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Boots Randolph - Boots with Strings (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Boots Randolph
Title: Boots with Strings
Genre: Jazz Pop, Easy Listening
Label: © Monument Records | Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:36:44
Recorded: 1966, Fred Foster Sound Studio; Western Recorders

Tenor saxophonist Boots Randolph was an important contributor to the Nashville sound, the set of pop-flavored textures that dominated country music in the late '50s and early '60s. He was born in Paducah, KY, but grew up in small-town Cadiz, in Trigg County. Born Homer Louis Randolph III, he acquired the nickname "Boots" in childhood from his brother Bob. Randolph began playing the trombone in school and learned several other instruments, but by the time he was 16 he had begun to focus seriously on the sax. He honed his chops as a member of the U.S. Army Band during World War II.
After the war, Randolph returned home and performed semi-professionally for some years around Indiana, Kentucky, and Illinois. In the late '50s, Jethro Burns heard him play and suggested he move to Nashville. Burns introduced Randolph to Chet Atkins, who signed him to the RCA label. Randolph also quickly made the acquaintance of Atkins rival Owen Bradley and performed on many recordings Bradley helmed as producer. Nashville's new corps of session musicians spent its leisure time in the Printer's Alley section of the city's downtown, an actual alley (between First and Second avenues) that offered entrance to various basement barrooms, and Randolph became one of the group. Like other Nashville players, he took enthusiastically to jazz and rock & roll in addition to country music.
One single, the 1963 instrumental "Yakety Sax," showed Randolph putting all these influences together and delivering an extremely catchy tune; it became his only real hit. But Randolph was a consistent seller of LP albums (with 13 charted releases) in the 1960s and 1970s; offering pleasant saxophone covers of material from various genres of music, he became a counterpart to Atkins on guitar and Floyd Cramer on piano. He moved from RCA to the Monument label in 1966. For well over a decade, in addition, he averaged 200-300 studio sessions a year on recordings made by others. The saxophone heard on Elvis Presley's later records is likely to be Randolph's.
In 1977, Randolph opened a successful club of his own in Printer's Alley; it endured into the 1990s and spawned another club in the Opryland U.S.A. area. Randolph remained active as an entertainer into the 2000s, and in 1994 the original Yakety Sax album was admitted into the unofficial country canon; it was reissued by Germany's Bear Family label. Randolph suffered a brain hemorrhage in late June 2007 and remained in a coma until his passing at the age of 80 on July 3, 2007. --Artist Biography by James Manheim
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Boots Randolph - The Fantastic Boots Randolph (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Boots Randolph
Title: The Fantastic Boots Randolph
Genre: Jazz Pop, Easy Listening, Country Pop, Instrumental Country
Label: © Monument Records | Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:28:10
Recorded: 1966


Tenor saxophonist Boots Randolph was an important contributor to the Nashville sound, the set of pop-flavored textures that dominated country music in the late '50s and early '60s. He was born in Paducah, KY, but grew up in small-town Cadiz, in Trigg County. Born Homer Louis Randolph III, he acquired the nickname "Boots" in childhood from his brother Bob. Randolph began playing the trombone in school and learned several other instruments, but by the time he was 16 he had begun to focus seriously on the sax. He honed his chops as a member of the U.S. Army Band during World War II.
After the war, Randolph returned home and performed semi-professionally for some years around Indiana, Kentucky, and Illinois. In the late '50s, Jethro Burns heard him play and suggested he move to Nashville. Burns introduced Randolph to Chet Atkins, who signed him to the RCA label. Randolph also quickly made the acquaintance of Atkins rival Owen Bradley and performed on many recordings Bradley helmed as producer. Nashville's new corps of session musicians spent its leisure time in the Printer's Alley section of the city's downtown, an actual alley (between First and Second avenues) that offered entrance to various basement barrooms, and Randolph became one of the group. Like other Nashville players, he took enthusiastically to jazz and rock & roll in addition to country music.
One single, the 1963 instrumental "Yakety Sax," showed Randolph putting all these influences together and delivering an extremely catchy tune; it became his only real hit. But Randolph was a consistent seller of LP albums (with 13 charted releases) in the 1960s and 1970s; offering pleasant saxophone covers of material from various genres of music, he became a counterpart to Atkins on guitar and Floyd Cramer on piano. He moved from RCA to the Monument label in 1966. For well over a decade, in addition, he averaged 200-300 studio sessions a year on recordings made by others. The saxophone heard on Elvis Presley's later records is likely to be Randolph's.
In 1977, Randolph opened a successful club of his own in Printer's Alley; it endured into the 1990s and spawned another club in the Opryland U.S.A. area. Randolph remained active as an entertainer into the 2000s, and in 1994 the original Yakety Sax album was admitted into the unofficial country canon; it was reissued by Germany's Bear Family label. Randolph suffered a brain hemorrhage in late June 2007 and remained in a coma until his passing at the age of 80 on July 3, 2007. --Artist Biography by James Manheim
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Heinrich Ignaz Franz von Biber - Sonatae Tam Aris Quam Aulis Servientes - Ars Antiqua Austria, Gunar Letzbor (2015) Digital eXtreme Definition FLAC Stereo 24bit/352,8kHz

