Quantcast
Channel: MQS Albums Download
Viewing all 64033 articles
Browse latest View live

Nirvana – Nevermind (1991/2011) [HDTracks FLAC 24bit/96kHz]

$
0
0

Nirvana – Nevermind (1991/2011)
FLAC (tracks) 24 bit/96 kHz | Time – 46:24 minutes | 1,07 GB | Genre: Rock, Alternative
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | © Geffen Records

Nevermind was never meant to change the world, but you can never predict when the zeitgeist will hit, and Nirvana’s 1991 Nevermind turned out to be the place where alternative rock crashed into the mainstream.

No matter how much anguish there is on Nevermind is bracing because Kurt Cobain exorcises his demons through evocative wordplay and mangled screams paired with the band’s a tremendous, unbridled power that transcends the pain, turning into pure catharsis. And that’s as key to the record’s success as Cobain’s songwriting, since Krist Novoselic and Dave Grohl help turn this into music that is gripping, powerful, and even fun (and, really, there’s no other way to characterize “Territorial Pissings” or the surging “Breed”).

Nevermind immediately became a smash hit, quickly selling out its initial shipment of 50,000 copies and creating a shortage across America. What helped the record become a success was “Smells Like Teen Spirit,” a blistering four-chord rocker that was accompanied by a video that shot into heavy MTV rotation. By the beginning of 1992, “Smells Like Teen Spirit” had climbed into the American Top Ten and Nevermind bumped Michael Jackson’s much-touted comeback album Dangerous off the top of the album charts; it reached the British Top Ten shortly afterward. By February, the album had been certified triple platinum.

Tracklist:

01 – Smells Like Teen Spirit
02 – In Bloom
03 – Come As You Are
04 – Breed
05 – Lithium
06 – Polly
07 – Territorial Pissings
08 – Drain You
09 – Lounge Act
10 – Stay Away
11 – On A Plain
12 – Something In The Way
13 – Endless, Nameless

Download:

mqs.link_NirvanaNevermind19912011HDTracks2496.part1.rar
mqs.link_NirvanaNevermind19912011HDTracks2496.part2.rar


Nirvana – Nirvana (2002/2015) [FLAC 24bit/96kHz]

$
0
0

Nirvana – Nirvana (2002/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 49:21 minutes | 988 MB | Genre: Rock, Alternative
Studio Master, Official Digital Download – Source: Vinyl’s Download Code | Front Cover | © Geffen Records

Nirvana is a “best-of” compilation album by American rock band Nirvana. It was orginally released in October 2002. On June 23, 2015 Universal Music Enterprises announced that Nirvana was being re-released on 45 rpm double LP, pressed on 200-gram heavy weight vinyl and packaged in a furnace black gatefold sleeve with liner notes and a digital download card for 96 kHz 24-bit HD Audio.

Ignore the legal wrangling, bad blood, feuds, even Kurt Cobain’s suicide, behind the release of this long-awaited single-disc anthology of Nirvana’s work, simply titled Nirvana, and focus on one simple thing: does it do its job well? Does it capture the essence of the most influential band of the ’90s, the most storied band since the Beatles? Does it have all their best songs on one disc? The answer: kinda. The inherent problem with the disc is that it’s difficult to compile Nirvana’s best material by any chart-based yardstick, the way that the Beatles 1 — Cobain’s widow made no bones about the fact that she wanted this collection patterned after that hit, and to be as successful a catalog item — did, since they didn’t have that many singles, nor did their career need to be condensed like the Rolling Stones’ Forty Licks since they only recorded for five years. Nirvana’s best tracks — not necessarily the same thing as Cobain’s best songs, although they frequently overlapped — were buried on album tracks, B-sides, stray singles, so there’s no good criteria for why, say, “Dumb” makes the cut and “Aneurysm” doesn’t. Even more problematic, Nirvana’s three proper albums, along with the rarities compilation Incesticide and the acoustic MTV Unplugged, all have different personalities and sonic characteristics that don’t necessarily fit well together, whether it’s the gleaming Nevermind, the ragged indie pop band on Incesticide, or the stark despair of In Utero. So, what you wind up with is a record that has all the hits and many of the radio favorites, plus the very good previously unreleased final recording, “You Know You’re Right,” in a collection that is less than the sum of its parts. At 50 minutes, it’s all too easy to concentrate on what’s missing: “Something in the Way,” “Polly,” “Serve the Servants,” “Verse Chorus Verse,” “Dive,” “Negative Creep,” “Love Buzz,” “Territorial Pissings,” “Drain You,” “School,” “Lake of Fire,” “Where Did You Sleep Last Night?,” and, most egregiously, the aforementioned “Aneurysm” are all prime candidates to fill out the remainder of the disc. Not all could have fit, but the presence of a few more tracks, along with placing “You Know You’re Right” at the end where it belongs, would have made this collection not just stronger, but possibly definitive. As it stands, it feels like a bit of a cheap compromise and a wasted opportunity. ~~ AllMusic Review by Stephen Thomas Erlewine

Tracklist:
01 – You Know You’re Right
02 – About A Girl
03 – Been A Son
04 – Sliver
05 – Smells Like Teen Spirit
06 – Come As You Are
07 – Lithium
08 – In Bloom
09 – Heart-Shaped Box
10 – Pennyroyal Tea
11 – Rape Me
12 – Dumb
13 – All Apologies (MTV Unplugged)
14 – The Man Who Sold The World (MTV Unplugged)

* Please note: Tracks “13-14” presented in 16/44,1.

Download:

mqs.link_NirvanaNirvana20022015VinylsDLcde2496.part1.rar
mqs.link_NirvanaNirvana20022015VinylsDLcde2496.part2.rar

Norbert Ernst – Lebt kein Gott (2016) [Qobuz FLAC 24bit/44,1kHz]

$
0
0

Norbert Ernst – Lebt kein Gott (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:12:01 minutes | 636 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Decca

Tracklist:

Ludwig van Beethoven (1770-1827)
Fidelio op.72 / Act 2
1. Gott! welch dunkel hier! 10:16
Carl Maria von Weber (1786-1826)
Der Freischütz, J. 277 / Act 1
2. Nein, länger trag’ ich nicht die Qualen … Durch die… 07:19

Richard Wagner (1813-1883)
Rienzi / Act 5
3. Allmächt’ger Vater, blick herab 09:28
Die Meistersinger von Nürnberg, WWV 96
4. Die Meistersinger von Nürnberg Vorspiel zum I. Aufzug 10:00
Tannhäuser, WWV 70 / Act 3
5. Inbrunst im Herzen 12:12
Lohengrin, WWV 75 / Act 3
6. In fernem Land 10:58
Parsifal, WWV 111 / Act 2
7. Amfortas! Die Wunde! 07:15
Parsifal, WWV 111 / Act 3
8. Nur eine Waffe taugt 04:36

Personnel:
Norbert Ernst, tenor
Nikolay Borchev, baritone (#5)
Brandenburgisches Staatsorchester Frankfurt
Hartmut Keil, conductor

Download:

mqs.link_NrbertErnstLebtkeinGtt2016Qbuz2444.1.rar

Nik Bartsch’s Ronin – Live (2012) [Qobuz FLAC 24bit/44,1kHz]

$
0
0

Nik Bartsch’s Ronin – Live (2012)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:44:55 minutes | 1,01 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © ECM
Recorded live 2009-2011; Mixed at Studios La Buissonne, Pernes-les-Fontaines

Ronin around the world: a powerful and atmospheric concert recording with music captured in Germany, Austria, Holland, England, and Japan, a double-album which transmits the live impact of Nik Bärtsch’s band and its enveloping modular groove music of interlocking rhythms. It’s also a set that marks the end of an era and the transition into a new one. These are the last recordings of Ronin with Björn Meyer’s elegantly-leaping bass guitar as one of the lead voices, and Bärtsch views the album as partly a tribute to Meyer’s long tenure with the band. New bassist Thomy Jordi, meanwhile, makes an impressive entrance on “Modul 55”, but it’s most often the whole band, as a unified field of force, that commands the listener’s attention.

