Miles Davis – Miles Ahead (Original Motion Picture Soundtrack) (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:15:54 minutes | 840 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital Booklet | © Columbia – Legacy

The release of the movie MILES AHEAD, Don Cheadle’s wildly entertaining and moving exploration of Miles Davis, will be accompanied by this new soundtrack featuring musical highlights from Miles’ career and new recordings overseen by Grammy Award-winning jazz/hip-hop artist Robert Glasper.
This is a perfect primer on Davis’ career for the new fan and a brilliant audio keepsake of the film for those who’ve studied his works inside and out. The album features 11 tracks from across Miles’ catalogue from 1956 to 1981, select dialogue from the film featuring Cheadle in character, and five original compositions written, co-written, produced or performed exclusively for MILES AHEAD by Robert Glasper. These cues include “What’s Wrong with That?” a jam that closes the movie imagining Cheadle as Miles playing in the present day with guest performers Glasper, Herbie Hancock, Wayne Shorter, Gary Clark, Jr. and Esperanza Spalding; plus “Gone 2015,” an end-credits song featuring guest verses from rapper Pharoahe Monch. Cheadle also pens new liner notes for the album discussing the selection and creation of the songs on the soundtrack.

At the end of Don Cheadle’s liner essay for Miles Ahead, the soundtrack for his expressionist Miles Davis biopic, he quotes Herbie Hancock from a documentary about the trumpeter’s electric years: “…I couldn’t pick a piece.. Because Miles is all of the pieces.” That’s a fine explanation for what is compiled here. Eleven of these tunes were selected from Davis’ catalog, beginning with the title track cut for Prestige in 1953. There are stops all along the way to 1981’s “Back Seat Betty.” In presenting such a wide selection of Davis’ music for a cinema audience, judicious editing was often necessitated: “Solea,” “Seven Steps to Heaven,” “Nefertiti,” “Duran (Take 6),” “Black Satin,” and “Back Seat Betty” are all presented this way. “So What,” “Frelon Brun,” and “Go Ahead John, Pt. 2” are presented in full. While fans may take issue with the entire idea of edits, they serve a proper purpose inside the soundtrack concept. Interspersed are bits of dialogue by Cheadle (as Davis) and others. They are so short they don’t distract. The album also includes the brief “Taylor Made” by pianist Taylor Eigsti. Titled for Davis’ first wife and muse Frances Taylor, it briefly recontextualizes several important themes in the trumpeter’s fakebook. There are also four new compositions written or co-written by Robert Glasper. The funky “Junior’s Jam” features saxophonist Marcus Strickland, trumpeter Keyon Harrold, drummer Kendrick Scott, and bassist Burniss Earl Travis. Glasper, who plays Rhodes, perfectly captures the spirit of Davis’ early electric era, with riff-like basslines, funky drums, and eerie electric pianos, while the frontline horns engage and disengage from rhythm and vamp. “Francessence” is a lilting theme piece with Vicente Archer’s upright bass, E.J. Strickland’s brushed drums, and Elena Pinderhughes’ flute. The real highlight is “What’s Wrong with That?” Framed in the film as a live concert piece, it places Glasper’s Rhodes in the company of Harrold (using a mute), Hancock, Wayne Shorter, Esperanza Spalding (on electric bass), Antonio Sanchez, and guitarist Gary Clark, Jr. A loose jam based on vamps, it weaves Davis’ bluesy lyricism with spacy elements of fusion, harder psychedelic funk grooves, and even the tender soul pop notions from later years. The album closes with “Gone,” a hip-hop tune with Pharoahe Monch rapping over a bumping bassline, slippery snare, and hi-hat beats (Dilla style), adorned by a sampled brass section, gospel piano chords, and Harrold’s soaring, muted trumpet solo. It was wise to separate most of these new sounds from Davis’ sides, making the album a double portrait: One of the artist and another of how he contributed to the future. Miles Ahead is not a complete representation of Davis, and that’s fine. What it does accomplish is to offer an impression of essence as an artist who changed everything by his example. ~~AllMusic Review by Thom Jurek

Tracklist:
1 Miles Ahead 04:28
2 Dialogue: “It takes a long time..” 00:05
3 So What 09:23
4 Taylor Made 01:04
5 Dialogue: “Listen, you talk too goddam much..” 00:34
6 Solea (Excerpt) 04:50
7 Seven Steps to Heaven (Edit) 03:23
8 Dialogue: “If you gonna tell a story..” 00:07
9 Nefertiti (Edit) 04:55
10 Frelon brun 05:36
11 Dialogue: “Sometimes you have these thoughts..” 00:13
12 Duran (Take 6 Edit) 05:34
13 Dialogue: “You own my music..” 00:07
14 Go Ahead John (part two C) 03:40
15 Black Satin (Edit) 03:10
16 Dialogue: “Be musical about this shit..” 00:06
17 Prelude, Pt. 2 06:34
18 Dialogue: “Y’all listening to them..” 00:04
19 Junior’s Jam 03:29
20 Francessence 02:07
21 Back Seat Betty 05:31
22 Dialogue: “I don’t like the word jazz..” 00:17
23 What’s Wrong with That? 05:19
24 Gone 2015 05:30

Personnel:
Miles Davis
Robert Glasper
Taylor Eigisti
Chick Corea
Herbie Hancock
Esperanza Spaulding
Wayne Shorter
Keyon Harrold
Marcus Strickland
Gary Clark, Jr.
& more

Download:

mqs.link_MilesDavisMilesAheadriginalMtinPictureSundtrack2016Qbuz2444.1.rar

Miles Davis – Cookin’ With The Miles Davis Quintet (Rudy Van Gelder Remaster) (1957/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 33:25 minutes | 375 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital Booklet | © Prestige Records
Recorded: October 26, 1956 at Rudy Van Gelder Studio, Hackensack, NJ
Remastered: 2007, 2006, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Cookin’ With the Miles Davis Quintet is the first of four classic albums that emerged from two marathon and fruitful sessions recorded in 1956 (the other three discs released in Cookin’s wake were Workin’, Relaxin’ and Steamin’). All the albums were recorded live in the studio, as Davis sought to capture, with Rudy Van Gelder’s expert engineering, the sense of a club show · la the Café Bohemia in New York, with his new quintet, featuring tenor saxophonist John Coltrane. In Miles’s own words, he says he called this album Cookin’ because “that’s what we did-came in and cooked.” What’s particularly significant about this Davis album is his first recording of what became a classic tune for him: “My Funny Valentine.” Hot playing is also reserved for the uptempo number “Tune Up,” which revs with the zoom of both the leader and Trane.

