Claire Martin – Secret Love (2004) [2.0 & 5.1]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 52:16 minutes | Scans included | 2,98 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 52:20 mins | Scans included | 863 MB
Features 2.0 Stereo and 5.1 multichannel surround sound

Claire celebrates her jazz roots with a splendid line-up of some of Britain’s top jazz talents.

Originally released in 2004 ‘Secret Love’ features Gareth Williams and Richard Rodney Bennett on piano, Laurence Cottle on bass, Clark Tracey on drums and Nigel Hitchcock on saxophone. Re-issued on CD in 2011 and in Studio Master quality in January 2007.
Claire explores the classic songbook with a mature set of standards from Irving Berlin’s Cheek To Cheek to Bacharach and Costello’s God Give Me Strength, taking in Harold Arlen and Jimmy Van Heusen along the way.

Tracklist:
01. Secret Love
02. But Beautiful
03. The Meaning of the Blues
04. Jive
05. Love is a Bore
06. Where do you Start
07. God Give me Strength
08. Get Happy
09. My Buddy
10. Cheek to Cheek
11. Don’t Misunderstand
12. Something Cool

ISO

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FLAC

https://subyshare.com/xq3p36liq3ts/ClaireMartinSecretL0ve2004FLAC2488.2.rar.html

Claire Martin – Too Darn Hot (2002) [SACD Reissue 2004] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 56:26 minutes | Scans included | 3,45 GB
Features 2.0 Stereo and 5.1 multichannel surround sound

Claire Martin concentrates on her core jazz-based strengths, delivering pithy, worldly-wise lyrics with warmth and intelligence, interacting with a sparky, vigorous band.

In 2004, Claire Martin’s bestselling album, ‘Too Darn Hot!’, has been re-issued on SACD.

From an exciting new arrangement of Something’s Coming from Bernstein’s West Side Story, to Joni Mitchell’s Blue Motel Room arranged by jazz singer Ian Shaw, the album mixes jazz standards with new arrangements to create an original showcase for Claire’s clever musicality and superb vocals.
Too Darn Hot! features an enviable line-up of some of Britain’s top jazz talents plus the Tapestry String Quartet.

Tracklist:
01. Something’s Coming
02. Love at Last
03. The Gentleman is a dope
04. These Foolish Things
05. It’s Raining in my Heart
06. Too Darn Hot
07. Black Coffee
08. Noir
09. Love is a Necessary Evil
10. When I Fall in Love
11. I can let go Now
12. Four Walls
13. Blue Motel Room

ISO

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FLAC

http://www.hdmusic.me/claire-martin-too-darn-hot-2002-official-digital-download-24bit96khz/

Claire Martin – Perfect Alibi (2000) [Reissue 2008] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 48:08 minutes | Scans included | 2,89 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 939 MB

With 1998’s Take My Heart, Claire Martin made the transition from jazz to pop, and the British singer continues in a pop-oriented direction on Perfect Alibi. Even if you have a very liberal definition of jazz, this late-1999/early-2000 recording shouldn’t be considered jazz; Perfect Alibi is a pop album, although it’s a pop album with jazz, R&B, and rock references. Not surprisingly, many of England’s jazz enthusiasts are critical of Martin’s pop albums, she was among the most exciting and interesting young jazz vocalists of the 1990s, and they were sorry to see a talented improviser steering clear of improvisation. But from a pop standpoint, Perfect Alibi has a lot going for it. Martin doesn’t improvise on this album, although her performances of Jimi Hendrix’s “Up From the Skies,” the Rascals’ “How Can I Be Sure?,” and other rock and pop songs do have a personal quality. The jazz-oriented Martin of The Waiting Game and Old Boyfriends would have found a way to turn the Stylistics’ “People Make the World Go Round,” Al Kooper’s “More Than You’ll Ever Know,” and Todd Rundgren’s “Wailing Wall” into improvisatory cool jazz. The pop-oriented Martin of Perfect Alibi, however, personalizes those familiar songs without getting into improvisation. As far as Martin’s pop output goes, Take My Heart is a slightly stronger album. But Perfect Alibi is generally likable, although the jazz lovers of 1999 and 2000 hoped that she would get back to recording jazz.

