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Edith Piaf – Complete Recordings (2015) [Qobuz FLAC 24bit/96kHz]

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Edith Piaf – Complete Recordings (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 08:10:35 minutes | 4,59 GB | Genre: Vocal, French Pop
Studio Master, Official Digital Download  – Source: Q0buz | Artwork: Front cover  |@ BNF Collection

Édith Piaf (born Édith Giovanna Gassion) was a French cabaret singer, songwriter and actress who became widely regarded as France’s national chanteuse, as well as being one of France’s greatest international stars. Her music was often autobiographical with her singing reflecting her life, with her specialty being of chanson and torch ballads, particularly of love, loss and sorrow. Since her premature death in 1963 and with the aid of several biographies and films including 2007’s Academy Award winning La Vie en rose, Piaf has cultivated a legacy as one of the greatest performers of the 20th century, and her voice and music continues to be celebrated globally.

Tracklist:
01 – La vie en rose
02 – Hymne à l’amour
03 – Non, je ne regrette rien
04 – La foule
05 – Mon manège à moi
06 – Padam padam…
07 – Milord
08 – Sous le ciel de Paris
09 – L’homme à la moto
10 – Mon légionnaire
11 – L’accordéoniste
12 – Fais-moi valser
13 – ‘Chand d’habits
14 – J’suis mordue
15 – L’étranger
16 – Mon amant de la coloniale
17 – Va danser
18 – Entre Saint-Ouen et Clignancourt
19 – J’entends la sirène
20 – Le mauvais matelot
21 – Un jeune homme chantait
22 – C’est lui que mon cœur a choisi
23 – Le fanion de la Légion
24 – Les marins, ça fait des voyages
25 – Elle fréquentait la rue Pigalle
26 – Je n’en connais pas la fin
27 – Le petit monsieur triste
28 – L’escale
29 – C’etait un jour de fête
30 – J’ai dansé avec l’amour
31 – J’ai qu’à l’regarder
32 – Un coin tout bleu
33 – De l’autre côté de la rue
34 – Le disque usé
35 – Un coup de grisou
36 – C’est toujours la même histoire
37 – Un monsieur me suit dans la rue
38 – Y’a pas d’printemps
39 – Celui qui ne savait pas pleurer
40 – Il riait
41 – Monsieur Saint-Pierre
42 – Les trois cloches
43 – Mariage (From “Étoile sans lumière”)
44 – Le geste
45 – Les cloches sonnent
46 – Si tu partais
47 – Sophie
48 – Une chanson à trois temps
49 – Amour du mois de mai
50 – Les amants de Paris
51 – Bal dans ma rue
52 – Chante-moi
53 – Du matin jusqu’au soir
54 – Jezebel
55 – Noël de la rue
56 – Télégramme
57 – Au bal de la chance
58 – Je t’ai dans la peau
59 – Mon ami m’a donné
60 – Monsieur et madame
61 – Bravo pour le clown !
62 – Et moi…
63 – Heureuse
64 – Jean et Marine
65 – Johnny tu n’es pas un ange
66 – L’effet qu’tu m’fais
67 – Les amants de Venise
68 – Les croix
69 – N’y va pas Manuel
70 – Pour qu’elle soit jolie ma chanson (From “Boum sur Paris)
71 – Soeur Anne
72 – Avec ce soleil
73 – Enfin le printemps
74 – La goualante du pauvre Jean
75 – Le ça ira
76 – L’homme au piano
77 – Mea Culpa
78 – Retour
79 – C’est à Hambourg
80 – Miséricorde
81 – Toi qui sais
82 – Un grand amour qui s’achève
83 – Avant nous
84 – Et pourtant
85 – Les amants d’un jour
86 – Marie la française
87 – Soudain une vallée
88 – Une dame
89 – Comme moi
90 – Les grognards
91 – Les prisons du roy
92 – Opinion publique
93 – Salle d’attente
94 – C’est un homme terrible
95 – Fais comme si (From “Les amants de demain”)
96 – Je me souviens d’une chanson
97 – Le ballet des cœurs
98 – Le gitan et la fille
99 – Les orgues de barbarie
100 – Tatave
101 – Un étranger
102 – Je sais comment
103 – T’es beau, tu sais
104 – Boulevard du crime
105 – C’est l’amour
106 – Cri du cœur
107 – Eden Blues
108 – Je suis à toi
109 – La belle histoire d’amour
110 – La vie, l’amour
111 – La ville inconnue
112 – Le vieux piano
113 – Les amants merveilleux
114 – Les flons flons du bal
115 – Les mots d’amour
116 – Mon Dieu
117 – Ouragan
118 – C’est peut-être ça
119 – Dans leur baiser
120 – Exodus
121 – Faut pas qu’il se figure
122 – Le billard électrique
123 – Marie trottoir
124 – Qu’il était triste cet anglais
125 – Ça fait drôle
126 – Carmen’s Story
127 – Emporte-moi
128 – Fallait-il
129 – Le petit brouillard
130 – Les amants de Teruel (From “Les amants de Teruel”)
131 – Musique à tout va
132 – On cherche un Auguste
133 – Polichinelle
134 – Quatorze juillet (From “Les amants de Teruel”)
135 – Toi, tu l’entends pas
136 – Une valse
137 – À quoi ça sert l’amour
138 – Toi qui disais (Live)
139 – Les blouses blanches (Live)
140 – T’es l’homme qu’il me faut (Live)
141 – Mon vieux Lucien (Live)
142 – Le diable de la Bastille (Live)
143 – Le droit d’aimer (Live)
144 – Roulez tambours (Live)
145 – C’était pas moi (Live)
146 – J’en ai tant vu (Live)
147 – Le chant d’amour (Live)
148 – Margot cœur gros (Live)
149 – Monsieur incognito (Live)
150 – Tiens v’la un marin (Live)

Download:

mqs.link_EdithPiafCmpleteRecrdings2015Qbuz2496.part1.rar
mqs.link_EdithPiafCmpleteRecrdings2015Qbuz2496.part2.rar
mqs.link_EdithPiafCmpleteRecrdings2015Qbuz2496.part3.rar
mqs.link_EdithPiafCmpleteRecrdings2015Qbuz2496.part4.rar
mqs.link_EdithPiafCmpleteRecrdings2015Qbuz2496.part5.rar


Emily West – All For You (2015) [HDTracks FLAC 24bit/48kHz]

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Emily West – All For You (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 37:13 minutes | 433 MB | Genre: Pop
Studio Master, Official Digital Download  – Source: HDTracks | @ Portrait/Sony Masterworks

Emily West’s first release with Sony Masterworks, and her first after finishing as runner-up on the 2014 season of America’s Got Talent, All for You opens with a refined cover of Sia’s “Chandelier,” a song she performed on the talent competition show. Other covers from the show include the Moody Blues’ “Nights in White Satan,” the Phil Phillips classic “Sea of Love,” and Roy Orbison’s “You Got It.” Tenderly delivered, and mostly piano/keys- and strings-accompanied ballads, West leaves behind the country of her early releases and opts for a more classic pop vocal delivery. She’s joined by Cyndi Lauper on a duet version of “True Colors,” and the album’s four original tunes include the Billie Holiday-haunted “Fallen,” co-written with K.S. Rhoads (Kris Allen, Katie Herzig). –AllMusic Review by Marcy Donelson

Tracklist:
1 Chandelier 03:49
2 Nights in White Satin 04:42
3 Bitter 03:19
4 Without You 03:48
5 Sea of Love 03:17
6 Glorianna 04:44
7 Battles 02:57
8 You Got It 04:03
9 True Colors 03:48
10 Fallen 02:46

Personnel:
Emily West – Vocals, Vocals (Background)
Stanton Adcock – Guitar (Electric)
John Angier – Keyboards, String Arrangements
Eleonore Denig, Charles Dixon – Viola
Alicia Enstrom, Elizabeth Estes – Violin
Betsy Lamb – Viola
Cyndi Lauper – Dulcimer, Featured Artist, Vocals
Jeremy Lister, Richie Lister – Vocals (Background)
Natalie Lurie – Harp
Emily Nelson, Matt Nelson – Cello
Gunnar Olsen – Drums
Dustin Ransom – Bass (Electric), Celeste, Drum Programming, Drums, Dulcimer, Fender Rhodes, Guitar, Guitar (Electric), Omnichord, Organ, Percussion, Piano, Producer, String Arrangements, Synthesizer, Timpani, Vocals (Background), Zither
K.S. Rhoads – Guitar (Acoustic), Piano, Vocals (Background)
Peter Zizzo – Drum Programming

Download:

mqs.link_EmilyWestAllFrYu2015HDTracks2448.rar

Eric Clapton – I Still Do (2016) [HighResAudio FLAC 24bit/192kHz]

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Eric Clapton – I Still Do (2016)
FLAC (tracks) 24-bit/192 kHz | Time – 54:13 minutes | 2,02 GB | Genre: Blues Rock
Studio Master, Official Digital Download – Source: highresaudio | Artwork: Front cover | @ Polydor

Music legend Eric Clapton has reunited with famed producer Glyn Johns for his 23rd studio album “I Still Do”. Clapton and Johns who has also produced albums for The Eagles, The Rolling Stones, Led Zeppelin and The Who most famously worked together on Clapton’s iconic Slowhand album, which is RIAA-certified 3x-platinum and topped charts globally. The 12-track record includes some original songs written by Clapton. This album follows his last release, the 2014 chart-topping “Eric Clapton & Friends: The Breeze, An Appreciation of JJ Cale”.