Cookin’ is the first of four albums derived from the Miles Davis Quintet’s fabled extended recording session on October 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band’s live sets — as well as the overwhelming conviction in the quintet’s studio sides — would produce the lion’s share of the Cookin’, Relaxin’, Workin’, and Steamin’ albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band — consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums) — to work so efficiently both on the stage and the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. “Blues by Five” reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each other’s thoughts musically. Cookin’ features the pairing of “Tune Up/When Lights Are Low” which is, without a doubt, a highlight not only of this mammoth session, but also the entire tenure of Miles Davis’ mid-’50s quintet. All the elements converge upon this fundamentally swinging medley. Davis’ pure-toned solos and the conversational banter that occurs with Coltrane, and later Garland during “When the Lights Are Low,” resound as some of these musicians’ finest moments. ~~AllMusic Review by Lindsay Planer

Tracklist:
1. My Funny Valentine 06:01
2. Blues By Five 09:56
3. Airegin 04:25
4. Tune-Up / When Lights Are Low 13:03

Personnel:
Miles Davis, trumpet
John Coltrane, tenor saxophone
Red Garland, piano
Paul Chambers, double bass
Philly Joe Jones, drums

“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.”
-Rudy Van Gelder

Download:

mqs.link_MilesDavisCokinWithTheMilesDavisQuintet1957RVG2014HDTracks2444.1.rar

Miles Davis – Collectors’ Items (Rudy Van Gelder Remaster) (1956/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 43:32 minutes | 429 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital Booklet | © Prestige Records
Recorded: January 30, 1953 (#1-4) WOR Studios, New York City and March 16, 1956 (#5-7) at Van Gelder Studio in Hackensack, NJ
Remastered: 2008, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Any 1950s Miles Davis recording could easily be called a “collector’s item,” but these selections have special claims to this description. The first four offer Charlie Parker in his only recordings in support of Miles, who had begun his disc career as Bird’s sideman. The last four feature a unique Davis/Mingus encounter. In between is Miles just before launching his first great Quintet, heading two groups loaded with top talent of the “post-bop” period.

This set lives up to its title by including such interesting sessions as the 1953 date on which Miles Davis welcomed the two tenors of Sonny Rollins and Charlie Parker; other meetings with Rollins in 1951 and 1956; and a moody 1955 date with bassist Charles Mingus, trombone, vibes, and drums (a young Elvin Jones). Highlights include “No Line,” “Vierd Blues,” “In Your Own Sweet Way,” “Nature Boy,” and “There’s No You.” It’s classic if often overlooked music from a variety of immortal jazzmen. ~~AllMusic Review by Scott Yanow

Tracklist:
1 The Serpent’s Tooth (Take 1) 7:04
2 The Serpent’s Tooth (Take 2) 6:20
3 ‘Round Midnight 7:07
4 Compulsion 5:47
5 No Line 5:43
6 Vierd Blues 6:55
7 In Your Own Sweet Way 4:37

Personnel:
January 30, 1953 session:
Miles Davis – trumpet
Sonny Rollins – tenor saxophone
Charlie Parker aka “Charlie Chan” – tenor saxophone
Walter Bishop – piano
Percy Heath – bass
Philly Joe Jones – drums
March 16, 1956 session:
Miles Davis – trumpet
Sonny Rollins – tenor saxophone
Tommy Flanagan – piano
Paul Chambers – bass
Art Taylor – drums

Download:

mqs.link_MilesDavisCllectrsItems1956RVG2014HDTracks2444.1.rar

Miles Davis – Bags’ Groove (Rudy Van Gelder Remaster) (1957/2014) 
FLAC (tracks) 24-bit/44,1 kHz | Time – 46:14 minutes | 525 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital Booklet | © Prestige Records
Recorded: June 29 & December 24, 1954 at Van Gelder Studio, Hackensack, HJ
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Bag’s Groove was recorded in 1954 for Prestige Records but was not released until 1957. Most of the album was recorded on June 29, 1954, but the title track was recorded at one session on December 24 of the same year. Several of the tracks on the album were written by Sonny Rollins and would go on to become jazz standards in their own right.

There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session — featuring Thelonious Monk — which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver’s (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of “Airegin” flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches of Spain epic. The fun and slightly maniacally toned “Oleo” features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc. [Some reissues include both historic takes of “Bags’ Groove” as well as one additional rendering of the pop standard “But Not for Me.”] ~~AllMusic Review by Lindsay Planer

Tracklist:
1 Bags’ Groove (Take 1) 11:10
2 Bags’ Groove (Take 2) 9:19
3 Airegin 4:59
4 Oleo 5:12
5 But Not For Me (Take 2) 4:37
6 Doxy 4:53
7 But Not For Me (Take 1) 5:40

Personnel:
Miles Davis – trumpet
Sonny Rollins – tenor saxophone
Horace Silver – piano
Percy Heath – bass
Kenny Clarke – drums
On “Bags’ Groove”:
Miles Davis – trumpet
Milt Jackson – vibraphone
Thelonious Monk – piano
Percy Heath – bass
Kenny Clarke – drums

“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.”
-Rudy Van Gelder

Download:

mqs.link_MilesDavisBagsGrove1957RVG2014Qbuz2444.1.rar

Misc – Misc (2016)
FLAC (tracks) 24 bit/88,2 kHz | Time – 40:11 minutes | 763 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | © Bonsound Records

Modern jazz with a twist, based on a cohesive group effort rather than on personal virtuosity; that’s what the members of Misc (formerly known as Trio Jérôme Beaulieu) are going for. Jérôme Beaulieu, Philippe Leduc and William Côté created the band in 2011 shortly after their studies at University of Montreal. Since then, they have been using audio sampling and a variety of percussions, effects and prepared instruments to broaden the usual jazz trio’s set of textures and moods. The group lifted off quickly, winning both Montreal’s « Jazz en Rafale » and Festi-Jazz de Rimouski’s Grand Prize in their first year of existence. A first album entitled L’Homme Sur La Lune (Man on the Moon) hit the shelves in spring 2012 and got nominated for an Opus Prize (Jazz album of the Year). Radio-Canada’s 2013-2014 Jazz Revelation now launch their second group effort, Chercher l’Équilibre (Searching for Balance) in the midst of a year filled with projects!

The new album is the result of a true collaboration between the three musicians. In a more elaborate way than the two previous albums, they each contributed to the rythmic, melodic and harmonic arrangements to create an unique sound that sets this trio apart from the rest.

All three artists set the foundations of Misc during a residency at the Equivocal Manor in Burgundy (France). Pianist Jérôme Beaulieu, lover of the great outdoors, contributes majestic melodies to the project. Drummer William Côté adds a subtle, spirited rhythm while double bassist Philippe Leduc brings out the playfulness of each track.

Over the last 3 years, Misc has been the house band for the Slamontréal night at O Patro Vys. These experimental sessions, in collaboration with spoken word artists, shaped some of the songs on the album, like Les années molles.

The trio have also re-interpreted the work of some of their favourite artists, including Blonde Redhead, James Blake and Daniel Bélanger. The musicians had a lot of fun breathing a new kind of life into these three distinct songs. Misc’s music often combines the worlds of both original compositions and covers.

