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Dexter Gordon - Doin' Allright (1961/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: Doin' Allright
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1961 (BLP 4077/BST 84077)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:41:05
Recorded: May 6, 1961 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

The title of this Blue Note set, Doin' Allright, fit perfectly at the time, for tenor saxophonist Dexter Gordon was making the first of three successful comebacks. Largely neglected during the 1950s, Gordon's Blue Note recordings (of which this was the first) led to his rediscovery. The tenor is teamed with the young trumpeter Freddie Hubbard, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood for a strong set of music that is highlighted by "You've Changed" (which would become a permanent part of Gordon's repertoire), "Society Red" (a blues later used in the film Round Midnight), and "It's You or No One." --Scott Yanow, AllMusic
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Dexter Gordon - A Swingin' Affair (1962/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: A Swingin' Affair
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4133/BST 84133)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:38:15
Recorded at the Van Gelder Studio in Englewood Cliffs, New Jersey on August 29, 1962.

Dexter Gordon was on a roll in 1962 when he recorded A Swingin' Affair. Two days earlier he and this same quartet recorded his classic album Go!; the band included pianist Sonny Clark, bassist Butch Warren, and drummer Billy Higgins. Gordon wrote two of the set's six tunes, the first of which, the Afro-Cuban-flavored "Soy Califa," is a burner. Higgins' drumming double-times the band as Gordon lays out the melody -- even his solo doesn't stray far from it and he returns to it repetitively. Clark vamps with beautiful minor-key chords that he then adds to his own solo, moving all around the lyric with his right hand. And Higgins and Warren are truly wonderful on this one. There are also three standards here. Gordon was always a master of them because his own approach to improvisation was essentially one of melodic invention. "Don't Explain" is ushered in by Clark stating the changes; Gordon's low and slow playing is romantic and sensual. On "You Stepped Out of a Dream," Gordon and Clark take the melody and invert it in the bridge; they turn it into a kind of groove as Higgins plays Latin-tinged rhythms throughout. Warren's "The Backbone" is a hard bop groover with a bossa nova flavor, as he and Gordon twin on the tune's head before Dex moves off into his solo. It's easily the best thing here. This is a hot hard bop band, playing a program that's relaxed and mostly upbeat; they even manage to stretch a bit. --Thom Jurek
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Charlie Winston - Running Still (2011) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Charlie Winston
Title: Running Still
Genre: Pop, Rock, Alternative, Indie
Label: © Real World Records
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Bowers & Wilkins
Duration: 00:53:14
Recorded: Zeitgeist Studio and Berkeley St. Studio, Los Angeles; Studio La Frette, Paris.

"My sole objective on the album Running Still was to be able to engage people's feet first and slowly rise to the mind," says Charlie Winston. "So by the time they get absorbed in the lyrics, they're fully engaged but realize there's something more going on."
Opener 'Hello Alone' makes for an inviting call, a shared solitude, if you will, that's at the root of the art experience. But the next song, 'Speak to Me', makes it clear that no one should limit Winston in terms of expectations, the all-vocal beat-boxed tour de force showing one of his many facets, with more to come. The snappy 'Happiness' offers soulful yearning, while 'The Great Conversation' is in fact a chat with Beethoven, one of Winston's musical heroes, whose Moonlight Sonata can be found within the tune, though in shards. 'She Went Quietly' is a searching piano ballad (inspired by a heart-wrenching tale of separation involving his great aunt and, to lesser though crucial extent, the movie Million Dollar Baby). 'Until You're Satisfied' is '80s-referencing pop-funk celebrating Winston's Prince fandom. 'Lift Me Gently' is a stand out track for Peter Gabriel - "An amazing song, and possibly the best Charlie has ever written....". 'Wild Ones' is charging blues-rock, 'Rockin' in the Suburbs' is all vibrant energy ... and that's just part of the picture. Not a surprise given that Winston also, with natural ease, refers to such diverse inspirations as Nick Cave, Steve Reich and Jacques Brel (and T.S. Eliot, Wim Wenders and Ingmar Bergman, for that matter) in discussing the album.
Most prominently there's a sense of joy and discovery throughout the album, which follows up the breakthrough of his 2009 album, 'Hobo' - a big hit throughout Europe and Canada.
'Running Still' finds Winston and his richly talented band in collaboration with producer Tony Berg (Michael Penn, Aimee Mann, Bruce Hornsby, Ozomatli) to reach new emotional and sonic colors. The band features drummer Medi, bassist Daniel Marsala and harmonica ace Benjamin "Ben Henry" Edwards along with Winston's piano and guitar - with keyboard additions from Patrick Warren and a touch of guitar from Tiny B (Berg, under a Winston-bestowed alias).
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Charlie Winston - Curio City (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Charlie Winston
Title: Curio City
Genre: Pop, Rock, Alternative, Indie
Label: © Atmosphériques
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:56:35
Recorded: 2014

