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Quartonal - Everytime: A Capella (2017) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Various
Artist: Quartonal
Title: Everytime: A Capella
Genre: Classical Crossover
Label: © Sony Music Entertainment
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:57:32
Recorded: by Tobias Hoff

The a cappella ensemble Quartonal is one of the most promising vocal groups to emerge from Germany in recent years. Following their highly successful debut CD, this second album features outstanding a cappella settings ranging from George Michael’s "Faith" and Coldplay's "Viva La Vida" to beautiful traditional numbers. The choir won First Prize at the German National Choir Competition in the Vocal ensemble category. They were also awarded the “audience and jury awards” at the ‘A Capella’ contest in Leipzig as well as winning the ‘Tolosako Abesbatza Lehiaheta’ choir competition in Tolosa (Spain). Their first album “Another Way – English Vocal Music” was met with critical acclaim in 2013 and received glowing reviews. Quartonal performs music from across the male voice repertoire, alongside folksongs and pop music. The choir is committed to working with contemporary composers such as Philip Lawson and arrangers Patrick Prestel and Christoph Gerl. The seamless combination of classical and contemporary vocal music has become a trademark of their concerts.
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Peter Erskine and the Dr. Um Band - Second Opinion (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Peter Erskine and the Dr. Um Band
Title: Second Opinion
Genre: Jazz
Label: © Fuzzy Music
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 57:11
Recorded by Mark Hornsby, Mixed by Talley Sherwood

The follow-up release to Peter Erskine’s Grammy-nominated “Dr. Um” album, reuniting the production team of Erskine with Grammy-nominated keyboardist and arranger John Beasley. “Second Opinion” is just that: a new look at songs and genres that are ripe and begging for expert musical attention.
From funky originals to Henry Mancini covers, the Dr. Um Band delivers. Featuring Peter Erskine, John Beasley, Bob Sheppard and Benjamin Shepherd. Recorded at Sweetwater Studios, engineered by Mark Hornsby and mixed by Talley Sherwood. Peter feels that this is his “best album yet!” The drum sound will blow you away.
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Pere Ubu - The Modern Dance (1978/2017) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Pere Ubu
Title: The Modern Dance
Genre: Rock, Alternative Rock, Underground, Experimental Rock, Post-Punk, Punk/New Wave
Label: © Fire Records
Release Date: 1978/2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:36:31
Recorded: October 1976; January 1977; November 1977; Cleveland Recording and Suma Studios, Cleveland

There isn't a Pere Ubu recording you can imagine living without. The Modern Dance remains the essential Ubu purchase (as does the follow-up, Dub Housing). For sure, Mercury had no idea what they had on their hands when they released this as part of their punk rock offshoot label Blank, but it remains a classic slice of art-punk. It announces itself quite boldly: the first sound you hear is a painfully high-pitched whine of feedback, but then Tom Herman's postmodern Chuck Berry riffing kicks off the brilliant "Non-Alignment Pact," and you soon realize that this is punk rock unlike any you've ever heard. David Thomas' caterwauling is funny and moving, Scott Krauss (drums) and Tony Maimone (bass) are one of the great unheralded rhythm sections in all of rock, and the "difficult" tracks like "Street Waves," "Chinese Radiation," and the terrifying "Humor Me" are revelatory, and way ahead of their time. The Modern Dance is the signature sound of the avant-garage: art rock, punk rock, and garage rock mixing together joyously and fearlessly. --AllMusic Review by John Dougan
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Pee Wee Spitelera - Country Clarinet (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Pee Wee Spitelera
Title: Country Clarinet
Genre: Pop, Country Pop, Jazz Pop, Easy Listening
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:28:04
Recorded: RCA Victor's "Nashville Sound" Studio, Nashville, Tennessee
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Paul Desmond With Strings - Desmond Blue (1962/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Paul Desmond With Strings
Title: Desmond Blue
Genre: Jazz, Cool Jazz, Easy Listening, Saxophone Jazz
Label: © High Definition Tape Transfers
Release Date: 1962/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTT
Duration: 00:37:30
Recorded at Webster Hall in New York City on September 13, 1961 (#1), September 28, 1961 (#5-7) and October 2, 1961 (#2-4,8,9)
Transferred from a RCA 4-track tape

As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as "My Funny Valentine," "I've Got You Under My Skin," and "Body and Soul," is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as "My Funny Valentine," "Late Lament," and "Then I'll Be Tired of You." This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming "Valentine," which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune "I Should Care" is "a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp," according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond. --AllMusic Review by Shawn M. Haney
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Omer Klein - Sleepwalkers (2017) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Omer Klein Trio
Title: Sleepwalkers
Genre: Jazz, Modern Jazz, Piano Jazz
Label: © Warner Music Group Germany Holding GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 00:59:16
Recorded: 9-11 August, 2016 in Studio Franken, Nürnberg, Germany

Sleepwalkers is the Israeli-born pianist’s seventh album, and his label debut for Warner Music. Klein, whose music has been called “borderless” (The New York Times), recorded his newest work with his regular trio featuring Haggai Cohen-Milo on bass and Amir Bresler on drums. A student of Fred Hersch’s and a vital part of the New York scene, appearing everywhere from the Blue Note to Jazz at Lincoln Center, he is now a Steinway artist and lives in Düsseldorf, Germany.
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Norah Jones - The Fall (2009/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Norah Jones
Title: The Fall
Genre: Jazz, Vocal Jazz, Alternative/Indie Rock, Singer/Songwriter
Label: © Blue Note Records/Analogue Productions
Release Date: 2009/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:45:59
Recorded: 2008–2009, The Coop, NY, The Magic Shop, NY, Sunset Sound Recorders, CA, and House Of David, Nashville, TN; Mastered by Kevin Gray at Cohearent Audio from the original analog master tapes!