Misc holds a place in the Jazz scene because of the vital role that improvisation occupies in their music. However, this does not stop them from drawing on influences from pop and rock genres.This clearly mark a step towards a new generation of jazz musicians for whom catchy, strong melodies and rhythms expand musical boundaries while rooting the music in the present. Therefore this album, much like the live performances of Misc, strives to create an energetic and active dialogue between the listener and the music.

Tracklist:
1 La fin 00:08:18
2 Messenger 00:04:58
3 Unlucky 00:08:01
4 Respirer dans l’eau 00:05:29
5 Les années molles 00:07:51
6 Overgrown 00:05:34

Personnel:
Jérôme Beaulieu, piano
Philippe Leduc, bass
William Côté, drums

Download:

mqs.link_MiscMisc2016Qbuz2488.2.rar

Linda Ronstadt – The ’80s Collection (2014)
FLAC (tracks) 24 bit/192 kHz | 3:02:11 Miniutes | Digital Booklet | 6.7 GB | Genre: Pop
Official Digital Download – Source: HDtracks | © Rhino/Warner Bros.

This collection features five of Linda Ronstadt’s best albums from the 1970s, the decade during which she became one of the most popular singers in the music world.

Don’t Cry Now (released in 1973, peaked at #45 on the Billboard 200 chart, RIAA certified Gold) tracks 1-10

Prisoner In Disguise (released in 1975, peaked at #4 on the Billboard 200 chart, RIAA certified Platinum) tracks 11-21

Hasten Down the Wind (released in 1976,peaked at #3 on the Billboard 200 chart, RIAA certified Platinum) tracks 22-33

Simple Dreams (released in 1977, peaked at #1 Billboard 200 chart, RIAA certified 3x Platinum ) tracks 34-43

Living in the USA (released in 1978, peaked at #1 on the Billboard 200 chart, RIAA certified 2x Platinum) tracks 44-53

Linda Maria Ronstadt (born July 15, 1946) is an American popular music singer. She has earned 11 Grammy Awards, two Academy of Country Music awards, an Emmy Award, an ALMA Award, and numerous United States and internationally certified gold, platinum and multiplatinum albums. She has also earned nominations for a Tony Award and a Golden Globe award.
Ronstadt has collaborated with artists from a diverse spectrum of genres including Bette Midler, Billy Eckstine, Frank Zappa, Rosemary Clooney, Flaco Jiménez, Philip Glass, Carla Bley, The Chieftains, Warren Zevon, Emmylou Harris, Gram Parsons, Dolly Parton, Neil Young, Johnny Cash, and Nelson Riddle. She has lent her voice to over 120 albums and has sold more than 100 million records, making her one of the world’s best-selling artists of all time. Christopher Loudon of Jazz Times noted in 2004, Ronstadt is “Blessed with arguably the most sterling set of pipes of her generation … rarest of rarities – a chameleon who can blend into any background yet remain boldly distinctive … It’s an exceptional gift; one shared by few others.”
In total, she has released over 30 studio albums and 15 compilation or greatest hits albums. Ronstadt charted 38 Billboard Hot 100 singles, with 21 reaching the top 40, 10 in the top 10, three at #2, and “You’re No Good” at #1. This success did not translate to the UK, with only her single “Blue Bayou” reaching the UK Top 40.[9] Her duet with Aaron Neville, “Don’t Know Much”, peaked at #2 in December 1989. In addition, she has charted 36 albums, 10 top-10 albums and three #1 albums on the Billboard Pop Album Chart.
In a 2011 interview with the Arizona Daily Star she said, “I am 100 percent retired and I’m not doing anything any more”. It was announced publicly in August 2013 that Linda had been diagnosed with Parkinson’s disease in December 2012, which left her unable to sing.
Her autobiography, Simple Dreams: A Musical Memoir, was released in September 2013. It debuted in the Top 10 on The New York Times Best Sellers List.
Linda Ronstadt was inducted into the Rock and Roll Hall of Fame in April, 2014.

Tracklist:

  1973 – Don’t Cry Now
1 I Can Almost See It 3:52
2 Love Has No Pride 4:13
3 Silver Threads And Golden Needles 2:25
4 Desperado 3:32
5 Don’t Cry Now 4:31
6 Sail Away 3:09
7 Colorado 4:21
8 The Fast One 3:43
9 Everybody Loves A Winner 3:20
10 I Believe In You 2:51

  1975 – Prisoner In Disguise
1 Love Is A Rose 2:49
2 Hey Mister, That’s Me Up On The Jukebox 4:10
3 Roll Um Easy 2:59
4 Tracks Of My Tears 3:15
5 Prisoner In Disguise 3:56
6 Heat Wave 2:48
7 Many Rivers To Cross 4:08
8 The Sweetest Gift 3:05
9 You Tell Me That I’M Falling Down 3:20
10 I Will Always Love You 3:01
11 Silver Blue 3:05

  1976 – Hasten Down the Wind
1 Lose Again 3:38
2 The Tattler 3:59
3 If He’s Ever Near 3:18
4 That’ll Be The Day 2:36
5 Lo Siento Mi Vida 3:57
6 Hasten Down The Wind (with Don Henley) 2:44
7 Rivers Of Babylon 0:54
8 Give One Heart 4:10
9 Try Me Again 3:58
10 Crazy 4:01
11 Down So Low 4:18
12 Someone To Lay Down Beside Me 4:27

  1977 – Simple Dreams
1 It’s So Easy 2:30
2 Carmelita 3:08
3 Simple Man, Simple Dream 3:14
4 Sorrow Lives Here 2:58
5 I Never Will Marry (with Dolly Parton) 3:15
6 Blue Bayou 3:59
7 Poor, Poor Pitiful Me 3:44
8 Maybe I’m Right 3:08
9 Tumbling Dice 3:10
10 Old Paint 3:05

  1978 – Living in the USA
1 Back In The U.S.A. 3:05
2 When I Grow Too Old To Dream 3:54
3 Just One Look 3:21
4 Alison 3:28
5 White Rhythm & Blues 4:15
6 All That You Dream 3:46
7 Ooh Baby Baby 3:21
8 Mohammed’s Radio 4:23
9 Blowing Away 3:16
10 Love Me Tender 2:38

Download:

mqs.link_LindaRnstadtThe70sCllectin201419224.part1.rar
mqs.link_LindaRnstadtThe70sCllectin201419224.part2.rar
mqs.link_LindaRnstadtThe70sCllectin201419224.part3.rar
mqs.link_LindaRnstadtThe70sCllectin201419224.part4.rar
mqs.link_LindaRnstadtThe70sCllectin201419224.part5.rar
mqs.link_LindaRnstadtThe70sCllectin201419224.part6.rar
mqs.link_LindaRnstadtThe70sCllectin201419224.part7.rar
mqs.link_LindaRnstadtThe70sCllectin201419224.part8.rar