Reuniting with producer Glyn Johns, the steady hand who guided Slowhand back in 1977, doesn’t provide Eric Clapton with much of a jolt for his 23rd studio album, but it does provide the veteran guitarist with no small degree of nicely weathered warmth. Such mellowed good vibes are the calling card of I Still Do, which otherwise proceeds along the same path Clapton’s records follow in the 21st century: he blends covers of well-worn blues standards with a couple of J.J. Cale tunes, a few old pop standards, a Bob Dylan chestnut, and original songs that draw upon aspects of all of these. “Spiral” and “Catch the Blues,” the two EC originals that anchor the middle of the album, are handsomely crafted tunes that complement the rest of the record; they don’t draw attention to themselves but rather show how hard “Cypress Grove” swings and how “Alabama Woman Blues” crawls, and reveal the lightness of “I Dreamed I Saw St. Augustine” and “Little Man, You’ve Had a Busy Day.” Although “I’ll Be Seeing You” ends I Still Do on a bit of a wistful note, this album is neither melancholy nor some kind of summation. It is simply Clapton being Clapton, enjoying the company of his longtime band and songs he’s loved, and here he’s fortunate enough to be produced by Johns, whose expert touch gives this weight and color absent from the otherwise amiable Old Sock. That’s enough to give I Still Do some resonance because Johns focuses not on the songs but the interplay: it’s not a vibe record so much as it’s an album about the interplay of old pros who still get a kick playing those same old changes years after they’ve become second nature.

Tracklist:
01 – Alabama Woman Blues
02 – Can’t Let You Do It
03 – I Will Be There
04 – Spiral
05 – Catch The Blues
06 – Cypress Grove
07 – Little Man, You’ve Had A Busy Day
08 – Stones In My Passway
09 – I Dreamed I Saw St. Augustine
10 – I’ll Be Alright
11 – Somebody’s Knockin’
12 – I’ll Be Seeing You

Download:

mqs.link_EricClaptnIStillD2016HRA24192.part1.rar
mqs.link_EricClaptnIStillD2016HRA24192.part2.rar
mqs.link_EricClaptnIStillD2016HRA24192.part3.rar

Esperanza Spalding – Emily’s D+Evolution {Deluxe Edition} (2016) [PonoMusic FLAC 24bit/96kHz]

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Esperanza Spalding – Emily’s D+Evolution (2016) [Deluxe Edition]
FLAC (tracks) 24-bit/96 kHz | Time – 59:22 minutes | 1,35 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: Pono Music | Artwork: Front cover | @ Concord Records

Esperanza Spalding presents her latest project Emily’s D+Evolution a rekindling of her childhood interest in theater, poetry and movement, which delves into a broader concept of performance. Taking a new approach to her on-stage persona, the remarkable Spalding taps into new creative energy, delivering musical vignettes inspired during a “sleepless night of full moon inspiration”. As she puts it, “Emily is my middle name, and I’m using this fresh persona as my inner navigator. This project is about going back and reclaiming un-cultivated curiosity, and using it as a compass to move forward and expand. My hope for this group is to create a world around each song, there are a lot of juicy themes and stories in the music. We will be staging the songs as much as we play them, using characters, video, and the movement of our bodies”.

On previous albums, Grammy-winning bassist and vocalist Esperanza Spalding dived into jazz standards, Brazilian rhythms, and sophisticated, harmonically nuanced R&B. But with her 2016 album, Emily’s D+Evolution, she takes an entirely different approach. A concept album revolving around a central character named Emily (Spalding’s middle name), Emily’s D+Evolution is not a jazz album – though jazz does inform much of the music here. Instead, Spalding – who also co-produced the album alongside legendary producer Tony Visconti (David Bowie) – builds the release largely around angular, electric guitar-rich prog rock, kinetic, rhythmically rich jazz fusion, and lyrically poetic pop. Of course, Spalding’s version of pop is never predictable, always harmonically inventive, and frequently imbued with as many improvisational moments as possible within the boundaries of a given song. But relative to her previous releases, this is still a significant shift. Helping to bring Emily’s D+Evolution to life is a band Spalding put together specifically for this project, including guitarist Matthew Stevens, drummer Karriem Riggins, keyboardist Corey King, and others. Conceptually, the character of Emily represents Spalding as a young girl, and works as a conduit through which she explores and unpacks complex ideas about life, love, sex, race, education, and the creative process. While it would be reductive to call Emily’s D+Evolution a retro album, Spalding’s harmonic and melodic content and production aesthetics definitely have a ’70s quality. Cuts like “Earth to Heaven” and “Noble Nobles” bring to mind the forward-thinking sound of singer/songwriter Joni Mitchell’s work with jazz artists like Wayne Shorter and Jaco Pastorius, whose liquid bass style is an obvious antecedent to Spalding’s approach here. While Spalding never sounds anything less than original on the album, part of the beauty here is in recognizing her inspirations and reveling in how she has made them her own. “Elevate or Operate” sounds like a serpentine Steely Dan melody, sung with Valkyrian agility over a strident, Dr. Dre-friendly militaristic beat. Similarly, “One” brings to mind Mitchell’s soaring vocal style, set against a Greek chorus of harmonized backing vocals and accented by Stevens’ cascading guitar lines, like something John McLaughlin would do with Mahavishnu Orchestra. Elsewhere, tracks like “Good Lava” and “Funk the Fear” reveal Spalding’s swaggering, inner rock goddess and sound like a fantasy collaboration between Frank Zappa and Jimi Hendrix. While Spalding has long been a virtuoso bassist and commanding, lithe vocalist, she’s developed into a gifted songwriter with a poet’s sense for imagistic, emotionally resonant lyrics. It’s a formidable combination best represented here by the epic “Ebony and Ivy.” Bookended with a machine-gun-fire spoken word poem, the song allows Spalding as Emily to explore a mythic childhood netherworld in which she ambitiously juxtaposes the joys of learning from the natural world and the desire for a formal education against historical notions of how science was, ironically, used to justify slavery. She sings, “It’s been hard to grow outside/Growin’ good and act happy/And pretend that the ivy vines/Didn’t weigh our branches down.”

Tracklist:
01 – Good Lava
02 – Unconditional Love
03 – Judas
04 – Earth To Heaven
05 – One
06 – Rest In Pleasure
07 – Ebony And Ivy
08 – Noble Nobles
09 – Farewell Dolly
10 – Elevate Or Operate
11 – Funk The Fear
12 – I Want It Now
13 – Change Us
14 – Unconditional Love (Alternate Version)

Download:

mqs.link_EsperanzaSpaldingEmilysDEvlutinDeluxeEditin2016Pn2496.part1.rar
mqs.link_EsperanzaSpaldingEmilysDEvlutinDeluxeEditin2016Pn2496.part2.rar

Etta Jones – Don’t Go To Strangers (1960/2014) [Qobuz FLAC 24bit/44,1kHz]

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Etta Jones – Dont Go To Strangers (1960/2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 00:41:04 minutes | 427 MB | Genre: Jazz
Studio Master, Official Digital Download  – Source: Q0buz | @ Prestige Records/Concord Music Group

After paying dues for over 15 years, Etta Jones (1928-2001) became an overnight sensation with the release of this, her first Prestige album. While the title song was the catalyst that fueled the singer’s belated discovery, not to mention one of the few singles released by an independent jazz label of the period to attain gold record status, the remaining nine tracks give equal evidence of the spontaneous phrasing and deep emotional commitment that allowed Jones to excel with such rare consistency. Blending the influences of Billie Holiday and more blues-centered vocalists, and supported by an exceptional quintet featuring Frank Wess and Richard Wyands, Jones turned Don’t Go to Strangers into the cornerstone of a career that would see her produce six more Prestige albums in the Sixties, and that kept her among the jazz vocal elite for the next four decades.