The quirky, minimalist ritual groove music of Swiss keyboardist Nik Bärtsch is, after three previous recordings, coming into its own with this fourth CD, recorded live in concert in Zurich and Bern. The refinement of Bärtsch’s playing and the coming together of his now-established quintet, Ronin, is obvious to anyone, whether a newcomer or dedicated fan of the band. Supported by the spot-on rhythmic wizardry of drummer Kaspar Rast and percussionist Andi Pupato, Bärtsch, bassist Björn Meyer, and saxophonist/bass clarinetist Sha weave a magical zen-like discourse of funk/not-funk and a bright, clairvoyant sense of wonder and imagination into the fiber of this music. This is not jam band, modal modern jazz, or film noir sounds in the strictest sense, but all three elements play their distinct parts in what is truly a new sonic language. Everything for Bärtsch is a module. “Modul 14” uses 14/8 and 7/4 time signatures wrapped around a sparse light funk accented by spacy electronics, Fender Rhodes electric piano, and heavy bass, more dense and layered as it goes along. “Modul 17” is a 5/4 ostinato with inventively juxtaposed rhythms using snare brushes and bells contrasting the Rhodes, acoustic piano, and organ. It’s a modern-day road song that astoundingly uses no overdubs, as is the case throughout on this purely live set. “Modul 11” is more traditional R&B-flavored straight funk in 3/4, where the elements of contrast and development — a key to their music — are most evident. “Modul 16” suggests the harder-edged European ’70s fusion of pioneers Charlie Mariano, Jan Hammer, Jasper van’t Hof, Volker Kriegel, and Joachim Kühn, along with the British Canterbury scene, using constant variations within a minimal framework. “Modul 8_9” and “Modul 15” are the longest pieces, more simple and basic, and apply a spare subtlety that may not be the best concert vehicles. Most of this music, under the sub-concept Conspiracy of the Rhythm Gardeners, is compelling, commanding, well worth a close listen, and a prelude for things to be heard stateside. This may be a difficult recording to acquire, but worth the search. –AllMusic Review by Michael G. Nastos

Tracklist:
1. Modul 41-17 Lörrach 16:38
2. Modul 35 Leipzig 11:31
3. Modul 42 Wien 08:09
4. Modul 17 Tokyo 08:58
5. Modul 22 Amsterdam 14:45
6. Modul 45 Mannheim 13:11
7. Modul 48 Gateshead 08:37
8. Modul 47 Mannheim 13:11
9. Modul 55 Salzau 10:00

Personnel:
Nik Bärtsch: piano, Fender Rhodes
Sha: bass clarinet, contrabass clarinet, alto saxophone
Björn Mayer: bass
Thomy Jordi: bass (Modul 55)
Kaspar Rast: drums
Andi Pupato: percussion

Download:

mqs.link_NikBrtschsRninLive2012Qbuz24441.part1.rar
mqs.link_NikBrtschsRninLive2012Qbuz24441.part2.rar

Niki & The Dove – Instinct (2012) [Bandcamp FLAC 24bit/44,1kHz]

$
0
0

Niki & The Dove – Instinct (2012)
FLAC (tracks) 24 bit/44,1 kHz | Time – 48:03 minutes | 563 MB | Genre: Synthpop
Studio Master, Official Digital Download – Source: HDTracks | Front cover | © Sub Pop

While their roots are in theatre, they ultimately straddle the pop and dance worlds with a devastating musical hybrid that incorporates electronics and beats spanning from tribal to synth-pop to R&B. Niki & The Dove’s pop and dance sides are both evident from the very first moments of Instinct, their debut album, as the opening track “Tomorrow” unfolds a subtle pulse with pan-Pacific textures underneath Malin’s aching vocal, rising to a series of euphoric peaks as the vocals ramp up the feeling of a tribal ceremony. Time and again, Instinct follows the same blueprint of intent-a blend of tenderness, explosion, hypnosis and elation-but never the same routine.

The singles Niki and the Dove released before their debut album Instinct hinted at a wide range: “DJ, Ease My Mind” offered state-of-the-art Swedish pop with a Knife-like edge, while “The Fox,” with its lunging, predatory cello loop, explored much darker territory. Malin Dahlström and Gustaf Karlöf live up to the promise of those singles on these songs, bridging the gaps between them and taking their sound to further extremes along the way. At first, the balance between their sweetness and light and their gothier side can seem more like a tug of war: the shift from “Last Night”‘s sing-song melody and “Somebody”‘s wall-to-wall synths to “Winterheart”‘s bleak balladry is initially jarring. After a few listens, however, these changes feel natural and yes, even instinctive. It helps that Niki and the Dove lead their listeners into the more mystical side of their sound gradually through the album like a trail of breadcrumbs: on “The Drummer,” the booming backing vocal that rises behind Dahlström like the spirit of drumming itself suggests that Instinct is from a world where sacred rites are performed in the club, and dance parties are thrown in the woods; “In Our Eyes” is half brilliant pop song, half invocation of a storm. The duo embraces the pagan side of Scandinavian pop on “Gentle Roar,” where Dahlström whispers “I’m waking the witch and I’m moving like a cat,” and on “Mother Protect,” where she sings “I am furious/fear the lioness/paint your face black and golden” with a Björk-like crow to her voice. Within the context of these songs, it’s easier to hear the spiritual, even supernatural leanings on “DJ, Ease My Mind” and “The Fox”‘s sparkling hooks. Along with Björk, Kate Bush is a spiritual fairy godmother to Niki and the Dove, particularly on “Tomorrow,” where Dahlström’s vocals evoke a similar ethereal passion — but then again, the playful “Love to the Test” sparkles like a prime Stock Aiken Waterman production, and shows that Dahlström and Karlöf think that falling in love is just as magical as waking a witch. Instinct is a vivid and varied debut, and ultimately a more rewarding listen than if Niki and the Dove had just explored one facet of their sound. If they have this kind of scope the first time out, then where their instincts take them next will be exciting indeed. ~~ AllMusic Review by Heather Phares

Tracklist:
01 – Tomorrow
02 – The Drummer
03 – In Our Eyes
04 – The Gentle Roar
05 – Mother Protect
06 – Last Night
07 – Somebody
08 – Love To The Test
09 – DJ, Ease My Mind
10 – Winterheart
11 – The Fox
12 – Under The Bridges

Download:

mqs.link_NikiTheDveInstinct2012HDTracks24441.rar

Nils Lofgren – Acoustic Live (1997/2016) [AcousticSounds DSF DSD64/2.82MHz + FLAC 24bit/88,2kHz]

$
0
0

Nils Lofgren – Acoustic Live (1997/2016)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 01:14:03 minutes | 2,92 GB
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:14:03  minutes | 1,48 GB
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Digital booklet
Genre: Rock, Acoustic | © Analogue Productions

Nils Hilmer Lofgren is an American rock musician, recording artist, songwriter, and multi-instrumentalist. Along with his work as a solo artist, he is a member of Bruce Springsteen’s E Street Band since 1984, a former member of Crazy Horse, and founder/frontman of the band Grin. Lofgren was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band in 2014. “Acoustic Live” is an interesting and charming album from Nils Lofgren in 1997 as he follow on in the Unplugged tradition that became popular in the 1990s. It was actually recorded at The Barns Of Wolftrap, Vienna in Virginia on January 18th, 1997.

Along with his work as a solo artist, Lofgren has marked more than 25 years as a member of Bruce Springsteen & The E Street Band as well as a former member of Crazy Horse and Grin. Lofgren joined Neil Young’s band in 1968 at age 17, playing piano on the album After the Gold Rush. Lofgren would maintain a close musical relationship with Young, appearing on his Tonight’s the Night album and tour among others. He was also briefly a member of Crazy Horse, appearing on their 1971 LP and contributing songs to their catalogue. From ’71 to ’74 Lofgren was active in Grin, the band he founded in ’69. Solo albums and tours followed every year through the 1970s as Lofgren established himself as a top guitarist and live performer earning the respect and acclaim of his peers. Bruce Springsteen made the call in 1984 and Lofgren joined the E-Street Band for the Born in the USA tour. Lofgren was an instant hit with Springsteens fans through his playing and vibrant on stage persona. Lofgren remains a stalwart of the E-Street Band to the present day.

