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Freddie Hubbard - The Night Of The Cookers: Live At Club La Marchal, Vol. 2 (1965/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard
Title: The Night Of The Cookers: Live At Club La Marchal, Vol. 2
Genre: Jazz, Hard Bop, Post Bop
Label: © Blue Note Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: acousticsounds.com
Duration: 45:15
Recorded live on April 9, 1965 at Club La Marchal, Brooklyn, New York by Orville O'Brien

The Night Of The Cookers Volumes 1 & 2 puts trumpeters Freddie Hubbard and Lee Morgan, two of the biggest guns of the hard-bop era, head to head throughout an extended live set. James Spaulding plays alto sax and flute, balancing out the brighter, brassier timbres of Hubbard and Morgan, and a crack rhythm section of pianist Harold Mabern, bassist Larry Ridley, drummer Pete La Roca, and conga player Big Black keeps things simmering. Each disc contains only two compositions, Clare Fischer's "Pensativa" and Richard Carpenter's "Walkin'" make up Disc One, and two Hubbard compositions, "Jodo" and "Breaking Point" occupy the second. Since each cut clocks in at approximately 20 minutes, there is ample solo time for each musician; the approach here is all about stretching out over solid grooves. Spaulding and Mabern turn in agile improvisations, but the spotlight is on the two trumpeters. Morgan's playing pales a bit besides Hubbard's on this date--understandably, as Hubbard is tirelessly playful and acrobatic. There are chops galore on this classic hard-bop document, and fans of the era (and of these musicians in particular) will find much to admire.
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Freddie Hubbard - The Night Of The Cookers: Live At Club La Marchal, Vol. 1 (1965/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard
Title: The Night Of The Cookers: Live At Club La Marchal, Vol. 1
Genre: Jazz, Hard Bop, Post Bop
Label: © Blue Note Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: acousticsounds.com
Duration: 41:43
Recorded live on April 10, 1965 at Club La Marchal, Brooklyn, New York by Orville O'Brien

The Night Of The Cookers Volumes 1 & 2 puts trumpeters Freddie Hubbard and Lee Morgan, two of the biggest guns of the hard-bop era, head to head throughout an extended live set. James Spaulding plays alto sax and flute, balancing out the brighter, brassier timbres of Hubbard and Morgan, and a crack rhythm section of pianist Harold Mabern, bassist Larry Ridley, drummer Pete La Roca, and conga player Big Black keeps things simmering. Each disc contains only two compositions, Clare Fischer's "Pensativa" and Richard Carpenter's "Walkin'" make up Disc One, and two Hubbard compositions, "Jodo" and "Breaking Point" occupy the second. Since each cut clocks in at approximately 20 minutes, there is ample solo time for each musician; the approach here is all about stretching out over solid grooves. Spaulding and Mabern turn in agile improvisations, but the spotlight is on the two trumpeters. Morgan's playing pales a bit besides Hubbard's on this date--understandably, as Hubbard is tirelessly playful and acrobatic. There are chops galore on this classic hard-bop document, and fans of the era (and of these musicians in particular) will find much to admire.
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Freddie Hubbard - Life Flight (1987/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard
Title: Life Flight
Genre: Jazz, Post-Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 1987/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 41:46
Recorded: January 23 & 24, 1987 at M&I Studios, New York City

Recorded in New York City in 1987 with two different bands, a sextet and a quartet. Among the notable members of the sextet on the first two tracks are Stanley Turrentine on tenor saxophone and George Benson on guitar. Ralph Moore handles tenor sax duties on the quartet tracks, both Freddie Hubbard originals. This album has been called one of Hubbard's last great releases.

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Elvin Jones - Live At The Lighthouse (1972/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Elvin Jones
Title: Live At The Lighthouse
Genre: Jazz, Hard Bop, Post Bop, Free Jazz, Modal Music, Avant-Garde Jazz
Label: © Blue Note Records
Release Date: 1972/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: acousticsounds.com
Duration: 01:22:21
Recorded Live at The Lighthouse, Hermosa Beach, California on September 9, 1972.

