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Gustav Mahler - Symphony No. 9 - Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal (2014) DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal
Title: Mahler: Symphony No. 9 (One point Microphone Version)
Label: © Exton | Octavia Records Inc., Japan
Release Date: 2014
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:20:40
Recorded: 15-17 Mar. 2014, Tokyo Metropolitan Theatre, Yokohama Minato-Mirai Hall, Suntry Hall, Tokyo

Exton Laboratory Gold Line SACD! :: Eliahu Inbal conducts the Tokyo Metropolitan Symphony Orchestra for this one point microphone recording of Mahler's Ninth Symphony. The work was premiered on 26 June 1912, at the Vienna Festival by the Vienna Philharmonic Orchestra conducted by Bruno Walter.
This Exton Laboratory Gold Line Hybrid Stereo disc is a high quality non-compressed Japanese SACD. Recorded on a custom Sony DSD recorder, this audiophile SACD is packaged in an XRCD-like luxury digipak. Superior quality Japanese SACD, manufactured in Yokohama, Japan. Only the best recordings - technically and artistically!
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Gustav Mahler - Symphony No. 6 'Tragic' - Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal (2014) DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal
Title: Mahler: Symphony No. 6 'Tragic' (One point Microphone Version)
Label: © Exton | Octavia Records Inc., Japan
Release Date: 2014
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:20:50
Recorded: 2,3 Nov. 2014, Tokyo Metropolitan Theatre, Yokohama Minato-Mirai Hall, Tokyo


Exton Laboratory Gold Line SACD! :: Eliahu Inbal conducts the Tokyo Metropolitan Symphony Orchestra for this one point microphone recording of Mahler's Sixth Symphony. Mahler composed the Sixth Symphony between 1903 and 1904. He conducted the work's first performance at the Saalbau concert hall in Essen on May 27, 1906.
This Exton Laboratory Gold Line Hybrid Stereo disc is a high quality non-compressed Japanese SACD. Recorded on a custom Sony DSD recorder, this audiophile SACD is packaged in an XRCD-like luxury digipak. Superior quality Japanese SACD, manufactured in Yokohama, Japan. Only the best recordings - technically and artistically!
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Pietro Antonio Locatelli - L'Arte del Violino, opera omnia III - Sandrine Cantoreggi (2003) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Pietro Antonio Locatelli (1695-1764)
Artist: Sandrine Cantoreggi, Latvian Philharmonic Chamber Orchestra, Carlo Jens
Title: Locatelli: L'Arte del Violino, opera omnia III
Genre: Classical
Label: © Turtle Records
Release Date: 2003
Quality: DSF Stereo DSD64/2.82MHz
Source: spiritofturtle.com
Duration: 01:00:29
Recording dates: September 22-24, 2003 in Galaxy Studios Belgium


A century before the demonically inspired caricatures of Paganini appeared, Pietro Locatelli was already pushing the boundaries on what was possible on the violin. His landmark Opus 3 publication, subtitled “The Art of the Violin,” includes 12 concertos and 24 caprices that continue to test the mettle of all who would dare perform them. This Turtle Records album features violinist Sandrine Cantoreggi with the Latvian Philharmonic Chamber Orchestra under Carlo Jans in performances of the Fifth, Eleventh, and Twelfth concertos of Op. 3.

Surprisingly enough, it is the orchestra — not the soloist — that is of primary enjoyment on this CD. The Latvian ensemble proves that though its name may be relatively unknown to U.S. audiences, it certainly should be. Its playing is extremely precise in every domain possible — articulation, intonation, dynamics — and the recorded sound quality is exceptionally warm and full. Cantoreggi’s playing is two-sided. While playing lower in her instrument’s range and in combination with the orchestra, her sound is pleasing enough and intonation is as solid as the orchestra’s.

