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Louis Sclavis Atlas Trio - Sources (2012) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Louis Sclavis Atlas Trio
Title: Sources
Genre: Jazz, Modern Jazz, Contemporary Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:57:42
Recorded: September 2011, Studios La Buissonne, Pernes-les-Fontaines


Louis Sclavis’s band of the season is the Atlas Trio, an ensemble with a global reach of reference. Chamber-improvisation, polyrhythmic grooves, minimalistic pulse patterns, enveloping ambience, rhapsodic piano and funky Fender Rhodes, distorted guitar, clarinet soliloquies, contrapuntal themes, free group playing, a bit of everything. An open-form aesthetic applies in multi-facetted music simultaneously exploratory and involving. Recorded in the South of France last September, the album – Louis’s ninth for ECM – features a programme of new Sclavis compositions, plus a concluding piece by Gilles Coronado.
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Leonidas Kavakos - Virtuoso (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Leonidas Kavakos, Enrico Pace
Title: Virtuoso
Genre: Classical
Label: © Decca Music Group Limited
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:26:17
Recording: May 2015, Megaron, Dmitri Mitropoulos Hall, Athens, Greece


Acclaimed Greek violinist Leonidas Kavakos reunites with Italian pianist Enrico Pace, following their highly praised 2013 recording of the complete Beethoven sonatas for piano and violin. This album contains a more diverse representation of composers, including pieces by Tchaikovsky, de Falla and Dvorák in addition to Benjamin Britten and Sir Edward Elgar. Kavakos also delivers two solo works by Paganini.
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Liverpool Five - Liverpool Five Arrive (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Liverpool Five
Title: Liverpool Five Arrive
Genre: Pop Rock, Beat, Garage Rock, British Invasion, Psychedelic
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:30:35
Recorded: RCA Victor Studios, Hollywood & Nashville


The Liverpool Five is one 1960s band that is ripe for rediscovery. The fact that they've slipped through a few cracks may have to do with their odd history -- after starting out in England, the quintet spent most of a year in Germany and touring the Far East and effectively became an American group just as their recording history began in a serious way. Formed in Liverpool, England, in 1963, the original Liverpool Five lineup was Steve Laine on vocals, Ken Cox on guitar, Ron Henley on keyboards, Dave Burgess on bass, and Jimmy May on drums and vocals. They cut one single, "Lum D' Lum D' High" b/w "Good Golly Miss Molly," for the Pye Records budget Piccadilly label that was released in England, but their main base of activity in 1964 and 1965 appears to have been Germany and Asia, where their German-based manager kept them touring. They managed to release a single of their own on German CBS in 1964 under the name of the 5 Liverpools, but otherwise were largely invisible as a recording act. After an extended tour of Asia, the group made their way to Los Angeles in 1965 and eventually ended up in Spokane, Washington. Ironically, it was on the far coast of the United States, far from their home, that they were finally signed to a major label in 1965 and got a contract with RCA-Victor Records. The Liverpool Five released a half-a-dozen singles over the next two years and a pair of LPs, all of which displayed an extraordinary degree of musical dexterity -- they could sound as American as the Remains or the Standells in their approach to playing, -- a solid garage punk sound with some unusual melodic touches -- and then turn around and cut cockney novelties like "What a Crazy World (We're Living In)" or romantic rock ballads like their version of Curtis Mayfield's "That's What Love Will Do," where they sound like the Roulettes, and follow that with a shouter like "Just a Little Bit." Dave Burgess exited the group to get married in 1967 and was replaced by future Kingsmen member Freddie Dennis; Ron Henley left and was replaced first by Mark Gage and then by Gary Milkie, but the group soldiered on, scarcely skipping a beat. The band charted nationally only once, with a version of Chip Taylor's "Any Way That You Want Me," and left behind some other superb white soul sides that managed to embrace both American punk and British beat elements, before they finally called it a day in 1970. The Liverpool Five Arrive is one of the best garage punk albums of 1966, with a startlingly honest and vivid, soulful edge (highlighted by a beautiful handful of Curtis Mayfield covers) amid the fuzztone guitars and pounding, roaring rhythm section. Its follow-up, Out of Sight, is even better, with harder playing and better singing, laced with some unexpected lyricism. --Artist Biography by Bruce Eder
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Larry Young - In Paris: The ORTF Recordings (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Larry Young
Title: Larry Young In Paris: The ORTF Recordings
Genre: Jazz, Hard Bop, Post Bop, Soul Jazz, Modal Music
Label: © 2xHD/Resonance Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:39:25
Recorded: #1,7 - January 22, 1965; #2-6 - December 8, 1964 at ORTF(Office de Radiodiffusion Télévision Française) Studios, Paris; #8,9 - February 9, 1965 at the annual gathering of 'L'Académie du jazz' at La Locomotive, Paris