Recorded live on Elvin Jones's 45th birthday at the Lighthouse Café in Hermosa Beach, California in 1972, Jones is accompanied on this set by a pianoless quartet featuring Steve Grossman on tenor and soprano saxophone, Dave Liebman on saxes and flute and Gene Perla on bass.
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Eberhard Weber - Encore (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Eberhard Weber
Title: Encore
Genre: Jazz
Label: © ECM Records GmbH
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 45:18
Recorded: Live recordings 1990 – 2007

Encore is a companion volume to Résumé the widely-praised solo album issued in 2011. Eberhard Weber returns once more to the many live recordings of his tenure with the Jan Garbarek Group, isolating his bass solos and reworking them into new pieces with the addition of his own keyboard parts. “I became what you might call a composer of New Music,” says Weber, “with the proviso that I make use of old things.”This season’s special guest is veteran Dutch flugelhorn player Ack van Rooyen. Van Rooyen, who played on Weber’s ECM leader date, The Colours of Chloë more than 40 years ago now adds his own subtle colours to Weber’s contemporary sound-montages. The bass solos were recorded between 1990 and 2007, in thirteen European cities, from Edinburgh to Seville, and the music was mixed and edited at Studios La Buissonne in the South of France in November 2014.
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Don Henley - The End Of The Innocence (1989/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Henley
Title: The End Of The Innocence
Genre: Rock, Pop Rock, Soft Rock
Label: © Geffen Records
Release Date: 1989/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 53:16
Recorded: 1988–89

Don Henley took some time before completing his highly anticipated third album, The End of the Innocence. Although he manages to duplicate much of the magic of his previous album, Henley has backed off of the synthesizers and expanded his musical palette. He uses background vocals to great effect, whether it's the tragic ballad "New York Minute" (with vocal group Take 6) or the angry rocker "I Will Not Go Quietly" (with Axl Rose of Guns N' Roses). His collaboration with Bruce Hornsby on the opening title track show a mature Henley singing about disillusionment over a beautiful piano riff that gives the song a timeless air of nostalgia. While he still tackles political issues and writes about small-town life in America, Henley also mixes in romantic ballads, including the closer "Heart of the Matter." In this epic song, Henley explores the emotional complexity of relationships and coming to terms with oneself during the aftermath. Throughout the album, he manages to balance being cynical yet hopeful, and his great melodies allow his poignant lyrics to penetrate. This album is highly recommended for those who like their pop music with a message. --Vik Iyengar
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Don Henley - Inside Job (2000/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Henley
Title: Inside Job
Genre: Rock, Pop Rock, Soft Rock
Label: © Warner Bros. Records
Release Date: 2000/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:10:03
Recorded: 1999-2000, Record Plant, Hollywood, CA; Samain Sound, Malibu; Royaltone, North Hollywood, CA; Jai Winding Studios, Santa Monica, CA; Le Mobile, Dallas, TX; ASC Sumet Studios, Dallas, TX.

Don Henley essentially sat out his '90s recording contract, waiting until he could sign to another label that would allow him greater artistic freedom and royalties. He finally signed to Warner and released his fourth solo album, Inside Job, in the spring of 2000. Considering his long absence from recording, it shouldn't come as a total surprise that the album sounds as if it could have been cut in 1990 or even 1986 (check out the obnoxious synth solo on the opening track). That is not entirely a bad thing, however. It would have been rather embarrassing if Henley was trying to run with the young boys, and he sounds very comfortable settling into a role that is something less than an old master and something more than a crotchety old-timer. It falls somewhere between that, since his simmering anger -- always apparent but raised to the surface on his solo records -- still can be heard, which makes him seem a little cranky on occasion, when he gets carried away with his temper. For the most part, though, he sounds relaxed, comfortable, and reflective on Inside Job, more so than he ever has. The heart of the record is in the slower numbers, where he honestly lays out his feelings about his new love and marriage. Whenever he sticks to personal relationships, and thereby gentler music, Inside Job stays winning. It's brought down when he steps up to the podium to rail against the modern world, but this isn't quite enough to sink the record. Inside Job lacks the melodic craftsmanship that made Building the Perfect Beast a blockbuster, and it isn't as focused as The End of the Innocence, but it is a solid comeback record from an artist who spent a little too long out of the spotlight. --Stephen Thomas Erlewine
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Don Henley - I Can't Stand Still (1982/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Henley
Title: I Can't Stand Still
Genre: Rock, Pop Rock, Soft Rock
Label: © Asylum Records
Release Date: 1982/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 42:45
Recorded: 1981-82, Record One, Sherman Oaks, California.

Don Henley's first solo album may still have had the ghost of the Eagles lingering in the corners, but for the most part it showcases his stalwart partnership with producer and songwriter Danny Kortchmar. Lyrically, Henley's songs are a tad weak, but for an inaugural album from a man who had spent most of his career surrounded by multi-talented musicians and writers, on the whole it fairs quite well. His material deals with the hardships of love, the fickleness of the media, and the declining state of education, all induced with a friendly pop sound. The title track, a trouble-in-paradise love song, has Henley pouring his heart out with sugary angst, but is helped along with some avid keyboard work. "Dirty Laundry" is Henley's attack on the shallowness of the network newsperson that peaked at number three on Billboard's Top 40. Its bouncy chorus and contagious organ riffs proved that his role as a musician could conform to any style. His social commentary comes into fruition with "Johnny Can't Read," loosely based on the increasing amount of high-school dropouts at the time and helped bolster Henley's reputation as a musician with a concern for pressing issues. Numerous musicians help him out on this album as well, including former Eagles members Timothy B. Schmidt, Joe Walsh, and J.D. Souther; drummer Jeff Porcaro and guitarist Steve Lukather, both from Toto; and even Warren Zevon. Don Henley's adept combination of lyrical wit and thought-provoking staidness begins to materialize on I Can't Stand Still, paving the way for an extremely accomplished solo career. --Mike DeGagne
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Dexter Gordon - Clubhouse (1979/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Dexter Gordon
Title: Clubhouse
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1979 (LT 989)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:39:08
Recorded May 27, 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