Linda Ronstadt – The ’80s Collection (2014) [HDTracks FLAC 24bit/192kHz]

http://mqs.link/linda-ronstadt-the-80s-collection-2014-hdtracks-flac-24bit192khz/

產品名稱: 是這樣的 (SACD) (限量編號版)
歌手名稱: 梅艷芳 (歌手)
推出日期: 2016-07-22
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD

http://www.yesasia.com/global/%E6%98%AF%E9%80%99%E6%A8%A3%E7%9A%84-sacd-%E9%99%90%E9%87%8F%E7%B7%A8%E8%99%9F%E7%89%88/1050979147-0-0-0-zh_TW/info.html

1994年，梅艷芳推出唱片《是這樣的》，至此，梅艷芳過往專輯銷量累計突破一千萬張。此後，她又一連推出了《鏡花水月》、《女人花》、《床前明月光》等專輯，形象依然突破多變，歌曲風格多樣。其中《女人花》和《一生愛你千百回》等歌曲成為梅艷芳國語歌的代表。 “中國風”歌曲《床前明月光》則是她在新領域的一次嘗試，配合她的演繹，充盈著濃厚的文藝氣息。

內容簡介／曲目
華星唱片SACD (第8批)
(Super Audio Compact Disc)

首批1,000張編碼版，日本壓碟SACD (Hybrid)，限量發行

01. 情歸何處
02. 感激
03. 請你快回來
04. 愛是個傳奇
05. 悲情城市
06. 如夜
07. 蝶舞
08. 愛情來了報佳音
09. 是這樣的
10. 朦朧夜雨裡

Download:

mqs.link_AnitaMui2016SACDIS.rar

柔與豔的幻化、千縷柔情、萬般美豔，幻化仙樂妙韻，敲開扇扇心扉，引來點點共鳴……鄭重推薦：這是真愛（電影「聖誕快樂」主題曲）獻君千闕歌（電影「聖誕快樂」插曲） 風裏的呼喚 不變的伴侶 康藝成音八五年

曲目列表:

01. 風裏的呼喚
02. 順流、逆流
03. 不變的伴侶
04. 空虛所以追憶
05. 小夜曲
06. 夜雨星空
07. 這是真愛
08. 獻君千阕歌
09. 更改
10. 憶伊人
11. 在旅途中
12. 音樂嘉年華
13. 三分七分 85年演唱會獨白版

Download:

mqs.link_PaulaTsui3SACDIS.part1.rar
mqs.link_PaulaTsui3SACDIS.part2.rar

產品名稱: 劉若英精選 (SACD) (限量編號版)
歌手名稱: 劉若英 (歌手)
推出日期: 2016-11-17
語言: 國語
製作來源地: 中國香港
光碟格式: Super Audio CD

http://www.yesasia.com/us/%E5%8A%89%E8%8B%A5%E8%8B%B1%E7%B2%BE%E9%81%B8-sacd-%E9%99%90%E9%87%8F%E7%B7%A8%E8%99%9F%E7%89%88/1054060318-0-0-0-zh_TW/info.html

內容簡介
經典黃金SACD系列, 滾石巨星再現 –劉若英精選
日本壓製 Super Audio Compact Disc(Hybrid)
首批1,000張印有限量編號及側條, 極具珍藏價值!

曲目:
01. 收穫
02. 很愛很愛你
03. 成全
04. 一輩子的孤單
05. 後來
06. 我等你
07. 對面男生的房間
08. 為愛痴狂
09. 冰點(陳昇, 劉若英)
10. 打了一把鑰匙給你
11. 雨季
12. 透明
13. 花季未了
14. 決定
15. I believe

Download:

mqs.link_ReneLiu2016SACDIS.part1.rar
mqs.link_ReneLiu2016SACDIS.part2.rar

產品名稱: Start From Here (SACD Version)
歌手名稱: Joanna Wang 王若琳
推出日期: 2008-05-08
語言: 英語, 國語
光碟格式: Super Audio CD

http://www.yesasia.com/global/start-from-here-sacd-version/1010997305-0-0-0-zh_TW/info.html

此為最新技術的SACD版，在日本壓片生產，碟內並加入兩首翻唱新曲︰Paul Simon 名曲「50 Ways to Leave Your Lover 」和 The Carpenters的「We’ve Only Just Begun」。
曾為《美味關係》首次獻聲的樂壇新人王若琳(Joanna Wang)，推出首張個人大碟《Start From Here》，雙CD以國語及英文專輯同時上市。有「台灣Norah Jones」之稱的王若琳，詮釋Bosa Nova的自我風格，碟內可找到Joanna創作的三首新歌，此外，她亦翻唱兩首西洋經典曲及唱出五首國語歌曲由，唱片由外國樂手錄音打造。

碟內收錄了台劇《美味關係》的插曲「迷宮」及「I love you」，其中「迷宮」更成為英文版主打歌「Let’s Start from Here」。此外，「有你的快樂」及「因為你愛我」這兩首新歌也被選為《我在墾丁．天氣晴》的片頭曲以及片尾曲。

內容簡介／曲目
Hybrid規格﹐可於SACD播放機及一般的CD播放機播放
Hybrid Stereo, Plays on ALL SACD and standard CD Players

今年最受肯定的好聲音
Joanna王若琳
為最在乎音樂品質的你
推出最精致的SACD版本專輯

本專輯不但采取SACD的最新技術﹐并且在日本生產壓片。
為了滿足音樂行家的鑑賞﹐更在專輯中加入兩首曲目
50 Ways to Leave Your Lover 以及 We’ve Only Just Begun
今年最受音樂界肯定的好聲音､好音樂﹐音質更上層樓﹗

SACD
01. Let’s Start From Here
02. Lost in Paradise
03. As Love Begins to Mend
04. Bada Bada
05. Lost Taipei
06. The Best Mistake I’ve Ever Made
07. I Love You
08. For No Reason
09. Stages of Flying
10. True
11. New York State of Mind
12. 50 Ways to Leave Your Lover (New)
13. We’ve Only Just Begun (New)
14. 迷宮 (中文)
15. 有你的快樂 (中文)
16. 因為你愛我 (中文)
17. For No Reason (中文)

Download:

mqs.link_jannawangstartfrmhereBMG.2008DSDDFF.part1.rar
mqs.link_jannawangstartfrmhereBMG.2008DSDDFF.part2.rar
mqs.link_jannawangstartfrmhereBMG.2008DSDDFF.part3.rar
mqs.link_jannawangstartfrmhereBMG.2008DSDDFF.part4.rar

Sergei Rachmaninov: Piano Sonata No. 1 / Maurice Ravel: Sonatine & Miroirs – Hannes Minnaar (2011)
DSF Stereo DSD64/2.82MHz | Time – 01:06:17 minutes | 3,11 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet |  © Etcetera Records
Recorded: Westvest, Schiedam, NL, June 2011

Only a few works for piano, notably the Menuet antique (1895), his first composition for piano, the Pavane pour une infante défunte (1899) and Jeux d’eau (1902) preceded Miroirs (1905), the suite in five movements composed when Ravel was thirty years old, although he was also working on his unsurpassed Sonatine at the same time. Unlike Rachmaninoff, Ravel did not prepare himself for his larger and more complete piano works with a series of miniatures or Moments musicaux; Ravel’s music was fully formed from the beginning, although he had nonetheless made use of forms used by earlier composers in the Menuet antique and the Sonatine as well as in the Liszt-inspired Jeux d’eau. He shook himself free of classicism in Miroirs, seeing in them the possibility of developing a style of composition for piano from a primarily harmonic viewpoint. He said that he had composed Miroirs in order to break away from his Jeux d’eau, writing later in 1928 that “Miroirs was a collection of piano pieces that marked such a pronounced change in my harmonic development that it bewildered all of the musicians who until then had dan no difficulties with my style whatsover”.

