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Idris Muhammad - House Of The Rising Sun (1976/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Idris Muhammad
Title: House Of The Rising Sun
Genre: Jazz, Post Bop, Soul Jazz, Jazz Funk, Jazz Pop, Fusion, Crossover Jazz
Label: © Kudu Records | CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1976/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-onkyo
Duration: 00:35:03
Recorded: June 18-27, 1975, September 23-October 8 at Van Gelder Studio, Englewood Cliffs, New Jersey

Idris Muhammad's House of the Rising Sun is a legendary soul-jazz album, and for good reason. First there's the fact that, Grady Tate notwithstanding, Idris Muhammad is easily the greatest of all soul-jazz drummers. Next, it is revealed that label boss and producer Creed Taylor was at his most inspired here, and wasn't afraid to err on the rhythm and blues side of the jazz equation. The material is top-notch, and David Matthews, who orchestrated and arranged this date with the exception of one track -- "Sudan" was written by Muhammad and Tom Harrell, and Harrell arranged it -- was on fire. As a bandleader, Muhammad is shockingly effective. Not because one could ever doubt his ability, but because of his reputation as one of the great studio drummers in jazz. Finally, this is the single greatest lineup in Kudu's history, and features the talents of Don Grolnick, Eric Gale, Will Lee, Roland Hanna, Joe Beck, David Sanborn, Michael Brecker, Hugh McCracken, Bob Berg, Fred Wesley, Patti Austin, and a dozen others playing their asses off. From the title track which opens the album, with Austin reaching the breaking point in her delivery, to the stunningly funky groove in Ashford and Simpson's "Hard to Face the Music," to the minor key funk of the Chopin-adapted theme in "Theme for New York City," to "Sudan"'s triple-timed drums and killer Eastern-tinged hooks, and a read of the Meters' "Hey Pocky A-Way," with Eric Gale's dirty finger poppin' bass atop McCracken's bluesed-out slide work, this is a steaming, no let-up album. Add to this a gorgeous version of the Ary Barroso Brazilian jazz classic "Bahia," and you have the set for a classic jazz album. But the complete disregard for the political correctness of "Jazz" itself, in order to get the deeply funky and soulful grooves across, is what makes this set so damn special and even spiritual in its inspiration. Jazz purists lost all credibility when they slagged this one off, caught as they were in tainted, even racist views of the past that made no allowances for jazz musicians to actually follow their time-honored tradition of mining the pop music of the day to extend the breadth and reach of jazz itself. Anybody who wants to believe that George Gershwin is somehow more important than George Porter Jr. is already lost in his own cultural fascism. Muhammad, who understands this better than anyone, pulled out all the stops here and blasted out one amazingly tough, funky slab. Brilliant. --AllMusic Review by Thom Jurek
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Hubert Laws - Crying Song (1969/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Hubert Laws
Title: Crying Song
Genre: Jazz, Hard Bop, Fusion, Crossover Jazz, Easy Listening
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1969/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-onkyo
Duration: 00:33:56
Recorded: July 23 (#4,5), 24 (#1,2,6,9), 1969 at American Sound Studios, Memphis, Tennessee; September 23 (#3), 24 (#7,8), 1969 at Van Gelder Studios, Englewood Cliffs, New Jersey.

Crying Song is an album by jazz flautist Hubert Laws released on the CTI label featuring performances of popular music (including songs by The Beatles and Pink Floyd) by Laws recorded in Memphis with Elvis Presley's rhythm section and at Rudy Van Gelder's studio.
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Joseph Haydn - String Quartets, Vol. 2 - The Amsterdam String Quartet (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Joseph Haydn (1732-1809)
Artist: The Amsterdam String Quartet
Title: Haydn - String Quartets, Vol. 2
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2009
Quality: DSF Stereo DSD64/2.82MHz (orig. DFF converted at KorgAudioGate)
Duration: 01:03:23
Recorded: Hervormde Kerk, Rhoon, June 2008