Released here for the first time, 2016's Larry Young in Paris: The ORTF Recordings is something of a lost treasure rediscovered. Recorded while the Newark, New Jersey-born pianist/organist Larry Young was living in France from 1964-1965, these recordings were broadcast once on French public radio and then archived for decades. As a listening experience, The ORTF Recordings are a revelation, showcasing the innovative Young (who died tragically in 1978 at age 38) and his group of equally youthful and talented musicians, including 19-year-old Newark trumpeter Woody Shaw. Technically speaking, half of the tracks were recorded under the leadership of tenor saxophonist Nathan Davis, a fellow Newark native, who had been performing in Paris with saxophonist Eric Dolphy. In fact, it was Davis who first brought Shaw, and later Young and drummer Billy Brooks, to Paris. With their New Jersey backgrounds and shared love of John Coltrane and modernist Hungarian composers like Bartok and Kodaly, this was a group of voraciously intellectual, highly creative musicians on the cusp of greatness. Notably, these sessions prefigure Young's landmark 1965 Blue Note album, Unity, which also featured Shaw. While these recordings are more ad hoc in nature than Unity, one can clearly hear the angular modalism and cutting-edge harmonies that Young and Shaw borrowed from Coltrane, pianist McCoy Tyner, and others, and would then build on it throughout the rest of the '60s into the '70s. This is particularly evident on the two Shaw originals included here, "Beyond All Limits" and "Zoltan," both later re-recorded for Unity. Also engaging are the handful of Young trio numbers here, including his buoyant take on "Mean to Me," which display just how adroit and inventive a keyboardist he was. That said, even cuts like "Talkin' About J.C.," "La Valse Grise," and "Discotheque," recorded here with a group of European musicians gathered together by producer and radio host Jack Dieval, are prime examples of soulful, harmonically aggressive jazz. Ultimately, The ORTF Recordings offer a revealing snapshot of a new breed of jazz musicians, Young and Shaw, who would return to the states on the heels of their time in Paris and revolutionize the sound of modern jazz. --AllMusic Review by Matt Collar
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Lalo, Bruch, Sarasate: Violin Concertos - Renaud Capucon, Orchestre de Paris, Paavo Jarvi (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Edouard Lalo (1823-1892), Pablo de Sarasate (1844–1908), Max Bruch (1838–1920)
Artist: Renaud Capuçon, Orchestre de Paris, Paavo Järvi
Title: Lalo, Bruch, Sarasate: Violin Concertos
Genre: Classical
Label: © Parlophone Records Limited, a Warner Music Group Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:03:46
Recorded: 26 -27. V. 2015 (Bruch) & 1-2. IX. 2015 (Lalo, Sarasate) – Grande Salle, Philharmonie de Paris

