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Steve Turre - Colors for the Masters (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Steve Turre
Title: Colors for the Masters
Genre: Jazz, Post Bop, Neo Bop, Straight-Ahead/Mainstream Jazz, Trombone Jazz
Label: © Smoke Sessions Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:00:55
Recorded: February 25, 2016

Trombonist and composer Steve Turre shows off his full spectrum of sounds on his latest album, Colors for the Masters. The album’s ten songs, evenly split between jazz standards and original tunes that carry the torch for the tradition, offer a dazzling array of hues played in tribute to and alongside some of the elders that have inspired Turre. The leader’s own trombone virtuosity is only one color in a palette that also includes a variety of mutes and his wholly original conch shell artistry.
Colors for the Masters teams Turre with a rhythm section of legendary elders, each of whom shaped the trombonist’s distinctive voice: pianist Kenny Barron, bassist Ron Carter and drummer Jimmy Cobb. On four tunes the band is joined by saxophonist Javon Jackson, like Turre an alumni of Art Blakey’s Jazz Messengers; and for the album’s final tune, a stirring rendition of Jobim’s “Corcovado” on which Turre shows off his innovative shell playing, virtuoso percussionist Cyro Baptista also joins in. Together, they pay electrifying homage to other, departed luminaries like John Coltrane, J.J. Johnson, and Thelonious Monk.
While he has shared the stage with each of them over the years in various bands and all-star configurations, he says, “I’ve never had them play my music. I wanted to hear how their interpretations would open up new avenues of expression to me. I’m still trying to grow. I have a certain feeling and a certain direction in mind, and everybody on this record is in the same frame of mind about what jazz is and what this music means to them.”
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Stefano Bollani - Stone in the water (2009) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Stefano Bollani
Title: Stone in the water
Genre: Jazz, Post Bop, Modern Creative, Avant-Garde Jazz, Piano Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio
Duration: 01:01:44
Recorded: October 2008 at Avatar Studios, New York


“Stone in the Water” features the brilliant Italian pianist’s “Danish trio”, a group that has been honing its improvisational understanding for six years already. Bassist Jesper Bodilsen and drummer Morten Lund (both making ECM debuts) draw on a still longer association, having collaborated closely for more than 15 years. The three players move, with immense subtlety, through a fascinating programme that includes new pieces by Bollani and Bodilsen, plus ballads by Caetano Veloso and Antonio Carlos Jobim, and Poulenc’s “Improvisation 13 en mineur”, bringing fresh colours to the piano trio genre.
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Stan Getz, Joao Gilberto - Getz/Gilberto '76 (2016) High-Fidelity FLAC Stereo 24bit/96kHz

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: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 00:46:13
Recorded live at Keystone Korner, San Francisco, May 11-16, 1976

This newly-discovered classic unreleased live music from Stan Getz and João Gilberto was recorded during a week-long engagement in May 1976 at the legendary San Francisco jazz club Keystone Korner. The series of shows represents one of the very few times the famed duo reunited after their initial creative collaboration years earlier which yielded one of the most successful jazz records of all time, the Grammy-winning, million-selling 1964 album Getz/Gilberto and its 1966 sequel Getz/Gilberto #2.
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Antonio Soler - Sol de mi fortuna - Diego Ares (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Antonio Soler (1729-1783)
Artist: Diego Ares
Title: Soler - Sol de mi fortuna
Genre: Classical
Label: © harmonia mundi usa
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88.2kHz/24bit
Source: Qobuz
Duration: 01:12:56
Recorded: mars 2015 au Studio Sequenza, Montreuil

A world premiere!Who would have thought that the principal source for the music of Padre Antonio Soler was still waiting to be discovered? The manuscript acquired by the Morgan Library of New York in 2011 has proved to be the richest extant collection of sonatas by Soler; 29 of them are unpublished. For his first recording on harmonia mundi, the young harpsichordist Diego Ares reminds us of the powerful impression the composer made on a grandee of Spain in 1765: ‘Fray Antonio Soler produces finer sonatas from day to day.’ Listening to this disc, one cannot but agree: each sonata is indeed a world unto itself.
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Slayer - South of Heaven (1988/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Slayer
Title: South of Heaven
Genre: Rock, Heavy Metal, Speed/Thrash Metal
Label: © American Recordings
Release Date: 1988/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 36:56
Recorded: December 1987–February 1988, Hit City West, Los Angeles, California and Chung King, New York, New York


