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Bill Evans - At the Montreux Jazz Festival (1968/2004) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Evans
Title: At the Montreux Jazz Festival
Genre: Jazz, Post-Bop, Modal Music, Piano Jazz
Label: © Verve Records | Universal Music Japan
Release Date: 1968/2004
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 00:52:20
Recorded: June 15, 1968, Montreux Jazz Festival, Casino De Montreux, Switzerland

Bill Evans' 1968 release, At the Montreux Jazz Festival, marks the beginning of stylistic changes for the legendary pianist. Only one year earlier, his At Town Hall release found his approach generally more introspective and brooding. In contrast, this set is more lively, playful, and experimental. Much of this is down to the active and intense drumming of Jack DeJohnette, who had joined the trio only a short time before this concert was recorded; longtime bandmate Eddie Gomez is also featured on this album. His energetic soloing adds veracity to tunes such as "Embraceable You" and "A Sleeping Bee." DeJohnette, too, is given several opportunities to display his drumming skills. His lengthy solo on "Nardis" displays his technical prowess and four-way coordination; such acumen would later cause jazz fans and critics alike to hail DeJohnette as one of the world's premier jazz drummers. Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions. --Rovi Staff
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Tony Williams Trio - Young at Heart (1997/1999) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Tony Williams Trio
Title: Young at Heart
Genre: Jazz, Fusion, Hard Bop, Post-Bop
Label: © Columbia Records | Sony Music Japan (SRGS 4516)
Release Date: 1997/1999
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 01:09:13
Recorded at Sony Music Shinanomachi Studio in Tokyo, Japan on September 24 and 25, 1996.

OUNG AT HEART is Tony Williams' final recording prior to his death in 1997. YOUNG AT HEART is a firm exclamation point on the career of master drummer Tony Williams. Recorded just a few months before his untimely death, this disc is a treasure that no one who has followed Williams' development from 17-year-old Miles Davis band phenom to legendary composer and bandleader should be without. In a rare trio setting with longtime sidemen Mulgrew Miller (piano) and Ira Coleman (bass) Williams displays the powerful chops, beautiful finesse and relentless drive that defines his unmistakable style. The majority of this disc is made up of standards; an unusual turn for Williams, who had become such a highly respected composer in his later life. We are treated to a grand display, however, as the trio masterfully energizes classics like "On Green Dolphin Street," "You And The Night And The Music" and Bobby Timmons' "This Here." Williams, using both brushes and sticks, is in top form as he gravitates from colorful support to thundering bombast to stimulating melodic invention. Of special note, the lighter tunes including "The Fool On The Hill," "Body And Soul" and the title track exhibit a sensitive side of Williams drumming that was often overlooked.
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Eric Clapton - Pilgrim (1998/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Eric Clapton
Title: Pilgrim
Genre: Rock, Blues Rock, Pop Rock
Label: © Reprise Records | Audio Fidelity AFZ 188
Release Date: 1998/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 01:17:21
Recorded: 1997, Olympic Studios, London
Mastered By Steve Hoffman at Stephen Marsh Mastering.

From the song titles ("River of Tears," "Broken Hearted," "Going Down Slow," "Sick and Tired") on down, Pilgrim is the musical journal of an artist who has wandered into some dark places and come back the wiser for his troubles. 1998's Pilgrim is the 13th studio album by Eric Clapton, it was his first album of original material since 1989's Journeyman.
The album is an intriguing musical tableau that experiments with drum machines and synthesized dashes of electronica and an inventive use of strings, performed by the London Session Orchestra, reminiscent of old-school R&B. There is wonderful, graceful guitar work throughout Pilgrim, Clapton provides some great hooks and emotional melodies. The best songs on this eloquent album of orchestrated blues meditations express a choked-up grief and despair. The songwriting is the standout feature of this album. Clapton wrote in his autobiography that he wanted to make the "saddest album." He wrote or co-wrote every song except "Born in Time," an overlooked Bob Dylan tune, and "Going Down Slow," a classic blues written by St. Louis Jimmy. In two songs, "My Father's Eyes" and "Circus," Clapton alludes to the tragic death of his 4-year-old son. The songs are very moving with more complicated melodies and in depth lyrics. Clapton's emphasis is placed on the entire arraingement instead of being built around a jam session.
Eric's voice has never sounded better, his singing is raw and passionate, much of the music is informed by smooth R&B textures. On the album's sizzling title track, he evokes some of the soulful eloquence of the great Curtis Mayfield. Clapton's vocals are among the most convincing of his career. Pilgrim is an atmospheric album whose mood is mostly melancholy. Unbearable loss and yearning are the central themes of Pilgrim, and with its heartbeat bass lines, melodic, meditative guitar figures and heartbreaking lyrics, it offers moments of pure beauty.
The album produced multi-platinum sales and appeared on the year-end Top 100 lists of countries all around the world.
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Blood, Sweat & Tears - Child Is Father To The Man (1968/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Blood, Sweat & Tears
Title: Child Is Father To The Man
Genre: Blues Rock, Psychedelic Rock, Jazz-Rock, Pop Rock
Label: © Columbia Records | Audio Fidelity AFZ5 195
Release Date: 1968/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 00:49:26
Recorded: November 11 - December 20, 1967
Mastered By Steve Hoffman at Stephen Marsh Mastering.