Acoustic Live is a small treasure for longtime Nils Lofgren fans. Capturing Lofgren alone in front of an appreciative audience, knocking out such favorites as “You,” “No Mercy” and “Keith Don’t Go,” plus six new songs. Even with the new songs, there are no real revelations, only a selection of little gems that will certainly bring a smile to the face of any longtime Lofgren fan.

Tracklist:
01 – You
02 – Sticks and Stones
03 – Some Must Dream
04 – Little On Up
05 – Keith Don’t Go
06 – Wonderland
07 – Big Tears Fall
08 – Believe
09 – Black Books
10 – To Your Heart
11 – Man in the Moon
12 – I’ll Arise
13 – Blue Skies
14 – Tears on Ice
15 – All Out
16 – Mud In Your Eye
17 – No Mercy

Recorded originally at 44.1kHz/16-bit. Remastered by Ryan Smith at Sterling Sound.
DSD transfer created by Gus Skinas of SuperAudioCenter from the Analogue Productions SACD cutting master.

This is a digital recording. True to our company principles, Analogue Productions in almost all cases reissues recordings only where the analog master tape is available. However, there are rare exceptions that whether digitally recorded or otherwise, a recording is so outstanding it’s worthy of the highest quality reissue.

DSF DSD64/2.82MHz

mqs.link_NilsLfgrenAcusticLive19972016AcusicSundsDSD64.part1.rar
mqs.link_NilsLfgrenAcusticLive19972016AcusicSundsDSD64.part2.rar
mqs.link_NilsLfgrenAcusticLive19972016AcusicSundsDSD64.part3.rar
mqs.link_NilsLfgrenAcusticLive19972016AcusicSundsDSD64.part4.rar

FLAC 24bit/88,2kHz

mqs.link_NilsLfgrenAcusticLive19972016FLAC24882.part1.rar
mqs.link_NilsLfgrenAcusticLive19972016FLAC24882.part2.rar

Nitty Gritty Dirt Band – Circlin’ Back: Celebrating 50 Years (2016) [HDTracks FLAC 24bit/44,1kHz]

$
0
0

Nitty Gritty Dirt Band – Circlin’ Back: Celebrating 50 Years (2016) 
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:17:18 minutes | 924 MB | Genre: Country
Studio Masters, Official Digital Download – Source: HDTracks.com | Digital booklet | © NGDB Records

Long before Americana music had a name, the Nitty Gritty Dirt Band helped lead the charge, mixing elements of country, bluegrass, folk, mountain music, and rock & roll into a sound that celebrated the full range of American music. With multi-platinum and gold records, strings of top ten hits such as “Fishin’ In The Dark” and “Mr. Bojangles”, multiple GRAMMY, IBMA, ACM Awards and nominations, CMA Awards and nominations, the band’s accolades continue to accumulate. Their groundbreaking “Will The Circle Be Unbroken” album has been inducted into the U.S. Library of Congress as well as the Grammy Hall of Fame. NGDB’s recording of “Mr. Bojangles” was also inducted into the Grammy Hall of Fame in 2010. In 2014 “Fishin’ In the Dark” was certified platinum for digital downloads by the RIAA.

Tracklist:

01. You Ain’t Going Nowhere (Live) (03:29)
02. Grandpa Was a Carpenter (feat. John Prine) [Live] (03:53)
03. Paradise (feat. John Prine) [Live] (03:58)
04. My Walkin’ Shoes (Live) (03:35)
05. Tennessee Stud (feat. Vince Gill) [Live] (04:54)
06. Nine Pound Hammer (feat. Sam Bush with Vince Gill) [Live] (04:03)
07. Buy for Me the Rain (Live) (03:49)
08. These Days (feat. Jackson Browne) [Live] (06:08)
09. Truthful Parson Brown (feat. Jackson Browne with Jerry Douglas, Sam Bush & Byron House) [Live] (03:51)
10. Keep on the Sunny Side (feat. Alison Krauss) [Live] (04:17)
11. Catfish John (feat. Alison Krauss) [Live] (04:25)
12. An American Dream (feat. Rodney Crowell with Alison Krauss) [Live] (04:40)
13. Long Hard Road (The Sharecropper’s Dream) [feat. Rodney Crowell] [Live] (04:36)
14. Mr. Bojangles (feat. Jerry Jeff Walker) [Live] (04:43)
15. Fishin’ in the Dark (feat. Jimmy Ibbotson) [Live] (03:53)
16. Bayou Jubilee / Sally Was a Goodun (Live) (03:48)
17. Jambalaya (Live) (03:58)
18. Will the Circle Be Unbroken (Live) (05:18)

Download:

mqs.link_NittyGrittyDirtBandCirclinBackCelebrating50YearsLive2016HDTracks2444.1.rar

Noam Pikelny – Universal Favorite (2017) [HDTracks FLAC 24bit/96kHz]

$
0
0

Noam Pikelny – Universal Favorite (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 42:05 minutes | 713 MB | Genre: Country
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © New Rounder Records

Noam Pikelny has emerged as the preeminent banjoist of his generation. He is a founding member of Punch Brothers, a 3-time Grammy Nominee and was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass in 2010. The new release features only the man himself, playing lovely originals and covers that showcase his unique approach to the instrument and compositional flair. He recorded them live in the studio without accompaniment, coaxing a wide array of sounds and colors out of his instruments, embracing the challenges and exploring the new possibilities of the solo setting. And, for the first time in his career, Pikelny even sings. It turns out he has a striking deadpan baritone that conveys humor and melancholy in equal measure.

The virtuosic Punch Brothers and ex-Leftover Salmon banjo player’s Rounder Records’ debut, and fourth proper solo outing, Universal Favorite sees Noam Pikelny playing the role of one-man band on a set that covers everything from country and bluegrass to jazz and classical. Recorded live in the studio and comprised of seven solo instrumentals and five songs with vocals – a first for Pikelny – the 12-track set is as organic as they come. “Waveland” opens the proceedings with a delicate wash of elliptical, classical-tinged plucking that evokes the Punch Brothers’ more regal moments, while the traditional “Old Banjo” serves as a fine introduction to Pikelny’s uneven, but immensely likeable baritone, which shares some of the earthy resonance of Jake Xerxes Fussel. Pikelny proves himself to be as deft a guitar player as he is a peerless banjoist on a cover of Carl Butler’s “My Tears Don’t Show,” but it’s his trusty five-string that delivers Universal Favorite’s best moments. The three-part closing act, which includes a pair of disparate but wildly inventive instrumentals, and ends with a homey and spirited rendition of Roger Miller’s “I’ve Been a Long Time Leavin’ (But I’ll Be a Long Time Gone),” perfectly encapsulates the album’s simple, rough-hewn charm.

Tracklist:
01 – Waveland
02 – Old Banjo
03 – Sugar Maple
04 – Folk Bloodbath
05 – Hen Of The Woods
06 – My Tears Don’t Show
07 – The Great Falls
08 – Moretown Hop
09 – Sweet Sunny South
10 – Redbud
11 – Bye
12 – I’ve Been A Long Time Leavin’ (But I’ll Be A Long Time Gone)

Download:

mqs.link_NamPikelnyUniversalFavrite2017HDTracks2496.rar


Norah Jones – Covers (2012) [AcousticSounds DSF DSD64/2.82MHz]

$
0
0

Norah Jones – Covers (2012) 
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 36:29 minutes | 1,44 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © Blue Note Records/Analogue Productions
Recorded: 2001-2009; Mastered by Kevin Gray at Cohearent Audio. DSD file created by Gus Skinas from the Analogue Productions SACD cutting masters.

