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Zsofia Boros - Local Objects (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Composer: Various
Artist: Zsófia Boros
Title: Local Objects
Genre: Classical, Classical Guitar, Contemporary Jazz
Label: © ECM Records GmbH | ECM Player
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:41:21
Recorded: November 2015, Auditorio Stelio Molo RSI, Lugano

Vienna-based Hungarian guitarist Zsófia Boros brings remarkable interpretive clarity and a uniquely unifying touch to a diverse collection of pieces in her second recording for ECM, Local Objects. Phrasing in distinct ways while staying faithful to the spirit of the music, she offers new perspectives on standards of the concert repertoire such as Carlo Domeniconi’s “Koyunbaba” and Jose Cardoso’s “Milonga”, differently flavours Egberto Gismonti’s harmonically-inventive “Celebração de Núpcias”, and reveals a highly observant musical eye in the choice of contemporary guitar pieces such as Mathias Duplessy’s “Nocturne”, Alex Pinter’s “Gothenburg”, and the epic “Fantasie” by Franghiz Ali-Zadeh.
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Whitney Houston - Whitney Houston (1985) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Whitney Houston
Title: Whitney Houston
Genre: Rhythm & Blues, Electronic, Synth-pop, Soul, Disco, Pop
Label: © Arista Records
Release Date: 1985
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:46:53
Recorded: 1983–1984

After seeing Houston perform in a New York City nightclub, Clive Davis believed the singer had the potential to crossover and be the next big superstar. He signed her in 1983 and the two began work on her debut album. Initially Davis had a hard time finding songs for her. Even after elaborate showcases in New York and Los Angeles, many producers turned down the chance to work with her. During the time, rock bands and dance oriented acts were popular; many songwriters felt Houston's gospel voice didn't fit in the pop landscape. It took a year and a half for Jerry Griffith, then Arista's A&R chief and the one who had recommended Whitney to Davis, and Davis to amass suitable songs for the album. Finally the songwriter-producer Kashif offered to produce "You Give Good Love". Jermaine Jackson, who had emerged from the shadow of his younger brother Michael, produced three songs. Narada Michael Walden came in to revise and then produce "How Will I Know". And Michael Masser covered the pop side of the tracks, producing four of his own compositions, including "Saving All My Love for You" and "Greatest Love of All", which had originally been recorded in 1977 by George Benson as "The Greatest Love of All" and was the main theme of the boxer Muhammad Ali biopic "The Greatest" in the same year. After two years of recording, the album was ready for release. Budgeted at $200,000, it finally cost almost $400,000.
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Antonio Vivaldi - La Stravaganza, Op. 4 - Rachel Podger, Arte Dei Suonatori (2003) DSF Stereo DSD64/2.82MHz

Сomposer: Antonio Vivaldi (1678-1741)
Artist: Rachel Podger, Arte Dei Suonatori
Title: Vivaldi - La Stravaganza, Op. 4
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2003
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:43:58
Recorded: September 2002, Church of the High Catholic Seminary in GoÊcikowo-Paradyz, Poland

Immersing myself in the 12 Concertos of ‘La Stravaganza’ was an intense and exhilarating experience, and one which has left me full of wonder at Vivaldi’s seemingly endless capacity for invention. Having had many opportunities to get to know his music ever since I started playing the violin (the well-loved A minor Concerto from L’estro Armonico is one of the set pieces in Suzuki’s violin method and played by most 6-10 year olds!), the Seasons and L’estro featuring strongly in baroque concert programmes, it was with interest but also a number of pre-conceptions that I approached these relatively obscure concertos. I rather arrogantly assumed I’d have to put my mind to making them sound as different from each other as possible, as they probably wouldn’t assert their own character within the set by themselves. I’m ashamed of that thought now, since I quickly realised that I wasn’t dealing with ‘samey’ music at all, but with extreme inventiveness within a definite framework. Vivaldi uses melodic figurations in so many remarkable ways. It’s as though he likes to experiment with every possible variant and push the players beyond expectation of what might be coming next.
Having said that, the most predictable comment about his music is that his music is predictable! But listen, for example, to the last movement of Concerto no.1, where we see him first setting up a simple phrase, experimenting with the opening figure (first 2 bars) in minimal ways, taking us unexpectedly (unpredictably!) into a new key just when we expect the solo part to take charge. For 111 bars he lets his imagination run riot with this very simple opening figure, transforming it and avoiding any obvious phrasing that the listener might assume. This way, he creates a wonderful spirit of exploration in the music. Fragments of figurations are often thrown from one part to the next in the orchestra, later making up a whole phrase. Vivaldi also uses very simple tools by, for instance, making the tune leap across the two violin parts: there is an ascending triadic figure which goes to-and-fro between the fiddles as a variation on a similar tune heard earlier in a single part within the orchestra (Concerto no.3, first movement). His citing of a tune, repeating it twice note-by-note and then changing it at the last minute is often both witty and clever (like in Concerto no.5, first movement, during the 4th tutti section).
Vivaldi conveys so much variety and character; it feels easy to perform as the language is so direct and the expression within looks candidly at you from the page. The sublime slow movements (such as in Concertos nos. 1 and 11) recall descriptions or paintings of paradise where you literally feel like you’re hovering on a cloud for the duration of the movement… and the demon-like moments in Concerto no.8 (first movement) make you believe you’re being devoured by hungry tigers. I want to thank all the members of Arte dei Suonatori for helping to make this recording such an exciting project and for being so good-natured in putting up with all my experiments in the sessions. And I’d like to thank Jared Sacks, Jonathan Freeman-Attwood, Cezary Zych and Tim Cronin without whom this recording would not have been possible.
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Antonio Vivaldi - La Cetra, Op. 9 - Rachel Podger, Holland Baroque Society (2012) DSF Stereo DSD64/2.82MHz