„Don’t Go to Strangers was Etta Jones’ first album for the independent jazz label Prestige when it was released in 1960 (having been recorded in a single session on June 21 of that year), and although Jones had been releasing records since 1944, including a dozen sides for RCA in 1946 and an album for King Records in 1957, she was treated as an overnight sensation when the title tune from the album went gold, hitting the Top 40 on the pop charts and reaching number five on the R&B charts. An elegant ballad on an album that had several of them, including the masterful ‘If I Had You’ and a marvelous reading of ‘All the Way,’ a song usually identified with Frank Sinatra, ‘Don’t Go to Strangers’ featured Jones’ airy, bluesy phrasing and uncanny sense of spacing, and was very much a jazz performance, making its success on the pop charts all the more amazing. Listen to Jones’ restructuring of the melody to the opening track, the old chestnut ‘Yes Sir, That’s My Baby,’ to hear a gifted jazz singer sliding and shifting the tone center of a song like a veteran horn player, all the while leaving the melody still recognizable, but refreshing it until it stands revealed anew. Apparently there were no additional tracks cut at the session, since bonus material has never surfaced on any of the album’s subsequent reissues, although that’s hardly a problem, because as is, Don’t Go to Strangers is a perfect gem of a recording.“ –AllMusic Review by Steve Leggett

Tracklist:
1. Yes Sir That’s My Baby 04:23
2. Don’t Go To Strangers 03:52
3. I Love Paris 04:01
4. Fine And Mellow 05:53
5. Where Or When 03:42
6. If I Had You 03:52
7. On The Street Where You Live 03:46
8. Something to remember you by 03:46
9. Bye Bye Blackbird 03:17
10. All The Way 04:40

Personnel:
Etta Jones, vocals
Skeeter Best, guitar
Frank Wess, flute, tenor saxophone
Richard Wyands, piano
George Duvivier, upright bass
Roy Haynes,drums

Recorded: Van Gelder Studio, Englewood Cliffs, NJ; June 21, 1960
Remastered: 2006, Rudy Van Gelder, Van Gelder Studio

Download:

mqs.link_EttaJnesDntGTStrangers19602014Qbuz24441.rar

Iggy Pop – Post Pop Depression (2016) [PonoMusic FLAC 24bit/44,1kHz]

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Iggy Pop – Post Pop Depression (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 41:37 minutes | 493 MB | Genre: Rock
Studio Master, Official Digital Download – Source: PonoMusic | @ Loma Vista Recordings / Concord Music

Post Pop Depression, the 17th Iggy Pop album, and a worthy addition to the 22 album legacy spawned with the immortal trilogy of The Stooges, Fun House and Raw Power, spanning massively influential solo outings including 1977’s opening 1-2 combo of The Idiot and Lust For Life, and 1990’s gold-certified Brick By Brick. Post Pop Depression is a singular work that stands proudly alongside the best works of either of its principles, from The Stooges to Queens Of The Stone Age, bearing its creators’ undeniable sonic DNA while sounding like nothing they’ve done before. It’s a record that wouldn’t exist without either Pop or Homme-and one that probably shouldn’t in theory if you really think about it-but it does, and we and rock n roll are all the better for it.

Fate has a way of putting things into an interesting context. When it was announced that Iggy Pop would be collaborating with Josh Homme of Queens of the Stone Age, the music press buzzed with anticipation about the project. What would the proto-punk icon and the snarky hard rock smart guy come up with? The surprise answer is, in many respects, 2016’s Post Pop Depression, an unwitting but loving tribute to Pop’s friend and collaborator David Bowie. Post Pop Depression arrived two months after Bowie’s death, and was completed before his health problems became common knowledge. More than anything, though, this music evokes the sound and feel of Pop’s first two solo albums. 1977’s The Idiot and Lust for Life were cut with Bowie in Germany as Pop struggled to make sense of his life and career after the Stooges collapsed. With the reunited Stooges gone following the deaths of Ron and Scott Asheton, Post Pop Depression finds Pop returning to the work he made in 1977, in ways that count the most. Post Pop Depression is smart and thoughtful, intelligent without being pretentious, and full of bold but introspective thinking. While Josh Homme is certainly no David Bowie, he’s a skilled musician who challenges Pop in a way many of his previous producers have not. The sound of Post Pop Depression occasionally gestures to Bowie’s work, with and without Pop, but Homme has given this music a personality of its own. Dark and richly textured, Post Pop Depression puts Pop’s craggy but authoritative voice and intelligent tirades front and center. Homme and his rhythm section of Dean Fertita and Matt Helders have created strong, muscular backdrops for Pop’s lyrics that add to their power. They counter his thoughtful anger with sounds that are rich, cleanly designed, and a successful compliment for the star’s work. Pop has suggested that Post Pop Depression may be his last album, and if that’s true, it wraps up his career with a strong and atypical work. It tips its hat to Bowie, but also to the freedom and creative possibilities Pop discovered in their collaborative work. It confirms that Pop has never lost the ability to surprise and upend expectations. In the bitter rant that closes “Paraguay,” Pop declares he wants to run away and live as “your basic clod.” It’s an ironic thought, closing an album that once again proves Pop never was and never will be an ordinary guy.

Tracklist:
01 – Break Into Your Heart
02 – Gardenia
03 – American Valhalla
04 – In The Lobby
05 – Sunday
06 – Vulture
07 – German Days
08 – Chocolate Drops
09 – Paraguay

Download:

mqs.link_IggyPpPstPpDepressin2016Pn24441.rar

Jack Garratt – Phase {Deluxe} (2016) [HDTracks FLAC 24bit/44,1kHz]

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Jack Garratt – Phase (2016) [Deluxe Edition]
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:19:40 minutes | 878 MB | Genre: Electronic, Pop, Alternative
Studio Master, Official Digital Download  – Source: HDTracks | Artwork: Front cover | @ Interscope

Winner of the 2016 BRITs Critics Choice Award, Jack Garratt is a London-based multi-instrumentalist songwriter who combines elements from the alternative and electronic genres for a unique sound and live show. “Worry” and “Water” from his 2014 Remnants EP gained heavy traction online and tipped him as Zane Lowe’s Next Hype, which he followed up with “The Love You’re Given” and “Chemical” from his Synesthesiac EP in early 2015 to acclaim. This deluxe version of the release includes an impressive 7 additional tracks.

Jack Garratt’s debut, Phase, arrived with no shortage of British industry fanfare, as the singer and multi-instrumentalist won not only the 2016 Brit Award for Critics’ Choice, but also the BBC Sound of 2016 top spot and the BBC Introducing Award. Under that spotlight, Garratt released a moving album of yearning power and deft electronic arrangements, with a dash of British garage and jungle. More accessible than James Blake, less precious than Sam Smith, and less pastoral than James Bay or Hozier, Garratt distinguishes himself by cleverly merging atmospheric electronics with emotional depth. At its most accessible, Phase sounds like what would happen if Sam Smith and Disclosure decided to make an entire album together (“Breathe Life,” “Fire”). Yet at its most rewarding – when he weaves his gritty growl with an angelic falsetto, the stark drum’n’bass beats with explosive warmth and soul – Garratt creates an entirely immersive journey, manipulating the digital and the human. This dichotomy is illustrated by Phase’s highlights: the plaintive “Weathered” soothes with sweetness before bursting with life, while the dubby gospel of “Surprise Yourself” melts away its icy shell and surges with joy. Such moments feel like revelations, but the best execution comes on album centerpiece “The Love You’re Given,” which was previously heard on his 2015 Synesthesiac EP. Starting with a sample of a haunting female voice, the track descends into electro-fuzz dissonance before building to a frenzy of sonics and texture. These refreshing moments satisfy because of the unexpected, the calm before the storm, the highs and lows. Elsewhere, Phase pulses with cool moments that breathe and sway, like on “Worry” and the second and third installments of his hypnotizing “Synesthesia” trilogy. Garratt closes with the stripped-down acoustic twinkler “My House Is Your Home.” His voice is showcased by a spare piano accompaniment, revealing that aforementioned soul within the technological wizardry. Phase is an exciting debut from a fresh talent, a case where the artistic outcome can stand on its own merit.