#264 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Exploding onto the scene as a band determined only to expand the boundaries of popular music, Blood, Sweat & Tears immediately made their mark as virtuoso players with an important vision and statement. Calling on Rock, R&B, Jazz and even Classical influences, the band, led by Al Kooper, made what remains one of the truly inspired, groundbreaking records of the late '60s.
The album introduced the idea of the big band to rock and roll and paved the way for such groups as Chicago. Child Is Father to the Man peaked at #47 on Billboard's chart. "I Love You More Than You'll Ever Know" and "I Can't Quit Her" generated airplay on progressive rock radio.
This is the sound of a group of virtuosos enjoying itself in the newly open possibilities of pop music... the eclectic post-Sgt. Pepper era, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form.
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Billie Holiday - Body And Soul (1957/2011) High-Fidelity DSF Mono DSD64/2.82MHz

Artist: Billie Holiday
Title: Body And Soul
Genre: Jazz, Classic Female Blues, Traditional Pop, Vocal Jazz, Swing, Torch Songs, Standards
Label: © Verve Records | Analogue Productions
Release Date: 1957 (MG V-8197)/2011
Quality: DSF 2.0 Mono DSD64/2.82MHz
Source: Acoustic Sounds
Duration: 37:13
Recorded in Los Angeles #1, 3 January 7, 1957; #2, 4, 5 to 7 January 9, 1957; #8 January 3, 1957.

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.

Small jazz groups brought out the best in Billie Holiday - especially groups as good as the one heard on this classic 1957 recording. Ben Webster, Harry "Sweets" Edison and the other members of this stellar ensemble were not just gifted soloists but sensitive accompanists as well. Lady Day was rarely more ably supported than she was on this program of sturdy standards, including three gems by the Gershwin brothers -and she rarely sounded more luminous.
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Wayne Shorter Feat. Milton Nascimento - Native Dancer (1975/2000) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Wayne Shorter Feat. Milton Nascimento
Title: Native Dancer
Genre: Jazz, Easy Listening, Latin Jazz, World Fusion, Smooth Jazz
Label: © Columbia Records | Sony Music Japan
Release Date: 1975/2000
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 00:43:42
Recorded: September 12, 1974 at Village Recorders, Los Angeles.

Native Dancer is the fifteenth album by Wayne Shorter. It is a collaboration with Brazilian musician Milton Nascimento, featuring some of his most acclaimed compositions, including "Ponta de Areia" and "Miracle of The Fishes". It is notable for including jazz rock and funk elements in addition to regional rhythms and Brazilian influence, in an attempt to create a "world" music accessible from many perspectives. Many American musicians were influenced by this album, including Esperanza Spalding and Maurice White of Earth, Wind, and Fire, who covered "Ponta de Areia" on their hit 1977 album All 'N All.
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Walter Davis Jr. - Davis Cup (1959/2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Walter Davis Jr.
Title: Davis Cup
Genre: Jazz, Hard Bop, Piano Jazz
Label: © Blue Note Records | Analogue Productions
Release Date: 1959 (BLP 4018/ST 84018)/2010
Quality: DSF Stereo DSD64/2.82MHz
Source: acousticsounds.com
Duration: 38:08
Recorded: August 2, 1959 at Van Gelder Studio, Englewood Cliffs, New Jersey.
Mastered: Kevin Gray and Steve Hoffman at AcousTech Mastering, Camarillo, California.

Although a Blue Note regular at the time on sessions by Donald Byrd, Art Blakey and others, Walter Davis made only one album for the label. With Byrd, Jackie McLean, Sam Jones and Art Taylor, he explores six of his finest compositions. Davis possessed the ability to write music that was funky and catchy, but still progressive, which explains why he was one of Art Blakey's favorite pianists and composers. "Minor Mind," "Make It" and "Millie's Delight" are among the album's highlights.