Haydn String Quartets, Op. 20 no. 4, Op. 64, no. 6 and Op. 77, no. 1 Joseph Haydn's remarkable series of 68 string quartets encompasses, in effect, his entire compositional career. The ten works together comprising Op. 1, 2 and 'Op. 0' date from his 20s (c. 1758 - 1761); and the final nine works of Op. 76 (1797), 77 (1799) and 103 (1803) were written after the 'London' Symphonies, and in close proximity to his oratorios, The Creation and The Seasons. The stylistic journey Haydn took from beginning to end is striking indeed, on account of the extended time period involved and the inevitable changes in musical taste across Europe. The Op. 20 set (1772) is generally regarded as Haydn's first 'mature' contribution to the string quartet genre. Two early, unauthorized editions ensured widespread dissemination - from La Chevardière (1774) and Hummel (Amsterdam and Berlin, 1779). The title page of the latter, in fact, with its engraving of a blazing midday sun, was directly responsible for the nickname that accrued to the set ('Sun' quartets); equally, the order in which the quartets appear in this edition established the order in which they have usually appeared in editions ever since. Op. 20 was widely admired in the late eighteenth and nineteenth centuries-by Mozart, Beethoven and Brahms (who owned the autograph scores) among others-and retained a prominent place in the twentieth-century concert hall as well....
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Joseph Haydn - String Quartets, Vol. 1 - The Amsterdam String Quartet (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Joseph Haydn (1732-1809)
Artist: The Amsterdam String Quartet
Title: Haydn - String Quartets, Vol. 1
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz (orig. DFF converted at KorgAudioGate)
Duration: 01:09:01
Recorded: Doopsgezinde Kerk of Deventer, the Netherlands, 25-27 August 2006

Unlike his great contemporary Mozart, who died at 35 in 1791, Joseph Haydn (1732-1809) lived long enough to be feted as a musical colossus in his own lifetime. Writing in the influential, Leipzig-based Allgemeine musikalische Zeitung in 1801, Johann Karl Friedrich Triest explains: all the composers of symphonies and quartets lag behind the man who has plied his craft for almost an entire half century with ever new, inexhaustible, genuinely amazing power, and became the greatest benefactor of German instrumental music. Johann Ferdinand Ritter von Schnfeld, author of A Yearbook of the Music of Vienna and Prague in 1796, holds Haydn in similarly high esteem, waxing lyrical about his string quartets: [they] are full of bewitching harmonies, and have this special quality of immediately attracting ones attention, holding it and moving on, as in a labyrinth, through flowering meadows, past babbling brooks, alongside roaring streams.
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Joseph Haydn - Die Schopfung - Berliner Philharmoniker, Herbert von Karajan (1969/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Franz Joseph Haydn (1732-1809)
Artist: Berliner Philharmoniker, Herbert von Karajan
Title: Haydn: Die Schöpfung (The Creation), oratorio, H.21/2
Genre: Classical, Choral
Label: © Deutsche Grammophon
Release Date: 1969/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:48:54
Recording: Berlin, Jesus-Christus-Kirche, 2/1966, 9 & 11/1968, 4/1969

Herbert von Karajan conducts the Berliner Philharmoniker on this classic 1966 release of Haydn's oratorio Die Schöpfung (The Creation), considered by many to be the composer's crowning achievement. The orchestra is joined by a superb cast of soloists, led by soprano Gundula Janowitz and tenor Fritz Wunderlich, who died in an accident while the album was still being recorded.
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Harry Belafonte - Calypso (1956) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Harry Belafonte
Title: Calypso
Genre: Pop, Vocal, Traditional Pop, Calypso, Caribbean Traditions
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1956/2007
Quality: High-Fidelity FLAC 2.0 Mono 96kHz/24bit
Source: HDTracks
Duration: 32:11
Recorded: August 18, October 20, November 9, 1955 at Webster Hall, New York City