Released exclusively to Target stores in America in January 2013 (it had previously shown up in other territories, either as a bonus disc as part of a career-encompassing box set or as a separate release in Japan), Covers rounds up stray covers Norah Jones has released over the years, adding a couple of unreleased cuts in the process. This runs the gamut from classic country covers to Wilco, taking detours for Tom Waits and Horace Silver along the way (the latter is an especially appealing left turn). Nothing here is especially surprising, either in execution or selection, partially because many of these versions date from earlier in her career, appearing as B-sides and bonus tracks for various editions of Come Away with Me, Feels Like Home, and The Fall. Jones has gotten looser and more adventurous as the years passed, a shift that’s evident when these perfectly pleasant covers are compared to the swinging, earthy Little Willies, but she’s always had immaculate taste and that’s evident throughout this enjoyable, lightweight addendum to her first decade of recording.

Tracklist:
1. Sleepless Nights 4:15
2. I’ll Be Your Baby Tonight 3:18
3. Jesus, Etc. 3:44
4. Sweet Dreams 3:17
5. Cry Cry Cry 3:14
6. Picture In A Frame 3:33
7. Hands On The Wheel (with M. Ward) 4:14
8. She 4:30
9. My Blue Heaven 2:20
10. Peace 3:53

Download:

mqs.link_NrahJnesCvers2012AcusticSundsDSD64.part1.rar
mqs.link_NrahJnesCvers2012AcusticSundsDSD64.part2.rar

Norah Jones – Day Breaks (2016) [HDTracks FLAC 24bit/96kHz]

$
0
0

Norah Jones – Day Breaks (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 48:55 minutes | 1,01 GB | Genre: Jazz, pop
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Blue Note Records

One of music’s most beautiful and critically acclaimed voices returns with a new studio album that finds her returning to her jazz roots. The album is a kindred spirit to the singer’s breakout debut Come Away With Me and finds the 9-time Grammy-winner returning to the piano and her roots. The album features jazz luminaries including her Blue Note label mates saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade on a 12-song set that presents 9 new originals alongside covers of songs by Horace Silver, Duke Ellington and Neil Young.

Norah Jones took liberty with her blockbuster success to set out on a musical walkabout, spending a good portion of the decade following 2004’s Not Too Late experimenting, either on her own albums or on a variety of collaborations. Day Breaks, released four years after the atmospheric adult alternative pop of the Danger Mouse-produced Little Broken Hearts, finds Jones returning home to an extent: it, like her 2002 debut Come Away with Me, is a singer/songwriter album with roots in pop and jazz, divided between originals and sharply selected covers. Such similarities are immediately apparent, but Day Breaks is much slyer than a mere revival. That term suggests a slight air of desperation, but Jones comes from a place of confidence on Day Breaks, happy to demonstrate everything she’s learned over the years. Often, these tricks are deliberately sly: she’ll pair her torchy original “And Then There Was You” with a woozy, bluesy cover of Neil Young’s “Don’t Be Denied” that winds up evoking Come Away with Me, then follow that up with the dense, nocturnal rhythms of “Day Breaks.” She threads in versions of Horace Silver’s “Peace” and Duke Ellington’s “African Flower” while inviting saxophonist Wayne Shorter and organist Lonnie Smith in to play – moves that signal that there’s a strong, elastic jazz undercurrent to Day Breaks that means this record breathes more than her debut. Such a sense of quiet adventure gives the record depth, but what gives it resonance are the exquisitely sculpted songs. Jones’ originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship.

Tracklist:
01 – Burn
02 – Tragedy
03 – Flipside
04 – It’s A Wonderful Time For Love
05 – And Then There Was You
06 – Don’t Be Denied
07 – Day Breaks
08 – Peace
09 – Once I Had A Laugh
10 – Sleeping Wild
11 – Carry On
12 – Fleurette Africaine (African Flower)

Download:

mqs.link_NrahJnesDayBreaks2016HDTracks2496.part1.rar
mqs.link_NrahJnesDayBreaks2016HDTracks2496.part2.rar

Norah Jones – Feels Like Home (2004/2012) [AcousticSounds DSF DSD64/2.82MHz]

$
0
0

Norah Jones – Feels Like Home (2004/2012)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 46:15 minutes | 1,83 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © Blue Note Records/Analogue Productions
Recorded: 2003-2004, Allaire Studios, Avatar Studios, Sear Sound, Sorcerer Sound. Mastered by Kevin Gray at Cohearent Audio from the original analog master tapes!

Part of Analogue Productions’ reissue of the Norah Jones’ solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album is also featured in exclusive LP and SACD box sets that include Norah’s Covers album!

Norah Jones took the world (and the Grammys) by storm with her debut album Come Away With Me. Now, she’s back for one of the most-anticipated follow-ups in recent memory. On Feels Like Home, Jones again teams with producer Arif Mardin, engineer Jay Newland and her close-knit touring band. And her pop, jazz, and country-tinged sound has never been richer.

On Feels Like Home, Jones has written several new songs, gathered a few more from her bandmates and also covered Townes Van Zandt, Tom Waits, Kathleen Brennan and Duke Ellington. Jones plays piano, Wurlitzer electric piano and pump organ and features her stripped-down core group of guitar, background vocals, bass and drums. We needn’t describe Jones’ singing. Everyone recognizes it by now. The arrangements aren’t quite as mellow as Come Away With Me, but the music still centers on country, pop and jazz colors.

“I’m glad that people liked the last album,” Jones said. “It was where I was at the time, musically. This is where I am now. That’s what a recording is for me, like a snapshot. We had so much fun making this record.”

It may be far too obvious to even mention that Norah Jones’ follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But that’s probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting — who knew? Feels Like Home could be seen as “Come Away with Me Again” if not for that fact that it’s actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single “Sunrise,” some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones’ soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit “Don’t Know Why,” they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and that’s what’s going to keep listeners coming back.
What’s surprising here are the bluesy, more jaunty songs that really dig into the country stylings only hinted at on Come Away with Me. To these ends, the infectious shuffle of “What Am I to You?” finds Jones truly coming into her own as a blues singer as well as a writer. Her voice has developed a spine-tingling breathy scratch that pulls on your ear as she rises to the chorus. Similarly, “Toes” and “Carnival Town” — co-written by bassist Lee Alexander and Jones — are pure ’70s singer/songwriting that call to mind a mix of Rickie Lee Jones and k.d. lang. Throw in covers of Tom Waits and Townes Van Zandt along with Duke Ellington’s “Melancholia,” retitled here “Don’t Miss You at All” and featuring lyrics by Jones, and you’ve got an album so blessed with superb songwriting that Jones’ vocals almost push the line into too much of a good thing. Thankfully, there is also a rawness and organic soulfulness in the production that’s refreshing. No digital pitch correction was employed in the studio and you can sometimes catch Jones hitting an endearingly sour note. She also seems to be making good on her stated desire to remain a part of a band. Most all of her sidemen, who’ve worked with the likes of Tom Waits and Cassandra Wilson, get writing credits. It’s a “beauty and the beast” style partnership that harks back to the best Brill Building-style intentions and makes for a quietly experimental and well-balanced album. –AllMusic Review by Matt Collar

Tracklist:
1. Sunrise 03:20
2. What Am I to You? 03:29
3. Those Sweet Words 03:22
4. Carnival Town 03:11
5. In the Morning 04:07
6. Be Here to Love Me 03:29
7. Creepin’ In 03:03
8. Toes 03:46
9. Humble Me 04:34
10. Above Ground 03:42
11. The Long Way Home 03:13
12. The Prettiest Thing 03:51
13. Don’t Miss You At All 03:10

