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Norah Jones - Come Away With Me (2002/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Norah Jones
Title: Come Away With Me
Genre: Jazz, Vocal Jazz, Singer/Songwriter, Torch Songs, Jazz Blues
Label: © Blue Note Records
Release Date: 2002/2012 Remaster
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 45:04
Recorded: 2001; Sorcerer Sound, New York City; Allaire Studios, Shokan
Remastered at New York’s legendary Sterling Sound by Norah Jones’ longtime mastering engineer Greg Calbi, Not Too Late was remastered from the original analog mix tapes in 192kHz/24 bit and 96kHz/24 bit audio.

Come Away with Me is the breakthrough, chart-topping debut from admired singer-songwriter, Norah Jones. The album is infused with elements of acoustic pop, jazz, folk and soul. The critically acclaimed album topped various “Album of the Year” charts and won eight GRAMMY® Awards including Record of the Year, Album of the Year, Song of the Year, Best Pop Vocal Album, Best Engineered Album, Non-Classical and Best Female Pop Vocal Performance. Included on the album are some of Norah’s biggest hits including “Come Away with Me” and “Don’t Know Why.” The album of immaculate progressions and evocative lyrics is a perfect representation of Jones’ alluring talents.
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Ozzy Osbourne - Blizzard Of Ozz (1980/2011) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Ozzy Osbourne
Title: Blizzard Of Ozz
Genre: Rock, British Metal, Hard Rock, Heavy Metal
Label: © Epic Records
Release Date: 1980/2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 50:49
Recorded: March 22 - April 19, 1980; mixed May 5 - 20, 1980 at Ridge Farm Studios

Blizzard of Ozz is Ozzy Osbourne's debut solo album. The record was originally released in 1980, a year after the heavy metal vocalist was dismissed from Black Sabbath. The record had major commercial success, was certified 4x Platinum in the U.S. The single "Crazy Train" peaked at number 9 on Billboard's track list and has since become one of Osbourne's signature songs.
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New York Polyphony - Sing thee Nowell (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: New York Polyphony
Title: Sing thee Nowell
Genre: Classical, Vocal
Label: © BIS Records AB
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eclassical.com
Duration: 71:05
Recorded: March 2014 at the Chapel at The American Boychoir School, Princeton New Jersey, USA

Nowell, Nowel, Noel – on their new release, Sing thee Nowell, New York Polyphony sing of and to the birth of Christ. They do so in a typically sophisticated programme which fuses the ancient with the modern into a seamless whole: seven centuries of Christmas passes before the listener, with new works composed for these performers by Michael McGlynn, Andrew Smith and John Scott alongside traditional medieval and Renaissance carols and motets by Clemens ‘non Papa’, Philippe Verdelot and Tomás Luis de Victoria. The wide-ranging sequence is anchored by Richard Rodney Bennett’s Five Carols, in which the sopranos Sarah Brailey and Elizabeth Baber Weaver join the four members of New York Polyphony in celebrating ‘the joyful birth’ and in praising ‘Mary mild’. The wondrous events related to the Nativity and the joy they bring to mankind naturally dominate, but intimations of Christ’s death on the cross also surface in the course of the disc, as in Peter Warlock’s Bethlehem Down: ‘they will clothe him in grave-sheets, myrrh for embalming, and wood for a crown.’ Formed in 2006, New York Polyphony has rapidly emerged as one of the leading vocal chamber ensembles, applying a distinctly modern touch to repertoire that ranges from austere medieval melodies to cutting-edge contemporary compositions. Two previous recordings for BIS have received critical acclaim, including a Grammy nomination for the 2013 release Times go by Turns, interleaving masses by Byrd and Tallis with works from the 21st century.’
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Kenny Dorham - Whistle Stop (1961/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Kenny Dorham
Title: Whistle Stop
Genre: Jazz, Hard Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 1961 (BLP 4063/BST 84063)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:38:30
Recorded: January 15, 1961 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Whistle Stop is a jazz studio album by Kenny Dorham, featuring performances by acclaimed musicians Hank Mobley, Kenny Drew, Paul Chambers and Philly Joe Jones. It was recorded in January 1961 at Van Gelder Studio, in Englewood Cliffs, and was originally released on Blue Note Records as BST 84063 and BLP 4063. "In 1975", Blumenthal states in the CD liner notes, "five British critics picked Whistle Stop as one of 200 albums that belonged in a basic library of jazz recorded after World War II".

Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. Whistle Stop features seven of his compositions, none of which were picked up later by any of the Young Lions of the '90s despite their high quality and many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who had recorded with him previously, along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set. --Scott Yanow
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Kenny Dorham - Trompeta Toccata (1964/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Kenny Dorham
Title: Trompeta Toccata
Genre: Jazz, Hard Bop, Post Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4181/BST 84181)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:37:09
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on September 4, 1964

It seems strange and somewhat tragic that this was trumpeter Kenny Dorham's last full album as a leader for he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson's catchy "Mamacita" also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert "Tootie" Heath served as a strong (if premature) ending to Dorham's impressive career as a solo artist. --Scott Yanow, AllMusic
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Joe Sample - Rainbow Seeker (1978/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Joe Sample
Title: Rainbow Seeker
Genre: Jazz, Hard Bop, Jazz Funk, Soul Jazz, Fusion, Smooth Jazz
Label: © MCA Records
Release Date: 1978/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:42:37
Recorded: ABC Recording Studios, Los Angeles, California; Warner Bros. Studios, No. Hollywood, California; Hollywood Sound Recorders, Hollywood, California.

Back in 1978 when this set was recorded, fusion (the mixture of jazz improvisation with rock rhythms) was declining. Keyboardist Joe Sample, best-known for his work with the Crusaders, was in the process of being one of the founders of "contemporary jazz," an idiom that has since solidified into smooth jazz. Sample emphasized catchy melodies, light funk rhythms, appealing chord changes and a pop sensibility. For this accessible release, Sample is joined by the late legendary guitarist Billy Rogers, bassist Pops Popwell, his old Crusaders drummer Stix Hooper, a horn section and several guest guitarists. All eight tunes (which include "Fly with the Wings of Love" and "Islands in the Rain") are by the leader, who is heard throughout in melodic form, setting up a variety of light grooves that serve as superior background music. --Scott Yanow, AllMusic
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Joe McQueen and friends - Ten at 86 (2006) High-Fidelity DFF Stereo DSD64/2.82MHz

Artist: Joe McQueen and friends
Title: Ten at 86
Genre: Jazz
Label: © IsoMike
Release Date: 2006
Quality: DFF Stereo DSD64/2.82MHz
Duration: 00:53:04
Recorded in the Austad Auditorium, Val A.Browning Center for the Performing Arts, Weber State University, Ogden, Utah.

Joe McQueen has been a professional jazz musician for over seventy years, turning ‘Pro’ at the tender age of sixteen. He was introduced to the saxophone a few years earlier by his cousin, Herschel Evans, who played in Count Basie’s band in the mid -1930s. Born in 1919 in Dallas, Texas, Joe was raised in Ardmore, Oklahoma, where he played tuba and then saxophone in the Ardmore High School band.

Fast forward to 1945, when Joe and his wife, Thelma, were on the road as he was touring in a jazz band. While en-route from Las Vegas, the bandleader gambled away the troupe’s earnings, stranding them in Ogden, Utah. Joe and Thelma decided to stay in Ogden and McQueen reformed the band there. This turned out to be a serendipitous move because just after WWII, Ogden, a major stop on the railroad between San Francisco and Kansas City, had become a hotspot for jazz music. Since settling in Ogden, McQueen has performed there with such jazz luminaries as Charlie Parker, Chet Baker (a fellow Oklahoman), Paul Gonzalez, Lester Young, Count Basie, Duke Ellington and Dizzy Gillespie. Joe continued to tour in the region, playing in Idaho Falls with Hoagy Carmichael... —excerpt from liner notes
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Jethro Tull - War Child - The 40th Anniversary Theatre Edition (1974/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jethro Tull
Title: War Child - The 40th Anniversary Theatre Edition
Genre: Rock, Prog Rock, Art Rock, Hard Rock
Label: © Chrysalis Records | Parlophone Records | Rhino Entertainment
Release Date: 1974/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: DVD
Duration: 02:37:13
Recorded: 1974 at Morgan Studios, London

LOS ANGELES – In 1974, Jethro Tull announced plans for WarChild, a multi-faceted project that was to encompass a feature-length film, a soundtrack album, as well a new album from the band. In October of that year, Tull released a 10-song album that would climb to #2 in the U.S. and the top 15 in the U.K., but the film and accompanying soundtrack were shelved. To commemorate the 40-year anniversary of this ambitious experiment, Parlophone will revisit WarChild with several releases.

Highlights from the set include:
- Original album and bonus tracks (three previously unreleased), remixed in 5.1 surround and stereo by Steven Wilson.
- 10 orchestral pieces (nine previously unreleased) written for the film’s soundtrack, 4 of which are remixed in 5.1 surround and stereo by Steven Wilson.
- Flat transfers of the original LP mix at 96/24, and the quadrophonic version (with 2 bonus tracks) in 4.0.
- “The Third Hoorah” promo footage, and footage from a January 1974 photo session/press conference where the WarChild project was announced.
- An 80-page booklet featuring an extensive history of the project, a film script synopsis, track-by-track annotations by Ian Anderson, plus rare and unseen photographs.