Tracklist:
01. How can I be sure?
02. Man in the Station
03. Up from the skies
04. Inspired insanity
05. People make the world go round
06. Shadowville
07. Strangers now
08. More than you’ll ever know
09. Over by Allenby
10. More than I can bear
11. He’s a runner
12. Wailing wall

ISO

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FLAC

https://subyshare.com/f5tub0c5gn50/ClaireMartinPerfectAlibi2000Reissue2008FLACStere02488.2.rar.html

Claire Martin & Richard Rodney Bennett – When Lights Are Low (2005)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 52:10 minutes | Scans included | 2,58 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 921 MB
Features 2.0 Stereo & 5.1 multichannel Surround sound | Linn Records # AKD 260

Following their two previous duo albums, ‘When Lights Are Low’ and ‘Witchcraft’, ‘Say It Isn’t So’ presents a final third chapter in the remarkable musical partnership of Claire Martin and the late Richard Rodney Bennett.

One of the most delightful collaborations in vocal jazz, that of Britain’s pre-eminent female vocalist Claire Martin and chameleonic British composer-arranger-pianist-sometime-vocalist Richard Rodney Bennett, ended with Bennett’s death last December at age 76. A year and a half prior, Martin and Bennett had played to SRO crowds at the Algonquin’s now-dismantled Oak Room, saluting Irving Berlin with a show titled ‘A Couple of Swells’. Two months later, the pair laid down 14 Berlin tunes for what would turn out to be their third and final shared disc.

As always, Bennett’s lilting arrangements and refined accompaniment are perfectly tailored to Martin’s smoky warmth. As always, her subtle imagination is enchanting, particularly on a breezy Love, You Didn’t Do Right By Me and an inspired blending of Get Thee Behind Me Satan with I Got Lost in His Arms. As a balladeer Martin remains nonpareil, her bruised Better Luck Next Time and What’ll I do flawlessly rendered. Bennett’s rumbling, gravel-pitted talk-sing still captivates as he travels alone across four tracks, mirroring Fred Astaire’s suavity on Change Partners and jauntily navigating He Ain’t Got Rhythm.

In their nightclub act, as on previous albums, Martin and Bennett often sang duets. Here they team just once, waiting until the final track to cosily share Waiting at the End of the Road, an ode to heaven-bound fulfilment that proves a fitting finale for their divine union.

Tracklist:
01. My One & Only
02. Little Too Lonely
03. My Mood Is You
04. World Weary
05. Lights Are Low
06. Fools Fall
07. Got A Right To Sing
08. Baby Plays Around
09. Very Thought Of You
10. What I Was Warned About
11. Baby Don’t Quit Now
12. No Love No Nothing
13. Not Exactly Paris
14. Hang My Hat
15. Going Back To Joe’s
16. We’ll Be Together Again

ISO

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FLAC

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Angela Hewitt – Bach: Fantasia & Fugue In A Minor, Aria Variata etc.
SACD ISO: 2,86 GB (Stereo + MCH DSD) | FLAC @ 24bit/88.2kHz: 1077 MB | Full Artwork | 3% Rec. Info
Label/Cat#: Hyperion Records # SACDA67499 | Country/Year: UK 2004
Genre: Classical | Style: Baroque

Review by James Leonard

At the best of times under the best of circumstances, Glenn Gould was compelling, but the rest of the time, he was just nuts. Nope, when it comes to the question of who the greatest Canadian Bach pianist is, the answer is Angela Hewitt, just like when it comes to the question of who the great living Bach pianist is, the answer is Angela Hewitt. In her series of recordings of the keyboard works of Bach for Hyperion, Hewitt’s brilliant virtuosity, lively intelligence, and deep musicianship have defined what it means to play Bach on the piano at the turn of the second millennium. Even in this the last volume of the series containing some of his least-known works, Hewitt is not playing “the last and the least” but, as she remarks in his notes, the best of the rest. While not the best known of Bach’s works, they are, at least in Hewitt’s hands, supreme works of musical craft and sublime works of spiritual beauty. From the pair of Fantasias and Fugues in A minor that open and close the program through the dolorous Variations alla Maniera Italiana to the exquisite pair of chorale preludes, Hewitt has assembled her program with taste and sensitivity. Hewitt’s performances here are as fine as those of the rest of her series, as serious, as witty, as virtuosic, as lucid, and as lovely as the rest of her Bach recordings. And Hyperion’s sound captures Hewitt’s performances in sound as clear and warm as the rest of their wonderful recordings.

