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Dutilleux, Lutoslawski, Jolivet - Cello Concertos - Mstislav Rostropovich (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Henri Dutilleux (1916-2013), Witold Lutoslawski (1913-1994), André Jolivet (1905-1974)
Artist: Mstislav Rostropovich
Title: Dutilleux, Lutoslawski, Jolivet - Cello Concertos
Genre: Classical
Label: © Warner Classics
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:14:00
Recorded: 1969, 1975


Among Mstislav Rostropovich's many achievements was his enrichment of the cello repertoire. His passion for the music of his own time encouraged composers to create many dozens of works for him to perform. The two concertos on this disc, by Henri Dutilleux (1916-2013) and Witold Lutoslawski (1913-1994), are both modern classics, reflecting Tostropovich's spirit as they push the boundaries of instrumental possibility while exciting and challenging the audience.
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Duke Ellington & His Orchestra - Ellington Indigos (1958/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Duke Ellington & His Orchestra
Title: Ellington Indigos
Genre: Jazz, Standards, Swing, Modern Big Band, Progressive Jazz
Label: © Columbia Records/HDTT
Release Date: 1958/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTT
Duration: 00:35:56
Recorded: March 13, September 9 to October 14, 1957 in NYC. Transferred from a 15ips 2-track tape

Indigos is a seminal Jazz album by big band superstar Duke Ellington, originally released in 1958. Ellington chose a set of easy listening ballads to be performed by his ace Big Band, putting less emphasis on the uptempo and danceable Swing the group was revered for.

Behind Ellington on piano, you'll hear a marvelous band including Paul Gonsalves on tenor sax, Shorty Baker on trumpet, Ray Nance on violin, Johnny Hodges on alto sax and Harry Carney on baritone sax, all being put in the solo spotlight on every song of this record. A timeless classic!
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Don Cherry - Eternal Rhythm (1969/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Don Cherry
Title: Eternal Rhythm
Genre: Jazz, Avant-Garde Jazz, Free Jazz, World Fusion
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1969/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:41:29
Don Cherry's Eternal Rhythm Group was organised and recorded in collaboration with the Berlin Jazz Festival, Nov 11th and 12th 1968

Eternal Rhythm is extoled as “Don Cherry’s masterwork” by Allmusic’s Brian Olewnick. It is “one of the earliest major examples of the idea that it was possible for any and all musical cultures to exist simultaneously”. Cherry had already earned his space in the jazz pantheon through his pocket trumpet play with the ground-breaking 1958-1961 Ornette Coleman Quartet. Later generations would know him primarily through his work with the world-music-oriented trio Codona, and his own multi-instrument “multikulti” explorations mingling diverse musical folkways. For this recording Cherry assembled some of Europe’s jazz elite, including Germans trombonist Albert Mangelsdorff, vibraphonist Karl Berger, and Pianist Joachim Kühn, and the innovative American guitarist Sonny Sharrock. The album is a suite, conjoining Cherry’s “Pan” flute playing, Balinese gamelan, blues, and the avant-garde. For music journalist Piero Scaruffi, the album engenders “an almost religious sense of communion with far-away civilizations.”
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Didier Lockwood - The Kid (1983/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Didier Lockwood
Title: The Kid
Genre: Jazz, Post Bop, Fusion, Jazz Rock, Easy Listening
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1983/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:40:19
Recorded: Ramsès Studio, Paris, September-October 1982


“After Stephane Grappelli and Jean-Luc Ponty, France now has a third great violin player, His name is Didier Lockwood.” (Liberation, Paris). Besides Grapelli and Ponty, Lockwood’s influences include Polish violinist Zbigniew Seifert, John Coltrane, and Frank Zappa. Born in 1956, Lockwood was classically trained, but moved on to rock-inspired jazz at an early age. He followed in Ponty’s fusion footsteps with the use of the electric violin, taking it one step further by experimenting in extending the sounds of the violin.
Lockwood’s The Kid is an “easy listening” fusion album that maintains the depth to be taken seriously. It certainly helps to have Rock ‘n Roll Hall of Famer keyboardist David Sacious (Springsteen, Clapton, Sting), guitar wizard Barry Finnerty (Miles Davis, Brecker Brothers), bassist Alphonso Johnson (Weather Report), and drummer Richie Morales (Spyro Gyra) as playmates. There’s the popish Sunny Sonny, the driving Slight of Hands with its electrifying solos, the ear candy of Something Sweet, and the virtuoso up-tempo Bloody Mary, skirting the borders between hard-bop and fusion. The feel-good rock ballad A Time to Touch moves on to the melodic playground of The Kid. After La Ballad de Francis, Lockwood and Co take on Coltrane’s Impressions at breakneck speed, showing off serious jazz chops. My Favorite Dream is played out in synth heaven; at the end, you may not want to wake up from this fusion fantasy.
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Deep Purple - inFinite (2017) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Deep Purple
Title: inFinite
Genre: Rock, Hard Rock, British Metal
Label: © Edel Germany GmbH, earMUSIC is a project of Edel
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 00:45:44
Recorded: 2016