Personnel:
Norah Jones – vocals, piano (1,3,4,6,8,12,13), Wurlitzer electric piano (2,5,10), pump organ (9)
Lee Alexander – bass (1-3, 6-12), acoustic bass (5), electric bass (5), lap steel (12)
Brian Blade – drums (12)
Andrew Borger – drums (5,6,8,10), slit drum (1), box (3,11), snare drum (7)
Levon Helm – drums (2)
Kevin Breit – acoustic guitar (1,3,6,7,11,12), resonator guitar (5,8-10), electric guitar (10), banjolin (1), foot tapping (10), backup vocal (6)
Rob Burger – pump organ (3,7)
David Gold – viola (4)
Garth Hudson – Hammond organ (2), accordion (6)
Adam R. Levy – electric guitar (6,8,10,11), acoustic guitar (5), backup vocal (1,6,7)
Daru Oda – backup vocals (1,2,5-8,10-12), flutes (11)
Dolly Parton – vocal (7)
Jane Scarpantoni- cello (4)
Tony Scherr- electric guitar (2)
Arif Mardin – string arrangement (4)
Jesse Harris – acoustic guitar (3,4)

Download:

mqs.link_NrahJnesFeelsLikeHme20042012AcusticSundsDSD64.part1.rar
mqs.link_NrahJnesFeelsLikeHme20042012AcusticSundsDSD64.part2.rar

Norah Jones – Little Broken Hearts (2012) [AcousticSounds DSF DSD64/2.82MHz]

$
0
0

Norah Jones – Little Broken Hearts (2012)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 45:03 minutes | 1,78 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © Blue Note Records/Analogue Productions
Recorded: 2011, Mondo Studio, Electro Vox Studios, Los Angeles, California; Mastered by Kevin Gray at Cohearent Audio.

Part of Analogue Productions’ reissue of the Norah Jones’ solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall, and …Little Broken Hearts. Each album will also be featured in an exclusive LP box set and an exclusive SACD box set that will include Norah’s Covers album!

Norah Jones’ Little Broken Hearts was created in collaboration with producer Brian “Danger Mouse” Burton, best known as the producing ace for Gnarls Barkley with singer Cee Lo Green. Jones and Danger Mouse wrote all of the material for the album together at the producer’s studio in Los Angeles, and the duo performed all of the instruments themselves. This is their second time working together — Jones previously appeared as a vocalist on Rome, Danger Mouse’s collaboration with Italian composer Daniele Luppi. Though Little Broken Hearts is the result of a partnership between Jones and Danger Mouse, the record will be credited only to her.

The album’s sound ranges from experimental chamber serenades to stark, electronic-embellished confessions. “It’s obviously very different than anything Norah’s ever done,” Burton says. “I don’t know what people will think — I hope they like it, and she doesn’t lose a bunch of fans.”

“I’d never gone in with nothing and wrote songs from scratch, and I’d never played bass before on a record,” Jones told Rolling Stone. “I was out of my comfort zone — but I was comfortable because we’re friends.”

Adds Burton, “The best thing was having just the two of us on those first sessions, not a whole band. Norah had as many, if not more, great ideas than I did.”

One of the boldest departures is “Take It Back,” which features fuzzed-out guitars and spooky, distorted vocals. “I never knew how to get weird sounds,” Jones says. “It was all about finding a balance between those effects and making sure my voice was clear and sounded like me.”

In its own quiet way, Little Broken Hearts hews closer to heartbreak classics like Marvin Gaye’s Here, My Dear than to anything in Jones’ back catalog, Rolling Stone reports, “This time, I’ve been way less concerned with self-editing,” Jones says. “I’m not sad, but there’s a lot of hurt in there. And it felt great to say what I felt and put it down on tape. Doing that made me so happy! This album is all about saying things that needed to be said.”

Exorcizing the ghost of a failed relationship via the time-honored tradition of the breakup album, Norah Jones luxuriates in beautiful misery on Little Broken Hearts. Liberated by the separation but not quite ready to let it go, Jones achieves a curious subdued tension here, dressing unadorned confessionals in softly stylized studio noir created with the assistance of producer Danger Mouse, who collaborated with her the year before on the collective Rome. Seeming opposites — the classicist meets the futurist — Jones and Danger Mouse are well matched, as both artists are not as set in their ways as their individual reputations would suggest. Jones began to drift away from the jazzy sophistication of Come Away with Me when she released the quietly adventurous Not Too Late way back in 2007, the year after Danger Mouse broke into the mainstream via Gnarls Barkley. In the ensuing half decade, the singer/songwriter continued to dabble in different sounds and styles while the producer streamlined his electronic eccentricities, leaving them to meet at the crossroads of Little Broken Hearts, where he wrings out the pathos in her songs. The songs themselves hold little mystery — all motivations are laid bare, there are no twists in the melodies or detours hidden within the structure — so all the mystique derives from a production that amplifies the themes. Occasionally, Danger Mouse piles on his signature murk a little too thickly, weighing down such spare sad songs as “She’s 22” and “Miriam,” yet his aural tapestries often lend the tunes a lilting melancholy they require and add dimension to the album’s poppier moments (“Happy Pills,” “Say Goodbye”). Conversely, by placing so much emphasis on the stylish ever-shifting surfaces of its production, Little Broken Hearts never quite sinks in emotionally. Norah Jones may be pouring her heart out but it’s been given an elegantly detailed sculpture that camouflages her pain. Listen closely and its evident, but it takes effort to ignore the alluring haze and hear the songs that lie beneath. –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1. Good Morning 03:18
2. Say Goodbye 03:27
3. Little Broken Hearts 03:12
4. She’s 22 03:11
5. Take It Back 04:06
6. After The Fall 03:42
7. 4 Broken Hearts 03:00
8. Travelin’ On 03:07
9. Out On The Road 03:29
10. Happy Pills 03:35
11. Miriam 04:25
12. All A Dream 06:29

Personnel:
Norah Jones – vocals (all tracks); guitar (tracks 1, 2, 4); Rhodes (tracks 1, 7); bass (track 2); piano (tracks 2, 4, 5, 7, 9–12); acoustic guitar (tracks 3, 11); electric guitar (tracks 3, 5, 7, 10, 12); Wurlitzer (tracks 2, 5); organ (track 4)
Brian Burton – string arrangements (all tracks); synthesizer (tracks 1–6, 10, 12); organ (tracks 1, 6); acoustic guitar (tracks 1, 8); electric guitar (tracks 2, 3, 5, 7, 9); drums (tracks 2, 3, 5, 7, 10); percussion (track 3); piano (track 6); bass, programming (track 12)
Dan Elkan – electric guitar (track 10)
Jonathan Hischke – bass (track 10)
Heather McIntosh – cello, cello arrangements (tracks 1, 8); bass (track 8)
Blake Mills – electric guitar (tracks 1, 3–7, 9–12); acoustic guitar (tracks 7, 9, 12)
Todd Monfalcone – electric guitar (track 10)
Gus Seyffert – bass (tracks 3, 5–7, 9, 11, 12); backing vocals (track 5); electric guitar (tracks 5, 7)
Sonus Quartet – strings (tracks 5, 6, 11, 12)
Joey Waronker – drums (tracks 6, 7, 9, 11, 12); percussion (tracks 7, 11, 12)

Download:

mqs.link_NrahJnesLittleBrkenHearts2012AcusticSundsDSD64.part1.rar
mqs.link_NrahJnesLittleBrkenHearts2012AcusticSundsDSD64.part2.rar

Byron Janis, Kyril Kondrashin, Moscow Philharmonic Orchestra – Prokofiev, Rachmaninoff (2005) {SACD ISO + FLAC 24bit/88,2kHz}

$
0
0

Byron Janis, Kyril Kondrashin, Moscow Philharmonic Orchestra – Prokofiev, Rachmaninoff (2005)
PS3 Rip | SACD ISO | DST64 2.0 & DST64 3.0 >1-bit/2.8224 MHz | Covers | 2.83 GB
FLAC tracks 2.0 24bit/88.2 kHz | Covers | 1.32 GB
Genre: Classical

Legendary performances, no doubt. Nice sound in the original recording, the processed 3 channel sounds even better. Piano tone is wonderfull, full-bodied and detailed. Nice orchestra perspective.

