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Gianluigi Trovesi all’opera - Profumo Di Violetta (2008) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Gianluigi Trovesi
Title: Gianluigi Trovesi all’opera - Profumo Di Violetta
Genre: Jazz, Classical Crossover, Modern Creative, Saxophone Jazz, Post-Bop
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2008
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:01:15
Recorded: September 2006, Teatro Serassi, Villa d’Almè, Bergamo


Italy’s great musical archaeologist and one of the outstanding improvisers of his country, Gianluigi Trovesi with “Profumo di Violetta” indulges in his love for the emotional drama and musical beauty of Italian opera. (The title simultaneously alludes to the protagonist of Verdi’s famous opera “La traviata” and to the flower’s sweet perfume.) Accompanied by the characteristic North-Italian provincial “banda”, a large wind orchestra with percussion as we find it in the on-stage-music of most Verdi operas, Trovesi takes us on a humorous journey through the history of the genre.
It starts with Monteverdi’s “Orfeo”, includes many highlights from “La traviata” before briefly visiting Mascagni and Puccini.
The popular and the sublime, irony and unrestrained pathos meet with an improvisational spirit that conveys the pure joy of music making. One of the most unorthodox albums in this year’s release schedule, Trovesi’s opera project is likely to win many enthusiastic listeners among opera lovers and open-minded jazz enthusiasts.
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George Benson - Body Talk (1973/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: George Benson
Title: Body Talk
Genre: Jazz, Soul Jazz, Fusion, Jazz Funk, Smooth Jazz, Crossover Jazz, Guitar 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: 00:36:52
Recorded: July 17-18, 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

With an eye and ear on what was happening on the soul charts -- James Brown in particular -- Benson made a decided swerve toward R&B on this release. Indeed the JB's Pee Wee Ellis turns up as a big band arranger on three tracks, and he no doubt had a direct influence on the distinct JB groove of one of the non-big-band tunes, "Dance." It should come as no surprise by now that this formidable guitarist has no problem handling any kind of groove, although the mixed rhythm section of Jack DeJohnette, Ron Carter, electric pianist Harold Mabern, and percussionist Mobutu sometimes sends mixed messages. Earl Klugh has a few tasty moments on his own, and there are some reconnaissance flights back to the jazz side of George, which he handles with his usual confident aplomb. --AllMusic Review by Richard S. Ginell
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Gabriel Faure Vol. 2: Piano Quartets, op. 15 & 45 - Eric Le Sage, Daishin Kashimoto, Lise Berthaud, Francois Salque (2012) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Gabriel Fauré (1845-1924)
Artist: Eric Le Sage, Daishin Kashimoto, Lise Berthaud, François Salque
Title: Gabriel Fauré Vol. 2: Piano Quartets, op. 15 & 45
Genre: Classical
Label: © Alpha Classics | Outhere Music
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:04:01
Enregistré en mars 2011 à l’auditorium MC2, Maison de la Culture de Grenoble

Between 1875 and his death in 1924, Fauré produced ten or so compositions that are among the jewels of the French chamber repertoire, written at a time when opera and symphonic music were the predominant genres.
The international artist Eric Le Sage, who is a specialist in this repertoire, continues his exploration of the complete chamber music with piano of Gabriel Fauré, accompanied by a fine team of first-rate artists.This second volume, expertly recorded by Jean-Marc Laisné in the wonderful setting of the MC2 Auditorium in Grenoble, shows extraordinary energy and elegance. The first volume was awarded the highest ratings by the music magazine Classica in December 2011.
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Gabriel Faure Vol. 1: Works for cello and piano & trio Op. 120 - Eric Le Sage, Francois Salque, Paul Meyer (2011) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Gabriel Fauré (1845-1924)
Artist: Eric Le Sage, François Salque, Paul Meyer
Title: Gabriel Fauré Vol. 1: Works for cello and piano & trio Op. 120
Genre: Classical
Label: © Alpha Classics | Outhere Music
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:13:52
Enregistré en mars 2011 à l’auditorium MC2, Maison de la Culture de Grenoble