Seul. Tout seul. C’est ainsi que Charlie Winston a écrit et enregistré Curio City. Celui qui plafonna au sommet des charts en 2009 avec son tubesque Like A Hobo se remet totalement en question pour sa cuvée 2015. Et même si l’on retrouve ici son attachant parfait alliage entre pop et folk, Winston ose s’aventurer en terre soul (Just Sayin’) voire électro (Too Long). Difficile aussi de ne pas penser à celui qui fut un peu son mentor, Peter Gabriel, sur des titres hybrides comme Another Trigger ou Evening Comes. A l’arrivée, Charlie Winston prouve qu’il peut se renouveler sans se renier, s’affiner sans s’éclipser, bref qu’il est un songwriter loin d’avoir dit son dernier mot… © CM/Qobuz
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Cannonball Adderley with Bill Evans - Know What I Mean? (1961/2002) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Cannonball Adderley with Bill Evans
Title: Know What I Mean?
Genre: Jazz, Hard Bop, Piano Jazz, Soul Jazz, Saxophone Jazz
Label: © Riverside Records | Analogue Productions
Release Date: 1961/2002
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 51:41
Recorded at Bell Sound Studios, New York City; January 27 (2-3, 7, 9-10), February 21 (5, 6), and March 13 (1, 4, 8), 1961.

What's better than a Bill Evans Trio album? How about a Bill Evans trio album on which the bassist is Percy Heath, the drummer is Connie Kay, and the leader is not Evans but alto sax god Cannonball Adderley, making the group actually a quartet? It's a different sort of ensemble, to be sure, and the musical results are marvelous. Adderley's playing on "Waltz for Debby" is both muscular and sensitive, as it is on the other Evans composition here, a modal ballad called "Know What I Mean?" Other treats include the sprightly "Toy" and two takes of the Gershwin classic "Who Cares?" The focus here is, of course, on Adderley's excellent post-bop stylings, but it's also interesting to hear Evans playing with a rhythm section as staid and conservative as Kay and Heath (both charter members of the Modern Jazz Quartet). It's hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording. --Rick Anderson
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Johannes Brahms - The Piano Concertos - Stephen Hough, Mark Wigglesworth, Mozarteumorchester Salzburg (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Stephen Hough, Mark Wigglesworth, Mozarteumorchester Salzburg
Title: Brahms - The Piano Concertos
Genre: Classical
Label: © Hyperion Records
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 97 minutes 53 seconds
Recorded: January 2013 at Salzburger Festspielhaus, Austria

This attractively priced double set is one of Stephen Hough’s most important recordings. ‘Britain’s greatest living pianist’ (The Mail on Sunday) is joined by the Mozarteumorchester Salzburg and international conductor Mark Wigglesworth in their Hyperion debut for Brahms’s Piano Concertos. These works are among the greatest in the genre, and shore up Brahms’s reputation as both a symphonist and a piano composer. Separated by twenty-two years and widely differing in their reception (the first was scorned and the second a huge success), they are monumental in scale, impassioned and truly romantic, forward-looking in form and requiring both great virtuosity and intimacy from the pianist. Stephen Hough has performed them in concert for many years to ecstatic acclaim: this new recording is surely one of his most desirable offerings.
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Bill Evans Trio - Sunday At The Village Vanguard (1961/2002) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Evans Trio
Title: Sunday at the Village Vanguard
Genre: Jazz, Post Bop, Modal, Piano Jazz
Label: © Riverside Records | Analogue Productions
Release Date: 1961/2002
Quality: DFF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:08:38
Recorded by Dave Jones live at the Village Vanguard, New York City; June 25, 1961.

Sunday at the Village Vanguard is the initial volume of a mammoth recording session by the Bill Evans Trio, from June 25, 1961 at New York's Village Vanguard documenting Evans' first trio with bassist Scott LaFaro and drummer Paul Motian. Its companion volume is Waltz for Debby. This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. Tragically, LaFaro was killed in an automobile accident ten days after this session was recorded, and Evans assembled the two packages a few months afterward. While "Waltz for Debby" -- in retrospect -- is seemingly a showcase for Evans' brilliant, subtle, and wide-ranging pianism, this volume becomes an homage, largely, to the genius and contribution of LaFaro. That said, however, this were never the point. According to Motian, when Evans built this trio based on live gigs at the Basin Street East, the intention was always to develop a complete interactive trio experience. At the time, this was an unheard of notion, since piano trios were largely designed to showcase the prowess of the front line soloist with rhythmic accompaniment. Here, one need listen no further than the elegant and haunting, graceful modal reading of "My Man's Gone Now" from Porgy & Bess to know that there is something completely balanced and indescribably beautiful in their approach. Motian's brushes whisper along the ride cymbals and both Evans and LaFaro enter into a dialogue that emerges from a darkly hued minor mode, into the melody and somehow beyond it, into a form of seamless dialogic improvisation to know that in the act of one musician slipping over and under another -- as happens with all three in an aural basket weave -- is something utterly new and different, often imitated but never replicated. But in a sense it happens before this, on LaFaro's "Gloria's Step," which opens the recording. His thematic statement includes the briefest intro, hesitant and spacious before he and pianist enter into a harmonic and contrapuntal conversation underscored by the hushed dynamics of Motian's snare, and the lightning-fast interlocutions of single string and chorded playing of LaFaro. The shapshifting reading of Miles Davis' "Solar," is a place where angularity, counterpoint, and early modalism all come together in a knotty and insistent, yet utterly seamless blend of post-bop aesthetics and expanded harmonic intercourse with Motian, whose work, while indispensable in the balance of the trio, comes more into play here, and is more assertive with his half-time accents to frame the counterpoint playing of Evans and LaFaro. This is a great place to begin with Evans. --Thom Jurek
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Bill Evans Trio - Portrait In Jazz (1960/2003) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Evans Trio
Title: Portrait In Jazz
Genre: Jazz, Cool Jazz, Modal Music, Post-Bop, Piano Jazz
Label: © Riverside Records | Analogue Productions
Release Date: 1960/2003
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 52:15
Recorded: December 28, 1959 at Reeves Sound Studios, New York City