Сomposer: Antonio Vivaldi (1678-1741)
Artist: Rachel Podger, Holland Baroque Society
Title: Vivaldi - La Cetra, Op. 9
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:57:26
Recorded: September 2011, January 2012, Waalse Kerk, Amsterdam

In September 1728, Vivaldi met the Habsburg Emperor Charles VI in or near Trieste, where the emperor was supervising the construction of a new harbour. Charles was a great admirer of Vivaldi, and he gave him the title of knight and a golden chain with a medallion, and invited him to visit Vienna. In turn, Vivaldi gave the emperor a manuscript with a collection of concertos entitled ‘La Cetra’ (the cittern or lyre). It was probably no coincidence that the composer had used the same title for the Twelve Violin Concertos Opus 9 ‘La Cetra’ featured on this CD, which he published a year earlier through Le Cène in Amsterdam, with a dedication to the Emperor. According to the Vivaldi scholar Michael Talbot, the lyre symbolised the great love of music of the Habsburgers. Earlier, in 1673, Giovanni Legrenzi had already dedicated an early anthology - likewise entitled La Cetra - to the-then Emperor Leopold I. Talbot also considers the use of scordatura (adjusted tuning of the strings) in the violin part of the 6th and 12th concertos of Opus 9 to be a homage to the Habsburg Emperor. The scordatura practice was indeed a popular tradition in Austria and Bohemia, as we know from the violin music of Biber and Schmelzer. Concerning the remarkable encounter between Emperor Charles and Vivaldi at Trieste in 1728, the Abbé Conti wrote: ‘The Emperor talked about music at length with Vivaldi. It is said that he told him more in two weeks than his ministers in two years.’
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Valerie June - The Order Of Time (2017) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Valerie June
Title: The Order Of Time
Genre: Americana, Folk, Alternative/Indie Rock, Singer/Songwriter
Label: © June Tunes Music, Inc. Under exclusive license to Concord Music Group, Inc.
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 00:43:34
Recorded: Guilford Sound, Guilford, VT, Brooklyn Recording, Brooklyn, NY, The Seaside Lounge, Brooklyn, NY, Reservoir Studios, New York, NY, and Rayzor Studio, Brooklyn, NY

Following up her critically lauded 2013 label debut, Pushin' Against a Stone, Tennessean Valerie June offers The Order of Time, an ethereal dream sequence of Americana and roots music filtered through her own unique tendencies. What's refreshing about June is her gift for nuance, working unhurriedly through tones of Appalachian folk, gospel, blues, and even dream pop without feeling the need to hit listeners over the head with an overwrought delivery or even draw that much attention to her own stylistic diversity. With The Order of Time, she exudes the languid pace of the South with poetic songs and spacy arrangements that breeze out through the screen door. Though crowded with standouts, it's an album best enjoyed in full with a sequence that ebbs and flows with emotion and hidden intentions. From the sweet and slow nostalgia of "Long Lonely Road" to the droning enchantments of "If And" and the gently rousing dream-soul of "Got Soul," June weaves her strange and inviting spell, making it all seem so nonchalant. Her relaxed vocal style is distinctive and the frequent doubling of her vocal lines gives the songs a strangely alluring vibe amid the expansive organ, piano, and guitar parts. Where the slightly showier Pushin' Against a Stone covered a wider variety of styles, The Order of Time tends to flow more smoothly and gives the feeling that you've stumbled on a 45-minute section of ongoing music that has no beginning and no end. --AllMusic Review by Timothy Monger
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VA - The Life & Songs of Emmylou Harris - An AllStar Concert Celebration (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Emmylou Harris, Buddy Miller, Mavis Staples, Shawn Colvin, The Milk Carton Kids, Chris Hillman, Herb Pedersen, Holly Williams, Chris Coleman, Trampled By Turtles, Lucinda Williams, Rodney Crowell, Lee Ann Womack, John Starling, Daniel Lanois, Iron & Wine, Shovels & Rope, Mary Chapin Carpenter, Vince Gill, Patty Griffin, Conor Oberst, Martina Mcbride, Sheryl Crow, Kris Kristofferson, Alison Krauss, Steve Earle, Sara Watkins
Title: The Life & Songs of Emmylou Harris: An AllStar Concert Celebration
Genre: Country, Country Rock, Progressive Country, Traditional Country, Alt Country
Label: © Blackbird Production Partners, LLC. Under exclusive license to Rounder Records, a division of Concord Music Group, Inc.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 01:19:12
Recorded at Dar Constitution Hall, Washington, D.C. January 10, 2015

