symmetrical programme with the large-scale chorale partita BWV 768 at its centre. The work is known as ‘Sei gegrüßet, Jesu gütig’, although the chorale text that it is structured upon most probably is that of ‘O Jesu, du edle Gabe’. On either side the partita is flanked by an arrangement by Bach of concertos by Vivaldi, and a chorale prelude on ‘Liebster Jesu, wir sind hier’. The disc opens and closes with a Prelude and Fugue, in G major and C major respectively.

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Johann Sebastian Bach - Double and Triple Concertos - Rachel Podger, Brecon Baroque (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Rachel Podger, Brecon Baroque
Title: Bach, J.S. - Double & Triple Concertos
Genre: Classical
Label: © Channel Classics Records
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:05:23
Recorded: October 2012, St John’s the Evangelist Church, Upper Norwood, London

For two soloists chose themselves – so-called ‘Bach Double’ (a.k.a. the famous Concerto for TwoViolins in D minor) and the work for violin and oboe. Of course, the universal appeal of the former is unsurpassed with its timelessly beautiful middle movement of exquisite conversations between the two violins, framed by vigorous outer movements. In fact, this piece is a concerto for6 parts, as he himself stated on the manuscript title page ‘Concerto a Sei’ – all parts playing a crucial part in the colour and richness of the ensemble.
Performing these pieces with just single players on each part rather than an orchestra makes the roles of each particularly pronounced and clear, all of us ‘concerto-ing’, not just the conventional ‘soloists’.The other double concerto on this recording has a darker, broader and more dramatic landscape. The contemplative slow movement is the best answer to the question ‘what can I listen to after such a long day’s work?’, its gentle swing and beautiful mellifluous lines soothing any aches and pains. The last movement feels like a gutsy earth-bound ‘clog dance’ full of reels and japes.
The Triple Concerto in A minor is in a world of its own: it’s really a harpsichord concerto to which the colours of the flute and violin are sprinkled – the same scoring as in Bach’s Brandenburg Concerto no 5. Written about fifteen years after the Brandenburg, Bach adapted the outer movements of the Triple from his Prelude and Fugue, bwv 894, and the slow movement comes from the Organ Trio Sonata, bwv 527. It’s a brilliantly written piece for the harpsichord showing off many novel keyboard tricks with rapid figurations and interesting and engaging ripeno parts.
As we know, recycling his own works and adapting them for different purposes and contexts was a common practice for Bach, and it is widely known that his harpsichord concertos all found their musical voice, initially, in versions for other instruments, especially the violin. Such is the case with both these double concertos; for the violin and oboe concerto the only extant source is the two-harpsichord score from the composer’s Collegium Musicum concert series in the 1730s.The scoring of violin and oboe is speculative, albeit rather more than a guess.The Concerto for Three Harpsichords in C major is also believed to have been conceived originally as a Triple Violin Concerto in D major. It’s a treat to play: the richly interweaving lines of the solo instruments providing intensity and exhilaration, whether in conversation or competition. The solo passages take your breath away within the realms of virtuosic writing.Knowing Bach’s writing for violin we can understand his fondness for the instrument,not least the care in exceptional craftsmanship of idiomatic writing for it. It goes well beyond any other baroque composer.
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Johann Sebastian Bach - Cantatas Nos. 54, 82 & 170 - Iestyn Davies, Arcangelo, Jonathan Cohen (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Iestyn Davies, Arcangelo, Jonathan Cohen
Title: Bach, J.S. - Cantatas Nos. 54, 82 & 170
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 64 minutes 51 seconds
Recorded: May 11-13, 2015, St Jude-on-the-Hill, Hampstead, Loindon, England.

Ich habe genug is a timeless, transcendental masterpiece: a profound expression of Christian faith at the very end of life. It demands artistry of a special order, and Iestyn Davies now joins the likes of Dietrich Fischer-Dieskau and Lorraine Hunt Lieberson in the work’s distinguished discography. The couplings are equally ravishing performances of two other great solo cantatas, while the two orchestral sinfonias which complete the album will prove refreshingly familiar.