Tracklist
01. Prokofiev – Piano concerto Nr. 3 op. 26 – Andante – Allegro – 9:02
02. Prokofiev – Piano concerto Nr. 3 op. 26 – Tema con Variazione – 8:56
03. Prokofiev – Piano concerto Nr. 3 op. 26 – Allegro ma non troppo – 8:57
04. Rachmaninoff – Piano concerto Nr. 1 op. 1 – Vivace – 12:01
05. Rachmaninoff – Piano concerto Nr. 1 op. 1 – Andante – 5:35
06. Rachmaninoff – Piano concerto Nr. 1 op. 1 – Allegro vivace – 7:16
07. Prokofiev – Toccata – 4:08
08. Schumann – Variations on a Thema by Clara Wieck (Quasi Variazioni) – 7:21
09. Mendelssohn – Song without words op. 62 Nr. 1 – 2:52
10. Octavio Pinto – Three Scenes from Childhood – Run, Run – 1:18
11. Octavio Pinto – Three Scenes from Childhood – March – 1:06
12. Octavio Pinto – Three Scenes from Childhood – Hobby-Horse – 0:55

Musicians
Moscow Philharmonic Orchestra
Kyril Kondrashin – conductor
Byron Janis – piano

Recorded at Bolshoi Hall, Moscow Conservatory, Moscow: 11/6/1961 (tracks 7, 10 to 12), 8-9/6/1962 (tracks 1 to 3), 13/6/1962 (tracks 4 to 6);
Fine Recording, NYC 24/1/1964 (track 8).

Produced by Wilma Cozart Fine

SACD ISO

mqs.link_MscwPhilharmnicrchestraPrkfievRachmaninff2005SACDIS.part1.rar
mqs.link_MscwPhilharmnicrchestraPrkfievRachmaninff2005SACDIS.part2.rar
mqs.link_MscwPhilharmnicrchestraPrkfievRachmaninff2005SACDIS.part3.rar
mqs.link_MscwPhilharmnicrchestraPrkfievRachmaninff2005SACDIS.part4.rar

FLAC 24bit/88,2kHz

mqs.link_MscwPhilharmnicrchestraPrkfievRachmaninff2005FLAC2488.part1.rar
mqs.link_MscwPhilharmnicrchestraPrkfievRachmaninff2005FLAC2488.part2.rar

Sharon Bezaly – Mozart: Flute Concertos (2005) {SACD ISO + FLAC 24bit/88,2kHz}

$
0
0

Sharon Bezaly – Mozart: Flute Concertos (2005) 
PS3 Rip | SACD ISO | DST64 2.0 & DST64 5.0 >1-bit/2.8224 MHz | Covers | 2.58 GB
FLAC tracks 2.0 24bit/88.2 kHz | Covers | 971 MB
Genre: Classical

Izrael-born Sharon Bezaly (who now lives in Sweden) has rightly risen to the top of her field with silky performances like this one which seemed universally rated highly by the music press (Gramophone, ClassicsToday, etc). Her repertoire extends to many Scandanavian composers who have written several flute concertos for her marvelously refined technique (she was a student of Aurele Nicolet). On this recording she plays a 24k instrument custom-made for her by Muramatsu Japan.

Tracklist

Flute Concerto No.1 in G major, KV. 313 (K. 285c)
01 1. Allegro maestoso 8:16
02 2. Adagio ma non troppo 8:33
03 3. Rondo. Tempo di Minuetto 6:57
04. Andante for flute & orchestra in C major, KV. 315 (K. 285e) 6:37
05. Rondo for flute & orchestra in D major, K. 373 5:56

Flute Concerto No. 2 in D major, K. 314 (K. 285d)
06 1. Allegro aperto 7:22
07 2. Adagio ma non troppo 6:23
08 3. Rondeau. Allegro 5:53

Musicians
Sharon Bezaly – flute
Ostrobothnian Chamber Orchestra
Juha Kangas – conductor

SACD ISO

mqs.link_MzartFluteCncertsSharnBezaly2005SACDIS.part1.rar
mqs.link_MzartFluteCncertsSharnBezaly2005SACDIS.part2.rar
mqs.link_MzartFluteCncertsSharnBezaly2005SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_MzartFluteCncertsSharnBezaly2005FLAC2488.part1.rar
mqs.link_MzartFluteCncertsSharnBezaly2005FLAC2488.part2.rar

Andrew Manze, The English Concert – Mozart: Night Music (2003) SACD ISO

$
0
0

Wolfgang Amadeus Mozart – Night Music – Andrew Manze, The English Concert (2003)
Classical, Orchestral | SACD ISO: DSD64 2.0, DST64 5.1 > 1-bit/2.8224 MHz | Artwork | 3.35 GB
Label: Harmonia Mundi | Release Year: 2003

The title of this exceptional disc, “Night Music”, should not be taken to mean that the performances are in any way dark, mysterious, droopy, sluggish, or otherwise conventionally “nocturnal”. Rather, the term evokes its 18th century musical meaning: a time for fun, relaxation, parties, entertainment both indoors and out, and of course, romance. Indeed, “Romantic” is perhaps the best way to describe these virtuosic, impulsive, and extravagantly expressive performances by the inimitable Andrew Manze and his team of crack “authentic-instrument” players.

Eine kleine Nachtmusik kicks off the evening in zesty style, with slashing attacks and a powerful sense of forward impetus: no effete mincing here. Manze’s subtle tempo modifications (listen to the opening movement’s very first piano phrase for an excellent example) and underlining of phrases bespeaks great care and preparation, but he never veers over the top into mannerism. The richly expressive Romance, lively minuet, and dazzlingly swift finale offer a fresh take on music that you’ve probably heard a million times–and thoroughly justifies listening to performance number one million and one. The same holds true for the Serenata notturna, where the addition of timpani gives the music grandeur as well as charm. The finale, with its “Hallelujah” Chorus interjections, makes a particularly bold and unforgettable impression in this performance.
Coming last, Manze and team offer what strikes me as the finest performance of A Musical Joke ever recorded. Certainly, the work makes its points if you play it “straight”, but Manze takes the lunacy to a whole new level. First of all, he understands that in this work the two horns are the musical equivalent of dangerous weapons. In the second half of the minuet’s “A” section, for example, he has the horns play correct harmony, only switching to Mozart’s foul original at the repeat, where everyone slows down in disbelief at the atrocious results and the ensemble begins to fall apart in shock. It’s hilarious and entirely in keeping with the spirit of the piece. Similarly, his solo turns in the same movement’s trio and his psychotic take on the slow movement’s cadenza offer laughs that never turn crude but remain perfectly believable examples of incompetent excess. The finale flies by at a frantic pace–and goes completely insane at the end. It’s an absolutely brilliant performance in every respect.

Adding to the attractions of the major work is a remarkably intense performance of the grim Adagio and Fugue in C minor K. 546, featuring a gratifyingly firm bottom to the string orchestra, while the tiny Menuet and Trio in C K. 485a serves as a palate-cleaning interlude between the former piece and the Serenata. Whether you listen in SACD surround or conventional stereo, you will be rewarded with supremely natural, tactile, and warmly focused recorded sound. Excellent internal balances, rich bass, and an open but never shrill top project the music so that nothing comes between you and a visceral experience of the music itself. Certainly this is one of the most memorable Mozart discs to appear in many years. Essential!