Following the successful edition of Schumann’s complete works, Eric Le Sage and Alpha have decided to produce a new series of 5 CD’s dedicated to Gabriel Fauré’s complete works for chamber music with piano. This series in general and its first volume in particular, constitute a milestone in Alpha’s development as they are the first of a line devoted to music from the post-Mozart period. Each volume will be placed in the literary context of the time in which it was created through fragments taken from novels, poems or the correspondence of artists. Eric Le Sage will work on this series together with François Salque with whom he shares a great musical affinity. Sound engineer Jean-Marc Laisné (who recorded the integral works of Schumann) will record the pieces in the auditorium of Grenoble, a hall famous for its acoustics. Through the combination of their talents, these men will breathe new life into these well known pieces.
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Freddie Hubbard - First Light (1971/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard
Title: First Light
Genre: Jazz, Jazz Funk, Post Bop, Fusion, Jazz Pop, Soul Jazz, Trumpet Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-onkyo
Duration: 00:36:11
Recorded: September 1971 at Van Gelder Studio, Englewood Cliffs, New Jersey

In the pantheon of jazz trumpeters, Freddie Hubbard stands as one of the boldest and most inventive artists of the bop, hard-bop and post-bop eras. Although influenced by titans like Miles Davis and Clifford Brown, Hubbard ultimately forged his own unique sound – a careful balance of bravado and subtlety that fueled more than fifty solo recordings and countless collaborations with some of the most prominent jazz artists of his era.
After a series of strong releases on Blue Note and a stint with the Jazz Messengers in the '60s, Hubbard enjoyed his greatest popular success in the 1970s with a series of crossover albums on Atlantic and CTI Records. His early ‘70s jazz albums for CTI – Red Clay (1970), Straight Life (1970) and First Light (1971) – were particularly well received with the latter taking home a Grammy for Best Instrumental Jazz Performance.
First Light finds the trumpeter joined by guitarists Eric Gale and George Benson, pianists Herbie Hancock and Richard Wyands, bassist Ron Carter, drummer Jack DeJohnette and percussionist Airto Moreira amidst elegant string arrangements by Don Sebesky, a first for Hubbard thus the title. From the sizzling title track to a melodic take on Paul and Linda McCartney’s "Uncle Albert/Admiral Halsey" to a lovely rendition of the Mancini/Mercer standard "Moment To Moment," First Light is first-rate.
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Freddie Hubbard - Keep Your Soul Together (1973/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard
Title: Keep Your Soul Together
Genre: Jazz, Post Bop, Jazz Funk, Trumpet 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: 00:38:38
Recorded: October 5, 23 1973, at Van Gelder Studio, Englewood Cliffs, New Jersey

Keep Your Soul Together is an album recorded in 1973 by jazz trumpeter Freddie Hubbard. It was his fifth studio album released on Creed Taylor's CTI label and features performances by Hubbard, Junior Cook, George Cables, Aurell Ray, Kent Brinkley, Ron Carter, Ralph Penland and Juno Lewis.
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Fats Theus - Black Out (1970/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Fats Theus
Title: Black Out
Genre: Jazz, Fusion, Jazz Funk, Soul Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1970/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:30:22
Recorded: July 16, 22, 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey

Hard and heavy funky jazz from west coast tenorist Fats Theus – and one of the rarest albums on CTI! This one differs strongly from the label's smoother electric output – as it's got the rough n ready feel of a classic Prestige jazz funk session. Fats is backed by an all star group that includes Hilton Felder on organ, Grant Green on guitar, Idris Muhammad on drums, and Chuck Rainey on bass – and it kind of sounds like Fats is playing an electric tenor, or a Varitone, which gives the set the feel of some of the Lou Donaldson funk albums on Blue Note! Cuts include "Black Out", "Bed Of Nails", "Stone Flower", and "Check It Out".
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Esther Phillips with Joe Beck - What A Diff'rence A Day Makes (1975/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Esther Phillips w/Beck
Title: What A Diff'rence A Day Makes
Genre: R&B, Blues, Jazz, Vocal Jazz, Soul Jazz, Disco
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1975/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:35:55
Recorded: April 1975 at Van Gelder Studio, Englewood Cliffs, New Jersey