Originally released in 1974, WarChild features one of the group’s most prolific lineups and includes Ian Anderson, Martin Barre, John Evans, Jeffrey Hammond-Hammond and Barrie Barlow. Unlike its predecessors – Thick As A Brick and A Passion Play – which featured 40-odd minutes of continuous music, WarChild marked a return to songs of a more conventional length, including the FM-radio staple, “Bungle In The Jungle.” The new Theatre Edition unearths a trio of unreleased recordings: “Tomorrow Was Today,” “Good Godmother,” and a different arrangement of “WarChild” recorded after the version on the final album.
Fans intrigued by the appearance of “WarChild Waltz” on the 2002 reissue of WarChild will finally get the chance to hear the rest of the mostly orchestral music the band recorded for the soundtrack album. About 30 minutes was recorded during sessions in 1973 and 1974. Soon after, the music was consigned to the archives for 40 years – until now.
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Giovanni Gabrieli - Venise sur Garonne - Les Sacqueboutiers (2014) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Giovanni Gabrieli (1683-1764)
Artist: Les Sacqueboutiers de Toulouse
Title: Gabrieli - Venise sur Garonne
Genre: Classical
Label: © Flora
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:19:12
Recorded: March 2014 at l’annexe Barrière de Paris du Conservatoire à Rayonnement Régional de Toulouse.

During the XVIth century, in San marco Basilica of Venice, two organs were facing each other on the loft surrounding the choir. Both organist positions were occupied by famous musicians such as Giovanni Gabrieli, pupil of his uncle Andrea, and Gioseffo Guami, a pupil of Adrian Willaert. The location of these instruments allowed these musicians to compose pieces of several groups of voices which were still called "choirs". Such a use of various choirs originates in the two organs of San Marco, but maybe probably more in the interpretation of psalms by separate choirs, the "cori spezzatti', in the whole Northern Italy.

This distribution of the sound amongst several choirs gave birth to a new musical style that most composers of the early XVIIth century considered : the "echo". This way of writing music allowed the composers to take advantage of the generous acoustics of churches and basilicas, providing a resonant representation of these places vastness. Moreover, the distribution of instruments by homogeneous families gave birth to the notion of orchestra, the way we nowadays consider it. The part played by these "choirs" becoming more and more important, and finally the composition of purely instrumental music resulted in the conception of magnificent Canzoni whose style was progressively exported in the whole XVIIth century Europe.

The program Venise sur Garonne, (Venise on Garonne river) gathers the most prominent pieces of work originally and mostly devoted to cornetti and sackbuts and specially the Canzoni requiring the largest number of instruments, up to 22 distinct voices distributed among 5 different choirs. This form of composition, highly appreciated during the baroque period, progressively disappeared with the emergence of the symphonic orchestra.
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Freddie Hubbard & Woody Shaw - The Eternal Triangle (1987/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard & Woody Shaw
Title: The Eternal Triangle
Genre: Jazz, Post Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 1987 (B1-48017)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:41:47
Recorded directly to 2 tracks digital on the Mitsubishi X-80 tape machine at the Van Gelder Studio, Englewood Cliffs, NJ, on June 11-12, 1987.

No one should consider the pairing of great jazz trumpeters Freddie Hubbard and Woody Shaw akin to oil and water. Both are on fire, defer to each other's personalized sound, and swing hard with fervor, supported by an equally talented band featuring the always wondrous pianist Mulgrew Miller, bassist Ray Drummond, and drummer Carl Allen. The X factor is alto saxophonist Kenny Garrett, fresh off a stint with Miles Davis, who rounds out the overall sound and contributes a vital harmonic element to the double-edged swords Hubbard and Shaw wield. The eight tracks are balanced between originals by the co-leaders and compositions from their revered predecessors, all molded into straight-ahead, no-nonsense hard bop. Shaw's famous "Moontrane" and lesser-known "Tomorrow's Destiny" are shining examples of how to modernize tried and true bop themes, the former a memorable hard-charging number with the brass players shadowing each other in full, rich dialog, the latter cleanly moving from inventive spatial modal tones to calypso and bebop with seamless acumen. Hubbard's "Down Under" challenges the soul shuffle precept with some great harmonic content from the three horns, while the neglected "Nostrand and Fulton" moves from beats of four, five, and six with seeming magical cues that fool you until you listen a second or third time. Lee Morgan's "Calling Miss Khadija" contains much spirit in a modal 6/8 framework; Kenny Dorham's "São Paulo" uses flutter and trilled unison lines effectively with melodic long tones and tuneful notes within the spaces; and the straight Sonny Stitt bopper "The Eternal Triangle" simply steams ahead with Hubbard, Shaw, and Garrett like a passenger train. Little Benny Harris wrote the closer, "Reets and I," for Bud Powell, and on this session the band does nothing to diminish its impact. What Miller brings to this group cannot be discounted, a presence in terms of support, but also one who is clearly having a ball inventing chords and substituting his own harmonic flourishes, clearly inspired by his cohorts. This group toured sporadically, giving live audiences a stretched-out taste of what these two brilliant musicians were capable of dishing out in their later -- but still formative -- years. You'd be hard-pressed to find another pairing of great jazz trumpeters that made music as spectacular as is heard on this essential recording, perfect or fans, students, or those who simply love a hard-swinging, boldly played brass horn or two. --Michael G. Nastos
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