On January 10, 2015, a remarkable and diverse assemblage of artists gathered together at Washington, DC's DAR Constitution Hall to honor one of the most distinctive and deeply-admired musicians of our time. The house band, led by co-musical directors Buddy Miller (guitars) and Don Was (bass), featured Sam Bush (mandolin, banjo, fiddle), Audley Freed (guitars), Fred Eltringham (drums), Matt Rollings (keyboards), Greg Leisz (pedal steel, lap steel), and Sara Watkins (fiddle, harmony vocals).
The recording of that event, The Life & Songs of Emmylou Harris: An All-Star Concert Celebration, created and produced by Keith Wortman, CEO of Blackbird Presents - released last Friday in multiple formats, including Blu-ray, DVD, CD, and various combo packs -- certainly lives up to its title. Captured and presented in stunning HD with true Dolby 5.1 surround stereo, the concert film and companion audio recordings include a wide range of songs Harris has recorded, including "Born to Run," "Red Dirt Girl," "Boulder to Birmingham," "Two More Bottles of Wine," "Till I Gain Control Again," and "Sin City."
The set, heralded by American Songwriter magazine as a "consistently exhilarating experience," features an astounding array of performances by Harris' peers and admirers, including Mary Chapin Carpenter, Chris Coleman, Shawn Colvin, Sheryl Crow, Rodney Crowell, Steve Earle, Vince Gill, Patty Griffin, Chris Hillman, Iron & Wine, Alison Krauss, Kris Kristofferson, Daniel Lanois, Martina McBride, Lee Ann Womack, The Milk Carton Kids, Buddy Miller, Conor Oberst, Herb Pedersen, Shovels & Rope, Mavis Staples, John Starling, Trampled by Turtles, Sara Watkins, Holly Williams, Lucinda Williams, and Emmylou Harris herself.
A special version of the set, offered exclusively by Cracker Barrel Old Country Store®,, boasts bonus performances by a multi-generational array of luminaries from the worlds of country, bluegrass, and Americana music, including icons such as Alison Krauss, Kris Kristofferson, Rodney Crowell, and Steve Earle, as well as rising roots music stars Milk Carton Kids, Shovels & Rope, and Trampled by Turtles.
Hal Horowitz's four-star review of the set in American Songwriter concludes "Anyone reading this far is probably already an Emmylou fan, making this consistently enjoyable, wonderfully performed and heartfelt concert an essential addition to their existing collection from one of roots music's most eclectic, gifted and rightly acclaimed veterans."
A 13-time Grammy winner - including a 2014 Grammy for Best Americana Album, an award she shared with Rodney Crowell - and a Billboard Century Award recipient, Emmylou Harris' contributions as a singer and songwriter span 40 years. She has recorded more than 25 albums, which have sold over 15 million copies, and has lent her talents to myriad recordings by fellow artists. In 2008, Harris was inducted into the Country Music Hall of Fame. In addition to the aforementioned 13 Grammys, she has also won three Country Music Association Awards and two Americana Awards.
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Audio Masterpiece Collection: Contemporary Records Vol.1 (2016) DSF Stereo DSD64/2.82MHz

Artist: Art Pepper, Hampton Hawes, Barney Kessel, Curtis Counce, Sonny Rollins and more
Title: Audio Masterpiece Collection: Contemporary Records Vol.1
Genre: Jazz
Label: © Stereo Sound/Contemporary Records/Concord Music Group
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 03:37:01
Remastered by Steve Hoffman