Сomposer: Heinrich Ignaz Franz von Biber (1644-1704)
Artist: Ars Antiqua Austria, Gunar Letzbor
Title: Biber - Sonatae Tam Aris Quam Aulis Servientes
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2015
Quality: Digital eXtreme Definition FLAC Stereo 352,8kHz/24bit
Source: spiritofturtle.com
Duration: 01:09:06
Recorded: 31 October - 3 November 2014, Altomonte-Saal, Stift St. Florian. St. Florian (AT)


Austrian Baroque music takes centre stage in the repertoire of this unusual Baroque ensemble. The music performed at the imperial court in Vienna at this time was initially heavily influenced by the music of Italy, later by that of France; Spanish court ceremonial also had important artistic effects in Vienna. The typical Austrian sound of this era was characterised by the impact of its many royal domains. The political and societal boundaries of Baroque Austria stretched much further than nowadays. Elements of Slavic, Hungarian and Alpine folk music styles had lasting effects on art music, making up its specific sound. The title “Sonatae tam aris quam aulis servientes” suggests that these works can be used for both sacred and secular purposes. They represent the first of several collections of pieces for polyphonic instrumental ensembles (published in 1676, 1680 and 1682) in which Biber demonstrated his mastery in handling the most important forms of instrumental music of his time.
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Heinrich Ignaz Franz von Biber - Fidicinium Sacro-Profanum - Ars Antiqua Austria, Gunar Letzbor (2013) Digital eXtreme Definition FLAC Stereo 24bit/352,8kHz

Сomposer: Heinrich Ignaz Franz von Biber (1644-1704)
Artist: Ars Antiqua Austria, Gunar Letzbor
Title: Biber - Fidicinium Sacro-Profanum
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2013
Quality: Digital eXtreme Definition FLAC Stereo 352,8kHz/24bit
Source: spiritofturtle.com
Duration: 00:47:01
Recorded: 11-14 March 2013, Stift St. Florian bei Linz an der Donau


H.I.F. Biber: a genius, whose life story is for the most part unresearched, a violin virtuoso who raised the technique of violin playing in Austria to an incredibly high level, a man of incredible powers of imagination and the courage to venture on abstraction. The complexity of his work is astonishing, his oeuvre encompasses a range from richly orchestrated church music, artfully elaborated chamber music, to virtuoso music for his personal solo instrument, the violin.
In his collection Fidicinium Sacro-Profanum, Biber set new standards also in the field of string chamber music. In the first part the master composes for five-part string ensemble: 2 violins, 2 violas, violone and basso continuo were established at his time as the standard ensemble in Austrian cultural circles. In a richly coloured, five-part setting, Biber artfully weaves a polyphonic texture that allows one or more parts to alternate and come to the fore. In the second part of this colletion he dispenses with the five-part arrangement hitherto predominant in Austria. He compensates for the luxury of sound by augmenting the flexibility of the four individual parts.
Perhaps it is simply the humility and clear, alert ear of all the musicians in the ensemble in confrontation with the special qualities of Biber’s chamber music that convey to the audience the qualities of the master’s musical message!
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Benjamin Appl - Heimat (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Franz Schubert (1797-1828), Max Reger (1873-1916), Hugo Wolf (1860-1903), Johannes Brahms (1833-1897), Franz Schreker (1878-1934), Richard Strauss (1864-1949), Ralph Vaughan Williams (1872-1958), Sir Henry Rowley Bishop (1786-1855), Peter Warlock (1894-1930), John Ireland (1879-1962), Edvard Grieg (1843-1907), Adolf Strauss (1902-1944)
Artist: Benjamin Appl
Title: Heimat
Genre: Classical, Vocal Music
Label: © Sony Music Entertainment Germany GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:07:51
Recorded: October 28-31 2016 & January 20 2017, Studio 1 Bayerischer Rundfunk, Germany