The solo cadenzas and capriccios, which find the violin in the stratosphere of its range, show a more strained, shrill, and out-of-tune side to Cantoreggi’s playing. Since it is this bravura demonstration that is supposed to enthrall listeners, Cantoreggi’s struggles with it to make this album a less-than-ideal choice. Others (most notably Carmignola) have shown us that it is possible to play Locatelli’s fiendish masterworks with ease and warmth.
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Keith Jarrett - The Koln Concert (1975/2017) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Keith Jarrett
Title: The Köln Concert
Genre: Jazz, Post Bop, Free Improvisation, Modern Creative, Piano Jazz
Label: © ECM Records GmbH | ECM Reviews
Release Date: 1975/2017
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 01:06:19
Recorded: January 24, 1975 at the Opera in Köln, Germany

On Friday, January 24, 1975, legendary composer, pianist, soprano saxophonist and bandleader Keith Jarrett gave his famous, freely improvised solo concert at the Köln Opera House in Germany on a Bösendorfer baby grand. The captivating four-part set clocked in at 67 minutes and has since become the bestselling solo piano and jazz solo record of all time.
“Again and again it’s like stepping onstage naked. The most important thing in a solo concert is the first note I play, or the first four notes. If they have enough tension, the rest of the concert follows almost as a matter of course. Solo concerts are about the most revealing psychological self-analysis imaginable.” --Keith Jarrett
"From the glistening, patiently developed opening melody, through sustained passages of roaring riffs and folksy, country-song exuberance, the pianist is utterly inside his ongoing vision of the performance's developing shape – a fusion of the freshness of an improvisation with the symmetries of a composition that's central to the album's communicative power." --John Fordham, The Guardian / 50 Great Moments in Jazz
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Jimmie Lee Robinson - Remember Me (1998/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Jimmie Lee Robinson
Title: Remember Me
Genre: Blues, Chicago Blues, Acoustic Blues
Label: © APO Records
Release Date: 1998/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:52:07
Recorded by David Baker at Blue Heaven Studios, Salina, KS, on February 14, 1998; Mastered by Kevin Gray at Acous-Tech Mastering, Camarillo, CA


Jimmie Lee Robinson doesn't dance for the approval of others nor does he thin his music to seduce a wider audience. The self-proclaimed Lonely Traveller's work is an artistic achievement that illustrates why enduring reputations are earned slowly, over time, not swiftly via shrewdly orchestrated media blitzes. His music, honest and unspoiled, comes as a welcome and refreshing alternative in an age of crowd-mesmerizing pyrotechnics, outlandish tempos, and incendiary solos. Remember Me, Robinson's first effort for the APO label and the first album recorded at Blue Heaven Studios, is an adventure deep into the blues of Mr. Robinson's Maxwell Street neighborhood, a neighborhood that has included residencies with musicians such as Little Walter, Howlin Wolf, Freddie King, Elmore James, Luther Tucker, Eddie Taylor, Magic Sam, Jimmy Reed, Shakey Jake, St. Louis Jimmy, Eddy Clearwater, Sunnyland Slim and more.
On Remember Me, Robinson accompanies himself on acoustic guitar to create The Lonely Traveller's distinctive brand of blues, which he says represents a lifetime of work, the trials and tribulations of growing up on and experiencing Maxwell Street. If you listen closely, you'll also hear Jimmy D. Lane (son of the late blues legend Jimmy Rogers) accompanying on one tune.
Robinson sings in the powerful and sometimes piercing voice that inspired the Lonesome Lee sobriquet when he began recording for Bandera Records in the 1950s. Boot-stomping, spur-jangling highlights include a rousing performance of "Wait For Me", Jimmy Reed-inspired "Boss Man" and a spirited rendition of "Wagon Wheels".
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Harry Hypolite - Louisiana Country Boy (2001/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Harry "Big Daddy" Hypolite
Title: Louisiana Country Boy
Genre: Blues, Louisiana Blues, Cajun
Label: © APO Records
Release Date: 2001/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:58:37
Recorded live February 28-29, 2000 at Blue Heaven Studios in Salina, Kansas. Mastered by Katsuhiko Naito