This is the album that made Harry Belafonte's career. Up to this point, calypso had only been a part of Belafonte's focus in his recordings of folk music styles. But with this landmark album, calypso not only became tattooed to Belafonte permanently; it had a revolutionary effect on folk music in the 1950s and '60s. The album consists of songs from Trinidad, mostly written by West Indian songwriter Irving Burgie (aka Lord Burgess). Burgie's two most successful songs are included -- "Day O" and "Jamaica Farewell" (which were both hit singles for Belafonte) -- as are the evocative ballads "I Do Adore Her" and "Come Back Liza" and what could be the first feminist folk song, "Man Smart (Woman Smarter)." Calypso became the first million-selling album by a single artist, spending an incredible 31 weeks at the top of the Billboard album charts, remaining on the charts for 99 weeks. It triggered a veritable tidal wave of imitators, parodists, and artists wishing to capitalize on its success. Years later, it remains a record of inestimable influence, inspiring many folksingers and groups to perform, most notably the Kingston Trio, which was named for the Jamaican capital. For a decade, just about every folksinger and folk group featured in their repertoire at least one song that was of West Indian origin or one that had a calypso beat. They all can be attributed to this one remarkable album. Despite the success of Calypso, Belafonte refused to be typecast. Resisting the impulse to record an immediate follow-up album, Belafonte instead spaced his calypso albums apart, releasing them at five-year intervals in 1961, 1966, and 1971. --AllMusic Review by Cary Ginell
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Georg Friedrich Handel - Partenope - Il Pomo D'oro, Riccardo Minasi (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Georg Friedrich Händel (1685–1759)
Artist: Il Pomo D'oro, Riccardo Minasi
Title: Handel - Partenope
Genre: Classical, Opera, Baroque
Label: © Parlophone Records Limited, a Warner Music Group Company
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 03:22:32
Recorded: Lonigo, Italy, 16-28 February 2015

Handel’s sparkling opera Partenope reunites Erato’ star countertenor Philippe Jaroussky and the captivating Canadian soprano Karina Gauvin, who both made such an impact in the Erato recording of Steffani’s rediscovered opera Niobe, released in early 2015 and welcomed as a “landmark event” by Gramophone.
Jaroussky’s Erato catalogue is rich, varied and extensive – and this summer he appeared as Ruggiero in Handel’s Alcina in a spectacular new production at the Aix-en-Provence Festival – but it is some time since he last recorded a complete Handel opera for the label: Faramondo, which was released in 2009. If Faramondo remains something of a rarity on the world’s stages, Partenope – which offers plenty of comedy as Queen Partenope juggles an array of suitors – is a popular work, and in recent years has even enjoyed productions in such large theatres as the San Francisco Opera and English National Opera.
Jaroussky takes the role of Arsace, Prince of Corinth, while Karina Gauvin is Queen Partenope herself. She has superb credentials as a Handelian and has recorded Ariodante (with Joyce DiDonato and the late Alan Curtis) and Giove in Argo (with Ann Hallenberg and Curtis) for Erato. Gramophone has spoken of her “ideal Handelian mix of grace and profound emotional truth,” while the Sunday Times has praised her “glinting soprano, bright-edged yet deliciously rounded and sensual … used with rare understanding for character” and the “sculptural beauty” of her phrasing.
The conductor is Riccardo Minasi, who, with his ensemble Il Pomo d’Oro, also appears on Joyce DiDonato’s bel canto collection, Stella di Napoli and Edgar Moreau’s new Erato album Giovincello. Praising conductor and orchestra for their command of Handel’s operatic style, Forum Opéra has written: “A real drama unfolds from the overture onwards … The conductor brings true brio as he engages with Handel’s rhetoric … The players of Il Pomo d’Oro can switch in a moment from the role of interlocutor to commentator … Add to this a perfect mastery of the way the recitatives lead into the arias, and you have the formula for an approach that remains constantly fresh.”
The rich-voiced Italian mezzo-soprano takes the role of Rosmira – Arsace’s former lover, who is disguised as a man, Prince Eurimene – while the diamantine Hungarian soprano Emőke Baráth takes the role of a real man, Prince Armindo, who is in love with Partenope. “Supremely stylish” were the words used by the Telegraph to describe John Mark Ainsley when he sang Emilio (yet another prince seeking Partenope’s hand) at English National Opera, and the distinguished Italian bass Luca Tittoto brings authority to the role of Partenope’s advisor Ormonte.
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Edvard Grieg: Peer Gynt Suite No. 1 & No. 2 / Jean Sibelius: Finlandia, Valse Triste & The Swan of Tuonela - New York Philharmonic, Leonard Bernstein (1981/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Edvard Grieg (1843-1907), Jean Sibelius (1865-1957)
Artist: New York Philharmonic, Leonard Bernstein
Title: Grieg: Peer Gynt Suite No. 1 & No. 2 / Sibelius: Finlandia, Valse Triste & The Swan of Tuonela
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1981/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:54:42
Recorded: 1970, 1973, 1974