No one, least of all Deep Purple themselves, expected the success of 2013's Now What?! It placed at number one on four European album charts and in the Top Ten of six other countries. It also sold exceptionally well: It was certified Gold in Poland, Germany (where it sold over 100,000), the Czech Republic, and Russia -- it was the band's first album to crack the U.K.'s Top 40 charts in 20 years.
For InFinite, Deep Purple re-enlisted producer Bob Ezrin. At this point, he is almost a sixth member. This the longest running lineup in their history. InFinite is a heavier and more expansive record than its predecessor, but it's not as consistent. Ian Gillian is in excellent form -- still possessing intense expressive power and range, his falsetto remains intact four decades on. Don Airey's organ and keys -- so elemental in DP's musical architecture -- is physical, atmospheric, and dynamic. He and guitarist Steve Morse combine brute force with imagination and finesse. Ian Pace, who had a mini-stroke last year, seems to have recovered fully. Roger Glover remains a bassist whose musical signature is so dominant it is only rivaled by Black Sabbath's Geezer Butler.
Things get off to a great start with "Time for Bedlam." Despite its slightly corny sci-fi spoken intro with Gillian's voice put through a processor, it acquits itself with a massive swirling charge worthy of the band's glory years. It also features Gillian's best lyrics -- he tends to go over the top elsewhere. It's followed by the commanding blues-rock boogie of "Hip Boots," where Gillian's swagger rises above a biting mix of snare, kick drum, and dual leads from organ and guitar; but it's actually Glover who drives the tune. On tracks such as "All I Got Is You" and "The Surprising," this outfit doesn't let the listener forget they're the same band who delivered "Child in Time" and "When a Blind Man Cries." The latter is downright prog as it melds power ballad to metal in a gorgeous mix that includes wonderfully layered backing vocals and Airey's neo-classical keys that evoke the memory of Jon Lord. While the musical attack in "One Night in Vegas" is righteous (complete with a pumping barrelhouse blues acoustic piano woven into the hard rock bombast), Gillian's lyrics are bloated with excess. Somehow, though, it doesn't really matter; his singing is so commanding atop the band's sass and strut, it's enjoyable regardless. "On Top of the World" has the craziest Gillian lyrics ever, but again, DP's crunchy choogle carries them to the finish line. The evocation of vintage psychedelia and Led Zeppelin in "Birds of Prey" makes it one of the more compelling tunes here. Unfortunately, there are two clunkers that sound like filler: the terribly clichéd "Johnny's Band" and a perfunctory read of the Doors' "Roadhouse Blues." Otherwise, InFinite is a winner; it proves not only that Now What?! was no fluke, but that Deep Purple, even at this stage, still have plenty left to offer musically and creatively. --AllMusic Review by Thom Jurek
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Claude Debussy, Toshio Hosokawa - Point And Line - Momo Kodama (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Composer: Claude Debussy (1862-1918), Toshio Hosokawa (b.1955)
Artist: Momo Kodama
Title: Debussy, Hosokawa: Point And Line
Genre: Classical
Label: © ECM Records GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 01:19:21
Recorded: January 2016, Historischer Reitstadel, Neumarkt