Tracklist:
01 – Coalesce (Synesthesia Pt. II)
02 – Breathe Life
03 – Far Cry
04 – Weathered
05 – Worry
06 – The Love You’re Given
07 – I Know All What I Do
08 – Surprise Yourself
09 – Chemical
10 – Fire
11 – Synesthesia Pt. III
12 – My House Is Your Home
13 – Falling
14 – Water
15 – I Couldn’t Want You Anyway
16 – Remnants
17 – Synesthesia Pt. I
18 – Lonesome Valley
19 – Water

Download:

mqs.link_JackGarrattPhaseDeluxe2016HDTracks24441.rar

Karrin Allyson – Many A New Day: Karrin Allyson Sings Rodgers & Hammerstein (2015) [eOnkyo FLAC 24bit/96kHz]

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Karrin Allyson – Many A New Day: Karrin Allyson Sings Rodgers & Hammerstein (2015)
FLAC (tracks) 24 bit/96kHz | Time – 58:34 minutes | 1,02 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: e-onkyo |  © Motéma Music LLC
Recorded: May 1 & 2, 2015, Sear Sound Studios, NYC

Four-time ‘Best Vocal Jazz Album ‘Grammy nominee Karrin Allyson’s ‘Many A New Day (Karrin Allyson Sings Rodgers & Hammerstein)’ is a 14-song collection featuring Allyson’s romantic, sly and swinging take on songs that have become part of our cultural fabric, from ‘Oh, What a Beautiful Morning’ to ‘Happy Talk’ to ‘I Cain’t Say No’ and numerous others. The collection, which marks the singer’s debut on the Motéma label, features the distinctive pairing of Kenny Barron on piano and John Patitucci on bass (only the second time the two have recorded together). Richard Rodgers and Oscar Hammerstein’s legendary musical partnership is among the greatest of the 20th century, resulting in such seminal Broadway productions as The King and I, South Pacific, Sound of Music, Oklahoma and Carousel. With her distinctive vocals, Allyson takes an array of these beloved songs on an elegant, intimate and joyful ride. Her arrangements, impeccably performed by Barron and Patitucci, manage to infuse these musical theater gems with a spare, sophisticated and intimate vibe that recalls the wee-hours in a late night Paris jazz club.

Karrin Allyson projects always have all five points of the creative star pinned down: theme, repertoire, arrangement, sequencing, and support. Her recordings Ballads: Remembering John Coltrane (Concord, 2001), In Blue (Concord, 2002), Footprints (Concord, 2006), and ‘Round Midnight (Concord, 2011) are all evidence of her unsurpassed musicianship and creative heart. Karrin Allyson’s worst recording is still outstanding.
Artistically fearless, Allyson again spins golden lace from her talent arsenal. Many a New Day: Karrin Allyson sings Rodgers and Hammerstein, the singer’s first recording for Motema, again touches the five points of a well-fashioned release. Her theme is the music of Richard Rodgers and Oscar Hammerstein, presented in the close quarters of the piano-bass rhythm section. The repertoire is select. It is not a complete survey of R&H oeuvre, rather, it focuses exclusively on Oklahoma! (1943), South Pacific (1949), The King and I (1951) and The Sound of Music (1959).

Allyson, an accomplished pianist, arranged all 14 selections, a considerable effort considering her supporting cast mentioned later. Her sequencing (or song choice) is measured and informed. Allyson did not take an easy route, covering the most popular songs from each show (save for Oklahoma!’s provision of “Oh, What a Beautiful Mornin,’” and “The Surrey with the Fringe on Top”). Most notably (and gratefully) absent is “My Favorite Things,” opting instead for a superb reading of “Edelwiess” with the singer accompanying herself on piano.

For support, Allyson is joined by pianist Kenny Barron and bassist John Patitucci. That might be the definition of class. She molds these outstanding musicians to her whims and wishes, producing sheer genius like the opening “Oh, What a Beautiful Mornin,’” a hayseed tune if there ever was one and making it an art deco piece gospel blues. Her wordless doubling of Barron’s piquant playing on the opening of the title tune is as rich as cream and heady as a martini. “You’ve Got to Be Carefully Taught” from South Pacific is an unexpected delight joining an equally delightful, though expected “Bali Ha’i.” Near perfect as a project Many a New Day: Karrin Allyson sings Rodgers and Hammerstein makes an excellent addition to an already exceptional discography. –C. Michael Bailey, All About Jazz

Tracklist:
1 Oh, What A Beautiful Mornin’ 4:11
2 Many A New Day 3:00
3 Happy Talk 3:54
4 I Cain’t Say No 4:19
5 I Have Dreamed 4:56
6 Out Of My Dreams 3:35
7 Bali Ha’i 5:08
8 Medley: When I Think Of Tom / Hello Young Lovers 4:35
9 We Kiss In A Shadow 4:38
10 You’ve Got To be Carefully Taught 4:12
11 Something Wonderful 2:37
12 The Surrey With The Fringe On Top 3:32
13 Something Good 3:19
14 Edelweiss 2:33
15 This Nearly Was Mine (bonus track) 3:57

Personnel:
Karrin Allyson – Vocals, Arranger, Piano (#14)
Kenny Barron – Piano
John Patitucci – Bass

Download:

mqs.link_KarrinAllysnManyANewDay2015enky2496.part1.rar
mqs.link_KarrinAllysnManyANewDay2015enky2496.part2.rar


劉美君 (Prudence Liew) –點解 (2014) SACD DSF

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產品名稱: 點解 (SACD) (首批限量版)
歌手名稱: 劉美君 (歌手)
推出日期: 2014-09-19
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/%E7%82%B9%E8%A7%A3-sacd-%E9%A6%96%E6%89%B9%E9%99%90%E9%87%8F%E7%89%88/1036726780-0-0-0-zh_TW/info.html

內容簡介/曲目
徇眾要求, Sony Music精挑4款經典作品
每款首批1,000張均付獨立編號, 以 Hybrid SACD盤再度發行
及再度加印斷貨多時之不朽經典電影原聲專輯

01. 一對舊皮鞋
02. Man In The Moon
03. 這雙眼只望你
04. 為你而生
05. 生活一小時
06. Give Me All Your Love Boy
07. 請求
08. 失戀Café
09. 點解
10. 自甘墮落

Download:

mqs.link_PrudenceLiewWhy.part1.rar
mqs.link_PrudenceLiewWhy.part2.rar
mqs.link_PrudenceLiewWhy.part3.rar

盧冠廷, 劉美君, 李安琪 – Salute Deux (2003) SACD DFF

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產品名稱: Salute Deux:盧冠廷、劉美君、李安琪
歌手名稱: 盧冠廷 | 劉美君
推出日期: 2003-01-06
語言: 粵語

ezMood Records Ltd出品的《Salute deux》是一張高水平制作,由BMG發行。盧冠廷、劉美君及李安琪三位頂尖級唱家班人馬分別演繹,爲10首八、九十年代的經典粵語流行曲注入煥然一新的面貌, 明顯比“純音樂”版本更富發燒元素,可聽度更上一層樓。

  盧冠廷雖然只唱兩首歌,但風采依然,魅力無窮。他以萬噸感情投入演唱“缱绻星光下”,簡直可用聽者傷心來形容,每字每句均由心而生的抒發,完美地诠釋了曲意,配合Misukuni Kohata精彩的小號吹奏,意境更淒楚。此外,號聲和人聲的質感同樣細致。

  劉美君在碟內唱了“漣漪”、“人間道”、“天籁…星河傳說”和“無奈”共4首,其中以“無奈”的演繹最自然亦最有驚喜,歌藝寶刀未老。由Roel、Paul及Anthony三人以上即興爵士樂作伴奏,音樂場面豐豔絕倫。錄音音色細致,質感強烈。

  “每當變幻時”裏李安琪的歌聲很浪漫怡人,高音昔士風配合雄渾厚實的牛筋伴奏,音色鮮明細致,平衡度出色。還有全碟最具發燒試音元素的“每天愛你多一些”,熱熾濃郁的samba音樂氣氛,古董牛筋的音色雄厚,低頻充沛紮實,配合Roel輕快的鋼琴彈奏及Anthony急勁的森巴節奏敲擊,構成色彩斑斓的音樂畫面。另外,中段由三位日本銅管手的合奏亦非常精彩,音色铿锵亮麗,層次感十足,尾段的flamenco吉他彈奏動態強大,音效極佳。

內容簡介/曲目
01. 漣漪╱劉美君
02. 繾綣星光下╱盧冠廷
03. 每當變幻時╱李安琪
04. 每天愛你多一些╱李安琪
05. 人間道╱劉美君
06. 倦╱盧冠廷
07. 天籟…星河傳說╱劉美君
08. 一生何求╱李安琪
09. 憑著愛╱李安琪
10. 無奈╱劉美君

Download:

mqs.link_SaluteDeuxDSDDFF.part1.rar
mqs.link_SaluteDeuxDSDDFF.part2.rar

宋祖英 –爱的史诗 (Epics of Love Song Zuying) (2014) SACD DSF

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老虎鱼 SFR35790142 宋祖英 爱的史詩 SACD+BOOK

由<老虎魚>親臨北京中央人民廣播電台錄音, 擔任製作及發行
中國最出色的女歌唱家之一宋祖英,一張中國古典文學結合美樂的發燒錄音
現已強勢發行 (Now Available)

Catalogue no. : SFR357.9014.2
Title : 宋祖英【愛的史詩】
(Song Zuying【Epics of Love】)
Performer : Song Zu Ying

