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Takashi Niigaki - Symphony 'Litany' (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Takashi Niigaki 新垣 隆
Artist: Takashi Niigaki, Tokyo Chamber Orchestra, Kunihiro Nakamura
Title: Takashi Niigaki - Symphony 'Litany'
Genre: Classical
Label: © Universal Classics & Jazz, a division of Universal Music LLC
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-Onkyo
Duration: 01:07:35
Recording Live at Fukushima City Concert Hal, 2016

大きな悲しみ、絶望から小さな、だが確かな希望へ。新垣 隆の《祈りのシンフォニー》堂々完成。

ゴーストライター騒動から2年半の歳月を経て、この夏、作曲家・新垣 隆の新作交響曲が完成する。
交響曲 第1番《HIROSHIMA》から実に13年ぶりの交響曲となる本作品に、作曲家としての全精力を注ぎ、音楽に真摯に向き合う。新垣 隆はこの作品で新たな作曲家人生をスタートさせる。2016年8月15日、広島にて世界初演。
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Stevie Nicks - The Wild Heart (1983/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Stevie Nicks
Title: The Wild Heart
Genre: Pop Rock, Soft Rock, Singer/Songwriter
Label: © Rhino Entertainment Company, a Warner Music Group Company.
Release Date: 1983/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:31:31
Recorded: 1982–83

Stevie Nicks, the legendary singer songwriter whose highly acclaimed 30 year solo career includes seven studio albums, iconic hits, and record sales in the millions, releases deluxe editions with newly remastered audio and never before released live and recorded music from her first two solo albums Bella Donna and The Wild Heart.
Nicks returned in 1983 with her follow-up to Bella Donna, The Wild Heart, which peaked at #5 on the album chart and has been certified double platinum. The album produced hits like “Stand Back,” “Nightbird” and “I Will Run To You,” which features Tom Petty and the Heartbreakers. THE WILD HEART: DELUXE EDITION builds on the original album with unreleased versions of “All The Beautiful Worlds” a session version of “Wild Heart” and “Garbo,” the B-side to “Stand Back.”
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Stan Getz, Joao Gilberto - Getz/Gilberto '76 (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Stan Getz, João Gilberto
Title: Getz/Gilberto '76
Genre: Jazz, Bossa Nova, Brazilian Traditions, Post Bop, Saxophone Jazz
Label: © 2xHD/Resonance Records
Release Date: 2016
Quality: DSF Stereo DSD128/5.64MHz
Source: nativeDSDmusic
Duration: 00:46:13
Recorded live at Keystone Korner, San Francisco, May 11-16, 1976

Getz/Gilberto '76 is an instant classic collection of never-before-released recordings captured May 11-16, 1976 at the legendary San Francisco jazz club Keystone Korner, showcasing the legendary Brazilian singer, guitarist and composer João Gilberto, accompanied by the saxophone icon Stan Getz and his rhythm section of pianist Joanne Brackeen, bassist Clint Houston and drummer Billy Hart. These recordings were made during João Gilberto's and Stan Getz's weeklong engagement at the Keystone, which took place nearly 12 years after the release of their initial award-winning album.
The first Getz/Gilberto album sold over one million copies and almost single-handedly launched the bossa nova craze in America and around the world. It's been said that the hit single off that album, "The Girl From Ipanema," is the second most recorded song of all time, behind only "Yesterday" by the Beatles. The 1976 Keystone engagement represents one of the very few times this famed duo reunited after their initial creative collaboration in 1962, and according to the club's founder and owner Todd Barkan, this engagement was João Gilberto's first public performance after a four year hiatus
Back in 2012, George Klabin and I assumed the guise of a couple of jazz loving Indiana Jones - type archeologists when we decided to take an adventure: we were going to go after the crown jewels of a riveting tape collection amassed by Todd Barkan, the legendary jazz impresario and owner of San Francisco's iconic jazz club, Keystone Komer. Our adventure would take us deep into a treasure trove of live recordings made at the Keystone by the artists who played there.
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Soundgarden - Down On The Upside (1996/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Soundgarden
Title: Down On The Upside
Genre: Rock, Alternative Metal, Grunge, Heavy Metal
Label: © A&M Records
Release Date: 1996/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:05:54
Recorded: November 1995 – February 1996, Studio Litho and Bad Animals Studio, Seattle, Washington, US