Benjamin Appl won Gramophone “Young Artist of the Year 2016” :: He is a former chorister of the famous Regensburger Domspatzen, Appl is now one of the most interesting artists of the new generation, with a great voice, charming personality and great stage presence. “HEIMAT” his debut album with Sony Classical presents songs from different countries related to the actual topic “HEIMAT” (homeland). The booklet of the limited first edition contains an additional essay by Neil McGregor, former director of the British Museum (famous for their exhibition about GERMANY) and upcoming director of the Berlin Humboldtforum. Described as ‘the current front-runner in the new generation of Lieder singers’ (Gramophone Magazine, UK), Benjamin Appl is celebrated by audiences and critics in recital, concerts and opera. He is member of the BBC New Generation Artist scheme from 2014 until 2016 and was an ECHO Rising Star artist for the 2015/16 season, appearing in recital at major European venues including the Barbican Centre London, Concertgebouw Amsterdam, Wiener Konzerthaus, Philharmonie Paris and Cologne and the Laeiszhalle Hamburg. He has won the Gramophone ’Young Artist of the Year’ award in 2016 and Wigmore Hall London has named him a Wigmore Hall Emerging Artist (2015/16). The young baritone became an exclusive SONY Classical recording artist in May 2016.
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Ludwig van Beethoven - Piano Concertos Nos. 1 & 2 - Yevgeny Sudbin, Tapiola Sinfonietta, Osmo Vanska (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770–1827)
Artist: Yevgeny Sudbin, Tapiola Sinfonietta, Osmo Vänskä
Title: Beethoven - Piano Concertos Nos. 1 & 2
Genre: Classical
Label: © BIS Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical
Duration: 63:16
Recorded: September 2014 (Concerto No. 1) and December 2015 (Concerto No. 2) at the Tapiola Concert Hall, Finland



On two previous discs, Yevgeny Sudbin and Osmo Vänskä have released Beethoven’s three last piano concertos to critical acclaim. Distinctions include Editor’s Choice in Gramophone and top marks from the Italian magazine Musica and the German website Klassik-Heute.de, and performances have been described as ‘electrifying’ (classicfm.com), ‘absolutely stunning’ (Fanfare) and ‘a Beethoven experience you will not want to miss’ (ClassicsToday.com). For the final disc in their cycle, Sudbin and Vänskä have travelled to Helsinki to team up with Tapiola Sinfonietta, one of the top Nordic ensembles, and well suited for these earlier and more classical of Beethoven’s concertos. Of the two, the one we now know as the Second was actually begun several years before Concerto No. 1, and indeed even before Beethoven left Bonn for Vienna. During the following decade, Beethoven returned to the score repeatedly and made substantial revisions – including composing a new final movement – and ultimately the C major concerto reached publication first. Both concertos were conceived long before Beethoven's involvement with the symphonic genre, and the influence of Mozart and Haydn is evident in the interaction between the orchestra and the soloist – but Beethoven's individual spirit is nevertheless unmistakeable.
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Ludwig van Beethoven - Piano Concerto No. 4 - Glen Gould, New York Philharmonic, Leonard Bernstein (1961/2015) High-Fidelity DSF Stereo DSD128/5.64MHz

