Sort articles by: Date | Most Rates | Most Views | Comments | Alphabet
» Articles for 05.06.2018
Cootie Williams And His Orchestra - Cootie Williams In Stereo (1958/2015) High-Fidelity DSF Stereo DSD256/11.20MHz

Artist: Cootie Williams And His Orchestra
Title: Cootie Williams In Stereo
Genre: Jazz, Big Band, Swing, Cool Jazz, Trumpet Jazz
Label: © High Definition Tape Transfers
Release Date: 1958/2015
Quality: DSF Stereo DSD256/11.20MHz
Source: HDTT
Duration: 00:21:07
Recorded: March 5, 25, April 8, 1958 at Webster Hall, New York; Transferred from a RCA 2-Track Tape


With the possible exception of cornball trumpeter Clyde McCoy, nobody could impart humanistic sounds to a plunger mute like Cootie Williams. Certainly nobody could make a trumpet growl like he did, full of feral shrieks and blasts and vocal tones galore. As a member of the Duke Ellington Orchestra during its heyday, Williams was big enough potatoes that when he left Ellington to join up with Benny Goodman in the early '40s, it prompted a tune titled "When Cootie Left the Duke." No two ways about it, the man could blow. As part of the 100th birthday celebration of all things Ellington, RCA is reissuing all the solo projects done by his famous sidemen. This 12-song album from 1958 -- appended with 11 more that appeared as singles from the year before -- shows that Williams' broad style was still mightily intact some 30 years after joining the Ellington fold. Unlike the other Ellington sidemen projects in this series, Williams performs on Cootie Williams in Hi-Fi with a full-blown big band, turning in swinging readings of such chestnuts as "Just in Time," "Summit Ridge Drive," and "My Old Flame." Oddly, these big-band sides don't honor the Duke musically except when Cootie and the band tackle old favorites like "Caravan." The non-album tracks are a varied lot. "Rinky Dink" sounds like a Bill Doggett outtake (and features some uncharacteristically bluesy rock & roll guitar from Kenny Burrell!); other tracks skirt the place where blues and R&B meet jazz, at the end of a dark alley. But just listen to that closing blast from Williams on "New Concerto for Cootie," which officially closed the original LP, and you'll know that Cootie Williams remained a Duke man to the end. --AllMusic Review by Cub Koda
  • 100
Consolation - Forgotten Treasures of the Ukrainian Soul (Lysenko, Lyatoshynsky, Kosenko, Kolessa, Skoryk) - Natalya Pasichnyk, Olga Pasichnyk (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Mykola Lysenko, Borys Lyatoshynsky, Viktor Kosenko, Kyrylo Stetsenko, Levko Revutsky, Mykola Kolessa, Myroslav Skoryk, Yuliy Mejtus, Valentin Silvestrov, Vasyl Barvinsky, Arkady Filippenko
Artist: Natalya Pasichnyk, Olga Pasichnyk, Emil Jonason, Jakob Koranyi, Luthando Qave, Christian Svarfvar
Title: Consolation - Forgotten Treasures of the Ukrainian Soul
Genre: Classical
Label: © BIS Records AB
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:16:18
Recorded: August/September 2015 at Studio 2, Sveriges Radio, Stockholm, Sweden


In Ukraine, as in many other parts of Europe, the late nineteenth century saw the emergence of a national spirit which resulted in a movement to explore and cultivate popular culture. But the country would have to wait until 1991 for independence, and in the meantime this national spirit could only find musical expression in the more intimate forms. Some of the most authentic examples of Ukrainian art music can therefore be found in chamber music and in song. With this disc, the Swedish-Ukrainian pianist Natalya Pasichnyk, her sister Olga and their Swedish colleagues offer the listener a way into this shadowy world – the beautiful, melancholy and emotive world of Ukrainian chamber music. Except for Valentyn Sylvestrov, the composers featured will be mostly unknown to an international audience, yet they invite the listener to share a journey into a soundscape that is both exotic and strangely familiar. The title of the disc, Consolation, is derived from a rhapsodic piano piece by Viktor Kosenko which perfectly captures the inward-looking mood of much of Ukrainian music, but the first sound which meets the ear of the listener is a loosely strummed chord, like the sound of a lute: in his Dumka-shumka from 1877, Mykola Lysenko imitated the sound of the Ukrainian lute, the kobza. Lysenko is a central figure in Ukrainian art music, and is also represented here with the song Meni odnakovo, a setting of a poem by Taras Shevchenko, the poet who for many embodies the spirit of Ukrainian independence.
  • 0
Colin Wilkie, Shirley Hart, Albert Mangelsdorff, Joki Freund - Wild Goose (1969/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Colin Wilkie, Shirley Hart, Albert Mangelsdorff, Joki Freund
Title: Wild Goose
Genre: Jazz, Free Jazz, Post Bop, Celtic, Folk
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1969/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:37:54
Recorded: February 19th 1969, Walldorf Studio, Mörfelden-Walldorf, Frankfurt/Main, Germany