The sensational young Dutch pianist Hannes Minnaar, international prize-winner and recipient of a Borletti-Buitoni Trust fellowship but not yet known here, displays his extravagant gifts in this debut disc of Rachmaninov’s weighty Sonata No 1 and Ravel’s Sonatine and Miroirs. Minnaar’s virtuosity needs no comment: we expect that. His musical intelligence, sense of line and structure, delicacy, subtlety of texture and discipline set him apart. His Ravel is muscular and sparkling, his Rachmaninov glowing, meticulous and fervent. He is also a chamber musician, having played with the likes of Mischa Maisky and Janine Jansen as well as his own recently established Van Baerle Trio. Watch out for him. “This is indeed an astonishing debut… Minnaar is faultless in pacing the many climaxes of the outer movements to attain coherence of the whole, and the strongest sense of direction [ref Rachmaninov Piano Sonata No 1]…This is a disc which I will not be putting away for a long time yet.” –The Guardian

Tracklist:

Sergei Rachmaninov (1873-1932)

Piano Sonata no. 1
1 Allegro moderato 13:44
2 Lento 09:14
3 Allegro molto 14:43

Maurice Ravel (1875-1937)

Sonatine
4 Modéré 04:14
5 Mouvement de menuet 03:01
6 Animé 03:58

Miroirs
7 Noctuelles 05:03
8 Oiseaux tristes 03:58
9 Une barque sur l’océan 07:54
10 Alborada del gracioso 07:01
11 La vallée des cloches 05:42

Personnel:
Hannes Minnaar, piano

Download:

mqs.link_RachmaninvPianSnataN.1RavelSnatineMirirsHannesMinnaar2011DSD64.part1.rar
mqs.link_RachmaninvPianSnataN.1RavelSnatineMirirsHannesMinnaar2011DSD64.part2.rar
mqs.link_RachmaninvPianSnataN.1RavelSnatineMirirsHannesMinnaar2011DSD64.part3.rar
mqs.link_RachmaninvPianSnataN.1RavelSnatineMirirsHannesMinnaar2011DSD64.part4.rar

Rameau & Royer – Vertigo – Jean Rondeau (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:12:14 minutes | 1,45 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | © Parlophone Records / Warner Music
Recorded: 17-22. V. 2015 – Chateau d’Assas, France

France’s leading young harpsichordist performs works by two masters of the French Baroque. No surprises there, perhaps … but the harpsichordist in question is Jean Rondeau and the album is called Vertigo. It conceives the harpsichord in vividly theatrical terms. Vertigo takes its name from a dramatic, rhapsodic piece by Joseph-Nicolas-Pancrace Royer, who, along with Jean-Philippe Rameau, forms the focus of this album. If Rameau (1683–1764) is the better-known composer today, especially admired for such operatic masterpieces as Hippolyte et Aricie and Platée, the younger Royer (1705–1755) was also a major figure in his time, rising to become master of music at the court of Louis XV. Both Rameau and Royer excelled in keyboard music and in works for the stage. As Jean Rondeau says: “These two illustrious composers battled for the top spot at the Opéra.” He describes them as “two magicians, two master architects, amongst the most wildly imaginative and brilliant of their era … Two composers who also tried to capture echoes of grand theatre with the palette offered by their keyboard.”

In November 2015, Rondeau was named Solo Classical Instrumentalist of the Year by the Académie Charles Cros when he received its Grand Prix, France’s most prestigious award for classical recordings. That was for his first Warner Classics album, Imagine, which he described as “an exploration of all the possibilities that lie in the music of Johann Sebastian Bach and in the harpsichord.” BBC Music Magazine clearly enjoyed the discovery, saying: “Rondeau is a natural communicator, unimpeded by the imperative to score academic points … Make no mistake – this is an auspicious debut.”
Tracklist:

Jean-Philippe Rameau (1683-1764)
Premier Livre de pièces de clavecin (1706)
1. Suite in A Minor, RCT 1 : No. 1 Prélude 04:12

Joseph-Nicolas-Pancrace Royer (c.1705-1755)
Premier Livre de pièces pour clavecin (1746)
2. No. 12 Allemande 06:11
Jean-Philippe Rameau (1683-1764)
Pièces de clavecin (1724), Suite in D Major, RCT 3
3. No. 1 Les Tendres Plaintes – Rondeau 03:42
4. No. 2 Les Niais de Sologne – Doubles des Niais – Autre Double 05:35
5. No. 6 L’Entretien des Muses 07:49

Joseph-Nicolas-Pancrace Royer (c.1705-1755)
Pièces de clavecin, Book 1 (1746)
6. No. 3 Les Matelots 03:03
7. No. 4 Tambourins: Premier Tambourin (Suite des Matelots) & Deuxième Tambourin 01:58
8. No. 11 Le Vertigo – Rondeau 05:53
9. No. 2 La Zaïde – Rondeau 07:34
10. No. 14 La Marche, des Scythes 06:26

Jean-Philippe Rameau (1683-1764)
Nouvelles Suites de pièces de clavecin (1727), Suite in A Minor, RCT 5
11. No. 3 Sarabande 04:00
Pièces de clavecin (1724), Suite in E Minor, RCT 2
12. No. 7 Musette en rondeau 03:28
13. No. 8 Tambourin 01:12
Nouvelles Suites de Pièces de Clavecin (1727), Suite in G Major, RCT 6
14. No. 3. Menuet I – Menuet II 03:49
15. No. 14 Les Sauvages 01:54

Joseph-Nicolas-Pancrace Royer (c.1705-1755)
Pièces de clavecin, Book 1 (1746)
16. No. 6 L’Aimable 05:34

Personnel:
Jean Rondeau, harpsichord

Download:

mqs.link_RameauRyerVertigJeanRndeau20169624.part1.rar
mqs.link_RameauRyerVertigJeanRndeau20169624.part2.rar

Red Garland Trio – Swingin’ On The Korner: Live At Keystone Korner (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 02:09:01 minutes | 1,84 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | © Elemental Music
Recorded live at Keystone Korner, San Francisco, California on December 6-10, 1977

Recorded in 1977, the two-disc Swingin’ on the Korner: Live at Keystone Korner showcases pianist Red Garland performing with his trio at the legendary San Francisco venue. Joining Garland here are bassist Leroy Vinnegar and fellow Miles Davis bandmate drummer Philly Joe Jones. Included with the disc is a 44-page booklet detailing Garland’s legacy and featuring interviews and essays. This is superb, swinging straight-ahead jazz. ~~AllMusic Review by Matt Collar

Dismissed as a subpar “cocktail pianist” when he joined Miles Davis’ first great quintet in 1955 when Davis had returned from chemical exile, William “Red” Garland would go on to define mainstream jazz piano on a series of recordings (as leader and sideman) taped between 1955 and 1962. Readily identifiable was his easy swing, supreme command of the blues and his liberal use of block chords that became a Garland trademark. The pianist would anchor a piano trio with bassist Paul Chambers and drummers Philly Joe Jones and Art Taylor that would be the epitome of what jazz is.