Сomposer: Ludwig van Beethoven (1770–1827)
Artist: Glen Gould, New York Philharmonic, Leonard Bernstein
Title: Beethoven - Piano Concerto No. 4
Genre: Classical
Label: © High Definition Tape Transfers
Release Date: 1961/2015
Quality: DSF Stereo DSD128/5.64MHz
Source: HDTT
Duration: 00:37:25
Recorded: 03/20/1961, Manhattan Center, New York; Transferred from Columbia 4-track tape


Beethoven's Piano Concerto No. 4 was the piece with which Glenn Gould made his orchestral debut when he was 13, and he performed it more often than any of the composer's other concertos. This recording, with Leonard Bernstein conducting the New York Philharmonic, was made in 1961. Gould's performance is thoughtful, nuanced, and not at all eccentric. What's most striking about his playing is the degree to which he's able to bring out the individuality of the contrapuntal lines. His performance is extremely graceful. The opening of the first movement is luxuriantly fluid and sensuous, and the rhythmically driven sections are delicate and cleanly articulated. It's an understated performance that perfectly suits the character of this most subtle of Beethoven's piano concertos and Gould hides the work's technical demands by making the music seem effortless and spontaneous. Bernstein leads a soulful reading that's not at all flashy, which reveals the work's substance without putting a hugely individualistic stamp on it. The New York Philharmonic's sound is warm and full, and the playing is absolutely secure. Gould's characteristic humming is occasionally audible, but at such a low level that only the purist who demands absolutely clean sound is likely to be offended. A minor quibble: the CD only lasts a little over 35 minutes, and since Sony is reissuing all Gould's Columbia recordings, it would have made sense to pair the concerto with another piece to fill out the disc. --AllMusic Review by Stephen Eddins
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Ludwig van Beethoven - Late String Quartets - Tokyo String Quartet (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Tokyo String Quartet
Title: Beethoven: Late String Quartets
Genre: Classical
Label: © Harmonia Mundi
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 02:54:38
Recorded in May, 2008 at the Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York State (opp.127 & 131); and August-September, 2008 at Oji Hall, Tokyo, Japan (opp.130,132,133)


Though stated in the booklet, Quartet no. 16 op. 135 is not included in this set. because it was not recorded in DSD.
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Beach, Chaminade & Howell - Piano Concertos - Danny Driver, BBC Scottish Symphony Orchestra, Rebecca Miller (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Dorothy Howell (1898-1982), Amy Beach (1867-1944), Cécile Chaminade (1857-1944)
Artist: Danny Driver, BBC Scottish Symphony Orchestra, Rebecca Miller
Title: Beach, Chaminade & Howell - Piano Concertos
Genre: Classical
Label: © Hyperion Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 69 minutes 31 seconds
Recorded: August 2015, City Halls, Candleriggs, Glasgow, Scotland

International Women’s Day falls on 8 March, celebrating the ‘social, economic, cultural and political achievements of women’. Volume 70 in our Romantic Piano Concerto series champions three female composers, and three works whose in-the-face-of-it-all joie de vivre makes them irresistibly worthy of our attention.
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Barney Wilen Quartet - New York Romance (1994/2010) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Barney Wilen Quartet
Title: New York Romance
Genre: Jazz, Hard Bop, Post Bop, Mainstream Jazz, Saxophone Jazz
Label: © Venus Records, Inc., Tokyo, Japan
Release Date: 1994/2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-Onkyo
Duration: 01:03:48
Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, June 19-20, 1994


Alternating between soprano, tenor and baritone saxes in this collection of straight-ahead jazz for the Japanese market, Barney Wilen refuses to be pinned down to a single tone quality or approach, even on the same instrument. Among other things, he mimics the lagging phrasing of Lady Day on "You've Changed" on soprano, "Blues Walk" bumps along agreeably on baritone while "Old Devil Moon" is sustained and humorous, and "Mack the Knife" is converted into a glacial smoky ballad with almost casual nonchalance. Throughout, Kenny Barron gets acres of well-turned solo space -- it's practically his gig, too -- and Ira Coleman (bass) and Lewis Nash (drums) provide crisp underpinning. The further one goes in this collection, the more interesting and less predictable it sounds. --AllMusic Review by Richard S. Ginell
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