A longtime sideman of Zydeco King Clifton Chenier and later C.J. Chenier, Harry Big Daddy Hypolite steps into the spotlight for the first time with Louisiana Country Boy, his solo debut. If you share the tastes of APO Records' CEO Chad Kassem, you'll wonder, after hearing this recording, how this soulful voice and natural charisma have gone relatively unnoticed for so long.
Deep down in rural Louisiana, Hypolite, a self-confessed poor boy, has been honing his blues since he could talk - first in Creole French and then in English (both languages are represented on this release). The results are heartfelt confessions of real-life hard times.
"Nobody gave me a chance before," Hypolite said. "But I said, 'I'm going to show 'em what I can do.' For me, this comes from deep in my soul. I want to play the blues, and I want to tell people about my Creole French heritage."
These are deep, unpolished, gravely blues. In short, this is the real stuff - the blues of undiluted emotion. Louisiana Country Boy is also full of zydeco - a genre Hypolite said is not always played the way masters like Clifton Chenier intended it to be.
"Zydeco is simple music," he said. "Guys who try to play jazz and put big chords in zydeco make it hard on themselves. You just need to know how to phrase it right, and it has to have a feeling and a meaning to it."
Feeling and meaning - those are attributes Big Daddy is never short on. Even in the simplest of conversations, Hypolite wears his heart on his sleeve. If he doesn't win you over with his smile, he'll floor you with his laugh.
Hypolite has bottled pure emotion by writing and singing autobiographical songs that reach all the way back to his childhood. He's been waiting for this moment for so long, played it over in his head so many times, that almost every song on this recording was done in one take, with no lyric sheets. In accordance with an APO Records tradition, the small mistakes were overlooked if the feeling captured could not be reproduced. At a time when many authentic blues artists are in the twilight of their careers, it's the dawn of Harry Hypolite's time in the sun. "This is like a dream for me," he said. "I'm proud of this record."
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Christoph Graupner - "Chalumeaux" - Concertos, Ouvertures & Sonatas - Ars Antiqua Austria, Gunar Letzbor (2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Christoph Graupner (1683-1760)
Artist: Ars Antiqua Austria, Gunar Letzbor
Title: Graupner - "Chalumeaux" - Concertos, Ouvertures & Sonatas
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:14:25
Recorded: Stift St. Florian bei Linz an der Donau, 10-13 November 2011


If people are innocent of the name of Christoph Graupner in Vienna or anywhere else in Austria this should be neither a surprise nor anything to be ashamed of, because the sphere of influence of this contemporary of Johann Sebastian Bach and Johann Joseph Fux was in faraway Darmstadt, a small residence capital of the landgrave in Hesse about twenty miles south of Frankfurt. What is more, Graupner never visited Vienna in his life. Graupner’s employer Ernst Ludwig was an opera enthusiast; after becoming acquainted with the young harpsichordist and composer Graupner – who had received his musical education in Leipzig – some time in the period from autumn 1706 and 1708 at the Hamburg Gänsemarkt Opera House, Ernst Ludwig appointed him Kapellmeister in Darmstadt in 1709. The court household there was that of a comparatively small landgrave, Protestant in inclination – one of the numerous German principalities in the German Lands. But in his ambition for prestige and luxurious pastimes – particularly hunting – the Darmstadt regent by no means took second place even to the pre-eminent courts. Thus in 1723, he secured Graupner’s presence in Darmstadt for life by a generous rise in salary, which made the court Kapellmeister the best paid orchestra director of his time and simultaneously stopped Graupner from taking off to Leipzig, where he had been offered the post of Thomaskantor, the choirmaster of St Thomas’s. Another thirty-seven years were to pass in the service of the Darmstadt landgrave before Graupner eventually died in 1760; he had gone blind, thus in the last six years of his life could no longer actively direct the fortunes of the orchestra.
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Ewald Demeyere - 18th-Century Flemish Harpsichord Music (2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Various Composers
Artist: Ewald Demeyere
Title: Ewald Demeyere - 18th-Century Flemish Harpsichord Music
Genre: Classical, Instrumental
Label: © Challenge Records | Northstar Recordings
Release Date: 21 November 2011
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:14:12
Recorded: March 28-31/2011 at the Vleeshuis Museum Antwerpen, Belgium