Description : 於2008年獲得第49屆美國格萊美(Grammy Awards)年度最佳跨界古典音樂大碟獎(Best Classical Crossover Album of the Year)提名後,中國著名女歌唱家宋祖英的歌唱藝術水平在國際樂壇得到廣泛地認同,備受樂迷和專業樂評人一致推崇,曾被邀請與多位國際知名的歌唱家如多明戈(Placido Domingo)和波切利(Andrea Bocelli)等同台合作演出,奠定了她在國內、外樂壇的超然地位。宋祖英於過往數年間在推廣中國音樂方面充滿熱情,不遺餘力,作出了多方面的貢獻,。她除了到多個國內和國際城市演出將中國美樂呈獻給各地樂迷欣賞外,她亦於2011年9月集合了中國現今最出色的作曲家、演奏家、指揮家和樂團,以中國歷代源遠流長,廣博淵深的與「愛」為主題的經典詩、詞和古曲作藍本,將這些傳世已久的文學經典配以全新的創作音樂,以現代的形式演繹,在將現今中國音樂的實況和水平展視給世人觀賞的同時,亦能將歷久常新的文學瑰寶以動人的音樂,天籟般式的唱詠,深入淺出地向世界各地人民傳播。參與這個極具深長意義的錄音項目的殿堂級音樂家包括徐沛東、金鐵林、孟勇、趙季平、印青,演奏家張強、趙家珍、戴亞、杜聰、王中山,歌唱家廖昌永,著名演藝人陳道明和濮存昕,配合由卓越指揮家余隆帶領之中國愛樂樂團,將十四首中國歷代最動人心弦,歌頌愛之偉大和令人沒齒難忘的詩、詞和曲以最動人、最優美的形態顯示。這些耳熟能詳的詩詞樂曲包括【關睢】、【越人歌】、【西洲曲】、【將進酒】、【遊子吟】、【一剪梅】、【江城子】、【念奴嬌】、【行香子】、【聲聲慢】、【雨霖鈴】、【釵頭鳳】、【摸魚兒】和【牡丹亭】等。全部錄音過程在北京中央人民廣播電台演奏廳進行,前、後期的錄音製作由國際知名的「老虎魚」錄音室的工程師古達.普勒(Günter Pauler)和韓斯-約格.莫斯克施(Hans-Jörg Maucksch)全程負責,他們採用極級的實況錄音器材和錄音方法,加上他們高超的專業技術和豐富的經驗,使整個專輯的錄音效果達致頂級水平,加上以直接數字流(DSD)制式,環迴多聲軌錄製,配以SACD為載體,現場立體感的效果更為顯著。這專輯除了令你更能深入了解和多角度欣賞中國音樂之時,亦能全面體驗內涵豐富,底薀深厚的中國古典文學。

Tracklisting :

1. 關睢 (Crying Ospreys)
2. 越人歌 (Song of the Yue Boatman)
3. 西洲曲 (Song of the Western Islet)
4. 將進酒 (For the Moment, Drinking Wine)
5. 遊子吟 (A Journeyer’s Song)
6. 一剪梅 (A Twig of Mume Blossoms)
7. 江城子 (A Riverside Town)
8. 念奴嬌 (Charm of a Maiden Singer)
9. 行香子 (On the Trail of Sweet Incense)
10. 聲聲慢 (Slow, Slow Tune)
11. 雨霖鈴 (Bells Ringing in the Rain)
12. 釵頭鳳 (Phoenix Hairpin)
13. 摸魚兒 (Groping for Fish)
14. 牡丹亭 (The Peony Pavilion)

Download:

mqs.link_SngZuying.part1.rar
mqs.link_SngZuying.part2.rar
mqs.link_SngZuying.part3.rar

泳兒 (Vincy Chan) –鏡像 (2016) SACD ISO

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產品名稱: 鏡像 (SACD) (限量編號版)
歌手名稱: 泳兒 (歌手)
推出日期: 2016-05-24
語言: 粵語, 國語
製作來源地: 中國香港
光碟格式: Super Audio CD

http://www.yesasia.com/us/%E9%8F%A1%E5%83%8F-sacd-%E9%99%90%E9%87%8F%E7%B7%A8%E8%99%9F%E7%89%88/1050057662-0-0-0-zh_TW/info.html

泳兒相隔接近三年的派台新歌「四不像」,由梁榮駿(Alvin Leong)首次合作擔任歌曲監製,林夕的歌詞講述一個甘為不愛自己的人,徹底奉獻的愛情故事。《鏡像》分別收錄Vincy全新作品和較受歡迎的翻唱歌,四首新曲包括充滿中國詩情畫意的「獨一無二」(TVB劇集《無雙譜》主題曲),以及抒情之作「浮沙之路」和「我的情書」。
繼上兩張大賣的《愛.情歌》、《風情歌》,Vincy今次挑戰難度重新演繹鄧麗君、王菲、孫燕姿、許美靜到師姐容祖兒的天后金曲五首,全碟則沿用HiFi發燒碟模式製作。

內容簡介/曲目
4首全新作品 重新感應泳兒

四不像 ~ 一個甘為不愛自己的人徹底奉獻的愛情故事
浮沙之路 ~ 澤日生 x 林夕 x Alvin Leong 黃金組合
我的情書 ~ 用十年成就勇氣的故事
獨一無二 ~ 大熱主題曲 懾人中國風味

[南海姑娘] 原唱 : 鄧麗君 / [天空] 原唱 : 王菲
[眼神] 原唱 : 孫燕姿 / [城裡的月光] 原唱 : 許美靜
[特別嘉賓] 原唱 : 容祖兒

01. 四不像
02. 我的情書
03. 浮沙之路
04. 南海姑娘 (國)
05. 天空 (國)
06. 特別嘉賓
07. 城裡的月光 (國)
08. 眼神 (國)
09. 獨一無二

Download:

mqs.link_VincyChan.rar

Anouar Brahem – Souvenance (2014) [HighResAudio 24bit/96kHz]

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Anouar Brahem – Souvenance (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 89:04 minutes | 1,52 GB  Genre: Jazz
Studio Master, Official Digital Download | Artwork: Digital booklet

The music of Souvenance, by turns graceful, hypnotic, austere, and starkly dramatic, follows Tunisian oud-master Anouar Brahem’s last ECM album, The Astounding Eyes of Rita after a five-year gap. “It took a long time to write this music,” he acknowledges. Early plans to document the progress of the “Rita” quartet, which had grown to become a compellingly dynamic group in concert, were set aside. “I was feeling a need to attempt something new.” Then, at the end of 2010 and the beginning of 2011, came the great political upheavals – accompanied by “immense fears, joys and hopes” – which began in Tunisia and swept like wildfire through the region. Fully absorbed by daily news of popular uprisings, collapsing dictatorships, insurgencies and counter-insurgencies, Brahem found his emotional world “monopolized by the political”. It was not the right moment to be writing music: “I had to wait for the pressure to fall, before I could resume work”.

Souvenance translates as “remembrance”, but the album – like the individual track titles – was named retrospectively. Right up until the mix, the new pieces were identified only by the dates of their composition. “I don’t claim a direct link between my compositions and the events that have taken place in Tunisia,” says Anouar Brahem, “but I was deeply affected by them.”

As a composer, Brahem has always followed his intuition, sometimes finding himself surprised by the musical directions that arise: “It seemed likely that piano would have a role in the new pieces, since several of them were written at the piano. But as I worked on the drafts the idea of a chamber orchestra kept coming to my mind. In October 2013 I went to Paris to start some first rehearsals with François Couturier and then the idea of the project became more concrete. I met with Manfred [Eicher] and brought him some demos and he convinced me to continue along this path.”

Since then, the Anouar Brahem group has been restructured, with Couturier, a long-term collaborator on earlier projects (see Pas de chat noir and Le voyage de Sahar) returning, his piano frequently supported by subtle string orchestration. The strings have a glowing transparency and fragility in these pieces, often providing shimmering texture and colour against which the contributions of the quartet members – above all, Anouar Brahem’s unique oud-playing – stand out in bold relief. “With this project I feel I’m improvising differently. It’s a response to the identity of the pieces. Sometimes a few notes are enough. All the instruments had to wait to find their place in this music.” This can be challenging for musicians coming from jazz, where claiming the space to make a personal statement belongs to the territory. “That space still exists in Souvenance but it’s become more subtle, more directed. As the writing and arranging developed, the role of Björn’s bass became quite strong and central. The responsibility of Klaus’s bass clarinet this time is harder to define, but it’s an important element, and it’s not easy, as a listener, to know which parts are improvised and which are written.”

Souvenance marks the first time Brahem has written for strings. Austrian composer Johannes Berauer, an associate of Klaus Gesing’s, came to Tunisia to work with him on the orchestration. “It was essential to work closely together to stay true to the spirit of the compositions, page by page.” (The sole exception is the orchestral version of “Nouvelle vague”, which closes the album, an arrangement of a Brahem tune first heard on Khomsa, made by Estonian composer Tõnu Kõrvits.) “It was very important for me that the strings should have an organic function in the music. All of this work was new discovery; my musical studies had been devoted to our traditional music only. So I had no compositional role models in mind. And obviously I wasn’t drawn to the power and volume that an orchestra can supply. For me, it’s most exciting to improvise against the strings when they are very piano – the detail in the sound and texture, the delicacy and the chamber music quality of it, can be very touching.”