Reading the credits of What a Diff'rence a Day Makes, one could easily assume that it is a jazz album. This 1975 LP was produced by Creed Taylor and arranged by guitarist Joe Beck; the other participants range from Michael Brecker on tenor sax, David Sanborn on alto sax, and Randy Brecker on trumpet to Steve Khan on guitar and Don Grolnick on keyboards. With that lineup, Esther Phillips could have easily delivered a first-class jazz album. But What a Diff'rence a Day Makes doesn't contain any jazz -- not even jazz-funk or soul-jazz. It is, however, an excellent soul/disco outing. This LP is best known for its hit title song, an inspired disco version of a standard that has usually been heard in jazz and pre-rock pop settings. But the song works surprisingly well as disco, and the other tracks are equally impressive. Phillips is as soulful and convincing on the bluesy "I Can Stand a Little Rain" as she is on Gamble & Huff's "One Night Affair" (a Philadelphia soul classic that was recorded by Jerry Butler in 1972 and the O'Jays in 1969) and Ralph MacDonald's "Mister Magic."The latter is the gem that Grover Washington, Jr. is best remembered for; while his famous version was instrumental jazz-funk, Phillips' is vocal-oriented soul. It should be noted that most of the jazz musicians who back Phillips on What a Diff'rence a Day Makes are not jazz snobs. The Brecker Brothers and Sanborn, for example, have done their share of R&B sessions, and they would probably be the first to tell you that this LP needs to be judged by R&B standards instead of jazz standards. And when R&B standards are applied, it is easy to conclude that What a Diff'rence a Day Makes is among Phillips' finest releases. --AllMusic Review by Alex Henderson
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Emily Jane White - They Moved In Shadow All Together (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Emily Jane White
Title: They Moved In Shadow All Together
Genre: Pop Rock, Indie Folk, Alternative/Indie Rock, Singer/Songwriter
Label: © Talitres Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:40:48
Recorded: Tiny Telephone; New And Improved Studios


With a title that references the opening of Cormac McCarthy's novel Outer Dark, They Moved in Shadow All Together is the fifth album by indie balladeer Emily Jane White. Stripped back somewhat from the lusher, more electronic character of her previous album, Blood/Lines, it marks a return to spooky acoustic form. The opening track sets the stage with echoing percussion, acoustic guitar, bass, and cooing backing vocals set to a minor-key waltz. Its tone is reflected in lyrics that use words like dusty, overgrown, and forsaken. The song ends with the disheartening promise "someday I'll forgive." The album's haunted atmosphere is stated explicitly in "Nightmares on Repeat," a song about hanging on literally and figuratively ("Holding your hand keeps me here"). Arpeggiated guitar and, later, piano converge near the end with its lilting melody into a swirl of repeated words. Later, whether seen as a topical offering or a timeless one, "Womankind" speaks to the practice of suffering in silence and calls for an end to it from "everyone who cares for others' lives." Its flowing piano and strings seem to symbolize momentum. In contrast, the closer "Behind the Glass" has an almost rousing pulse that moves across multiple instruments. The otherwise spare arrangement includes mostly backing and lead vocals that question the notion of authenticity and warn "Behind the glass is something/But it might not be what you're wanting." The set of nocturnes maintains a mood so consistent that it's an all-or-nothing affair for listeners, and a likely boon for established fans. --AllMusic Review by Marcy Donelson
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Emerson, Lake & Palmer - Pictures At An Exhibition (1971/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Modest Petrovich Mussorgsky (1839-1881)
Artist: Emerson, Lake & Palmer
Title: Pictures At An Exhibition
Genre: Rock, Classical, Art Rock, Prog Rock, Symphonic Rock, Classical Crossover
Label: © Leadclass Limited, under exclusive licence to BMG Rights Management (UK) Limited
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:37:58
Recorded: 26 March 1971,Newcastle City Hall, Newcastle upon Tyne, England


Much was made of early prog-rock's fusion of rock with classical music, but ELP was one of the only bands to take that task seriously, and never more so than on „Pictures At An Exhibition“. The well-known Mussorgsky piece is a staple of the classical music diet, and a prime example of "program music," where related sections of a piece combine to tell a story. True to the spirit of the times, ELP attacked "Pictures" with both classically trained respect and rocker irreverence. The album, recorded live in 1971, finds the band turning Mussorgsky's work inside out, not just restructuring it but reinventing it for their rock audience.
While sections like "Promenade" and The Hut of Baba Yaga" are essentially electrified, rocked-up versions of the original melodies, the band injects plenty of their own original (but not unrelated) motifs into the piece, including Greg Lake's moody ballad "The Sage" and the self-explanatory "Blues Variation." ELP is to be commended as much for its brash ambition as for its achievement in attempting a Moog-ified revamping of such a well established piece as „Pictures At An Exhibition“.
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