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Brahms, Debussy, Bartok - Sonatas for Violin & Piano - Julie Steinberg, David Abel (1987/2014) High-Fidelity FLAC Stereo 24bit/176,4kHz

Сomposer: Johannes Brahms (1833-1897), Claude Debussy (1862-1918), Béla Bartók (1881-1945)
Artist: Julie Steinberg, David Abel
Title: Brahms, Debussy, Bartók - Sonatas for Violin & Piano
Genre: Classical
Label: © Wilson Audiophile Recordings
Release Date: 1987/2014
Quality: High-Fidelity FLAC Stereo 176,4kHz/24bit
Source: HDTracks
Duration: 47:08
Recorded: Mills College Concert Hall by David A. Wilson

"This is perhaps the most exquisitely natural recording ever made. All in all, this Wilson record is a triumph of the analog recording art." — International Audio Review
David Abel, violin. Julie Steinberg, piano. Perhaps the most transcendent of David Wilson's brilliant recordings, this remarkable album of solo violin accompanied by piano comes as close to putting the two performers in the listening room as any ever made, writes The Absolute Sound, of Sonatas for Violin & Piano.
Recorded on Wilson's Ultramaster Recorder, built by John Curl, and using a spaced pair of Schoeps microphones driving vaccum tube electronics, the recording has a close perspective that heightens transparency and engagement as well as wonderfully capturing the beautiful tonality of Abel's Guarnerius violin and Steinberg's Hamburg Steinway without exaggering their size.
Chamber music is meant to be performed and enjoyed in a relatively small room, as opposed to an expansive concert hall. Therefore, the perspective of this recording is close... as though the artists are creating the music in your listening room.
The musical instruments used in this recording are of superb quality, complementing the talents of the artists, and enhancing the color and expressiveness of the literature. The piano is a 9 foot Hamburg Steinway model D concert grand, selected for its almost magical harmonic warmth and evenness of tone. The Hamburg Steinway is Ms. Steinberg’s chosen instrument. The violin is a Guarnerius, built in Cremona, Italy in 1719. The Guarnerius sings with speed, focus, and sweetness.
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Bill Evans - Live at Art d'Lugoff's Top of the Gate (2012/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Bill Evans
Title: Live at Art d'Lugoff's Top of the Gate
Genre: Jazz, Post Bop, Modal, Cool Jazz, Piano Jazz, Straight-Ahead Jazz
Label: © 2xHD/Resonance Records
Release Date: 2012/2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 01:29:12
Recorded live October 23, 1968, Greenwich Village, NYC by George Klabin

The album Live at Art D'Lugoff's Top of the Gate, offers listeners a table at the front of the stage for a stellar performance by one of jazz's greatest trios. It's October 23, 1968 in Greenwich Village, The lineup that night consisted of three musicians in their prime: Evans, bassist Eddie Gomez and drummer Marty Morell. Evans had, reportedly, kicked his drug habit during this period, and this was thought by many to be his most stable and, certainly, longest-lasting group. This trio was together until 1975. Evans is in both swinging and contemplative modes and highlights the trio's superb interaction. Gomez had been with Evans since 1966, while Morell came aboard in 1968; Gomez was a master improviser, while Morell was an energetic, straight-ahead drummer, always keeping the trio on track. Along with the leader, both contribute masterful solos here. The album features two complete sets, including two versions of three songs. There is one original ("Turn Out the Stars"); the rest are jazz standards and familiar show tunes.
Throughout the two sets, Evans showcases his gift for interpreting standards, over the seventeen tracks. "My Funny Valentine" moves effortlessly from tenderness to passion, while "Gone with the Wind" erupts at a breakneck pace and "Here's That Rainy Day" concludes the evening with heart-breaking emotion.
Students of Evans' music will be delighted to see that three pieces ("Emily," "Yesterdays," and "'Round Midnight") are represented in both the first and second sets, offering a rare opportunity to compare the soloists' diverging takes on the same tunes in a single evening. Also, several of the selections possess historic significance: both "My Funny Valentine" and "Here's That Rainy Day" (and possibly "Mother of Earl") mark Evans' first documented trio performances of those songs, while "Here's That Rainy Day" may be the first time Evans recorded that piece period.
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Bat For Lashes - The Bride (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bat For Lashes
Title: The Bride
Genre: Indie Rock, Baroque Pop, Singer/Songwriter
Label: © Parlophone Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:52:55
Recorded: 2012–15