Born in Osaka and educated at the Conservatoire National Supérieur de Paris, Momo Kodama is well-placed to approach music from both Eastern and Western vantage points, as she does in this album which interweaves etudes of Claude Debussy (1862-1918) and Toshio Hosokawa (born 1955). Both composers have similarly been border-crossers. Debussy, pointing to music of the future, looked to the Orient for inspiration. Hosokawa has long combined aspects of Japanese and European tradition in his contemporary compositions. Momo Kodama’s insights into Toshio Hosokawa’s sound-world are profound. She is one of the outstanding performers of his work, and the composer has dedicated several works to her, including four of the six Etudes for piano included here, all composed between 2011 and 2013: “Caligraphy, Haiku, 1 Line”, “Lied, Melody”, “Ayatori, Magic by 2 Hands, 3 Lines” and “Anger”.
Momo Kodama: “A number of elements in Hosokawa's music make me sense a proximity to Debussy. One is the freedom of its formal design; another is its interplay and layering of colours. What I find especially remarkable in both is a capacity for poetic utterance that ranges widely between lyricism and drama, between meditation and virtuosic display. Fascinating blends of light and shade, of grand gestures and minimalist refinement, virtually invite us to combine them while at the same time paying attention to their differences and independence.”
This sense of shared aesthetic correspondences emboldened Kodama to alternate etudes of the two composers in the present recording. As she points out in her performer’s note, although Debussy’s Études – written in 1915 - are conventionally performed as a cycle, it wasn’t always that way: “Reading Debussy's letters to his publisher, I discovered that he did not compose his Études in the order in which they appear in print today. And at the time it was perfectly natural not to treat printed études of this sort as a mandatory cycle, but to perform them singly or in groups of two or three.” Together with producer Manfred Eicher Kodama developed the idea of placing the two cycles – Debussy’s and Hosokawa’s - in juxtaposition, creating an “interrelated dialogue” between them.
Kodama: “Once I had lit on my idea and tried it out, I took a liking to this version. The alternation brought out many a detail in each composer more sharply and placed it in more deliberate focus. In this way, the connection between the two composers grew more and more dear to my heart. In a quite general sense, the correlation between Debussy and Hosokawa has heavily influenced and reconstituted the way I view their music.”
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Claude Debussy, Maurice Ravel - String Quartets - Quartetto Italiano (1967/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Claude Debussy (1862-1918), Maurice Ravel (1875-1937)
Artist: Quartetto Italiano
Title: Debussy & Ravel - String Quartets
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 1967/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:56:31
Recorded: Theatre Vevey, Vevey, Switzerland, August 1965