Tracklist:
Serenade in G major, K. 525 Eine kleine Nachtmusik (A Little Night Music)
1. I. Allegro – 7:45
2. II. Romance: Andante – 5:39
3. III. Menuetto & Trio – 2:09
4. IV. Rondo: Allegro – 5:17
Adagio & Fugue in C minor, K. 546
5. Adagio – 3:10
6. Fugue – 3:48
Menuet in C major, K. 485a
7. Menuet & Trio – 2:20
Serenade in D major, K. 239 Serenata Notturna
8. I. Marcia: Maestoso – 4:17
9. II. Menuetto & Trio – 4:44
10. III. Rondeau: Allegretto – 4:41
Ein musikalischer Spass, K. 522 (A Musical Joke)
11. I. Allegro – 4:49
12. II. Menuetto (Maestoso) & Trio – 7:19
13. III. Adagio cantabile -6:48
14. IV. Presto – 4:09

SACD ISO

mqs.link_MZARTNightMusicTheEnglishCncertAndrewManzeSACD.part1.rar
mqs.link_MZARTNightMusicTheEnglishCncertAndrewManzeSACD.part2.rar
mqs.link_MZARTNightMusicTheEnglishCncertAndrewManzeSACD.part3.rar
mqs.link_MZARTNightMusicTheEnglishCncertAndrewManzeSACD.part4.rar


Mozart Piano Quartet – Mozart: Piano Quartets (2009) {SACD ISO + FLAC 24bit/88,2kHz}

$
0
0

Mozart Piano Quartet – W.A. Mozart: Piano Quartets Nos. 1 & 2 (2009)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 66:36 minutes | F/B Covers | 3,49 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | F/B Covers | 1,11 GB
Features Stereo and Multichannel surround sound | MDG # 943 1579-6 | Genre: Classical

The Mozart Piano Quintet was founded in 2000 and has been catapulted to the top echelon of the international music world. Their previous recordings on MDG have all been well received. This recording is one of MDG’s best 2+2+2 recordings & all details are clearly audible with a placing of the listener in the best seat of a very fine chamber hall. Enthusiastically recommended.

Founding Father
Today Mozart’s piano quartets (KV 478 and KV 493) rank not only as the highlights of his piano oeuvre but also as the founding documents of this musical genre. No doubt about it: these works offer the Mozart Piano Quartet a special opportunity for paying homage to their musical patron in the best MDG quality. Two hundred years ago, however, the public and press found such music difficult to grasp.

String Upgrade
During the second half of the eighteenth century piano chamber music either was extremely easy, that is, was intended for amateurs, or involved virtuoso works in which the strings served merely to accompany the pianist’s brilliant keyboard display. Mozart developed a “new style.” He significantly upgraded the parts of the string instrumentalists, suddenly making them the pianist’s equal partners.

Perplexed Publisher
The G minor quartet was particularly difficult for the public to digest. The stormy and richly contrastive beginning was an initial source of irritation, and then Mozart presented the foundational ideas of his composition with an intensity rare even in Beethoven. Then came the rondo with its confusing panoply of themes. The E flat major quartet made a much more favorable impression, but the publisher Hoffmeister did not find it easy to market. It had been agreed that Mozart was to write a third piano quartet, but his publisher then said he could wait on it.

Top Echelon
Within the shortest time the Mozart Piano Quintet, founded in 2000, has been catapulted to the top echelon of the international music world. This is hardly surprising inasmuch as four international soloists and finalists and first-prize winners at many international competitions form its instrumental lineup: Paul Rivinius (piano), Mark Gothoni (violin), Hartmut Rohde (viola), and Peter Hörr (violoncello). Their interest in new repertoire makes them an ideal MDG partner.

Tracklist:
01. Quartet KV 478 for Piano, Violin, Viola and Violoncello in G minor – Allegro
02. Quartet KV 478 for Piano, Violin, Viola and Violoncello in G minor – Andante
03. Quartet KV 478 for Piano, Violin, Viola and Violoncello in G minor – Rondo. Allegro moderato
04. Quartet KV 493 for Piano, Violin, Viola and Violoncello in E flat major – Allegro
05. Quartet KV 493 for Piano, Violin, Viola and Violoncello in E flat major – Larghetto
06. Quartet KV 493 for Piano, Violin, Viola and Violoncello in E flat major – Allegretto

SACD ISO

mqs.link_MzartPianQuartetW.A.Mzart.PianQuartets2009SACDIS.part1.rar
mqs.link_MzartPianQuartetW.A.Mzart.PianQuartets2009SACDIS.part2.rar
mqs.link_MzartPianQuartetW.A.Mzart.PianQuartets2009SACDIS.part3.rar
mqs.link_MzartPianQuartetW.A.Mzart.PianQuartets2009SACDIS.part4.rar

FLAC 24bit/88,2kHz

mqs.link_MzartPianQuartetW.A.Mzart.PianQuartets2009FLACStere2488.2.part1.rar
mqs.link_MzartPianQuartetW.A.Mzart.PianQuartets2009FLACStere2488.2.part2.rar

Netherlands Philharmonic Orchestra, Marc Albrecht – Brahms: Piano Quartet Op.25; Schonberg (2015) {SACD ISO + FLAC 24bit/88,2kHz}

$
0
0

Netherlands Philharmonic Orchestra , Marc Albrecht – Brahms: Piano Quartet Op.25; Schönberg (2015)
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 50:33 minutes | Digital booklet | 2,62 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Digital booklet | 903 MB
or DSF Stereo DSD64/2.82MHz  | Time – 51:03 minutes | 2,01 GB
Features Stereo and Multichannel surround sound | PentaTone # PTC 5186398 | Genre: Classical

The label Pentatone issues a new recording featuring conductor Marc Albrecht and the Netherlands Philharmonic Orchestra presenting Brahms’ Piano Quartet for violin, alto, cello and piano in g minor op. 25 in the orchestration by Arnold Schöenberg. Schöenberg orchestrated the quartet during his exile in California following a commission by Otto Klemperer who premiered it with the Los Angeles Philharmonic Orchestra. It is more of a re-writing than an arrangement, giving to Brahms’ music a flamboyant and glorious sound: Marc Albrecht’s account is joyful and refreshing, rich in dynamics with fast and brisk tempos that turn the famous final Rondo alla zingarese in a breathtaking orchestral firework.

A real gem serve as a fill up of this CD: it is the Accompaniment to a cinematographic scene a nine minutes piece, seldom performed and seldom recorded, written by Schöenberg in 1929, upon request of the publisher Heinrichshofen. Marc Albrecht successfully brings to life the sense of imminent catastrophe that pervades this music; a catastrophe set to begin with Hitler becoming chancellor of the Reich after the 1933 elections after which the composer emigrated to US. It is an enigmatic piece worthy to be listened, which deserves to be list among Schöenberg’s masterpieces, which finds in this recording a wonderful interpretation.

Tracklist:
01. Johannes Brahms: Piano Quartet Op. 25, Orchestrated by Arnold Schönberg – Allegro
02. Johannes Brahms: Piano Quartet Op. 25, Orchestrated by Arnold Schönberg – Intermezzo – Allegro ma non troppo
03. Johannes Brahms: Piano Quartet Op. 25, Orchestrated by Arnold Schönberg – Andante con moto
04. Johannes Brahms: Piano Quartet Op. 25, Orchestrated by Arnold Schönberg – Rondo alla zingarese – Presto
05. Arnold Schönberg: Begleitmusik zu einer Lichtspielszene (Accompaniment to a cinematographic scene)
Recorded at the NedPhO-Koepel in Amsterdam, in August 2014.
Netherlands Philharmonic Orchestra, Conducted by Marc Albrecht.

SACD ISO

mqs.link_NetherlandsPMarcAlbrechtBrahms.PianQuartetp.25Schnberg2015SACDIS.part1.rar
mqs.link_NetherlandsPMarcAlbrechtBrahms.PianQuartetp.25Schnberg2015SACDIS.part2.rar
mqs.link_NetherlandsPMarcAlbrechtBrahms.PianQuartetp.25Schnberg2015SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_NetherlandsPMarcAlbrechtBrahms.PianQuartetp.25Schnberg2015FLACStere2488.2.rar

Nicholas Gunn – Through The Great Smoky Mountains (2002) {SACD ISO + FLAC 24bit/88,2kHz}

$
0
0

Nicholas Gunn – Through the Great Smoky Mountains: A Musical Journey (2002)
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 48:24 minutes | Scans included | 2,73 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,04 GB
Genre: New Age

Nicholas Gunn, also known as Nick Gunn, is a classically trained musician and music producer. He is a Top-Ten Billboard charting musician known for his instrumental works under Nicholas Gunn and his EDM (Electronic Dance Music) works.