A magnificent conclusion to a monumental cycle, Hewitt’s final Bach disc will appeal to anyone who loves life and Bach. allmusicguide

This is the last disc in Angela Hewitt’s extraordinary Bach cycle for Hyperion (besides this only the set of “English suites” is available on SACD). Because the pieces recorded here are not part of any series, like the toccatas or partitas, and are mostly relatively short it would be understandable if the prospective listener dismissed the disc as a miscellany of minor or unimportant scraps from the master’s workbench. It would also be a mistake. Hewitt makes the point in her notes that the pieces come from different stages in Bach’s career and demonstrate the enormous stylistic range of his keyboard works. My personal favorite is the relatively early Aria and Variations BWV989, a much shorter set than the famous “Goldbergs” but revealing several structural similarities. Throughout the recital Hewitt displays her comprehensive knowledge and mastery of baroque performance practice while nonetheless making a compelling case for performing Bach on the modern concert grand. Speaking of the piano, the instrument sounds fine, somewhat less aggressive than many Steinways, though I wish Hewitt’s Bach recordings had featured the Fazioli she plays on some of her later discs. The recorded sound (I listened to MC only) is very good. Timbres and dynamics are accurately rendered, though there is perhaps a touch more empty hall resonance than is ideal. sa-cd.net

CD Info:

Johann Sebastian Bach – Angela Hewitt – Fantasia & Fugue In A Minor, Aria Variata etc.

Label: Hyperion
Catalog#: SACDA67499
Format: Hybrid-SACD, Album, Stereo & MCH
Country: UK
Released: 2004
Genre: Classical
Style: Baroque

Tracklist:

1 Fantasia & Fugue In A Minor, BWV 904 – 1. Fantasia 3:37
2 Fantasia & Fugue In A Minor, BWV 904 – 2. Fugue 4:22
3 Aria Variata Alla Maniera Italiana, BWV 989 – 01. Aria 2:15
4 Aria Variata Alla Maniera Italiana, BWV 989 – 02. Var. 1 1:20
5 Aria Variata Alla Maniera Italiana, BWV 989 – 03. Var. 2 1:19
6 Aria Variata Alla Maniera Italiana, BWV 989 – 04. Var. 3 1:24
7 Aria Variata Alla Maniera Italiana, BWV 989 – 05. Var. 4 1:05
8 Aria Variata Alla Maniera Italiana, BWV 989 – 06. Var. 5 1:30
9 Aria Variata Alla Maniera Italiana, BWV 989 – 07. Var. 6 1:57
10 Aria Variata Alla Maniera Italiana, BWV 989 – 08. Var. 7 0:55
11 Aria Variata Alla Maniera Italiana, BWV 989 – 09. Var. 8 0:48
12 Aria Variata Alla Maniera Italiana, BWV 989 – 10. Var. 9 1:00
13 Aria Variata Alla Maniera Italiana, BWV 989 – 11. Var. 10 2:43
14 Sonata In D, BWV 963 – 1. 2:36
15 Sonata In D, BWV 963 – 2. 1:08
16 Sonata In D, BWV 963 – 3. Fugue 2:13
17 Sonata In D, BWV 963 – 4. Adagio 1:02
18 Sonata In D, BWV 963 – 5. Thema All’ Imitatio Gallina Cuccu    1:53
19 Partie In A, BWV 832 – 1. Allemande 2:03
20 Partie In A, BWV 832 – 2. Air Pour Les Trompettes 2:31
21 Partie In A, BWV 832 – 3. Sarabande 1:46
22 Partie In A, BWV 832 – 4. Bourrée 1:04
23 Partie In A, BWV 832 – 5. Gigue 1:20
24 Suite In F Minor, BWV 823 – 1. Prélude 2:08
25 Suite In F Minor, BWV 823 – 2. Sarabande En Rondeau 4:15
26 Suite In F Minor, BWV 823 – 3. Gigue 2:02
27 Adagio In G, BWV 968 5:08
28 Fugue In C, BWV 953 1:22
29 Jesu, Meine Zuversicht, BWV 728 2:49
30 Wer Nur Den Lieben Gott Lässt Walten, BWV 691 2:14
31 Fantasia & Fugue In A Minor, BWV 944 – 1. Fantasia 0:56
32 Fantasia & Fugue In A Minor, BWV 944 – 2. Fugue 4:54