Walter Davis, Jr.'s debut record as a leader for Blue Note is a terrific hard bop session, a driving collection of six original tunes that emphasize the strengths not only of the pianist himself, but also his supporting band: trumpeter Donald Byrd, alto saxophonist Jackie McLean, bassist Sam Jones, and drummer Art Taylor. Apart from the lovely ballad "Sweetness," Davis Cup moves along at a brisk pace, with the rhythm section urging the soloists to new heights. Byrd has rarely sounded better, and on this date McLean provides ample evidence that he was moving beyond the conventions of hard bop and developing his own unique style. Davis, of course, does more than acquit himself -- he contributes an engaging, energetic performance that keeps the music grounded. His compositions are just as captivating, whether it's the swinging "Rhumba Nhumba" or the darkly invigorating "Minor Mind." It all adds up to a wonderful straight-ahead hard bop date, one that's so good it's a wonder that Davis didn't receive another chance to lead a session until 1979. --Stephen Thomas Erlewine
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Antonio Vivaldi - Concertos for the Emperor - The English Concert, Andrew Manze (2004) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Antonio Vivaldi (1678–1741)
Artist: The English Concert, Andrew Manze
Title: Vivaldi - Concertos for the Emperor
Genre: Classical
Label: © Harmonia Mundi
Release Date: 2004
Quality: DSF Stereo DSD64/2.82MHz
Source: NativeDSDMusic
Duration: 01:18:44
Recorded: February 15–17, 2004 at Air Studios, Lyndhurst Hall, London.

In September 1728, the Habsburg ruler Charles VI, Archduke of Austria, King of Germany, Hungary, Bohemia and Spain, Holy Roman Emperor etc etc, travelled to the Duchy of Carniola in order to inspect the port of Trieste. Antonio Vivaldi made the eighty-mile journey northeast of Venice to attend on him. It is not known whether the two men had met before, although the previous year Vivaldi had dedicated his twelve concertos Op.9, entitled La cetra (The Lyre), to Charles, suggesting they probably had met or at least corresponded. This encounter seems to have been the highlight of an otherwise disappointing trip for the Emperor, judging by two letters which survive from a Venetian Abbe?, Antonio Conti, to a French lady, Mme de Caylus. On 23 September Conti wrote, ‘the Emperor is not too happy with his Trieste. . . . He has spent a lot of time discussing music with Vivaldi. It is said that he has spoken with him more in two weeks than he has with his own ministers in two years. . . . His appetite for music is very strong.’ And in another letter Conti wrote, ‘the Emperor has given Vivaldi a large amount of money together with a chain and gold medallion.’
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Sonny Stitt - Blows The Blues (1960/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Sonny Stitt
Title: Blows The Blues
Genre: Jazz, Bop, Saxophone Jazz
Label: © Verve Records | Analogue Productions
Release Date: 1960 (MG V-8374)/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: Acoustic Sounds
Duration: 36:49
Recorded: Los Angeles, California on December 21 & 22, 1959.

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.
Sonny Stitt led a number of excellent record dates in 1959, especially at the end of the year when he produced three LPs for Verve over a span of three sessions with pianist Lou Levy, bassist Leroy Vinnegar and drummer Mel Lewis. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. The music includes several potent originals, especially "Hymnal Blues" and the slow, powerful "Morning After Blues."
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Bill Evans With Jeremy Stieg - What’s New (1969/2011) DSF Stereo DSD64/2.82MHz

Artist: Bill Evans With Jeremy Stieg
Title: What’s New
Genre: Jazz, Post-Bop, Piano Jazz
Label: © Verve Records | Universal Music Japan
Release Date: 1969/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SHM-SACD
Duration: 00:44:49
Recorded: January 30, February 3 & 5 & March 11, 1969 at Webster Hall, New York

This CD reissue has the debut of drummer Marty Morell with Bill Evans and bassist Eddie Gomez; that particular trio would keep the same personnel for six productive years. Actually this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann's recording (Nirvana) with Evans back in the early '60s. Both flutists were always open to the influences of pop and rock although in both of their collaborations with Bill Evans, the music is very much on the pianist's turf. With the exception of Evans' "Time Out for Chris" and the "Spartacus Love Theme," the songs performed on this date would fit securely in the Miles Davis repertoire of the late '50s. Steig is in particularly fine form on the program which includes tunes such as "Straight No Chaser," "Autumn Leaves" and "So What." --Scott Yanow
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