After the release of When Skies are Grey (Prestige, 1963) it would be nine years before Garland would release another record (that being The Quota (MPS, 1971)). Rock music had replaced jazz as America’s popular music and Garland’s brand of jazz was found lagging in popularity. The present Swingin’ on the Korner: Live at Keystone Korner documents Garland with longtime associate Philly Joe Jones on drums and his most simpatico bassist after Chambers, the West Coast’s own Leroy Vinnegar. Recorded at San Francisco’s Keystone Korner adds to the excitement of this previously unreleased music on Elemental Records.

Recorded between December 6th and 10th, 1977, Live at Keystone Korner captures Garland in his twilight (he died in 1984) in the company of close friends. His empathy with his band mates is readily felt in his relaxed and confident delivery on 16 songs over the two hours of music documented here. There are the ballads: “Love for Sale,” “On Green Dolphin Street,” “Autumn Leaves.” Garland has a handle on this style. He is not flashy, but he always finds Charlie Parker’s “pretty notes.” Jones’ ballad drumming is full of quiet fire and Vinnegar’s bass playing is suitably understated.

Where the trio burns is on the blues. Vinnegar is a walking genius, who can direct the tempo and momentum like a catcher at the World Series. “Blues in Bebop,” “Straight, No Chaser,” and “Bag’s Groove” begin at a high simmer proceeding to a full boil. The sonics of the performance are better than expected, with Vinnegar’s bass well out in front with Garland’s piano. Jones plays with that fire Miles Davis always admired. Red Garland has always been underrated while he has always produced music of a consistently high quality and value to the American discography. ~~C. Michael Bailey, All About Jazz

Tracklist:
1-1 Love For Sale 11:45
1-2 I Wish I Knew 6:45
1-3 It’s Impossible 5:04
1-4 Billy Boy 9:30
1-5 Dear Old Stockholm 6:22
1-6 If I’m Lucky 5:40
1-7 Blues In Bebop 6:33
1-8 On Green Dolphin Street 6:58
2-1 Straight No Chaser 6:51
2-2 On A Clear Day 9:15
2-3 The Christmas Song 7:20
2-4 The Best Things In Life Are Free 8:55
2-5 Never Let Me Go 5:59
2-6 Autumn Leaves 8:58
2-7 Bag’s Groove 7:26
2-8 It’s All Right With Me/The Theme 15:33

Personnel:
Red Garland, piano
Leroy Vinneger, bass
“Philly” Joe Jones, drums

Download:

mqs.link_RedGarlandTriSwinginnTheKrnerLiveAtKeystneKrner20159624.part1.rar
mqs.link_RedGarlandTriSwinginnTheKrnerLiveAtKeystneKrner20159624.part2.rar

Steve Reich – Sextet, Music for Pieces of Wood, Clapping Music – LSO Percussion Ensemble (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:10:55 minutes | 1,28 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Bowers & Wilkins | Digital Booklet | © LSO
Recorded live in DSD 128fs, 30 October 2015 at LSO St Luke’s, London

The Society of Sound and the LSO Percussion Ensemble celebrate the music of Steve Reich. This release marks a new development in the relationship between the LSO Live and Bowers and Wilkins.

Until now, all LSO recordings released on the Society of Sound have been from the existing LSO Live catalogue. The Reich project marks a significant new development, as it is the first of a series of projects, sponsored by Bowers and Wilkins, which will initially be available exclusively to members of The Society of Sound.

This project is also a significant new development for the LSO and LSO Live. LSO principal players are all exceptional soloists and we have been looking for a way to celebrate this on record. Bowers and Wilkins offer to sponsor a series of chamber music recordings has provided the perfect solution and this is the first of them.
A recording of three works by Steve Reich may seem a radical repertoire choice, but it highlights perfectly a group of players within the orchestra who do not often get the star billing they deserve.

Steve Reich is an American minimalist composer who, in the words of Andrew Clements writing in The Guardian, is one of “a handful of living composers who can legitimately claim to have altered the direction of musical history”. He is considered by many musicians – particularly percussionists – to be America’s greatest living composer. His musical language has always focussed on rhythmic rather than harmonic complexity, so three of his percussion pieces are a good way to launch the series.

Clapping Music :: This is probably the ultimate minimalist composition consisting of just two performers clapping. One performer claps a basic rhythm, a variation of the African bell pattern in 12/8 time for the whole piece. The other claps the same pattern but after every 8 or 12 bars shifts one eigth note to the right. This continues for 144 bars until the two performers are finally back in unison again. The result is a unique piece of both mesmeric complexity and profound simplicity. The performers are the LSO’s two percussion principals Neil Percy and Sam Walton.

Music for Pieces of Wood :: To understand the piece, imagine listening to a kaleidoscope. A pattern is established, then it shifts as with the click of the kaleidoscope. Steve Reich descibes it as follows: ‘Music for Pieces of Wood grows out of the same roots as Clapping Music: a desire to make music with the simplest possible instruments. The claves, or cylindrical pieces of hard wood, used here were selected for their particular pitches (A, B, C-sharp, D-sharp, and D-sharp an octave above), and for their resonant timbre. This piece is one of the loudest I have ever composed, but uses no amplification whatsoever. The rhythmic structure is based entirely on the process of rhythmic “build-ups” or the substitution of beats for rests, and is in three sections of decreasing pattern length: 6/4, 4/4, 3/4. –

Sextet :: The piece has five movements played without pause. It tries to overcome a natural acoustic limitation of percussion instruments. Vibraphones are normally incapable of sustaining pitches like wind or string instruments. To counter this limitation, the performers bow the vibraphone bars with a bass bow. The piece is all about ambiguity. In the third movement, a basic 12-beat pattern is ambiguous between a division into three and into four. In other parts the line that began as the melody becomes the accompaniment, even though the actual notes do not change. Reich believes that, in music that uses a great deal of repetition, it is precisely these kinds of ambiguity that give vitality and life.