The album was recorded in Lugano’s Auditorio Stelo Mori in May 2014 with the Orchestra della Svizzera Italiana. The orchestra has a distinguished history. Richard Strauss wrote for it, and composers from Stravinsky to Berio have conducted the orchestra in programmes of their work. Recent recordings by the orchestra have included a series of albums with Martha Argerich.

Tracklist:
CD1 #01 – Improbable Day
CD1 #02 – Ashen Sky
CD1 #03 – Deliverance
CD1 #04 – Souvenance
CD1 #05 – Tunis At Dawn
CD1 #06 – Youssef’s Song
CD2 #01 – January
CD2 #02 – Like a Dream
CD2 #03 – On the Road
CD2 #04 – Kasserine
CD2 #05 – Nouvelle vague

Musicians:
Anouar Brahem – oud
François Couturier – piano
Klaus Gesing – bass clarinet, soprano saxophone
Björn Meyer – bass
Orchestra della Svizzera italiana, Conducted by Pietro Mianiti.

Download:

mqs.link_AnuarBrahemSuvenance2014HRA2496.part1.rar
mqs.link_AnuarBrahemSuvenance2014HRA2496.part2.rar

Anouar Brahem – Le voyage de sahar (2006) [Qobuz FLAC 24bit/44,1kHz]

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Anouar Brahem – Le voyage de sahar (2006)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:03:51 minutes | 594 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Q0buz | Artwork: Digital booklet | © ECM Records
Recorded: February 2005, Auditorio Radio Svizzera, Lugano

Over the past 15 years, Tunisian oud master Anouar Brahem has assembled a relatively small but profound body of work. A skilled improviser who refuses to be part of the historical authenticity argument, Brahem works from the same trio setting that performed on Le Pas du Chat Noir in 2002, with pianist François Couturier and accordionist Jean-Louis Matinier. The dialogue between these players is, despite the sparseness of the music and the considerable space employed, intense. The deep listening necessary in the improvised sections allows for a natural flow of ideas to emerge from silence. The compositions themselves are skeletal, with repeating, slowly evolving vamps and lyric lines. They offer, on the surface, a contemplative approach, and indeed can be heard that way. However, when dynamics, timbre, and chromatics are listened for, what takes place is rather astonishing. Each player walks to the middle of a composition, steps back and reenters after ideas by the others are introduced, producing a kind of organic improvisation seldom heard. This is not to say that the most structured works here, such as “Vague/E la Nave Va,” aren’t full of meditative delight as well. They are, and there are vast spaces into which the listener can enter and disappear for a while — not so much to drift and dream as to be absorbed in their hypnotic and repetitive beauty. “Les Jardins de Ziryab” begins with Matinier’s accordion, which is answered by the oud and Brahem’s voice, accompanying them both. It unfolds from the center out. “Le Chambre, Var.” begins, for this ensemble, at a trot. Couturier’s chord voicing and Brahem’s percussive approach create a winding musical narrative that Matinier’s accordion underscores rhythmically. The keyboard and air pulse create a terrain where intricate melodic lines come out of modal and chromatic tensions. Ultimately, Brahem has given listeners another of his wondrous offerings, full of deceptively simple compositions that open into a secret world, one where beauty is so present that it is nearly unapproachable, and it is up to the listener to fill in the spaces offered them by this remarkable trio. –AllMusic Review by Thom Jurek

Tracklist:
1. Sur le fleuve 06:33
2. Le voyage de Sahar 06:58
3. L’aube 05:48
4. Vague – E la nave va 06:20
5. Les jardins de Ziryab 04:35
6. Nuba 03:13
7. La chambre 05:01
8. Cordoba 05:31
9. Halfaouine 02:08
10. La chambre, var. 03:47
11. Zarabanda 04:27
12. Eté andalous 07:06
13. Vague, var. 02:31

Personnel:
Anouar Brahem, oud
François Couturier, piano
Jean Louis Matinier, accordion

Download:

mqs.link_AnuarBrahemLevyagedesahar2006Qbuz2444.1.rar

Anouar Brahem Trio – Astrakan cafe (2000) [HighResAudio FLAC 24bit/44,1kHz]

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Anouar Brahem Trio – Astrakan cafe (2000)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:03:51 minutes | 680 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: highresaudio | Artwork: Digital booklet | © ECM Records
Recorded: June 1999, Monastery of St. Gerold, Austria

Innovative Tunisian oud virtuoso Anouar Brahem presents this highly-acclaimed album of typically Middle Eastern music, recorded in 1999 with a trio that had been his first priority for several years. The improvisational exchanges between Brahem, clarinettist Barbaros Erköse and percussionist Lassad Hosni are exceptionally fluid and the atmospheres they create here are by turns mysterious, hypnotic and dramatic.

The Tunisian oud genius has done it again. Anouar Brahem has issued only five records under his own name over the past decade, each more adventurous than the last, without compromising his original vision: for the music of his region to meet with the other music of Africa and Asia and create a delirious sound that is equal thirds past, present, and future, along the precipice of historical lineage. For Brahem there is no attempt to synthesize the globe, or even the sounds of the East with those of the West. He is content in his knowledge that sound is infinite, and that his tradition, as it evolves and expands into a deeper pan-African/trans-Asian whole, is more than large enough for a master musician to rummage through in one lifetime. Astrakan Café, the follow-up to his brilliant Thimar, is a smaller-sounding recording that reaches farther into the deep crags of the Balkans. With Barbaros Erköse on clarinet and the Indian and Turkish percussion stylings of the professor of somber precision, Lassad Hosni, Brahem’s oud enters into a dialogue, musically, that has never before existed (though he has collaborated with both players previously). Erköse is a Turkish clarinetist of gypsy origin. His low, warm, rounded tones are consonant with the oud. Erköse plays equal parts music of the Balkan and Arab worlds with a tinge of the ancient klezmorim whispering their secrets through his horn. Despite the journeying these musicians do here, they never stray far from the takht, a small ensemble capable of improvising to the point of drunken ecstasy. Listening through Astrakan Café, you can hear the gypsy flamenco tied deeply to Indian ragas and even a kind of Eastern jazz. But there is no hyperactivity in it, no need to cram as many traditions as possible into one putridly excessive mix that expresses nothing but the novelty of the moment. Astrakan Café has many highlights: its two title tracks that have their roots in Russian and Azerbaijan music; “Ashkabad,” which is an improvisation on a melody from the folk music of Turkmenistan; “Astara,” a modal improvisation based on love songs from Azerbaijan; “Halfounie,” a segment from a Brahem-composed soundtrack inspired by the medina or marketplace in Tunis; and “Parfum de Gitanie,” which takes a fragment from Ethiopian sacred music, slows it to the point of stillness, and waxes lazily and jazzily over the top, with the oud and the clarinet trading syncopated eights. This is deeply personal, profound music. It is also highly iconographic, with timelessness woven through every measure. The only “exotica” on Astrakan Café is its “otherness” out of space and any discernable era. The tempos are languid and full of purpose, the dynamics clean and clearly demarcated, the tones and modes warm, rich, and linear. This would be traditional music if a tradition such as this — which is original, though adapted from many sources on inspiration — actually existed. Highly recommended –AllMusic Review by Thom Jurek

Tracklist:
1. Aube rouge à Grozny 04:23
2. Astrakan Café, Pt. 1 03:19
3. The Mozdok’s Train 04:47
4. Blue Jewels 07:24
5. Nihawend Lunga 03:32
6. Ashkabad 05:38
7. Halfaouine 05:58
8. Parfum de Gitane 07:05
9. Khotan 03:31
10. Karakoum 05:08
11. Astara 10:47
12. Dar es Salaam 03:48
13. Hijaz pechref 06:24
14. Astrakan Café, Pt. 2 04:49

Personnel:
Anouar Brahem, oud
Barbaros Erköse, clarinet
Lassad Hosni, bendir, darbouka

Download:

mqs.link_AnuarBrahemAstrakancaf2000HRA2444.1.rar


Anouar Brahem – The Astounding Eyes of Rita (2009) [Qobuz FLAC 24bit/96kHz]

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Anouar Brahem – The Astounding Eyes of Rita (2009)
FLAC (tracks) 24 bit/96 kHz | Time – 00:53:26 minutes | 856 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Q0buz | Artwork: Digital booklet  | © ECM Records GmbH
Recorded: October 2008 at Artesuono Studio, Udine

Delightful new project, assembled by Tunisian oud master Brahem with producer Manfred Eicher. Combination of bass clarinet with oud suggests a link to Anouar’s “Thimar” trio, but this East/West line-up often feels closer to the more traditionally-inclined sounds of “Barzakh” or “Conte de l’Incroyable Amour”. Klaus Gesing, from Norma Winstone’s Trio, and Björn Meyer, from Nik Bärtsch’s Ronin, are both players with an affinity for musical sources beyond jazz, and they interact persuasively inside Brahem’s music. A dance of dark, warm sounds, urged onward by the darbouka and frame drum of Lebanese percussionist Khaled Yassine. The album is dedicated to the memory of Palestinian poet Mahmoud Darwish.

