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Junior Wells - Hoodoo Man Blues (1965/2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Junior Wells
Title: Hoodoo Man Blues
Genre: Blues, Chicago Blues, Electric Chicago Blues, Harmonica Blues
Label: © Delmark Records/Analogue Productions XAPB034D64
Release Date: 1965/2009
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:39:57
Recorded by Stu Black at Sound Studios, Chicago, September 22 & 23, 1965; Mastered from the original analog master tapes by Kevin Gray


One of the all-time great urban blues records and the best-seller in the famed Delmark catalog. Hoodoo Man Blues is so full of bravado and snap it'll make you feel tough just listening to it. Not all of the Delmark titles were recorded very well, but this one certainly was. Hoodoo Man Blues, which features Buddy Guy on guitar, is not only Junior Wells' first LP appearance, it's damn near the first LP by a Chicago blues band. Chess and a few other labels had reissued 45s by Muddy Waters, Sonny Boy Williamson, Howlin' Wolf, Jimmy Reed, Elmore James, etc., but virtually no one had tried to capture the Chicago blues sound free of the limitations of juke box/airplay promotion. Hoodoo Man Blues went a long way in the popularization of real Chicago blues and of Junior Wells.
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Jeff Beck - Blow By Blow (1975/2001) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Jeff Beck
Title: Blow By Blow
Genre: Jazz, Rock, Fusion, Jazz Funk, Guitar Virtuoso
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1975/2001
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 44:34
Recorded: October 1974 at AIR Studios, London
DSD file created by Gus Skinas from the original Sony Super Audio CD cutting masters.

When Jeff Beck announced that he was working on an all-instrumental album, few but his legion of guitar fans could have predicted the far-reaching impact of this pivotal jazz-rock fusion album. Teamed with the Beatles' ex-producer George Martin, Beck singlehandedly created a new subtext for rock & roll. With his virtuosity and taste at an all-time peak, Beck let loose with such unforgettable tracks as the Roy Buchanan-inspired "Cause We've Ended as Lovers" and the percolating "Freeway Jam." This is one of rock's great instrumental works.

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Eleonora Bianchni, Enzo Pietropaoli - DOS In Sight (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Eleonora Bianchni, Enzo Pietropaoli
Title: DOS In Sight
Genre: Jazz, Vocal Jazz
Label: © Fonè Records/Audiophile Productions
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 55:42
Recorded: November 7-8, 2015 at Museo Piaggio - Auditorium - Pontedera (Pi); Recorded in stereo DSD on the Pyramix Recorder using dCS A/D and D/A converters


The artistic adventure of DOS goes on, after the successful experience of the debut album that marked the beginning of an artistic bond between the voice of Eleonora Bianchini and the double bass played by Enzo Pietropaoli.
DOS presents IN SIGHT, an original glance at international pop songs (from Michael Jackson to Oasis), Italian classics (including Battiato, Battisti and Celentano) and previously unreleased songs, all connected in a journey along a gracefully homogeneous path. The voice of Eleonora Bianchini blends perfectly with the sonic taste of Enzo Pietropaoli, who is able to let his instrument “sing” in extraordinary ways. “Standard” recordings often tend to penalize the sound of double bass, whereas the recordings signed by fonè are able to emphasize the musicality of this instrument, making all upper harmonics perfectly audible, with a peculiar richness in timbre.
The recordings took place in a natural environment; in this case, our choice was the Auditorium Hall at the Piaggio Museum in Pontedera, a location particularly appreciated by Giulio Cesare Ricci. The Auditorium is located in the factory where the first Vespas used to be assembled in the early 1900s: nowadays, it stands out for its truly excellent acoustics.
DOS 2 – IN SIGHT is able to offer a special taste, giving a new flavor to all the songs included in the record, most of which are imprinted in the past of any of us.
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Anna Garano, Anais Tekerian - Ansahman (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Anna Garano, Anais Tekerian
Title: Ansahman
Genre: Folk, World, Vocal Music, Jazz Folk, Armenian Tradition
Label: © Fonè Records/Audiophile Productions
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:40:02
Recorded and mixed by Kamilo Kratc; Mastered by Giulio Cesare Ricci