When it comes to death metal, no band is more convincing than Slayer. For other bands, focusing on death, Satanism, the supernatural, and the occult became a cliché; but Slayer's controversial reflections on evil always came across as honest and heartfelt. The group's sincerity is the thing that makes South of Heaven so disturbing and powerful -- when the influential thrashers rip into such morbid fare as "Spill the Blood," "Mandatory Suicide," and "Ghosts of War," they are frighteningly convincing. With their fourth album, Slayer began to slow their tempos without sacrificing an iota of heaviness or incorporating any pop elements. South of Heaven would be Slayer's last album for Def Jam. When Rick Rubin and Russell Simmons (brother of Joseph "Run" Simmons of Run-D.M.C.) parted company, Slayer went to Rubin's new company Def American, while LL Cool J, Slick Rick, and other rappers recorded for Simmons at Def Jam. --AllMusic Review by Alex Henderson
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Skeeter Davis & Bobby Bare - Your Husband, My Wife (1970/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Skeeter Davis & Bobby Bare
Title: Your Husband, My Wife
Genre: Country, Country Pop, Country Folk, Progressive Country
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1970/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:29:02
Recorded: RCA Victor Studios, Nashville

Bobby Bare and Skeeter Davis' first duet album, Tunes for Two, was moderately successful in 1965, but it took five years for a follow-up to materialize. Your Husband, My Wife was one of the last albums Bare made for RCA before moving to Mercury, and the title track was his last RCA hit until he returned to the label a few years later. It makes one wonder whether the album was a rush job, because the performances are spotty and Davis sounds particularly wobbly. "Let's Make Love Not War" attempts to solve that problem by multi-tracking Davis' vocals, which makes the song sound like Bare singing along with one of her solo recordings. The material is more downcast and less satisfying on this outing, but the album is buoyed up a little by a lively rendition of "Jackson." --AllMusic Review by Greg Adams
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Skeeter Davis - Singin' in the Summer Sun (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Skeeter Davis
Title: Singin' in the Summer Sun
Genre: Pop, Country Pop, Traditional Pop
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:27:39
Recorded: Jan. 1966, RCA Victor Studio, Nashville

Skeeter Davis never received much critical attention, but in the '50s and '60s, she recorded some of the most accessible crossover country music, occasionally skirting rock & roll. Born Mary Penick, Davis took her last name after forming a duo with Betty Jack Davis, the Davis Sisters. Their 1953 single "I Forgot More Than You'll Ever Know" was a big country hit; its B-side, the remarkable "Rock-a-Bye Boogie," foreshadowed rockabilly. That same year, however, the duo's career was cut short by a tragic car accident in which Betty Jack was killed and Skeeter was severely injured. Skeeter did attempt to revive the Davis Sisters with Betty Jack's sister but was soon working as a solo artist.
In the early '60s, Davis followed the heels of Brenda Lee and Patsy Cline to become one of the first big-selling female country crossover acts, although her pop success was pretty short-lived. The weepy ballad "The End of the World," though, was a massive hit, reaching number two in 1963. "I Can't Stay Mad at You," a Top Ten hit the same year, was downright rock & roll; penned by Gerry Goffin and Carole King, it sounded like (and was) an authentic Brill Building girl group-styled classic. Goffin and King also wrote another successful girl group knockoff for her, "Let Me Get Close to You," although such efforts were the exception rather than the rule. Usually she sang sentimental, country-oriented tunes with enough pop hooks to catch the ears of a wider audience, such as "I Will."
Davis concentrated on the country market after the early '60s, although she never seemed too comfortable limiting herself to the Nashville crowd. She recorded a Buddy Holly tribute album in 1967, when Holly wasn't a hot ticket with either the country or the rock audience. But she certainly didn't reject country conventions either: She performed on the Grand Ole Opry and recorded duets with Bobby Bare, Porter Wagoner, and George Hamilton IV. In the 1980s, she had a mild comeback with the rock crowd after recording an album with NRBQ; she also married NRBQ's bass player, Joey Spampinato. Davis passed away September 19, 2004 after a long struggle with cancer. --Artist Biography by Richie Unterberger
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Sirenia - Dim Days of Dolor (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Sirenia
Title: Dim Days of Dolor
Genre: Rock, Gothic Metal, Symphonic Metal, Doom Metal
Label: © Napalm Records Handels GmbH
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: ProStudioMasters
Duration: 01:00:36
Recorded: July - September 2016