Renaud Capuçon exudes a youthful air, but, now firmly established as one of the world’s leading violinists, he celebrates his 40th birthday on January 27th 2016. This release of the best-known works of three composers – Edouard Lalo, Pablo de Sarasate and Max Bruch – marks this important personal occasion in a suitably festive fashion. Capuçon made the recordings with Paavo Järvi and the Orchestre de Paris at the orchestra’s new home, the French capital’s Philharmonie, which opened in early 2015 and was immediately hailed for its superb acoustics. The Bruch concerto became the first piece to be recorded there, in May 2015.
As it happens, Capuçon shares a birthday with Edouard Lalo, born in 1823 – and with Wolfgang Amadeus Mozart too! Lalo’s Symphonie espagnole, first performed in Paris in 1874, inhabits the same Franco-Spanish musical world as Bizet’s Carmen, which received its premiere the following year. The piece also has a special connection with both Sarasate’s Zigeunerweisen [Gypsy Airs] and Bruch’s Concerto No1, as Renaud Capuçon explains:
“These three works, first heard between 1868 and 1878, are among the most famous in the history of the violin, and there are links of friendship and respect between their three composers – Lalo, Sarasate and Bruch: Lalo dedicated his Symphonie espagnole to Sarasate [born in northern Spain and one of the most celebrated violinists of his time]. Bruch dedicated his Scottish Fantasy to Sarasate some years later, but it was the great Joseph Joachim who gave the first performance of Bruch’s Concerto No 1.”
All three pieces also have a special significance for Capuçon: “I first approached these works when I was 12 years old and studying at the Paris Conservatoire with Veda Reynolds [a celebrated American violin teacher]. I played the Bruch in my first competitions; the Lalo was the first piece I played to Gerard Poulet [Capuçon’s other teacher at the Paris Conservatoire] and the Sarasate featured in my first proper recital."
The personal nature of this album is further emphasised by Renaud Capuçon’s wish to dedicate it to the memories of two people who meant a great deal to him: the broadcaster Jacques Chancel, who died in December 2014, and his father-in-law Gratien Ferrari, who died in October 2015.
Capuçon’s credentials in this kind of Romantic music are made clear in reviews of past performances and recordings. When he played the Lalo in London in 2012, the Guardian praised him for capturing “the full measure of the seriousness behind its grace and wit. Capuçon played with virile agility and tremendous nobility of tone,” while The Times extolled a “gorgeous performance from violin soloist Renaud Capuçon, laidback in manner, but so nimble, so fiery.” The Bruch concerto – with its rhapsodic first movement and energetic, dancing finale is close in spirit to the Brahms Violin Concerto, composed in 1878 and also dedicated to Joseph Joachim. Capuçon’s recording of the Brahms was released in 2012. Reviewing the CD, the Telegraph wrote that: “Capuçon has an impressive grasp of the concerto’s expressive contours, using his technical arsenal with finesse and tracing the music’s breadth of line and its arching shapes while maintaining its inner momentum. The rhythmic punch and energy of the finale are echoed by the orchestra’s powerful attack and buoyancy ... This is altogether a remarkable disc.”
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Jorge Bolet - A Chopin Piano Recital (1961/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Frédéric Chopin (1810-1849)
Artist: Jorge Bolet
Title: A Chopin Piano Recital
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1961/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 41:18
Recorded: 1961, Belock Recording Studio, Bayside, NY

Ask almost any music lover – and certainly any pianist – who his favorite composer of short piano pieces is, and the answer is almost surely to be “Chopin, of course”. Then ask him which are his favorite Chopin works, and the chances are he will head his list with the ten compositions which comprise this recorded recital. This, then, might be described as a sort of “all-time Chopin hit parade”. Jorge Bolet, whose recent Liszt recordings for Everest have proved so exciting, demonstrates here that he is equally as masterful in interpreting the romantic music of Chopin. Once again, too, the Everest engineers have demonstrated their unique ability to capture Bolet’s brilliant tone with the same naturalness as it emerges in the concert hall.
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John Mayer - Continuum (2006/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: John Mayer
Title: Continuum
Genre: Rock, Pop Rock, Alternative/Indie Rock, Blues Rock, Soft Rock, Blue-Eyed Soul
Label: © Aware Records/Columbia Records, a division of Sony Music Entertainment
Release Date: 2006/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:49:51
Recorded: November 2005–July 2006, The Village Recorder, Los Angeles; Royal Studios, Memphis; Avatar Studios, Right Track/Sound on Sound, New York City