Free jazz encounters the English folk song. With his perceptive arrangements, Saxophonist-arranger-composer Joki Freund, a major force in German post-war jazz, captures and combines the atmospheres of both genres. English couple Colin Wilkie and Shirley Hart began as wandering troubadours, and traveled on to become a mainstay on the bourgeoning European folk scene of the ‘60’s. The core of the accompanying Hessen Radio Jazz Ensemble is trombone icon Albert Mangelsdorff’s Quintet, a group that changed the shape of German jazz in the 1960’s. Wilkie’s Icy Acres follows the tradition of English-Scottish whaling songs. Based on an old sea shanty, Fourth Flight features impressive solos by Mangelsdorff and tenor saxophonist Heinz Sauer. On the impressionistic Snowy Sunday a pulsing 6/8 rhythm propels Albert’s brother Emil’s flute, a vocal interlude, and Freund’s impassioned soprano solo. Willow and Rue has a processional feel before breaking out into a swinging Mangelsdorff solo. Played in quartet, Lament mourns the death of a child, with Shirley the solo vocal and Albert accompanying. Based on a 14th century folk song, Joki Freund’s Ich armes Maidlein klag mich sehr represents a tour de force of arranging. The traditional English love song Sweet Primroses receives affectionate treatment by Wilkie and Hart and a passionate solo by Sauer. With songs handsomely sung, sensitive arrangements, and an ensemble that includes Mangelsdorff’s quintet at its height, this album proves that folk and jazz are soul siblings at heart.
  • 0
Claus Ogerman and His Orchestra - Watusi Trumpets (1965/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Claus Ogerman and His Orchestra
Title: Watusi Trumpets
Genre: Jazz, Jazz Pop, Crossover Jazz, Post Bop, Soul Jazz, Easy Listening
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1965/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:28:15
Recorded: 1965, Webster Hall, Manhattan, New York City by Mickey Crofford


Of Ogerman's four mod albums for Victor, Watusi Trumpets is the best, probably because it stays truest to the mod style. The other key factor is Dick Hyman's prominent (but uncredited) work on Lowrey organ. "The Joker" begins with exotic percussion, builds with a haunting flute, and then becomes a showcase for Hyman's Lowrey. Featuring the old standard "Poinciana," the rock classic "Land of a Thousand Dances," not to mention three tunes with "watusi" in the title, this mod album is as essential as any. --AllMusic Review by Tony Wilds
  • 0
Claus Ogerman and His Orchestra - Soul Searchin' (1965/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Claus Ogerman and His Orchestra
Title: Soul Searchin'
Genre: Jazz, Jazz Pop, Crossover Jazz, Post Bop, Soul Jazz, Easy Listening
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1965/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:29:00
Recorded: 1965, RCA Victor's Studio A, New York City by Mickey Crofford