The pressure was on Soundgarden to follow up 1994's breakthrough release Superunknown and the band didn't disappoint with Down On The Upside. Peaking at number two and selling well over a million copies in the US, the self-produced album spawned American rock radio hits Burden In My Hand, Blow Up The Outside World and Pretty Noose, which also went top 15 in the UK. Despite the worldwide success of the two consecutive albums, tension among the group members became unbearable and less than a year after Down On The Upside came out, Soundgarden split up, not to reunite for another 16 years.
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Sonic Youth - NYC Ghosts & Flowers (2000/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonic Youth
Title: NYC Ghosts & Flowers
Genre: Rock, Alternative/Indie Rock, Experimental Rock, Post Rock, Noise Rock, Grunge
Label: © DGC/Geffen Records
Release Date: 2000/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:42:43
Recorded: August 1999 – February 2000, New York City

Continuing their high-brow path towards avant-garde guitar music and away from their late '80s punk-influenced style of controlled cacophony, Sonic Youth have continued to make it difficult for fans to follow their evolving style of influential alternative rock. With the aid of renowned producer Jim O'Rourke, this iconic group has stripped away much of the murky sound that polluted its late '80s masterpieces such as Daydream Nation and Sister. This new style of clean production on NYC Ghosts & Flowers also differs from the group's early '90s sound partly attributed to Butch Vig on colorful albums such as Dirty and Experimental Jet Set, Trash & No Star, where Vig masterfully juxtaposed the group's knack for noise with his gift for salient production. Similar to Experimental Jet Set, Trash & No Star, Sonic Youth have again written a collection of shorter songs, focused primarily upon lyrics and song structuring rather than guitars. Thurston Moore's songs dominate this record, sounding unlike anything he has ever written. These songs seem to evolve spontaneously, moving into and then out of Moore's Ginsberg-like beatnik vocals. Songs such as "Free City Rhymes" and "Small Flowers Crack Concrete" sound like the music from SYR 1 and SYR 2 accompanied by subtly spoken poetry, focused more on enunciation than melody. More than ever, it seems as if Moore has abandoned his goofball charisma of the past for his new status as an ambitious poet looking to be respected as much for his words as his guitar. Kim Gordon's contribution, "Nevermind (What Was It Anyway)," stands above all other songs on the album as the only song with a memorable yet kooky vocal melody: "Boys go to Jupiter to more stupider/ Girls go to Mars to become rock stars." Contributed by Lee Ranaldo, the title track of this album serves as the guitarist's best lyrical piece to date and also as the album's grand finale, stretching to nearly ten minutes of slow building guitar intensity. In the end, this Sonic Youth album will appeal to those attracted to the group's mellow side -- a subtle side of the group more interested in collective contemplation than electrifying energy. Never before has the group sounded so consciously mature. For some fans, this album will sound refreshing, but for the many Sonic Youth fans still in love with the confrontational attitude of "Death Valley '69," the charged feel of "Teenage Riot," or the epic scope of "The Diamond Sea" this album may sound tired. --AllMusic Review by Jason Birchmeier
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Sonic Youth - A Thousand Leaves (1998/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonic Youth
Title: A Thousand Leaves
Genre: Rock, Alternative/Indie Rock, Experimental Rock, Post Rock, Noise Rock, Grunge
Label: © DGC/Geffen Records
Release Date: 1998/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:14:22
Recorded: 1997–1998, Echo Canyon in New York City