Continuum is the third studio album by American musician John Mayer, released September 12, 2006 on Columbia Records. Recording sessions for the album took place during November 2005 to September 2006 at The Village Recorder in Los Angeles, California, Avatar Studios and Right Track/Sound on Sound in New York City, and Royal Studios in Memphis, Tennessee. Production was handled primarily by Mayer and Steve Jordan. It marked a change in Mayer's musical style, and incorporated musical elements of blues and soul more heavily than in his previous work with pop-rock.
The album debuted at number 2 on the U.S. Billboard 200 chart, selling 300,186 copies in its first week. It also reached the top-ten in several other countries and sold over 3 million copies worldwide. Upon its release, Continuum received generally positive reviews from most music critics and earned Mayer several accolades, including a Grammy Award for Best Pop Vocal Album at the 49th Grammy Awards. Rolling Stone magazine named it the eleventh best album of 2006.
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Joe Sherman and The Arena Brass - Promise Her Anything (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Joe Sherman and The Arena Brass
Title: Promise Her Anything
Genre: Jazz, Easy Listening, Jazz Pop, Soul Jazz, Jazz Funk
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:23:08
Recorded: 196?

Joe Sherman & The Arena Brass’ soul-jazz album Promise Her Anything. The album features covers of “Fever”, “Breakfast At Tiffany’s”, “Band of Gold” and more.
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Joe Farrell - Upon This Rock (1974/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Joe Farrell
Title: Upon This Rock
Genre: Jazz, Hard Bop, Jazz Rock, Soul-Jazz, Crossover Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1974/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-onkyo
Duration: 00:37:03
Recorded: March 1974, #2 October 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey


Massive music from funky reedman Joe Farrell – quite possibly our favorite of his legendary 70s run for CTI – and that's saying a lot, given how great those records are! There's a lean, edgey groove to the set that's totally great – a lot more bite than usual for CTI, thanks to these wonderfully angular lines from Joe on tenor, soprano sax, and flute – backed up with some wicked guitar work from Joe Beck, who really matches Farrell's energy – in a core quartet with Herb Bushler on bass and Jim Madison on drums. One cut features a guest group – with Herbie Hancock on piano, Steve Gadd on drums, and Don Alias on percussion – and the album includes the massively break-heavy title cut "Upon This Rock", plus "Seven Seas", "I Won't Be Back", and "Weathervane".
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Joe Farrell - Moon Germs (1973/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Joe Farrell
Title: Moon Germs
Genre: Jazz, Hard Bop, Fusion, Crossover Jazz, Straight-ahead/Mainstream Jazz, Saxophone Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1973/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-onkyo
Duration: 00:37:33
Recorded: November 21, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey


Recorded in 1972 and released in 1973 with Herbie Hancock, Stanley Clarke, and Jack DeJohnette, Joe Farrell's Moon Germs was a foray into the electric side of jazz. On the opener, "Great George," Farrell leads off with the hint of a melody before careening into legato streams of thought along striated intervallic paths. DeJohnette is like a machine gun, quadruple-timing the band as Clarke moves against the grain in a series of fours and eights, and Hancock's attempts to keep the entire thing anchored are almost for naught. On the title track there is more of a funk backdrop, but the complex, angular runs and insane harmonic reaches Farrell attempts on his soprano, crack, falter, and ultimately turn into something else; the sheer busy-ness of the track is dazzling. "Bass Folk Song" by Clarke, is the only thing on the record that actively engages melody rather than harmonic structures. Farrell uses his flute and Hancock strides into the same kind of territory he explored with Miles Davis, chopping up chordal phrases into single lines and feeding them wholesale to the running pair of frontmen--in this case Clarke and Farrell. DeJohnette uses a Latin backdrop to hang his drumming on and pursues a circular, hypnotic groove on the cymbals and toms. It's a gorgeous piece of music and utilizes an aspect of space within the melodic frame that the rest of these firebrand tunes do not. This is sci-fi Farrell at his creative best. --AllMusic Review by Thom Jurek
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