In the world of the oud—the fretless, Middle Eastern incarnation of the lute—there are three artists who are moving the instrument—and its centuries-old tradition—forward. Tunisian-born Dhafer Youssef has explored the integration of technology and western classicism on Divine Shadows (Jazzland, 2006), while Lebanese-born Rabih Abou-Khalil has investigated a nexus with horn-driven large ensemble on The Cactus of Knowledge (Enja, 2001). Anouar Brahem, since first emerging on ECM with Barzakh (1991), has explored more nuanced territory, between his longstanding Astrakan Café group and projects like Thimar (ECM, 1998), where Middle Eastern linearity and Western harmony were conjoined, and the chamber setting of Le Voyage de Sahar (2006), which owed as much to the turning point of European romanticism to contemporary classicism as it did Brahem’s undeniable Tunisian roots.
The Astounding Eyes of Rita introduces a new group and a consolidation of past interests. Featuring an international quartet—with two familiar faces to recent ECM fans—its dark, low register-heavy landscape is inherently chamber- like. Still, with an electric bassist and percussionist, this collection of eight Brahem compositions returns to more defined rhythms and vivid Middle Eastern traditionalism, even as it uses group interaction to lend it unmistakable modernity.
Manfred Eicher has often been instrumental in suggesting new groupings of musicians associated with the label; here he creates a truly inspired first-encounter with bassist Björn Meyer and clarinetist Klaus Gesing. Meyer—a key participant in pianist Nik Bartsch’s “Zen funk” group Ronin and the remarkable Stoa (2006), pushes Brahem’s music with a similarly unshakable pulse on the joyous “For No Apparent Reason” and brooding “The Lover of Beirut,” but his touch, overall, is lighter, his support more nuanced. Gesing, last heard on British singer Norma Winstone’s sublime Distances (2008), is no less striking here, though by working solely with bass clarinet the result is a beautifully synchronous mesh with the oud’s lower register, especially so during the floating melody over the title track’s slow groove. Lebanese percussionist Khaled Yassine, introduced to Brahem by the oudist’s sister-in-law, rounds out the group and adds subtle drive to the music, especially on the optimistically up- tempo yet still understated “Stopover in Djibouti.”
Brahem’s improvisational prowess has always been in service of the music; here, his ability to blur the line between form and freedom has reached a new level, egged on, undoubtedly, by his band mates’ equal abilities. The music is, by design, about strong melodies and open-mindedness when it comes to expanding on Brahem’s core ideas. Gesing, in particular, is a strong foil for Brahem, matching the oudist’s ability to evoke with the slightest of bends, the subtlest of glissandi.
It’s this very specific combination of musicians that makes Brahem’s album so successful. After two discs of sparer chamber music, it’s great to hear Brahem back with a pulse; but with Meyer, Gesing, and Yassine as partners, he’s retained the elusive mystery of albums like Le Pas du Chat Noir (2002), making The Astounding Eyes of Rita his most aesthetically unified album to date. –John Kelman, All About Jazz

Tracklist:
1 The Lover Of Beirut 7:44
2 Dance With Waves 3:56
3 Stopover At Djibouti 6:34
4 The Astounding Eyes Of Rita 8:41
5 Al Birwa 4:51
6 Galilee Mon Amour 7:17
7 Waking State 7:48
8 For No Apparent Reason 6:35

Personnel:
Anouar Brahem, oud
Klaus Gesing, bass clarinet
Björn Meyer, bass
Khaled Yassine, darbouka, bendir

Download:

mqs.link_AnuarBrahemTheAstundingEyesfRita2009Qbuz2496.rar

Diana Ross – Eaten Alive {Expanded Edition} (1985/2015) [HDTracks FLAC 24bit/96kHz]

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Diana Ross – Eaten Alive (1985) [Expanded Edition 2015]
FLAC (tracks) 24-bit/96 kHz | Time – 1:25:11 minutes | 1,76 GB | Genre: R&B
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © RCA/Legacy

Released in 1985, Eaten Alive is a 1985 album by Diana Ross. It was produced by Barry Gibb, as well as Michael Jacskon (who co-wrote and performed on the title track). This Expanded Edition features several re-mixes of three of the tracks (“Eaten Alive”, “Experience”, and “Chain Reaction”).

Digitally remastered and expanded deluxe two CD edition of this 1985 album includes nine bonus tracks. Eaten Alive includes her international hit single “Chain Reaction”. The album was primarily written by the Bee Gees and produced by Barry Gibb although Michael Jackson co-wrote and performed vocals on the title track. Following the largely self-produced Swept Away album, Diana Ross’ shrewd choice of collaborators continued to impress when she turned to the Gibb brothers for her fifth studio project for RCA Records. The album was a dynamic affair with an explosive set of songs as well as the title track also boasting the excellent production and song writing skills of the genius himself, Michael Jackson. In the UK, Chain Reaction caught on to the British public like a magnet! This was simply vintage Diana Ross and it was this retro style that her public loved even though she has commendably attempted time and time again to break out into other musical genres in the past few decades. Overly, Eaten Alive is a solid album with sparkling vocals from Ross, compelling arrangements and great lyrics. An enjoyable and diverse album from legendary Diana Ross.

Tracklist:
01 – Eaten Alive
02 – Oh Teacher
03 – Experience
04 – Chain Reaction
05 – More and More
06 – I’m Watching You
07 – Love on the Line
08 – (I Love) Being in Love with You
09 – Crime of Passion
10 – Don’t Give Up on Each Other
11 – Eaten Alive (Single Mix)
12 – Eaten Alive (Single Mix Instrumental)
13 – Eaten Alive (Hot Extended Dance Mix)
14 – Eaten Alive (Hot Extended Dance Mix Instrumental)
15 – Experience (Single Version)
16 – Experience (Instrumental)
17 – Experience (Special Dance Mix)
18 – Chain Reaction (Special Single Mix)
19 – Chain Reaction (Special Dance Mix)

Personnel
John J. Barnes – keyboards
George Bitzer – keyboards, synthesizer, piano
Nathan East – bass
Don Felder – guitar
Michael Fisher – percussion
Stephen Gadd – drums
Albhy Galuten – synthesizer, arranger
Gary E. Grant – horn
Jerry Hey – horn
James Newton Howard – keyboards, synthesizer
Kim S. Hutchcroft – saxophone
Paul Leim – drums
Greg Phillinganes – synthesizer
Bill Reichenbach Jr. (credited as Bill Reichenbach) – horn
Tom Scott – saxophone
George Terry – guitar
Larry Williams – keyboard
Diana Ross – lead vocals
Barry Gibb – backing vocals, guitar, arranger
Michael Jackson – backing vocals on “Eaten Alive”
Bruce Albertine – backing vocals
Myrna Matthews – backing vocals
Marti McCall – backing vocals

Download:

mqs.link_DianaRssEatenAliveExpandedEditin19852015HDTracks2496.part1.rar
mqs.link_DianaRssEatenAliveExpandedEditin19852015HDTracks2496.part2.rar

Diana Ross – Greatest Hits: The RCA Years (1997/2015) [HDTracks FLAC 24bit/96kHz]

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Diana Ross – Greatest Hits: The RCA Years (1997/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:13:08 minutes | 1,45 GB | Genre: R&B
Studio Master, Official Digital Download – Source: HDTracks | @ RCA Records

Diana Ross’ glossy 1981-1987 tenure on RCA is the subject of this 18-track collection, which includes her hit tribute to the late Marvin Gaye, “Missing You”. Other highlights include her cover of Frankie Lymon and the Teenagers’ “Why Do Fools Fall in Love”, “Mirror, Mirror”, “Swept Away” and a solo version of the chart-topping “Endless Love”.

Tracklist:
01 – Chain Reaction
02 – Summertime
03 – Muscles (7″ Version)
04 – It’s Never Too Late
05 – Experience
06 – Love or Loneliness
07 – Missing You
08 – Selfish One
09 – Tell Me Again
10 – Let’s Go Up
11 – Mirror, Mirror (Radio Mix)
12 – In Your Arms
13 – (I Love) Being in Love with You
14 – Swept Away
15 – It’s Hard for Me to Say
16 – Why Do Fools Fall In Love
17 – Cross My Heart
18 – Endless Love

Note: Tracks 5, 8, 9, 15 & 17 are 44kHz sources mastered to 96kHz/24bit.