Part of Analogue Productions’ reissue of the Norah Jones’ solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album is also featured in exclusive LP and SACD box sets that include Norah’s Covers album!
Norah has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits and Modest Mouse. Richly detailed and vocally lush on this DSD format reissue by Analogue Productions, The Fall, Jones’ fourth album, may surprise some of Jones’ die-hard fans, Billboard magazine notes. During the 13-song set, Jones ditches the gentle piano playing of her previous work and tears into fresh, beat-savvy arrangements, playing plenty of electric guitar and exploring the piercing quality of Wurlitzer electric piano. Jones’ smoky voice and soulful veneer highlight the opening track and first single, "Chasing Pirates."
Jones displays a slinky kind of ambience on "Light As a Feather (co-written with Ryan Adams). The social commentary "It’s Gonna Be" offers a garage-rock attitude, and "You’ve Ruined Me" has a rich Americana flavor. But Jones is still a little bit country ("Tell Yer Mama") and a little bit rock’n’roll ("Stuck"). Overall, writes reviewer Gary Graff, Jones straddles those lines in an entirely different manner than she ever has before.
For The Fall, Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partners Jesse Harris and Richard Julian. Musicians include drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer).
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Norah Jones - Not Too Late (2006/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Norah Jones
Title: Not Too Late
Genre: Jazz, Vocal Jazz, Alternative/Indie Rock, Singer/Songwriter
Label: © Blue Note Records/Analogue Productions
Release Date: 2006/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:45:42
Recorded: 2005–2006 at The Coop, NYC and Brooklyn Recording, NY; Mastered by Kevin Gray at Cohearent Audio from the original analog master tapes!

Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps ("Sinkin' Soon") or tentatively stabs at politics ("My Dear Country"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of "Until the End," the country-tinged "Be My Somebody," or the wonderful laid-back soul of "Thinking About You." These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. --Stephen Thomas Erlewine
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Nicole Cabell - Chanson d'avril: French Chansons and Melodies (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Georges Bizet (1838-1875), Henri Duparc (1848-1933), Franz Liszt (1811-1886), Maurice Ravel (1875-1937)
Artist: Nicole Cabell, Craig Terry
Title: Chanson d'avril: French Chansons and Melodies
Genre: Classical, Vocal Music
Label: © Delos Productions, Inc.
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:05:13
Recorded: January 2 – 6, 2013 at Allegro Recordings, Burbank, CA

Such praise is entirely typical of critical reaction to American soprano Nicole Cabell’s ravishing singing, whether from operatic, concert or recital stages worldwide. Indeed, this captivating artist has taken the classical world by storm since she won the BBC Cardiff Singer of the World award in 2005.
Drawn strongly to the French vocal repertoire, Nicole Cabell – in this, her first recording for Delos – explores the world of the chanson, and its direct descendant, the mélodie: France’s answer to the German Lied, or art song. Among the finest of mélodie composers are represented: Georges Bizet, Henri Duparc, Franz Liszt and Maurice Ravel. Nicole’s rich, silky-smooth voice and beautifully nuanced interpretations are supported with sensitivity and elegance by pianist Craig Terry.
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Wolfgang Amadeus Mozart - Sonatas For Piano & Violin - Sergei Filchenko, Alexandra Nepomnyashchaya (2009) SACD ISO

Сomposer: Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexandra Nepomnyashchaya, Sergei Filchenko
Title: Mozart: Sonatas For Piano & Violin
Genre: Classical
Label: © Caro Mitis/Essential Music
Release Date: 2009
Quality: SACD ISO
Source: SACD
Duration: 01:05:16
Recorded: 10–11.05.2008, 16.05.2008 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

Russia's Caro Mitis label has staked out territory in both the audiophile and the authentic-performance realms, and the label has often accomplished releases that combine its two strengths. The present release, featuring fortepianist Alexandra Nepomnyashchaya (say that fast five times) playing one of the very clean-sounding Walter fortepiano replicas by Belgian builder Chris Maene, offers a good example. Nepomnyashchaya and violinist Sergei Filchenko, playing a 1738 Florentine violin in the two outer sonatas and a Jacob Stainer instrument that produces a haunting effect in the Sonata in E minor, K. 304, deliver really compelling performances of these very familiar sonatas, with the sharp contrasts historical instruments can bring. The Sonata in G major for piano and violin, K. 379, has a very restless central fast movement and a lightly graceful theme and variations that give the listener the impression that the two have rethought the work from the ground up. Nepomnyashchaya applies added ornamentation in the slow movements and the variation finale of the G major sonata, always tastefully and carefully done, and the performers bring a real sense of spontaneity to the interaction between piano and violin that attracted reviewers and customers to these pieces in the 18th century; they push the tempo a bit but keep the expressive dimensions intimate. A very fine recording of some well-worn sonatas. Notes, in a rather breathy old-fashioned mode, are in English, Russian, and German. AllMusic Review by James Manheim
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