Of Claus Ogerman's four mod albums for Victor, Soul Searchin' is a favorite for many because the theme, and certainly the tunes, are hip. As Ogerman's liner notes explain, he ranks soul third in significance after pop and jazz. In any case, Ogerman does a competent job covering all these songs; the title track (an Ogerman original) can be called funky, even. A large factor is Dick Hyman's Lowrey organ; his facility with both jazz and soul is in full evidence here. "The End of the Line" was a hit for Vinnie Bell, but the greater significance is that it was written by Pat Williams and Phil Ramone. The Ogerman albums on Victor share a great deal with the mod albums on Verve by Williams, Kai Winding, and others. Veering away from pop and toward soul-jazz, Soul Searchin' has a peppy jazz-boogaloo beat that feels neither constrained nor ponderous. The surprise is that it works. --AllMusic Review by Tony Wilds
  • 0
Claudio Roditi - Brazilliance X4 (2009/2017) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Claudio Roditi
Title: Brazilliance X4
Genre: Jazz, Bossa Nova, Contemporary Jazz, Trumpet Jazz
Label: © 2xHD/Resonance Records
Release Date: 2009/2017
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 57:57
Recorded in studio and live (#8,10) at Rising Jazz Stars, California, March 24 & 25, 2007


The repertoire is as classy as the players: a jazz standard ("Tune Up"), five pieces by Brazilian luminaries (Johnny Alf, the late Victor Assis Brasil, Joao Donato, the late Durval Ferreira, and Raul de Souza), and four Roditi compositions. All of these tunes are treated in the best bossa nova tradition, which as this is written is a half-century old and as fresh and vital as ever.
The Brasilian standards at the start of the record are wonderfully recast and in doing so Roditi is also giving notice that he is not merely a Brasilian with a penchant for jazz, but also a soulful Carioca at heart. “A Vontade Mesmo,” “E Nada Mais” and “Quem Diz Que Sabe” provide ample evidence of this. The live track at the back end of the record and the superb sound throughout make this record one of the finest in 2008/09 so far.
  • 0
Circle - Paris Concert (1972/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Circle
Title: Paris Concert
Genre: Jazz, Post Bop, Free Jazz, Avant-Garde Jazz
Label: © ECM Records GmbH | ECM Reviews
Release Date: 1972/2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 01:35:00
Recorded: February 21, 1971 at The Maison De L'O.R.T.F., Paris


Paris Concert is a live album by the short-lived jazz group Circle, which consisted of saxophonist Anthony Braxton, pianist Chick Corea, bassist David Holland and drummer Barry Altschul, recorded in 1971 and released on the ECM label.
  • 0
Chick Corea - Return To Forever (1972/2017) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Chick Corea
Title: Return To Forever
Genre: Jazz, Fusion, Latin Jazz, Piano Jazz
Label: © ECM Records GmbH | ECM Reviews
Release Date: 1972/2017
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 00:46:57
Recorded: 2, 3 February 1972, IBC Studios, 35 Portland Place, London, W1


Return to Forever is a jazz fusion album by Chick Corea, simultaneously functioning as the debut album by the band of the same name. Unlike later albums by the group, it was released by the ECM label and produced by Manfred Eicher. The album was not released in the USA until 1975. The record is often considered one of the classic albums in electric jazz.
At this stage, Corea's approach to jazz fusion was very different compared to other early fusion artists. Adventurous electric piano solos are backed with South American oriented rhythms of drummer Airto Moreira and the vocals and percussion of his wife Flora Purim. Stanley Clarke is the bassist of the group (playing electric bass on A-side and double bass on B-side) and Joe Farrell plays flute and saxophone. This first line-up of Return to Forever consists of musicians (excluding Joe Farrell and Flora Purim) that were also playing on Stan Getz's album Captain Marvel that was released in the same year.
The first track can be divided into five parts. There are three short parts in which Corea plays simple, haunting melodies with Purim doubling them with her voice. Between these three parts, there are two longer parts in which the whole band plays. These main parts are both based on their own riffs. Farrell plays a flute solo over the first main part and Corea plays a solo over the second. Moreira's drum pattern gives the composition an airy feeling of its own. Purim sings along with riffs, screaming a bit towards the end.
The second track, "Crystal Silence", is Corea's song. The track is played just by Corea and Farrell with some soft percussion in the background. Farrell performs a long saxophone solo. Third track, "What Game Shall We Play Today?", is another of Corea's songs. It has a very affectionate melody and Purim singing vocals. Farrell is now playing the flute. Corea and Farrell give short solos between the second and the third verse. The band would return to this song during the Light as a Feather sessions later in 1972 when they made four attempts with it; though the song did not make it to the album, all the takes appeared on the expanded edition of Light as a Feather.
The B-side of the album has only one track which consists of three different pieces of music. Probably they have been recorded without breaks and this is the main reason why they are not separated on three individual tracks; the bass lines skilfully link them together as well. The first seven minutes of the track consist of an improvised introduction featuring Corea, Farrell and Clarke, slow-paced and feeling akin to a Chinese landscape painting. As this section closes the piece moves into "Sometime Ago". It is a Latin-flavored song with Purim's vocals and Farrell soloing on flute. After that song, Farrell switches to soprano saxophone and the band plays "La Fiesta", one of Corea's jazz standards. Corea has written that most Spanish songs deal with matters such as misery or torture[citation needed] but "La Fiesta", however, is about celebration. The song is an instrumental piece that relies on flamenco modes.
  • 0
Antonio Vivaldi - The four Seasons - Ars Antiqua Austria, Gunar Letzbor (2016) Digital eXtreme Definition FLAC 5.1 Surround 24bit/ 352,8kHz