Download:

mqs.link_DianaRssGreatestHits.TheRCAYears19972015HDTracks2496.part1.rar
mqs.link_DianaRssGreatestHits.TheRCAYears19972015HDTracks2496.part2.rar

Harry Belafonte – Belafonte At Carnegie Hall: The Complete Concert (1959/2015) [HDTracks FLAC 24bit/96kHz]

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Harry Belafonte – Belafonte At Carnegie Hall: The Complete Concert (1959/2015)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:35:56 minutes | 2,03 GB | Genre: Pop, Vocal
Official Digital Download – Source: HDTracks | © RCA Record
Recorded: April 19 and 20, 1959 at Carnegie Hall

Belafonte: At Carnegie Hall is a live recording of American singer-songwriter Harry Belafonte. The performances originally took place at Carnegie Hall in April 1959 to benefit education. The record was later nominated for Album of the Year at the 1961 Grammy Awards. Belafonte: At Carnegie Hall  became one of the most successful live recordings of it’s time, remaining on the best-selling albums chart for over three years.

Mastered at 24bit/96 kHz from the original analog tapes keeping it identical to its original 1959 release including the tracks “Take My Mother Home”, “Man Piaba”, “All My Trials”, “Merci Bon Dieu (From The “Haitian Suite”). Mastered by Mike Piacentini @ Battery Studios, NYC.

Although an initial glance might not tip off even the most observant of consumers, this German two-disc set includes the entire contents of the 1959 double-LP Belafonte at Carnegie Hall [LP]. In North America, the title was reissued in the early ’90s. Sadly, it was a considerably truncated single CD. Compiled from two benefit concerts — on June 19 and 20, 1959, respectively — at the venerable Carnegie Hall, Belafonte’s mesmerizing performances exemplify his enormous capacity as more than just a folk and jazz vocalist. Although marketed as the “King of Calypso,” Belafonte sheds that erroneous image in favor of a more accurate persona as a seasoned entertainer whose visceral theatrical faculties allow him the ability to inhabit the songs he sings and stories he tells. This 19-song set contains highlights from most of his studio albums, with the exception of the seasonal offering Belafonte Sings of Christmas and the critically acclaimed Porgy & Bess — which was a collaborative effort with Lena Horne. Instrumentally, Belafonte has a diverse pallet from which to draw, ranging from the intimacy of a single acoustic guitar and hand percussion combo to the immensity of a 47-piece orchestra. For maximum effect, the musical arrangements often incorporate dimensions of both — which is how Live in Concert at the Carnegie Hall commences. The brief “Introduction” is a free-flowing orchestral overture to the entire performance. As it builds and crescendos, only bongos, acoustic guitar, and the unrelenting vocal authority of Belafonte remain, yielding a most dramatic segue into “Darlin’ Cora.” The liner notes — reprinted from the original gatefold two-record set — explain that these performances contained three acts: “Moods of the American Negro,” “In the Caribbean,” and “‘Round the World.” From here, the 90-plus minute set is derived, including many audience favorites that would become synonymous with Belafonte and would remain in his repertoire for the entirety of his performance career. The incredible range of material includes a fiery “John Henry,” the sublime serenity of “Jamaica Farewell,” as well as his hits “Day O” and “Man Smart (Woman Smarter).” As a guide between the songs, he talks about his heritage and the impact that music has had throughout his life and travels. “Man Piaba,” a calypso retelling of a “facts of life” lesson, is a consummate example of how Belafonte seamlessly weaves his stories into songs. This climaxes with a ten-plus minute audience participatory version of “Matilda,” in which different sections of the orchestra, acoustic combo, and even audience are encouraged to sing along. As not to disenfranchise anyone and all in the best of fun, Belafonte even solicits responses from such unlikely participants as “women over 40” and “people on scholarship.” It is this type of unification of all peoples — through song and personal discovery — that became the bedrock of Belafonte’s enormous popularity regardless of age, sex, or race. Live in Concert at the Carnegie Hall captures the essence of the performer in his prime. –Lindsay Planer

Tracklist:
1. Introduction / Darlin’ Cora 03:56
2. Sylvie 05:00
3. Cotton Fields 04:17
4. John Henry 05:12
5. Take My Mother Home 05:14
6. The Marching Saints 04:36
7. The Banana Boat Song (Day-O) 03:40
8. Jamaica Farewell 05:11
9. Man Piaba 06:30
10. All My Trials 03:53
11. Mama Look a Boo Boo 05:23
12. Come Back Liza 03:07
13. Man Smart (Woman Smarter) 04:23
14. Hava Nageela 04:03
15. Danny Boy 05:25
16. Merci Bon Dieu (From the Haitian Suite) 02:47
17. Cucurrucucú paloma 06:53
18. Shenandoah 03:45
19. Matilda 12:41

Personnel:
Harry Belafonte – vocals
Millard Thomas – guitar
Raphael Boguslav – guitar
Danny Barrajanos – bongos, conga
Norman Keenan – bass
Bob Corman – conductor

Download:

mqs.link_HarryBelafnteBelafnteAtCarnegieHall.TheCmpleteCncert19592015HDTracks2496.part1.rar
mqs.link_HarryBelafnteBelafnteAtCarnegieHall.TheCmpleteCncert19592015HDTracks2496.part2.rar
mqs.link_HarryBelafnteBelafnteAtCarnegieHall.TheCmpleteCncert19592015HDTracks2496.part3.rar

Merzbow, Gustafsson, Pandi, Moore – Cuts Of Guilt, Cuts Deeper (2015) [RareNoise FLAC 24bit/88,2kHz]

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Merzbow, Gustafsson, Pándi, Moore – Cuts Of Guilt, Cuts Deeper (2015)
FLAC (tracks) 24-bit/88,2 kHz | Time – 81:55 minutes | 1,61 GB | Genre: Electronic, Jazz
Studio Master, Official Digital Download – Source: RareNoise | @ RareNoise Records

Cuts of Guilt, Cuts Deeper is the second studio album by the trio of Japanese noise musician Merzbow, Hungarian drummer Balázs Pándi, and Swedish saxophonist Mats Gustafsson. It features guest musician Thurston Moore, guitarist in Sonic Youth. The album was chosen as number 20 of 20 Best Avant Albums of 2015 by Rolling Stone.

The Cuts Quartet is a sort of assembled supergroup. But we are not talking Traveling Wilburys or Audioslave here. Groups where the sum is certainly less than the parts. No, the amalgam of Japanese noise artist Merzbow (aka Masami Akita), Swedish saxophonist Mats Gustafsson (Fire! Orchestra, The Thing), American guitarist Thurston Moore (Sonic Youth), and Hungarian drummer Balázs Pándi (Metallic Taste of Blood) comes at the ears more like John Coltrane’s Ascension (Impulse!, 1965) or Ornette Coleman’s Free Jazz (Atlantic, 1961).

Like those seminal recordings, it is possible to get lost in the four lengthy tracks spread over 2 discs (both LP and CD). Lost, both purposely and unexpectedly.

Noise has been incorporated into improvised music to great effect. Wolf Eyes recorded with Anthony Braxton, and Merzbow has worked with Jamie Saft, Richard Pinhas, and Elliott Sharp, as well as each of the musicians here. The previous trio recording, Cuts (RareNoise, 2013) with Merzbow, Gustafsson and Pándi was a bit of a revelation. Propelling noise with a drummer’s pulse opens new avenues for its reception. By adding Moore’s additional guitar, the road expands into a spacious boulevard. Pándi’s drumming recalls that of Charles Hayward from Massacre or Ted Epstein from Blind Idiot God. He has the ability to draw from micro to the macro, always the impetus here.

It’s not that Gustafsson, Moore, and Akita need assistance. Each player can dominate as a solo performer. It’s just that each player dials back their extroverted nature in service of the music. Gustafsson eschews his luxury liner baritone sax for electronics for lengthy periods, Moore often adopts silence, and Akita’s wall of sound (noise) doesn’t inundate. That said, the music is fierce, passionate, and intense. Like Coltrane’s Ascension or Coleman’s Free Jazz listeners can absorb the whole or focus on a player by following an individual through each piece. That way there is a choice between maelstrom and well, melody.

Tracklist:

01 – Replaced by Shame – Only Two Left
02 – Divided by Steel. Falling Gracefully.
03 – Too Late, Too Sharp – It Is Over
04 – All His Teeth in Hand, Asking Her Once More

Recorded on April 13, 2014 at Skatepark Recording studio in Wembley, London, England.
Recording engineer & mixing by Daniel Sandor. Mastered by James Plotkin.

Musicians:
Masami Akita – noise, power electronics
Mats Gustafsson – saxophones, G clarinet, power electronics
Thurston Moore – electric guitar
Balázs Pándi – drums

Download:

mqs.link_MerzbwGustafssnPandiMreCutsfGuiltCutsDeeper2015RareNise2496.part1.rar
mqs.link_MerzbwGustafssnPandiMreCutsfGuiltCutsDeeper2015RareNise2496.part2.rar

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