It took French composers most of the nineteenth century to come up with a really good string quartet – Franck's example in 1888. Even so, Franck's German models – Schumann, Liszt, and Wagner – are pretty apparent. Debussy's string quartet appeared five years later. Most of Franck's followers hated it, which lets you know how radical the music must have seemed. While today we still see the lingering spores of German Romanticism in the work, it's still the first string quartet that sounds French, rather than Teutonic. The Teutonicism comes from a certain harmonic cast, particularly in the first movement, and in the approach to form. Once the first movement has passed, the Franconia shows itself in the quasi-modal shape of most of the themes, and most obviously in the scherzo second and slow third movements, where we stray rather far afield from Wagnerian modulations and immerse ourselves in the parallel chord progressions so characteristic of Debussy in particular and musical Impressionism in general. The slow movement dares much with bare textures, interrupting tutti passages with one instrument singing the remnant of a song. Further, for those who think of Debussy as dopey and moonstruck, the intellectual and architectural power of the quartet hits just as hard as its beauty. Every theme derives from the first idea, and Debussy can ring an apparently endless supply changes – some that take you to the limits of intelligibility, others breathtakingly and beautifully simple. The latter impresses me the most, particularly in the slow movement, where the tempo slows to barely moving and the counterpoint reduces almost, but not quite, to hymn. Above all, one encounters even at this early date that kaleidoscopic, subtle musical "psyche" so prevalent in the late works: En blanc et noir, the Villon ballads, and the cello sonata, for example. Franck called Debussy's scores "nerve-end music," and although he probably meant it as a slap, he pretty much got it. This isn't the Romanticism even of traders in the fantastic, like Hoffmann, Browning, Swinburne, or Poe, but very much a personality who revels in "unsettledness," who needs neither resolution nor transcendence. Debussy remarked that he wanted to write music "without sauerkraut." With this quartet, he got his wish.
The Ravel quartet comes almost a decade later. The Saint-Saëns first quartet intervenes, but that gives off mainly weak echoes of Mendelssohn. Ravel does something new – something not even Debussy achieved in his quartet. In a sense, Ravel takes a step backward – combining his thematic bits and pieces into mainly song-like forms. Debussy's quartet moves like a snake through the forest, tracing an unpredictable, yet in hindsight inevitable, path. The components tend to fall into place. The listener very seldom doubts his way. Ravel's quartet sings and dances. The modal implications of the melodies influence the harmonies. Ravel doesn't try to force them into a post-Wagnerian harmonic corset, as Debussy sometimes does. I can't come up with a more beautiful quartet than this one. I think of it as even profound, but in a very French sense. Influenced by the Austro-German masters, we tend to think of profundity as somehow "God-drunk." That is, the music wants to take us to infinite spaces and mountainous heights, ever-approaching (as Mahler has it in the Eighth) the divine throne. On the other hand, listening to the Ravel quartet is like being kissed by someone you love deeply and your realization, in that kiss, that you are loved in return. In short, you don't have to know God to be happy. Furthermore, there's brains as well as beauty in the work. As in the Debussy, just about every major idea relates to the opening measure, but Ravel goes about his business far more subtly. He conceals his art. It took me decades to realize, for example, that both the plucked pizzicato opening to the second-movement scherzo and the main idea of the third-movement adagio work changes on the very first theme of the entire work. Ravel dedicated the quartet to his teacher Fauré (yet another French master of chamber music, and a match for Ravel in compositional subtlety), but the older man didn't care for it. Fauré particularly singled out the last movement as "stunted, badly balanced, in fact a failure." About the only significant encouragement Ravel received came from Debussy, who pleaded with him not to change a note. To try to give Fauré his due, I think the finale the weakest movement because, in the light of the other three, it's the most conventional and probably the closest in its rhetoric to Debussy's quartet finale. At any rate, Ravel published the piece about five years later without revision. So there.
As you can probably tell, though I love the Debussy, I've gone ga-ga over the Ravel and have recordings of it from most of the major postwar ensembles – the Juilliard, the Melos, the Cleveland, the Emerson, the Guarneri, the Talich, and the Vlach, as well as two different recordings (three, if you count a better repressing) by the Quartetto Italiano. Keep in mind that I have a holy horror of duplicating pieces in my collection. Legendary New Yorker editor William Shawn once said something to the effect that the only time he believed in artistic perfection was when he listened to the Quartetto Italiano. To me, this performance runs so far ahead of even its splendid competition, it's hard not to agree. It's not even a matter of "imprinting," since I heard (and fell in love, I may add) the Juilliard first, roughly forty years ago. But that was probably a reaction to the pieces, since it didn't take me long to find performances I liked better. I've come to take the gorgeous string tone, precision of ensemble, and rhythmic bite for granted. Somehow, they wear the skin of these works. It's practically a spiritual exercise. The Debussy can sound almost clumsy under other bows. The Quartetto gives it incisive maturity. Their Ravel will break your heart, it's so beautiful. The sound still has a bit of tape hiss (either that, or it's very bright acoustic), but that shouldn't stop you. --Steve Schwartz, Classical Net
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Dean Martin - Somewhere There's a Someone (1966/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Somewhere There's a Someone
Genre: Pop, Easy Listening, Country Pop, Traditional Pop, Vocal Pop, Swing
Label: © Reprise Records
Release Date: 1966/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: AcousticSounds
Duration: 00:30:42
Recorded: 1966


Somewhere There's a Someone is a 1966 studio album by Dean Martin, produced by Jimmy Bowen. This was the first of five albums that Martin released in 1966, that year he also starred in three films, and appeared in his own television show. Somewhere There's a Someone peaked at 50 on the Billboard 200. The title track, "Somewhere There's a Someone" was a Top 40 pop hit and appeared in the Top Five of the easy listening chart in the late winter of 1966. The song was in a familiar arrangement to his comeback hit, "Everybody Loves Somebody" from 1964. Reprise Records had intended to record an album anchored by "Somewhere There's a Someone", which had been a hit for Martin in the Winter of 1966. Martin was too preoccupied with other work to record, so this album was issued featuring ten tracks from two of his earlier albums, plus the two sides of the "Somewhere There's a Someone" single. "Any Time," "Blue Blue Day," "I'm So Lonesome I Could Cry," "I Walk the Line," and "Room Full of Roses" had been previously released by Martin on his 1963 album Dean "Tex" Martin: Country Style and "Candy Kisses," "I Can't Help It", "Bouquet of Roses," "Just a Little Lovin'," and "Second Hand Rose (Second Hand Heart)" had been on Dean "Tex" Martin: Country Styles follow-up, Dean "Tex" Martin Rides Again, also released in 1963. Despite the duplication of material, Somewhere There's a Someone became Martin's eighth gold album.
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Cootie Williams And His Orchestra - Cootie Williams In Stereo (1958/2015) High-Fidelity DSF Stereo DSD256/11.20MHz