Exploring femininity in all its personas is a major part of Bat for Lashes' music, and never more so than on The Bride. On Natasha Khan's fourth album, the titular character undergoes a more dramatic transformation than most brides do at their weddings: After her fiance is killed in a car accident en route to the wedding, she flees the church and goes on her honeymoon alone. It's a more single-minded concept than some of Bat for Lashes' other albums, and since Khan's music is as theatrical as it is vulnerable, it should be a perfect fit. However, The Bride's journey through romance, horror, grief, and healing is more subdued than might be expected. The album begins vividly: Bedecked in fluttering harps and some of Khan's loveliest vocals yet, "I Do" has all the showy nuptial romance of a petal-strewn aisle. It's so incredibly sweet that it feels like it's tempting fate, offering the perfect setup for the brewing terror on "In God's House," as well as the slow-building drama of "Joe's Dream" and the hallucinatory panic of "Honeymooning Alone," both of which give the death-obsessed pop of the '50s and '60s a highbrow update.
Depending on listeners' patience, however, The Bride's slower second half may be hypnotic or dreary. To trace the arc from mourning to recovery, Khan relies on ballads that range from bitter ("Never Forgive the Angels") to empowering ("I Will Love Again," which sounds more like the kind of fare Adele or Christina Aguilera would sing). And though she gives the bride a surprisingly happy ending with "In Your Bed" -- which finds the character wanting to stay in her lover's arms rather than go out on the town -- it feels like her story is missing several chapters. Similarly, The Bride often feels like a missed opportunity to revisit the drama Bat for Lashes delivered so ably on Two Suns. Khan rectifies this somewhat on more mystical songs like the witchy invocation of "Widow's Peak" and "Close Encounters," an eldritch lovers' meeting that recalls Wuthering Heights (both the book and the Kate Bush song). Still, it's hard not to want Bat for Lashes to go further down this path; while Khan used restraint eloquently on The Haunted Man, The Bride is beautifully crafted, but not always thrilling. --AllMusic Review by Heather Phares
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Barry Harris Trio - Vicissitudes (1975/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Barry Harris Trio
Title: Vicissitudes
Genre: Jazz, Bop, Hard Bop, Mainstream Jazz, Piano Jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1975/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Duration: 00:39:11
Recorded: RCA Studios, NYC, 1972

When it comes to proselytizing the message of bebop, pianist Barry Harris is an institution unto himself. For well over a half century he has been preaching the gospel of Bird, Bud and Monk. This 1972 recording features bassist George Duvivier and drummer Leroy Williams, veterans of the Big Apple’s music wars who worked and recorded with most of the greats of the post-bop generation. The trio plays hand-in glove on 6 Harris compositions, two bop classics, and one standard. Vicissitudes is played with a med. swing in the classical bop tradition. Now and then has Harris at his lyrical best on his beautiful ballad. With funky piano and bass solos, Sweet Sewanee Blues demonstrates why bop and blues are such good bed-fellows. Harris proceeds to burn up the road through Indiana on Charlie Parker’s classic Donna Lee, with Williams riding a furious shotgun. Renaissance displays a somewhat darker tinge and an intriguingly hip melody. And So I Love You has an infectiously swinging medium tempo with some double-time forays. With a Grain of Salt spices up the proceedings with a touch of Bud Powell. Harris goes a cappella on Richard Rodger’s If I Loved You before rendering a heart-felt solo on this lovely ballad. Shaw ‘Nuff’s heart-racing up-tempo romp has Harris at his Powellian best in his homage to bop legends Parker and Gillespie. As keepers of the flame, Harris and co. highlight the beauty of bop.
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Barb Jungr - Shelter From The Storm (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Barb Jungr
Title: Shelter from the Storm: Songs of Hope for Troubled Times
Genre: Jazz, Vocal Jazz, Cabaret
Label: © LINN Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: LINN
Duration: 00:55:15
Recorded: Sear Sound Recording, New York, 11–12 July 2015 by Calum Malcolm and Ted Tuthill