On a disc of 18th-Century Flemish Harpsichord Music one may expect to hear a considerable number of pieces which are hardly known or even completely unknown. That is certainly the case here. Only Josse Boutmy and Dieudonné Raick are not completely unknown quantities as far as music for harpsichord is concerned. A selection of sacred compositions by Charles-Joseph van Helmont have been recorded and released by the Belgian label Eufoda. The most prominent composer from Flanders in the first half of the 18th century was Joseph Hector Fiocco (1703-1741), whose keyboard works have been recorded by Ton Koopman (Astrée, 1978) and Ewald Demeyere (Accent, 2007). The latter now presents a survey of keyboard works by some of Fiocco's compatriots and contemporaries.
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George Enescu - Symphonie Concertante; Symphony No. 1 - Truls Mork, Tampere Philharmonic Orchestra, Hannu Lintu (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Сomposer: George Enescu (1881-1955)
Artist: Truls Mørk, Tampere Philharmonic Orchestra, Hannu Lintu
Title: Enescu: Symphonie Concertante; Symphony No. 1
Genre: Classical
Label: © 2xHD/Ondine Oy, Helsinki
Release Date: 2015/2016
Quality: DSF Stereo DSD128/5.64MHz
Source: HDTracks
Duration: 00:53:56
Recorded: Tampere Hall, Finland, 20-21 September 2013 (Symphony No. 1), 6–7 June 2014 (Symphonie Concertante)

The final release of the George Enescu (1881-1955) symphony cycle includes two neglected masterpieces: the 1st Symphony filled with youthful energy and the poetic and lyric Symphonie concertante for Cello and Orchestra. The soloist of the Symphony concertante is the award-winning cellist Truls Mørk.
Enescu wrote both of the works at a relatively young age: the Symphonie concertante was written at the age of 20 and the 1st Symphony was premiered when the composer was 25 years of age. Even so, Enescu had already created himself an impressive career as a composer with several large-scale works.
The Ondine recordings with Hannu Lintu and the Tampere Philharmonic Orchestra have proved to be extremely successful. The first release of the Enescu cycle received Gramophone Awards Nomination 2013. Hannu Lintu and the orchestra also received GRAMMY nomination for their recording of Rautavaara's Kaivos Opera.
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Cootie Williams And His Orchestra - Cootie Williams In Stereo (1958/2015) High-Fidelity DSF Stereo DSD256/11.20MHz

Artist: Cootie Williams And His Orchestra
Title: Cootie Williams In Stereo
Genre: Jazz, Big Band, Swing, Cool Jazz, Trumpet Jazz
Label: © High Definition Tape Transfers
Release Date: 1958/2015
Quality: DSF Stereo DSD256/11.20MHz
Source: HDTT
Duration: 00:21:07
Recorded: March 5, 25, April 8, 1958 at Webster Hall, New York; Transferred from a RCA 2-Track Tape


With the possible exception of cornball trumpeter Clyde McCoy, nobody could impart humanistic sounds to a plunger mute like Cootie Williams. Certainly nobody could make a trumpet growl like he did, full of feral shrieks and blasts and vocal tones galore. As a member of the Duke Ellington Orchestra during its heyday, Williams was big enough potatoes that when he left Ellington to join up with Benny Goodman in the early '40s, it prompted a tune titled "When Cootie Left the Duke." No two ways about it, the man could blow. As part of the 100th birthday celebration of all things Ellington, RCA is reissuing all the solo projects done by his famous sidemen. This 12-song album from 1958 -- appended with 11 more that appeared as singles from the year before -- shows that Williams' broad style was still mightily intact some 30 years after joining the Ellington fold. Unlike the other Ellington sidemen projects in this series, Williams performs on Cootie Williams in Hi-Fi with a full-blown big band, turning in swinging readings of such chestnuts as "Just in Time," "Summit Ridge Drive," and "My Old Flame." Oddly, these big-band sides don't honor the Duke musically except when Cootie and the band tackle old favorites like "Caravan." The non-album tracks are a varied lot. "Rinky Dink" sounds like a Bill Doggett outtake (and features some uncharacteristically bluesy rock & roll guitar from Kenny Burrell!); other tracks skirt the place where blues and R&B meet jazz, at the end of a dark alley. But just listen to that closing blast from Williams on "New Concerto for Cootie," which officially closed the original LP, and you'll know that Cootie Williams remained a Duke man to the end. --AllMusic Review by Cub Koda
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