Artist: Cootie Williams And His Orchestra
Title: Cootie Williams In Stereo
Genre: Jazz, Big Band, Swing, Cool Jazz, Trumpet Jazz
Label: © High Definition Tape Transfers
Release Date: 1958/2015
Quality: DSF Stereo DSD256/11.20MHz
Source: HDTT
Duration: 00:21:07
Recorded: March 5, 25, April 8, 1958 at Webster Hall, New York; Transferred from a RCA 2-Track Tape


With the possible exception of cornball trumpeter Clyde McCoy, nobody could impart humanistic sounds to a plunger mute like Cootie Williams. Certainly nobody could make a trumpet growl like he did, full of feral shrieks and blasts and vocal tones galore. As a member of the Duke Ellington Orchestra during its heyday, Williams was big enough potatoes that when he left Ellington to join up with Benny Goodman in the early '40s, it prompted a tune titled "When Cootie Left the Duke." No two ways about it, the man could blow. As part of the 100th birthday celebration of all things Ellington, RCA is reissuing all the solo projects done by his famous sidemen. This 12-song album from 1958 -- appended with 11 more that appeared as singles from the year before -- shows that Williams' broad style was still mightily intact some 30 years after joining the Ellington fold. Unlike the other Ellington sidemen projects in this series, Williams performs on Cootie Williams in Hi-Fi with a full-blown big band, turning in swinging readings of such chestnuts as "Just in Time," "Summit Ridge Drive," and "My Old Flame." Oddly, these big-band sides don't honor the Duke musically except when Cootie and the band tackle old favorites like "Caravan." The non-album tracks are a varied lot. "Rinky Dink" sounds like a Bill Doggett outtake (and features some uncharacteristically bluesy rock & roll guitar from Kenny Burrell!); other tracks skirt the place where blues and R&B meet jazz, at the end of a dark alley. But just listen to that closing blast from Williams on "New Concerto for Cootie," which officially closed the original LP, and you'll know that Cootie Williams remained a Duke man to the end. --AllMusic Review by Cub Koda
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Consolation - Forgotten Treasures of the Ukrainian Soul (Lysenko, Lyatoshynsky, Kosenko, Kolessa, Skoryk) - Natalya Pasichnyk, Olga Pasichnyk (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Mykola Lysenko, Borys Lyatoshynsky, Viktor Kosenko, Kyrylo Stetsenko, Levko Revutsky, Mykola Kolessa, Myroslav Skoryk, Yuliy Mejtus, Valentin Silvestrov, Vasyl Barvinsky, Arkady Filippenko
Artist: Natalya Pasichnyk, Olga Pasichnyk, Emil Jonason, Jakob Koranyi, Luthando Qave, Christian Svarfvar
Title: Consolation - Forgotten Treasures of the Ukrainian Soul
Genre: Classical
Label: © BIS Records AB
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:16:18
Recorded: August/September 2015 at Studio 2, Sveriges Radio, Stockholm, Sweden


In Ukraine, as in many other parts of Europe, the late nineteenth century saw the emergence of a national spirit which resulted in a movement to explore and cultivate popular culture. But the country would have to wait until 1991 for independence, and in the meantime this national spirit could only find musical expression in the more intimate forms. Some of the most authentic examples of Ukrainian art music can therefore be found in chamber music and in song. With this disc, the Swedish-Ukrainian pianist Natalya Pasichnyk, her sister Olga and their Swedish colleagues offer the listener a way into this shadowy world – the beautiful, melancholy and emotive world of Ukrainian chamber music. Except for Valentyn Sylvestrov, the composers featured will be mostly unknown to an international audience, yet they invite the listener to share a journey into a soundscape that is both exotic and strangely familiar. The title of the disc, Consolation, is derived from a rhapsodic piano piece by Viktor Kosenko which perfectly captures the inward-looking mood of much of Ukrainian music, but the first sound which meets the ear of the listener is a loosely strummed chord, like the sound of a lute: in his Dumka-shumka from 1877, Mykola Lysenko imitated the sound of the Ukrainian lute, the kobza. Lysenko is a central figure in Ukrainian art music, and is also represented here with the song Meni odnakovo, a setting of a poem by Taras Shevchenko, the poet who for many embodies the spirit of Ukrainian independence.
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