This may well be the most vital and life enhancing recording to appear on the Society of Sound. Open your ears and prepare to be amazed!

Tracklist:
Steve Reich (b.1936)
1 Clapping Music (1972) 3’37’’
2 Music for Pieces of Wood (1973) 11’42’’
Sextet (1985)
3 I. Crotchet = 192 11’09’’
4 II. Crotchet = 96 4’32’’
5 III. Crotchet = 64 2’34’’
6 IV. Crotchet = 96 3’32’’
7 V. Crotchet =192 6’01’’
8 Sextet (combined as 1 movement) 27’48’’

Personnel:
LSO Percussion Ensemble

Download:

mqs.link_ReichSextetMusicfrPiecesfWodClappingMusicLSPercussinEnsemble20169624.part1.rar
mqs.link_ReichSextetMusicfrPiecesfWodClappingMusicLSPercussinEnsemble20169624.part2.rar

Rihanna – Anti (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 00:51:06 minutes | 582 MB | Genre: Pop
Studio Master, Official Digital Download – Source: Qobuz | © Westbury Road Entertainment

Rihanna’s first release in three years, the often delayed ANTI was included among Rolling Stone’s most anticipated albums of 2016 and sold over a million copies within two days. Jam packed with guest producers and led off by the hit single Work, another collaboration with Drake, ANTI has been called the best album of Rihanna’s career by several reviewers. This deluxe edition adds three bonus tracks, including Goodnight Gotham, known to fans under its former title Only If For A Night.

Anti existed as an album cycle before it existed as an album — arguably long before Rihanna knew what form her eighth album would take, either. Work on Anti began in the autumn of 2014 and proceeded in semi-public, progress being measured in Instagram posts and tweets, along with intermittent singles, each released to white-hot anticipation but none metamorphosing into massive hits. When Anti finally appeared in January 2016 — three years after Unapologetic and months later than expected — it bore none of these 2015 singles, a move that suggests a tacit acknowledgment that neither the curiously muted Kanye West and Paul McCartney collaboration “FourFiveSeconds” nor the unrestrained roar of “Bitch Better Have My Money” functioned as appropriate anchors for the album. Then again, neither would’ve felt at home on the cloistered Anti, the first of Rihanna’s records to feel constructed as a front-to-back album. Such a sustained sensibility distinguishes Anti from its predecessors, records where album cuts often felt like afterthoughts. That’s not the case with Anti. This is an album whose heart lies within its deep cuts. Mood matters more than either hooks or rhythm: it’s a subdued, simmering affair, its songs subtly shaded yet interlocked to create a vibe caught halfway between heartbreak and ennui. The latter has always been a specialty of Rihanna — her distance from her material was at once appealing and alienating — so hearing her lean into “Love on the Brain” and “Higher” is something of a revelation: her voice is hoarse and ravaged, yet she’s also controlled and precise, knowing how to hone these imperfections so her performance echoes classic soul while feeling fresh. These songs come at the end of the album, after a series of songs that drift and wonder, the sound of an artist trying to figure out not only what her album is but who she is. By the end of Anti, Rihanna may not arrive at any definitive conclusions about her art but she’s allowed herself to be unguarded and anti-commercial, resulting in her most compelling record to date. ~~AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1. Consideration 02:41
2. James Joint 01:12
3. Kiss It Better 04:13
4. Work 03:39
5. Desperado 03:06
6. Woo 03:56
7. Needed Me 03:12
8. Yeah, I Said It 02:13
9. Same Ol’ Mistakes 06:37
10. Never Ending 03:23
11. Love On The Brain 03:44
12. Higher 02:01
13. Close To You 03:58

Bonus Tracks:
14. Goodnight Gotham 01:28
15. Pose 02:24
16. Sex With Me 03:26

Download:

mqs.link_RihannaAnti2016Qbuz2444.1.rar

Roberto Alagna – My Life Is An Opera (2014)
FLAC (tracks) 24-bit/96 kHz | Time – 00:57:23 minutes | 1,05 GB | Genre: Classical, Opera
Studio Master, Official Digital Download – Source: prestoclassical.co.uk | © Deutsche Grammophon
Recorded: AIR Studios (Londres) du 1er au 6 septembre 2014 et à Abbey Road Studios (Londres) le 8 Septembre 2014

Roberto Alagna is THE most well-known French tenor worldwide, with 30 years of career on stage, and 60 opera roles in his repertoire. For this all-new album, he sings selections both familiar and less well-known as well as duets with soprano Aleksandra Kurzak. Highlghts include selections from I Pagliacci, Manon Lescaut, Madama Butterfly, Roberto Devereux and many more.

A cynic might look at Roberto Alagna’s new disc, ‘My Life is an Opera’, and think, ‘At least he admits it’. From his stormy La Scala stage departure to his relationship with Angela Gheorghiu, Alagna’s personal life is…well, operatic. Somewhat embarrassingly, the disc’s booklet has each of the arias listed (out of order from their disc sequencing) to illustrate some signpost in his life, though instead of dealing with the aforementioned incidents in this loose autobiography, the text speaks of the ‘meteoric’ rise of this ‘golden-voiced handsome young genius’. (Oh dear.)

But anyone who thought the medium-weight Alagna voice was on the way out with his Radamès and Otello might be dumbfounded at his excellent state of vocal health on the disc, and the sure dramatic instincts behind it. Most of the repertoire seems new to Alagna’s discography, though there are very few signs of having just learnt arias from Gluck’s Orfeo, The Queen of Sheba (both the Gounod and Goldmark versions) and Reyer’s Sigurd.

Aside from forays into Puccini’s Manon Lescaut and Leoncavallo’s Pagliacci, the programme seems to signify a re-commitment to his fundamentally mid-weight lyric vocal personality, not playing safe in the way he builds phrases and longer-term musical climaxes but rarely pushing his limits (the closest he comes is in an excerpt from his brother David Alagna’s opera Le dernier jour d’un condamné ). Lensky’s aria from Eugene Onegin is in French translation, not Russian. Bel canto choices such as the dramatically charged duet from Roberto Devereux (with Aleksandra Kurzak) don’t require serious coloratura.