 ノー・ブレイナー(no brainer)という英語の言い回しがある。あまりに明白過ぎて選択や決断に頭を使う必要のないことをいう。ステレオサウンドが創立50周年を記念して企画した「オーディオ名盤コレクション」は、名演奏・名録音のマスターテープを独自に音楽ソフト化するプロジェクトだが、その劈頭を飾る『コンテンポラリー・レコーズ』SACDボックスほど、ノー・ブレイナーという言葉が似合うものもそうはない。
 コンテンポラリーとは、もちろん、優秀録音でも名高いウェストコースト・ジャズの名門レーベルのことである。そのカタログから今回ハイブリッドSACDとしてリリースされるのは全部で10タイトル。5タイトルずつを収めたボックス・セット( Vol.1 と Vol.2 )が、4月と5月に発売された。タイトルの選択には5人のオーディオ評論家があたり、1人2タイトルを推薦した。10タイトルは、それぞれオリジナルの形態のままで発売される。分売はない。
 このセットの最大の特徴であり、その価値を限りなく高めているのが、スティーヴ・ホフマンによるリマスタリングである。ホフマンの名前が最初にわれわれの視界に入ってきたのは、1990年代の初めにDCC(ダンヒル・コンパクト・クラシックス )というレーベルから発売された24金ゴールドCDとLPのマスタリング・エンジニアとしてであった。DCCのゴールドCDは、2000年までにディラン、ドアーズ、イーグルス、ポール・マッカートニーといったロックや、マイルス、コルトレーン、ビル・エヴァンスといったジャズの名盤を合わせて116タイトルが出た。今日ではそのすべてがコレクターズ・アイテムとされ、世界中のコレクターが追い求めている。
 DCCはその後経営陣が少し変り、社名がオーディオ・フィデリティ(Audio Fidelity)へと変ったが、現在に至るもホフマンのマスタリングを中心に続々とリリースを続けている。オーディオ・フィデリティは当初数枚のジャズCDを出したが、その後はフュージョンやポピュラー・ヴォーカルが少しあるだけで、ストレートアヘッドなジャズは一つもない。その理由は単純にジャズのCDを出しても高額なライセンス・フィーに見合う採算がとれたことはただの一度もなかったからだ。
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Them - The Complete Them 1964-1967 (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Them
Title: The Complete Them 1964-1967
Genre: Rock, Pop Rock, Garage Rock, Beat, Blues Rock, British Blues, Rhythm and Blues, Rock & Roll, British Invasion
Label: © Legacy Recordings/Exile Productions/Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 03:21:47
Recorded: 1964-1967

The most thorough collection of Morrison's early studio and live performances ever assembled, THE COMPLETE THEM 1964-1967 includes all material recorded for the first two Them albums--The Angry Young Them (1965) and Them Again (1966)--in addition to singles, demos, live sessions, alternate takes and rarities (from 1964-1967), many of them long unavailable or previously unreleased.
All tracks on The Complete Them 1964-1967 have been newly remastered for this collection, ensuring the best possible listening experience for both new and seasoned fans of Van Morrison.
Formed in Belfast, Ireland in the early 1960s, Them's original five man lineup consisted of Van Morrison (lead vocals, saxophone, harmonica), Alan Henderson (bass guitar), Ronnie Millings (drums), Billy Harrison (guitar, vocals) and Eric Wrixon (keyboards). Taking their name from a 1954 science-fiction horror film, Them played for the first time in April 1964 at Belfast's Maritime Hotel, their set consisting of raw, dynamic interpretations of R&B, blues and soul music fueled by 18-year-old Van Morrison's undeniable power, presence and charisma. Within a few weeks, Them became the hottest band in Belfast, packing the Maritime with overflow crowds and spontaneous, dynamic shows.
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Thelonious Monk - Misterioso (Recorded on Tour) (1965/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Thelonious Monk
Title: Misterioso (Recorded on Tour)
Genre: Jazz, Bop, Hard Bop, Modal, Mainstream Jazz, Piano Jazz
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1965/2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:52:37
Recorded Live Recorded on Tour 1963-1965

Misterioso (Recorded on Tour) is a live album by Thelonious Monk. Not to be confused with the other Monk album of the name Misterioso, this one is a live set (which is maybe why they put "recorded on tour" in the title!) – done in quartet format with Charlie Rouse, and either Larry Gales or Butch Warren on bass, and either Ben Riley or Frank Dunlap on drums. Tracks are short, but well executed – and Rouse, as always, is a delight. Titles include "Evidence", "Bemsha Swing", "All The Things You Are", "Light Blue", and "Well You Needn't"
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The Spinners - Happiness Is Being With the Spinners (1976/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Spinners
Title: Happiness Is Being With the Spinners
Genre: R&B, Soul, Philly Soul, Smooth Soul, Disco
Label: © Atlantic Records
Release Date: 1976/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 35:14
Recorded: Sigma Sound Studios, Philadelphia, Pennsylvania; Kaye-Smith Studios, Seattle, Washington

Happiness Is Being with the Spinners is the seventh studio album recorded by American R&B group The Spinners, released in July 1976 on the Atlantic label. It was produced by Thom Bell and recorded at Sigma Sound Studios in Philadelphia and Kaye-Smith Studios in Seattle.
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