Сomposer: Antonio Vivaldi (1678-1741), František Jiránek (1698-1778)
Artist: Ars Antiqua Austria, Gunar Letzbor
Title: Vivaldi: The four Seasons; Jiránek: Violin Concerto in D minor
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2016
Quality: Digital eXtreme Definition FLAC 5.1 Surround 352,8kHz/24bit
Source: spiritofturtle.com
Duration: 00:59:34
Recorded: Sommerrefektorium St. Florian, Austria, 21st - 24th April 2016

Gunar Letzbor: “It is almost impossible nowadays to perform Vivaldi’s music without any preconceptions, even if one engages with it only rarely. Vivaldi’s sound is ubiquitous. Or is that perhaps the sound of only a few works from his rich oeuvre? When I played through “La Cetra” for the first time on the violin, I found some typical Vivaldi-isms which I really cannot stand. At the same time, however, I was surprised to find a remarkable body of new features waiting to be discovered. One just must not succumb to the temptation of immediately putting the familiar Vivaldi stamp onto everything. I have, in the meantime, formed an even greater friendship with Vivaldi. There is so much to discover amongst his works, away from mainstream sounds. This recording and its preparation: practising in peace and quiet; trying out sounds; receiving and discarding ideas; taking in the texts; rediscovering melodies and, if possible, never listening to any Vivaldi recordings.”
  • 0
Antonio Vivaldi - The four Seasons - Ars Antiqua Austria, Gunar Letzbor (2016) Digital eXtreme Definition FLAC Stereo 24bit/ 352,8kHz

Сomposer: Antonio Vivaldi (1678-1741), František Jiránek (1698-1778)
Artist: Ars Antiqua Austria, Gunar Letzbor
Title: Vivaldi: The four Seasons; Jiránek: Violin Concerto in D minor
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2016
Quality: Digital eXtreme Definition FLAC Stereo 352,8kHz/24bit
Source: spiritofturtle.com
Duration: 00:59:34
Recorded: Sommerrefektorium St. Florian, Austria, 21st - 24th April 2016


Gunar Letzbor: “It is almost impossible nowadays to perform Vivaldi’s music without any preconceptions, even if one engages with it only rarely. Vivaldi’s sound is ubiquitous. Or is that perhaps the sound of only a few works from his rich oeuvre? When I played through “La Cetra” for the first time on the violin, I found some typical Vivaldi-isms which I really cannot stand. At the same time, however, I was surprised to find a remarkable body of new features waiting to be discovered. One just must not succumb to the temptation of immediately putting the familiar Vivaldi stamp onto everything. I have, in the meantime, formed an even greater friendship with Vivaldi. There is so much to discover amongst his works, away from mainstream sounds. This recording and its preparation: practising in peace and quiet; trying out sounds; receiving and discarding ideas; taking in the texts; rediscovering melodies and, if possible, never listening to any Vivaldi recordings.”
  • 0
Dear visitor, you have not login. We recommend you to REGISTER and LOGIN to gain access to the full resource on our website.