The biggest vocal surprise is ‘Magische Töne’ from the Goldmark Sheba, in which Alagna goes into the falsetto stratosphere with a musico-dramatic effect that stands well alongside performances by the great tenors of the past, including Nicolai Gedda and Leo Slezak. Alagna doesn’t have a particularly strong-minded collaborator in the London Orchestra (an ensemble I’ve never heard of) and its Director Yvan Cassar. But recorded sound is first-class. –David Patrick Stearns, Gramophone

Tracklist:

Giacomo Puccini (1858-1924)
1. Manon Lescaut / Act 2: Ah ! Manon, mi tradisce 2:52
2. Manon Lescaut / Act 1: Donna non vidi mai 2:41

Piotr Ilyich Tchaikovsky (1840-1893)
Eugene Onegin, Op.24 / Act 2
3. Pour moi ce jour est tout mystère… 5:47

Charles François Gounod (1818-1893)
La Reine de Saba / Act 2
4. Faiblesse de la race humaine. Inspirez-moi, race divine… 5:00

Gaspar Antonio Olavarría Maytín (1840-1891)
5. A La Luz De La Luna 3:48
Gioacchino Antonio Rossini (1792-1868)
6. La Danza – Tarentelle Napolitaine 3:22

Ernest Reyer (1823-1909)
Sigurd / Act 2
7. Esprits gardiens de ces lieux… 4:31

Gaetano Donizetti (1797-1848)
Roberto Devereux / Act 1
8. Un tenero cuore 3:25
9. Cabaletta : Un lampo, un lampo orribile 2:45

Giacomo Puccini (1858-1924)
Madama Butterfly / Act 2
10. Addio fiorito asil 2:03

Jules Emile Frederic Massenet (1842-1912)
Hérodiade
11. Ne pouvant réprimer… Adieu donc 4:55

Christoph Willibald Gluck (1714-1787)
Orfeo ed Euridice (Orphée et Eurydice), Wq. 30 – Arr. D. Alagna
12. Che faro senza Euridice 3:52

Karl Goldmark (1830-1915)
Die Königin von Saba
13. Magishe Töne 3:59

David Alagna (b.1975)
Le dernier jour d’un condamné / Act 2
14. Il est dix heures… Encore six heures… 3:59

Ruggiero Leoncavallo (1857-1919)
15. Pagliacci / Prologue: Introduction 1:10
16. Pagliacci / Act 1: Recitar… Vesti la giubba 3:14

Personnel:
Roberto Alagna, tenor
Aleksandra Kurzak, soprano (#5,8,9)
London Orchestra
Yvan Cassar, conductor

Download:

mqs.link_RbertAlagnaMyLifeIsAnpera2014PrestClassical2496.part1.rar
mqs.link_RbertAlagnaMyLifeIsAnpera2014PrestClassical2496.part2.rar

スキマスイッチ
配信開始日：2014.12.03
全4曲|FLAC

http://mora.jp/package/43000001/4988017691632/

「Ah Yeah!!」「パラボラヴァ」に続くニュー・シングルは、壮大なスケールで描くミディアム・ナンバー！
12月劇場公開の『THE LAST -NARUTO THE MOVIE-』主題歌！
※こちらの商品は、ハイレゾ音源(高音質音源、Hi-Res)商品です。
【タイアップ】
『THE LAST -NARUTO THE MOVIE-』主題歌

収録曲

1.星のうつわ
02.快楽のソファー (仮) 2014ver.
03.ミッドナイト・グッドモーニン!!のテーマ (Instrumental)
04.星のうつわ (Backing Track)

Download:

mqs.link_2014.rar

レーベル NBCUniversal Entertainment
配信開始日 2015.08.12
収録曲数 全13曲
販売データ ハイレゾ｜FLAC｜48.0kHz/24bit

http://mora.jp/package/43000025/GNCA-1450_F/

人気アニメ「ラブライブ！」絢瀬絵里役など様々なアニメで声優として活躍する一報、fripSideのボーカルとしても、その唯一無二なのびやかなボーカルを聴かせてくれる南條愛乃の「想い」がたっぷり詰まった1stフルアルバム！

※こちらの商品は、ハイレゾ音源(高音質音源、Hi-Res)商品です。

【タイアップ】
「黄昏のスタアライト」：
TVアニメ グリザイアの楽園「カプリスの繭」編エンディングテーマ

「あなたの愛した世界」：
TVアニメ「グリザイアの果実」 エンディングテーマ

「君が笑む夕暮れ」：
TVアニメ「東京レイヴンズ」エンディングテーマ

「きみを探しに」：
TVアニメ グリザイアの楽園「ブランエールの種」編エンディングテーマ

収録曲

1 – 夜、静かな夢 – 02:51
2 – believe in myself – 03:54
3 – 黄昏のスタアライト – 04:03
4 – Precious time – 04:21
5 – 7月25日 – 05:58
6 – あなたの愛した世界 – 03:46
7 – Dear × Dear – 03:48
8 – 君が笑む夕暮れ – 05:21
9 – Recording – 05:20
10 – だいすき – 05:11
11 – きみを探しに – 03:42
12 – だから、ありがとう – 03:59
13 – + 1day – 05:17

Download:

mqs.link_YshinNanj13650.rar

レーベル avex trax
配信開始日 2017.02.08
収録曲数 全3曲
販売データ ハイレゾ｜FLAC｜48.0kHz/24bit

http://mora.jp/package/43000002/ANTCD-21384_F/

約2年9ヶ月ぶりのシングルは、豪華タイアップ作品!
過去や未来、他人の評価に捉われず「私をもっと生きよう」というテーマで制作された新曲「私」はフジテレビ系ドラマ木曜劇場「嫌われる勇気」主題歌。（2017年1月～）
カップリング曲には、五感で巡る花の体験型デジタルアート展 『FLOWERS by NAKED 2017 -立春-』テーマソング

※こちらの商品は、ハイレゾ音源(高音質音源、Hi-Res)商品です。

【タイアップ】
ドラマ「嫌われる勇気」主題歌

収録曲

1 – 私 – 03:43
2 – サクラハラハラ – 04:27
3 – 女子シェルター – 04:12

Download:

mqs.link_AitsukaFlac2448.rar

レーベル Sony Music Labels Inc.
配信開始日 2016.07.20
収録曲数 全13曲
販売データ ハイレゾ｜FLAC｜96.0kHz/24bit

http://mora.jp/package/43000001/4988009132099/

2011年「あたし、今日、失恋しました。」で衝撃のデビューを飾った、今年20歳のシンガーソングライター沢井美空の 1stアルバム。デビュー当時17歳だった少女が大人になる過程で感じ取った全てが詰まっています。
直近シングル「指輪~あたし、今日、結婚します。~」はYouTube再生回数も100万回を超え、着うたウィクリ―5位とまさに 飛躍した2012年。2013年の沢井美空はアルバムからスタート。

収録曲

1 – HELLO – 04:57
2 – ワンダフル☆デイズ – 03:05
3 – ヒトシズク – 04:09
4 – あたし、今日、失恋しました。 – 03:43
5 – 出来れば今すぐ会いたい – 05:05
6 – 小悪魔BOY – 04:42
7 – 無限大ジャーニー – 04:20
8 – なきむし。 – 05:08
9 – 卒業メモリーズ～サヨナラ、あなた。～（Acoustic ver.） – 05:54
10 – イエローカード – 04:14
11 – 好きになっちゃうじゃない – 04:59
12 – 指輪～あたし、今日、結婚します。～ – 06:24
13 – 砂時計 – 04:17

Download:

mqs.link_MikuSawai96kHz24bit.part1.rar
mqs.link_MikuSawai96kHz24bit.part2.rar
mqs.link_MikuSawai96kHz24bit.part3.rar