Bernstein – Remastered Edition: Sibelius – The Symphonies collects Bernstein’s complete Sibelius recordings, newly remastered from the original analogue tapes using 24 bit / 96 kHz technology in a 7CD limited original jackets collection.
Bernstein regarded Sibelius alongside Mahler as one of “the key turning points” in the development of the 20th century symphony, though his reputation as a Mahler exponent has overshadowed a lifelong dedication to the Finnish composer. His advocacy goes back to the time of his association with Koussevitzky, with whom he studied at Tanglewood in 1940, later becoming his assistant. At Philadelphia’s Curtis Institute in 1941, he conducted the Second Symphony. And following his sensational New York Philharmonic debut in November 1943, one of Bernstein’s first engagements was a Montreal Symphony Orchestra concert in March 1944 that included his first performance of the First.
The Finnish composer’s centenary year, 1965, brought a flurry of activity. In New York, Bernstein conducted all the symphonies in a single season (only his mentor Serge Koussevitzky had done that in the US, three decades earlier in Boston). For his efforts, Bernstein was made a Commander of the Order of the Lion by the president of Finland. By this time, he was already well into his recorded Sibelius cycle, begun in February 1961 with the Fifth Symphony, completed in May 1967 with the Sixth.
Bernstein’s Sibelius, like his teacher’s, was “warm like the sun” rather than a more orthodox evocation of cold northern soundscapes. He once called Sibelius “a great and strange kind of genius”, but in his New York cycle he favors visceral excitement over strange remoteness.
This set also contains his recording of Sibelius’s Violin Concerto with the French virtuoso Zino Francescatti. Also included are Valse triste, The Swan of Tuonela, a rather brash Finlandia, a thrilling performance of Pohjola’s Daughter and Luonnotar – Sibelius’s haunting setting of words from the Kalevala, the Finnish national epic (with American soprano Phyllis Curtin) – as well as Bernstein’s only recording of Grieg’s Peer Gynt Suites. But it’s the Sibelius symphonies that are the chief attraction here, and this often stunningly well-played, first completed stereo cycle has lost none of its freshness and authority in the half century since it was recorded.
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Edvard Grieg - Lyric Pieces - Emil Gilels (1974/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Edvard Grieg (1843-1907)
Artist: Emil Gilels
Title: Grieg - Lyric Pieces
Genre: Classical
Label: © Deutsche Grammophon GmbH
Release Date: 1974/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:56:05
Recorded: June 1974, Jesus-Christus-Kirche, Berlin, Germany

Late Russian pianist Emil Gilels, considered one of the greatest pianists of the 20th century, lovingly recorded these 20 selections from Grieg's oeuvre of 66 short Lyric Pieces in 1974. The programme opens and closes with Grieg's first and very last lyric pieces and includes Butterfly, one of Grieg's best known compositions.
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Giovanni Guidi, Gianluca Petrella, Louis Sclavis, Gerald Cleaver - Ida Lupino (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Giovanni Guidi, Gianluca Petrella, Louis Sclavis, Gerald Cleaver
Title: Ida Lupino
Genre: Jazz, Modern Jazz, Free Improvisation, Free Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:17:44
Recorded: February 2015, Auditorio Stelio Molo RSI, Lugano

Ida Lupino is a fresh and creative album, distinguished by deep listening and focused interaction. At its centre is the remarkable improvisational rapport of two Italian musicians – pianist Giovanni Guidi and trombonist Gianluca Petrella. Their musical understanding – already apparent to listeners who heard them in Enrico Rava’s band – has been further refined in a widely-travelled duo which seeks encounters with fellow improvisers. “Our duo work is really defined by our collaboration with other artists,” Guidi says. The present album both builds on established relationships and the stimulus of new encounters as they are joined by – in Petrella’s words – “two masters of contemporary jazz who are really on our wavelength”.
For this recording, Manfred Eicher brought Guidi and Petrella together with US drummer Gerald Cleaver and French clarinettist Louis Sclavis, for a set of music by turns introspective and outgoing. The Italians had played previously with Cleaver, on an early Guidi album called We Don’t Live Here Anymore, but Sclavis had never met the other musicians prior to the session at Lugano’s Stelio Molo RSI auditorium. “It’s very precious this kind of musical relationship,” Louis Sclavis says, “on the one hand, it’s very fragile but at the same time there is a strong connection between the players. We are four people for one music, and we don’t know where we’re going, but we control the journey.”
“In this album we are searching for many different things,” says Giovanni Guidi. “Improvised music has to be very democratic. At the same time, one of its components should be a sense of wonder. And the more you have a strong idea, at the concept level, the more you know you must not impose it…”
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