Anna Garano, classical and Flamenco guitarist from Trieste, Italy, has arranged a repertoire of Armenian songs for voice and guitar. Here in New York at Alwan she is joined by Anaïs Alexandra Tekerian, one third of the acclaimed Armenian a cappella trio Zulal, in this lyrical, poignant fusion of Flamenco and vocals of the Old World.
In light of the upcoming 100th anniversary of the Armenian Genocide, Anna and Anaïs will present a selection of Armenian songs of love and idealization, of loss and despair, of questioning and hope.
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Charles Mingus - Mingus Ah Um (1959/1999) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Charles Mingus
Title: Mingus Ah Um
Genre: Jazz, Hard Bop, Post Bop, Progressive Jazz
Label: © Columbia Records/Legacy Recordings/Sony Music Entertainment CS 65512
Release Date: 1959/1999
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:12:37
Recorded: May 5 (#1,6-10) & May 12, 1959 (#2-5,11,12) at 30th Street Studio, NYC; Engineered for SACD by Mark Wilder

Charles Mingus’ 1959 Columbia sessions were both a summation of his diverse work up to that point and a bold step forward, for it was the year when at last he had the opportunity to sign with a major label and work with an old friend and musical collaborator, Teo Macero at Columbia Records.
There was no stopping this incredible musical mind who’d found his voice as a bassist, composer and bandleader. The bands that Mingus assembled at Columbia’s 30th Street studio in May and November of ‘59 consisted of the greatest exponents of his music to date, featuring sidemen Jimmy Knepper, John Handy, Booker Ervin, Horace Parlan and Dannie Richmond.
These 1959 sessions, which resulted in Mingus Ah Um and Mingus Dynasty, introduced several classics that would become evergreens in the bassist’s repertoire and jazz standards including: “Better Git It In Your Soul,” “Goodbye Pork Pie Hat” and “Fables Of Faubus” plus homages to jazz greats Ellington (“Open Letter To Duke”), with whom Mingus is most frequently compared for the vastness, depth and diversity of his recordings, and Morton (“Jelly Roll”), jazz’s first great composer.
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The Bolshoi Experience: Highlights from Russian Operas, Vol. 2 - Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow, Alexander Vedernikov (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Modest Mussorgsky(1839-1881), Nikolai Rimsky-Korsakov (1844-1908), Peter Ilyich Tchaikovsky (1840-1893)
Artist: Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow, Alexander Vedernikov
Title: The Bolshoi Experience: Highlights from Russian Operas, Vol. 2
Genre: Classical, Opera
Label: © Pentatone Music B.V.
Release Date: 2006
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:00:14
Recorded: Moscow, November 2005 & February 2006


Traditionally, since the middle of the 18th century, Russian opera had been influenced by the Italians, just as the music world as a whole had been strongly oriented towards that country during the empire of the czars. For Russian composers, this meant that they have to battle incessantly for the recognition of their musical identity, which was not surprising in a country where many prominent families felt more at home speaking French than Russian. In his operas A Life for the Czar (1836), and Ruslan and Lyudmila (1841), Michael Glinka laid a foundation for the national opera culture, and Alexander Dargomishky followed his example. However, their music was still strongly influenced by foreign works; the torch was then taken over by Alexander Borodin and a few others, who grouped together under the name Moguchaya Kuchka (the ‘mighty handful’). Their main objective was to develop an authentic idiom, based on Russian folklore music. In addition, they strove to create a high degree of realism in the music drama. They were successful at this, even though at times hindered in the realization of their intentions by a lack of professional training of various members.
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Stan Getz, Charlie Byrd - Jazz Samba (1962/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stan Getz, Charlie Byrd
Title: Jazz Samba
Genre: Jazz, Bossa Nova, Brazilian Jazz, Brazilian Traditions, Samba, World Fusion
Label: © Verve Records/Analogue Productions XVRJ8432D64
Release Date: 1962/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:33:32
Recorded: Pierce Hall, All Souls Unitarian Church, Washington D.C., February 13, 1962


Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The words "bossa nova" are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim - an adaptation of infectious Brazilian samba rhythms with the harmonic structures and "cool" surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba - the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America.
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Stan Getz, Joao Gilberto feat. Antonio Carlos Jobim - Getz/Gilberto (1964/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stan Getz, João Gilberto feat. Antônio Carlos Jobim
Title: Getz/Gilberto
Genre: Jazz, Bossa Nova, Brazilian Jazz, Mainstream Jazz, World Fusion
Label: © Verve Records/Analogue Productions XVRJ8545D64
Release Date: 1964/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:33:50
Recorded: March 18–19, 1963 at A&R Recording Studios, New York City


Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed
Astrud Gilberto says that her husband, Joao, informed Stan Getz that she "could sing at the recording." Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes "Ahhh!"
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Sarah Vaughan - Live At Rosy's (1978/2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Sarah Vaughan
Title: Live At Rosy's
Genre: Jazz, Vocal Jazz
Label: © 2xHD/Resonance Records
Release Date: 2016
Quality: DSF Stereo DSD128/5.64MHz
Source: HDTracks
Duration: 01:27:05
Recorded: Rosy's Jazz Club, New Orleans on May 31, 1978

"This recording celebrates the genius that was Sarah Vaughan. Recorded live in concert in May 31, 1978 at the celebrated New Orleans jazz club Rosy’s, it represents two sets containing 87 minutes of music, that were never before released. The rhythm section (or as Sassy put it ‘my trio’) was extremely tight, made up of pianist and arranger Carl Schroeder, bassist Walter Booker and legendary drummer Jimmy Cobb (Miles Davis Kind of Blue). This band played hundreds of performances around the globe with Sarah Vaughan and in the recordings, in this set; these three masters’ empathy with one another and their consummate cohesiveness as a unit are undeniable.
This is truly a rare collector’s recording."
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Olga Martynova - Harpsichord Gems, Vol. 5 - Bach, J.S. - English Suites (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 5 - Bach, J.S. - English Suites
Genre: Classical
Label: Caro Mitis
Release Date: 2009
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 02:26:57
Recorded: 5–7.10.2007; 2–4.10.2008 5th Studio of The Russian Television and Radio Broadcasting Company (RTR), Moscow, Russia

The French word ‘suite’ was quickly adopted throughout the European continent. The primary meaning (‘set, sequence’) has been preserved in widely diverse contexts – in ceremonial or court vocabulary (a group of attendants accompanying an important personage), and as an architectural term (an enfilade or series of rooms). But perhaps the word gained most currency in the world of music. As we know, the suite is a favoured cyclical form of baroque instrumental music, representing a series of dance-based pieces that are complementary in the type of movement and unified by a single key (and initially, by the common melodic source).
At the turn of the 18th century it was customary to publish collections made up of a ‘set number’ of pieces, such as 12 trio sonatas, 12 sonatas for violin and continuo, 12 concerti grossi by Arcangelo Corelli, two 6 piece collections Musicalische Ergötzung (1695) and Hexachordum Apollinis (1699) by Johann Pachelbel. Continuing this tradition, Bach wrote 6 English suites and 6 French suites, 6 Partitas for Keyboard, 6 Suites for Cello, 6 Sonatas and Partitas for Violin, and 6 Brandenburg Concertos. A list of Bach collections shows that the principle of the suite – a single musical composition consisting of several separate pieces (from 4 to 7) grouped together – was used in various genres, both for solo instruments and ensembles. Hence the suite was applicable as festive Tafelmusik at court or as music played in a small hall or chamber, for recreation and entertainment, and also for instruction on how to play the keyboard.

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