Sirenia is the 21st century stalwart of gothic metal, formed in 2001 under the name of Masters of Sirenia. They later changed it to Sirenia before the release of their debut album ‘At Sixes And Sevens’ in 2002, and the band is now ready to release their seventh album, ‘Dim Days of Dolor’. Morten Veland, the mastermind behind Sirenia, composes and plays all the instruments on the albums and the line-up comprises full-time live musicians to play the music on stage. Sirenia is known for rarely having a bass player on stage; they play on bass lines being played in the background. Another active member in Sirenia is the fourth and new vocalist Emmanuelle Zoldan, and ‘Dim Days of Dolor’ is Sirenia’s first album with Emmanuelle. Response to previous albums by Sirenia have somewhat been neutral with some albums being extremely good, and others average.
Getting to the album, the atmosphere that surrounds you on playing the first track “Goddess of the Sea” is a direct reflection to the title of the album –it almost incapacitates you. The chorus only enhances that experience. The theatrical aura that the album creates in you can only be felt. The songs, although catchy, are unable to pull the listener into the uniformity of thoughts that the band intended to do with this. Over time, fans have developed a love-and-hate relationship with Sirenia, and after releasing two great albums consecutively, ‘Perils of the Deep Blue’ (2013) and ‘The Seventh Life Path’ (2015), they are expecting another great album, but ‘Dim Days of Dolor’ has nothing new to offer to them except the vocalist.
“The 12th Hour”, “Cloud Nine”, and “Ashes to Ashes” are some of the noteworthy tracks on the album. Moreover, because the production and mixing of the album is good, these tracks stand out as unique, otherwise, the album sounds no different than any other gothic metal album. Emmanuelle hits the right notes with her high-pitched, opera vocals, but there is a certain level of disconnection in her voice; not between vocals and the listener, but between the music and the vocals. Needless to say that she is a vocalist of a great caliber, her opera and rock voice is close to perfection, but the disconnection reduces the effectiveness of the music.
A track that that stands out of the whole album and is the only one on the album that is better than average is “Aeon’s Embrace”. It is pure vocals, keyboard, and violin, which adds a certain gloom to it and is not as theatrical as the other tracks on the album. This is the track you can imagine on stage with nothing but two spotlights on stage for Emmanuelle, and Morten on his piano, and creating a special experience for the attendees.‘Dim Days of Dolor’ is everything you expect Sirenia to have in their music, but that is it. The album offers new songs that Sirenia is known for, but there is no uniqueness in their music that separates them from other bands in the genre. --Shivam Kalra
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Silvano Monasterios - Partly Sunny (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Silvano Monasterios
Title: Partly Sunny
Genre: Jazz
Label: © Savant Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44.1kHz/24bit
Source: HDTracks
Duration: 00:59:15

It might strike as a paradox, but sometimes the brilliance of certain inventions can be measured by how obvious, how commonplace they seem. The music of Venezuelan pianist Silvano Monasterios is so easy-on-the-ear, so elegantly structured, and has such a casual, lived-in feel that it takes a bit to catch on to how sophisticated his work truly is. It’s only after awhile that one notices the harmonic turns, the storytelling soloing, or his rhythmic vocabulary, especially his discreet use of traditional Venezuelan styles. Partly Sunny is Monasterios’ second album for Savant, and his choices suggest that he feels no need to accommodate any conventional expectations about how Latin jazz should sound. Whatever someone might argue to be some essence of “Latin,” is here integrated into the overall sound. With his working trio augemented with the great clarinetist Anat Cohen, saxman Troy Roberts and the colorful percussion of Robert Quintero, Monasterios has given us an album that is exuberant & visceral as well as personal & considered.
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Jean Sibelius - Symphonies Nos. 1 & 4 - London Symphony Orchestra, Colin Davis (2008) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Jean Sibelius (1865–1957)
Artist: London Symphony Orchestra, Sir Colin Davis
Title: Sibelius - Symphonies Nos. 1 & 4
Genre: Classical
Label: © LSO Live
Release Date: 2008
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Bowers & Wilkins
Duration: 01:18:20
Recorded: September 2006 & July 2008 at the Barbican, London

For his First Symphony (1899), Sibelius scaled back on Kullervo to concentrate on a more tightly structured proposition. If ‘symphony’ implies a blue print, Sibelius adheres to it through the conventional four-movement form consisting of an Andante-Allegro opening, followed by a slow movement, a scherzo, and a fast finale. The work begins with an extraordinary solo for clarinet (played peerlessly here by Andrew Marriner). The score is scintillating, full of shifts of mood and evocative woodwind motifs. The music is not overtly programmatic and yet has a programmatic feel. Finland’s brilliant landscape seems palpable – in this at least, the world of Kullervo is very much present.
By the time he got to his Fourth Symphony in 1911, Sibelius had done a bit more living. The premiere was in Helsinki, with the composer conducting. A much more introverted work than the First Symphony, it was waggishly nicknamed ‘Barkbrōd’ (bark bread), a reference to the famines of the nineteenth century when Finns were forced to eat the bark from trees to survive. It is full of dark beauty, and much is made of the context in which it was written, i.e. that Sibelius had paid for earlier excesses by developing a life-threatening illness. Fortunately, an operation saved him, but the symphony is often seen as a reflection on the composer’s own dark times (as well as presaging the collective ones to come in 1914).
Like the First Symphony, the Fourth opens with a significant instrumental solo, this time for cello. Thereafter, it is a wholly different, more reflective, experience than that of the First. Sir Colin Davis and the LSO capture brilliantly the light and bombast of one, and the sombre qualities of the other.
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