In a three day period 25th – 27th May in 1965 Dexter Gordon returned from "exile" in Europe to make two jazz albums with Barry Harris (piano), Bob Cranshaw (bass) and Billy Higgins (drums), the powerhouse rhythm trio behind Lee Morgan's 1963 album "The Sidewinder", who appear together with surprising infrequency considering the success of the Lee Morgan album.
On the first of those days, joined by Freddie Hubbard on trumpet, the material for "Clubhouse" was recorded. In the second two days, with Bobby Hutcherson replacing Freddie Hubbard in the same quintet, material for the album "Gettin' Around" was recorded in that same long run of sessions. "Clubhouse" remained unreleased until 1979. "Gettin' Around" was released back in 1965.
The opener "Hanky Panky", a Dexter Gordon original, starts poorly with a theme of near remedial simplicity and is a reminder of Alfred Lion's insistence on an attempt at one new "Sidewinder" on just about every Blue Note album in the period. However, it rapidly becomes clear that the interplay of Dexter Gordon and Freddie Hubbard is going to be no subdued and tentative affair like "Gettin' Around". Freddie Hubbard is at a peak of his abilities and musical imagination at this time and there is a real rapport with Dexter Gordon that lifts the sax player into creative territory. (Listen to "Generation", an Original Jazz Classics from 1972, where Freddie Hubbard and Dexter Gordon play off each other to even better effect on top of Billy Higgins' ever so solid drumming to hear an even better example of the rapport between these two great jazz musicians). "Hanky Panky" develops as a genuine jazz piece as soon as Dexter Gordon's solo first breaks the ice and Freddie Hubbard's solo is clearly breaking out of the groove and determined to challenge any easy orthodoxy.
"I'm A Fool To Want You", a Sinatra ballad, conforms to the Blue Note formula of a "tender ballad to shift the mood from the bracing opener" but again goes well beyond any mere formula. Dexter Gordon is melodically inventive in a way that keeps open the thought that all along he may have been an influence on John Coltrane. Freddie Hubbard is once again superb and insightful. "Devilette" is a modal piece reminiscent of "Tanya" or "Coppin' The Haven" from Dexter Gordon's 100 Greatest Jazz album "One Flight Up". Written by Ben Tucker who sits in on bass in place of Bob Cranshaw on this track, "Devilette" explores more of the openness that is available in modal jazz.
The title track "Clubhouse", Dexter Gordon's second composition on the album, is a good vehicle for sustained blowing by sax and trumpet and provides space for a typically spiny piano solo by Barry Harris. "Lady Iris B" is a second ballad, not as convincing as "I'm A Fool To Want You" but still strong in the interplay between Dexter Gordon and Freddie Hubbard. The final track "Jodi", the third Dexter Gordon composition is a good gospel tinged blues piece with plenty of drive and emotion.
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Daniil Trifonov - The Carnegie Recital (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Daniil Trifonov
Title: The Carnegie Recital
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 1:21:08
Recorded: Carnegie Hall, New York City, 2013

For over 120 years, New York’s Carnegie Hall has been the site for magic moments, with a special status reserved for notable debuts, from Tchaikovsky to the Beatles. When young Russian pianist Daniil Trifonov made his main-stage Carnegie Hall recital debut before a packed house in February 2013, there was indeed a sense of electric anticipation. Winner of the 2011 Tchaikovsky Competition in Moscow and the Arthur Rubinstein Competition in Tel Aviv the same year, Trifonov had already created a stir among connoisseurs; on the occasion of his first Carnegie recital, that anticipation gave way to the thrill, fulfillment, and delight of a full-fledged triumph.

For those in attendance that February night, there could be no other conclusion: this pianist – his boyish face and frame belying his command as a performer – was more than just another prize-winning prodigy. Blending extreme technical facility with a poetic refinement vastly beyond his years, here was a phenomenon. No less an authority than Martha Argerich has said of Trifonov: “What he does with his hands is technically incredible. It’s also his touch – he has tenderness and also the demonic element. I never heard anything like that.”
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