Truth be told, the grunge era never quite fit Sonic Youth. They may have been at the peak of their popularity, but they had traded their experimentalism for sheer, bracing noise. It may have sounded good, but ultimately Dirty didn't have the cerebral impact of Sister, largely because it was tied to an admittedly effective backbeat. Beginning with Washing Machine, Sonic Youth returned to more adventurous territory, and in 1997, they released a series of EPs that illustrated their bond with such post-rock groups as Tortoise and Gastr del Sol. Those EPs, as well as the epic Washing Machine closer, "The Diamond Sea," provide the foundation for A Thousand Leaves, the band's most challenging and satisfying record in years. The blasts of dissonance that characterized their SST masterworks have been replaced, by and large, by winding, intricate improvisations. There's a surprising warmth to the subdued guitars of Thurston Moore, Lee Ranaldo, and Kim Gordon, which keeps the lengthy songs captivating. Both Moore and Ranaldo concentrate on quiet material, which almost makes Gordon's noisy politicized rants sound a little out of place, but her best moments ("French Tickler," "Heather Angel") have unsettling, unpredictable twists and turns that greatly contribute to the success of A Thousand Leaves. It may be their most cerebral album in ages, but that only makes it all the more engaging. --AllMusic Review by Stephen Thomas Erlewine
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Slide Hampton & Joe Haider Orchestra - Give Me a Double (1975/2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Slide Hampton & Joe Haider Orchestra
Title: Give Me a Double
Genre: Jazz, Bop, Hard Bop, Post Bop, Mainstream Jazz, Modern Big Band
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1975/2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Duration: 01:33:18
Recorded live January 16-18, 1974 in the Domicile, Munich

With his ever-fresh and expansive musical outlook, Slide Hampton is the personification of the composer-arranger-instrumentalist in jazz. His composing and arranging prowess have long been sought by all manner of ensembles, from small groups to orchestras, student ensembles to professional bands. His superb trombone playing once elicited an ultimate seal of approval from the father of the modern jazz trombone and Hampton mentor, J.J. Johnson. From a backstage vantage point at a Kennedy Center performance, Johnson was overheard referring to a solo Slide performed as part of a tribute to Dizzy Gillespie as "?one of the most articulate ever given on a trombone."
Growing up musically in Indianapolis, Slide was recruited for the family band by his father's order that he must fill the vacant trombone chair. So as fate would have it, and music lovers would later decree it, though initially indifferent towards the instrument, Slide Hampton became a trombone master. Luckily, besides the obvious familial influence, Slide Hampton came up at a time when Indianapolis was prosperous with budding jazz musicians who would go on to greatness; these included Johnson, Wes Montgomery, and such peers as Freddie Hubbard and David Baker.
By the time he reached 20, young Slide was prepared to pursue a career in music. Among his stellar affiliations were the bands of Dizzy Gillespie, Art Blakey, Barry Harris and Max Roach. On the big band side, where he also began earning his stripes as arranger and composer, was work with Maynard Ferguson and the Thad Jones/Mel Lewis Orchestra. One of Slide's earliest bands, the Slide Hampton Octet, was obviously designed to further hone his writing. Although the band featured such stellar soloists as Hubbard, Booker Little, and George Coleman, a band of that size obviously afforded the young Hampton a good canvas on which to paint his compositions and arrangements. From there he spent much of the '60s as musical director for several bands and artists.
More big band work followed, including a European tour with Woody Herman that led to work in radio and television, as well as performances with some of the many expatriate jazz musicians then residing on the continent, including Benny Bailey, Kenny Clark, Kenny Drew, Art Farmer, and Dexter Gordon. He returned stateside towards the end of the 1970s, soon forming a pioneering trombone choir with rhythm section band called Slide Hampton and His World of Trombones. Since that time he has served as composer and arranger in residence with various ensembles, and as sought after clinician at education institutions. His long-standing relationship with Dizzy Gillespie culminated in his serving as co-music director with fellow 2005 Jazz Master Paquito D'Rivera of Dizzy Gillespie's Diamond Jubilee.
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Jean Sibelius - Symphony No 2 & Pohjola's Daughter - London Symphony Orchestra, Sir Colin Davis (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Jean Sibelius (1865–1957)
Artist: London Symphony Orchestra, Sir Colin Davis
Title: Sibelius: Symphony No 2 & Pohjola's Daughter
Genre: Classical
Label: © LSO Live
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:58:38
Recorded: Barbican Centre, London; Pohjola's Daughter recorded September and October 2005; Symphony No 2 recorded September 2006