The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of "Autumn Leaves." Other than introducing Evans' "Peri's Scope," the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as "Come Rain or Come Shine," "When I Fall in Love," and "Someday My Prince Will Come" (which preceded Miles Davis' famous recording by a couple years) are full of subtle and surprising creativity. A gem. --Scott Yanow
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Bill Evans Trio - Moon Beams (1962/2002) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Evans Trio
Title: Moon Beams
Genre: Jazz, Post-Bop, Modal Music, Cool Jazz, Piano Jazz
Label: © Riverside Records | Analogue Productions
Release Date: 1962/2002
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 39:10
Recorded: June 2, 1962 (#2-4, 6, 7); May 29, 1962 (# 1, 8); May 17, 1962 (#5), Sound Makers Studio, New York City

Moonbeams was the first recording Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. Indeed, in LaFaro, Evans found a counterpart rather than a sideman, and the music they made together over four albums showed it. Bassist Chuck Israels from Cecil Taylor and Bud Powell's bands took his place in the band with Evans and drummer Paul Motian and Evans recorded the only possible response to the loss of LaFaro -- an album of ballads. The irony on this recording is that, despite material that was so natural for Evans to play, particularly with his trademark impressionistic sound collage style, is that other than as a sideman almost ten years before, he has never been more assertive than on Moonbeams. It is as if, with the death of LaFaro, Evans' safety net was gone and he had to lead the trio alone. And he does first and foremost by abandoning the impressionism in favor of a more rhythmic and muscular approach to harmony. The set opens with an Evans original, "RE: Person I Knew," a modal study that looks back to his days he spent with Miles Davis. There is perhaps the signature jazz rendition of "Stairway to the Stars," with its loping yet halting melody line and solo that is heightened by Motian's gorgeous brush accents in the bridge section. Other selections are so well paced and sequenced the record feels like a dream, with the lovely stuttering arpeggios that fall in "If You Could See Me Now," and the cascading interplay between Evan's chords and Israel's punctuation in "It Might As Well Be Spring," a tune Evans played for the rest of his life. The set concludes with a waltz in "Very Early," that is played at that proper tempo with great taste and delicate elegance throughout, there is no temptation by the rhythm section to charge it up or to elongate the harmonic architecture by means of juggling intervals. Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader. --Thom Jurek
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Bill Evans Trio - Explorations (1961/2011) High-Fidelity DSF Stereo DSD64/2.82MHz


Artist: Bill Evans Trio
Title: Explorations
Genre: Jazz, Modal, Post-Bop, Piano Jazz
Label: © Riverside Records | Universal Music Japan
Release Date: 1961/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 51:01
Recorded: February 2, 1961 at Bell Sound Studios, New York City


When this album was recorded in February of 1961, it had been more than year since the Portrait in Jazz was issued, the disc that won the critics over. By the time of this issue, Evans had released four albums in six years, a pace unheard of during that time. Most musicians were issuing two, three, and even four records a year during the same era. Many speculate on Evans' personal problems at the time, but the truth of the matter lies in the recordings themselves, and Explorations proves that the artist was worth waiting for no matter what else was going on out there. Evans, with Paul Motian and Scott LaFaro, was onto something as a trio, exploring the undersides of melodic and rhythmic constructions that had never been considered by most. For one thing, Evans resurrects a number of tunes that had been considered hopelessly played out, and literally reinvents them -- "How Deep Is the Ocean" and "Sweet and Lovely." His harmonic richness that extends the melodic and color palette of these numbers literally revived them from obscurity and brought them back into the canon. He also introduced "Haunted Heart" into the jazz repertoire, with a wonderfully impressionistic melodic structure, offered space, and depth by the understatement of Motian and extension by LaFaro's canny use of intervals. Also noteworthy is Miles Davis' "Nardis," which Evans first played on a Cannonball Adderley set a couple of years before. The rhythmic workout by the Motian and LaFaro places Evans' own playing in a new context, with shorter lines, chopping up the meter, and a series of arpeggios that open the ground for revelatory solo in counterpoint by LaFaro. Explorations is an extraordinary example of the reach and breadth of this trio at its peak. --Thom Jurek
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