While driving down some motorway last year I realised I wanted to make an album in New York. I wanted to work with US jazz musicians, tap into a different water and sing a different song. It was a dream. I was on a motorway somewhere towards the fens. So, when I shared it with Philip and Kim of Linn Records and they said: "Why not?" and "Let’s do it!" a ball started rolling and I had to learn to balance on top of it – and fast – because when I shared all of that with my US manager Gail Boyd, she said: “Why not do it with Laurence Hobgood?” And I said: "Wow! Are you kidding me? That man's fabulous." Then she brought Laurence Hobgood to see me perform in NY and when we chatted after the show, he appreciated what I was doing and said lovely things, and I thought he was the bees’ knees. So we started hanging out, and drank a lot of coffee, and wrote some things, and suddenly we were in a glorious joyful collaboration and the ball had become a transatlantic magic carpet! And here it is.
The upshot of all of that: this recording. Along with the trio, I'm inordinately happy to have found another Englishman in New York, Michael Olatuja who is on bass, and to round off the transatlantic seesaw, another American, the wonderful Wilson Torres who is on percussion.
We recorded in Sear Sound, up there in midtown, on a hot and humid weekend in early July, when it was SO hot that the local Starbucks ran out of ice! And it was hot inside that studio too - but in a good way. So the tracks were laid down and then, in London, the wonderful photographer Steve Ullathorne and I made a trip to a secret park to make the photographs, and Greg had been along at the recording session and he'd clicked us in situ in all of that. And the songs? Well, this material is all about hope – and dreams – we need so much more of them now. What the World Needs Now is Love, and Shelter From the Storm, and some Sisters of Mercy – the memory of what might have been with Woodstock – plus our own songs, which we're continuing to add to, over the coming year.
So come with us. Come ride our camel toward the oasis. I hope you'll enjoy the journey, and come hear it live, and leave smelling the grass, hearing the sea, feeling the warm breeze on your face, and whether your feet be in the gutter, or not, seeing the stars. --Barb Jungr
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B.B. King - In London (1971/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: B.B. King
Title: B.B. King In London
Genre: Blues, Modern Electric Blues, Soul-Blues, Memphis Blues
Label: © Geffen Records
Release Date: 1971/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 39:49
Recorded: June 9–16, 1971, Olympic Studios and Command Studios, London, England

B.B. King in London is the nineteenth studio album by B.B. King recorded in London in 1971. He is accompanied by US session musicians and various British R&B musicians, including Alexis Korner and Rick Wright ( not the same from Pink Floyd), as well as members of Spooky Tooth and Humble Pie, Greg Ridley, Steve Marriott and Jerry Shirley.
The album was released in the United Kingdom on November 19, 1971 in order to coincide with the first date of King's tour of the country.
Wright and his female companion Fritz started a short-lived blues-based band Sunrise which came to an end after Wright's untimely death in a car accident in 1974. Sunrise also included session blues guitarist Paul Asbell. John Lennon had announced that he would perform on some of the tracks, but ended up having no involvement with the album.
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Avishai Cohen - Seven Seas (2011) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Avishai Cohen
Title: Seven Seas
Genre: Jazz, Post Bop, Straight-ahead/Mainstream Jazz, Contemporary Jazz
Label: © Parlophone Music France
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:47:01
Recorded, mixed and mastered by Lars Nilsson at Nilento Studios, Goteburg, Sweden in September and October 2010

Now one of the most popular jazz players of the past decade, Avishai Cohen takes his artistic approach to its zenith, with Seven Seas. Featuring nursery rhymes, lullabies and suites in which heroic inspiration and symphonics abound. Seven Seas plunges us into a fabulous sound voyage, in which understatement and magnitude play a never-ending game of ping-pong, a trip that easily transposes to the silver screen. Once you get past the opening credits dripping in joyful nostalgia, you steer past isles of rhythm and continents of sound, winding up with a traditional piano ladino with Cohen’s intense vocals.
Cohen has reached a new pinnacle as an artist. It’s more of a fusion album, perhaps bringing us closer to reality of an odyssey, with its title that transports us into nautical legend: seven seas’ many twists and turns make it the most exciting of albums in Cohen’s discography.
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