This inventive, beautifully melodic composer, flutist, keyboardist, and producer has made nature appreciation a true art form. He launched his career a decade ago with Afternoon in Sedona and has recorded incredibly lush sonic interpretations of the Southwest and Grand Canyon since then. His national park itinerary moves east to Tennessee this time, where he’s inspired once again to create an impressionistic travelogue of tribal rhythms, dreamy atmospheres, and hypnotic melodies, spiced with evocative nature sounds, all in the service of telling tales of the Great Smokies’ ancestral past with an eye toward their future preservation (he’s donating ten percent of the proceeds to the Natural History Association to help preserve the park’s beauty). Good thing he provides a lush road map in the form of lovely photography and a liner-note explanation for each track, because the music sounds much like his Southwest tomes, with a little more musical mist (to reflect that atop the mountains) and a little less Native Americanisms. It’s an enjoyable ride nonetheless, beginning with “Call of the Wild,” dedicated to the rare red wolf and moving from soft and gentle to aggressive and primal, with Gunn weaving his flute through a forest of nature sounds and thick percussion. “The Highest Point” is illustrated with building musical drama as listeners are urged to climb up to Clingman’s Dome and take a deep breath. The deeply reflective “Chieftain’s Song” is an ode to the Scottish-Irish settlers of centuries past, while “The Place of Blue Smoke” combines gentle morning mist and a rumbling distant thunderstorm. The cricket-enhanced “Azalea Sunrise” is an ample showcase for the graceful work of guest guitarist John Bishoff. Gunn’s journeys are the new age listener’s joyful gain.

Tracklist:
01. Call of the Wild
02. The Highest Point
03. Cades Cove
04. Chieftan’s Song
05. The Place of Blue Smoke
06. Azaela Sunrise
07. Trail of Tears
08. Awakening
09. Ramsey Cascades
10. Passage Through Ancient Relics
11. Dance of Light

SACD ISO

mqs.link_NichlasGunnThrughTheGreatSmkyMuntains2002SACDIS.part1.rar
mqs.link_NichlasGunnThrughTheGreatSmkyMuntains2002SACDIS.part2.rar
mqs.link_NichlasGunnThrughTheGreatSmkyMuntains2002SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_NichlasGunnThrughTheGreatSmkyMuntains2002FLACStere2488.2.part1.rar
mqs.link_NichlasGunnThrughTheGreatSmkyMuntains2002FLACStere2488.2.part2.rar

Nightwish – From Wishes To Eternity – Live (2001/2004) SACD ISO

$
0
0

Nightwish – From Wishes To Eternity – Live (2001/2004)
PS3 Rip | SACD ISO | DSD64 2.0, 5.1 > 1-bit/2.8224 MHz | 1:07:20 minutes | All Scans included | 3,38 GB | Genre: Metal

On 1 March 2004 Drakkar released From Wishes to Eternity as SACD, a hybrid disc which can be played on normal CD players while SACD players give higher fidelity.The instrumental song “Crimson Tide, Deep Blue Sea” and “FantasMic” had to be removed from the track list to fit the concert on the disc. Later in 2004, the SACD version won the Gold Disc in Finland with more than 20,000 copies sold.

Tracklist

1. The Kinslayer [04:14]
2. She Is My Sin [04:51]
3. Deep Silent Complete [04:21]
4. The Pharaoh Sails To Orion [06:39]
5. Come Cover Me [04:44]
6. Wanderlust [04:47]
7. Swanheart [03:59]
8. Elvenpath [04:50]
9. Dead Boy’s Poem [06:52]
10. Sacrament Of Wilderness [05:06]
11. Walking In The Air [05:10]
12. Beauty & The Beast [06:40]
13. Wishmaster [05:00]

SACD ISO

mqs.link_NIGHTWISHFrmWishesTEternityLive20012004SACDIS.part1.rar
mqs.link_NIGHTWISHFrmWishesTEternityLive20012004SACDIS.part2.rar
mqs.link_NIGHTWISHFrmWishesTEternityLive20012004SACDIS.part3.rar
mqs.link_NIGHTWISHFrmWishesTEternityLive20012004SACDIS.part4.rar
mqs.link_NIGHTWISHFrmWishesTEternityLive20012004SACDIS.part5.rar

Nikolaus Harnoncourt, Wiener Philharmoniker – Anton Bruckner: Symphony No. 5 (2004) {SACD ISO + FLAC 24bit/88,2kHz}

$
0
0

Nikolaus Harnoncourt, Wiener Philharmoniker – Bruckner: Symphony No.5 in B flat WAB 105 (2004)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 73:06 minutes | Covers & PDF Booklet | 4,34 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Covers & PDF Booklet | 1,28 GB
Live Recording / Features Stereo and Multichannel surround sound | Genre: Classical

The word ‘vision’ is much misused these days yet to talk of Nikolaus Harnoncourt’s ‘view’ of Bruckner’s Fifth won’t quite do. This is more a realisation than an interpretation, musically vivid but spiritually serene.

I’ve seen it said that the real Bruckner is to be found in his themes, not his developments; that he was an embodier rather than a seeker. Not the least remarkable feature of Harnoncourt’s performance is his refusal to manipulate the structure of the long outer movements – the transitions in particular. This is risky. Scholars worry about what they call ‘disjunction’; so do conductors and listeners. I confess that after first hearing the performance I was more than happy to turn to Franz Welser-Möst’s more theatrical, structurally explicit reading, recorded live with the London Philharmonic in Vienna’s Konzerthaus during the 1993 Whitsun holiday.

Harnoncourt, however, drew me back to his serene – I suspect Baroque-inspired – view of this ‘Symphony of Faith’. Serene but now slow. By the clock, this is one of the quickest Fifths on record, though only the Adagio is taken more swiftly than usual. It was here that Bruckner began the symphony in the pit of despair in 1875 with a keening oboe melody which he marked ‘Sehr langsam’ but scored alla breve. Harnoncourt treats it allegretto after the manner of a threnody by Bach or Mozart, whose Requiem is quoted during the course of the movement. Furtwängler, surprisingly, took a similar view of the movement, as does Welser-Möst.

The ‘liveness’ of the live performance owes much to Harnoncourt – his persona fuelling the music-making not the concept, which is as it should be – though the superlative playing of the Vienna Philharmonic is also a factor. The light-fingered realisation of the exquisite string traceries is a constant source of wonder; tuttis are glowing and unforced. The hall of the Musikverein helps, too; with an audience present it offers a uniquely natural-sounding Bruckner acoustic.

Tracklist:

01. Satz: Introduction: Adagio – Allegro
02. Satz: Adagio. Sehr langsam
03. Satz: Scherzo. Molto vivace (Schnell) – Trio. Im gleichen Tempo
04. Satz: Finale: Adagio – Allegro moderato

Produced by Martin Sauer. Engineered by Michael Brammann
Edited & Surround Mix foe SACD by Philipp Knop
Recorded on June 7-14, 2004 at Musikverein, Vienna, Austria.

SACD ISO

mqs.link_NiklausHarnncurtWPBruckner.SymphnyN.52004SACDIS.part1.rar
mqs.link_NiklausHarnncurtWPBruckner.SymphnyN.52004SACDIS.part2.rar
mqs.link_NiklausHarnncurtWPBruckner.SymphnyN.52004SACDIS.part3.rar
mqs.link_NiklausHarnncurtWPBruckner.SymphnyN.52004SACDIS.part4.rar
mqs.link_NiklausHarnncurtWPBruckner.SymphnyN.52004SACDIS.part5.rar

FLAC 24bit/88,2kHz

mqs.link_NiklausHarnncurtWPBruckner.SymphnyN.52004FLACStere2488.2.part1.rar
mqs.link_NiklausHarnncurtWPBruckner.SymphnyN.52004FLACStere2488.2.part2.rar

Viewing all 64033 articles
Browse latest View live


<script src="https://jsc.adskeeper.com/r/s/rssing.com.1596347.js" async> </script>