Sibelius’s Pohjola’s Daughter is usually classified as a ’tone poem’– in other words, not a ’pure’ symphonic work, but one in which a literary or pictorial idea is represented in music. But Sibelius’s description was ’Symphonic Fantasy’ – which is exactly how the onemovement Seventh Symphony was entitled when it first appeared in 1924. It is quite possible to appreciate Pohjola’s Daughter simply as a colourful and highly compact one-movement symphony. All the same, unlike the Seventh Symphony, Pohjola’s Daughter does come with a story, printed in verse form in the score. It tells how – the wizard-hero of the Finnish folk-epic, the Kalevala – sees the daughter of the moon-god Pohjola sitting at her spinning wheel atop a rainbow. Instantly he falls in love with her, and begs her to join him. She agrees to come down when has conjured a boat from her spindle – in other words: ’Thanks, but no thanks’. tries heroically, but fails. Furious, humiliated, he springs onto his sleigh and vanishes.
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Dmitri Shostakovich - Cello Concertos Nos. 1 & 2 - Alisa Weilerstein, Bavarian Radio Symphony Orchestra, Pablo Heras-Casado (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Dmitri Shostakovich (1906-1975)
Artist: Alisa Weilerstein, Bavarian Radio Symphony Orchestra, Pablo Heras-Casado
Title: Shostakovich - Cello Concertos Nos. 1 & 2
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 1:00:47
Recording: Herkulessaal der Residenz, Munich, Germany, 28–30 September 2015

Celebrated young cellist Alisa Weilerstein presents Shostakovich’s two cello concertos, accompanied by the Bavarian Radio Symphony under Pablo Heras-Casado, in performances recorded live. Weilerstein worked on both these cornerstones of the repertory with legendary cellist Mstislav Rostropovich, for whom the concertos were written and who was a great friend of the composer. Here, she performs the intense, challenging and emotionally suppressed Cello Concerto No. 1, contrasted by the sarcasm and isolation of the Cello Concerto No. 2.
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Dmitri Shostakovich - Cello Concerto No.1; Symphony No.5 - David Grimal, Les Dissonances (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Dmitri Shostakovich (1906-1975)
Artist: David Grimal, Xavier Phillips, Les Dissonances
Title: Shostakovich - Cello Concerto No.1; Symphony No.5
Genre: Classical
Label: © Dissonances Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:16:23
Recorded: Opéra de Dijon, 2 December 2014 (#1-4); 23 January 2016 (#5-8)

Les Dissonances made its first recordings for Ambroise-Naïve, the critical success of which led to the birth of its own label in March 2014.
To celebrate its 10 anniversary, the orchestra’s new Shostakovich album, recorded live at the Opéra de Dijon, is presented complete with an extended tribute piece by Xavier Phillips in memory of his mentor, Mstislav Rostropovich, dedicatee of Shostakovich’s two cello concertos. It follows the label’s high production and design values, offering the disc as part of a hardbound book containing detailed programme notes, Phillips’ essay, artist biographies and monochrome photographs.
"My memories are of an immensely gifted pedagogue, whose advice could be very diverse in nature. With me his approach wasn’t really focused on the instrumental dimension. It was above all a way of talking about music, with images, impressions, sensations, anecdotes. He shed new light, he showed you things, he made you think". --Xavier Phillips
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