ISO

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FLAC

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Info+Art

https://subyshare.com/hg3idr3enhtz/JohannSebastianBachAngelaHewittInfoArt.rar.html

Linn Records – The Super Audio Surround Collection Volume 3 (2007)

PS3 Rip | ISO | SACD DSD 2.0 | DSD 2.8 MHz | 57:04 minutes | 2.25 GB
or SACD Diff Tracks | DSD 2.0 | 1/2.8224 MHz | 2.21 GB | Linn Records

Encompassing classical and jazz music, ‘The Super Audio Surround Collection Volume 3′ exemplifies Linn Records’ commitment to quality, originality and diversity.

A stunning new collection of demonstration quality tracks that showcase our artists at their very best.  ‘The Super Audio Surround Collection Volume 3’ features stand-out tracks from Linn’s 2006-07 releases.

Linn Records jazz catalogue is represented by the cream of UK talent, two of whom were recognised by the BBC Jazz Awards in 2007: Ian Shaw was named ‘Best Vocalist’ for the second time while Martin Taylor was awarded the ‘Radio 2 Heart of Jazz’ award.

Claire Martin‘s Shirley Horn tribute album proved a popular summer release reaching #13 in the UK Jazz & Blues Chart and remaining in the chart for 8 consecutive weeks. ‘He never mentioned love’ was chosen as ‘Music Choice’ and ‘Jazz CD of the Month’ by BBC Music Magazine, was named ‘CD of the Week’ by the Sunday Post.

Song-stylist Barb Jungr has enjoyed a successful year with sell-out live appearances across the UK, including the Queen Elizabeth Hall, 606 Club and Edinburgh Festival Fringe as well as dates in New York and an Australian tour.

Singer/songwriter Judith Owen contributes a beautiful track from her self-penned album ‘Happy This Way’, which explores Owen’s extraordinary talent for mixing Celtic, jazz and contemporary influences.

The legendary Carol Kidd completes the jazz line-up.  Carol’s reputation as a leading jazz singer of modern times has been cemented by several sell-out performances in 2007 and the release of her classic debut album on 180 gram vinyl.

Linn Records classical catalogue is represented by the Dunedin Consort‘s Dublin version of Handel’s ‘Messiah’ which has been nominated in the ‘Baroque Vocal’ category at the 2007 Classic FM Gramophone Awards. James Gilchrist‘s album ‘On Wenlock Edge’ was named ‘CD of the Week’ by the Observer & Daily Telegraph, while William Carter‘s ‘La Guitarra Espanola’ was named ‘Editor’s Choice’ in Gramophone.

Trumpeter Jonathan Freeman-Attwood has added to his series in which he re-works pieces for trumpet with ‘La Trompette Retrouvee’ which attracted the attention of the audiophile press for its superior sound and performance.

Leading contemporary composer James MacMillan contributes a special excerpt from the recorded premiere of his work Missa Brevis performed by Scottish choral group Cappella Nova.

Several new artists made their Linn Records debut: George-Emmanuel Lazaridis wowed critics with his album of Liszt; Maximiliano Martin shone in his first clarinet recital album; La Serenissima charmed listeners with their collection of Vivaldi cantatas and sonatas; and pianist Vita Panomariovaite partnered Linn veteran Artur Pizarro on their Duos album.

The Scottish Chamber Orchestra, whose long affiliation with Linn Records has produced several wonderful recordings, contribute a beautiful track from their recent ‘Mozart Serenades’ album.

Tracklist:

1. He Never Mentioned Love – Claire Martin
2. Painting By Numbers – Judith Owen
3. Beautiful Life – Barb Jungr
4. Yes I Know When I’ve Had It – Carol Kidd
5. Love At Last – Claire Martin
6. A Case Of You – Ian Shaw
7. Grandes Etudes De Paganini Etude III – Georges-Emmanuel Lazaridis
8. March, (K.189) – Alexander Janiczek
9. Capriccio Espagnol Op.34 Scena E Canto Gitano – Artur Pizarro
10. Ludlow And Teme – When I Was One And Twenty – James Gilchrist – tenor
11. Messiah: And The Glory Of The Lord (Chorus) – John Butt
12. A Chloris – Reynaldo Hahn
13. Missa Brevis – Kyrie – Alan Tavener
14. Sonata For Clarinet And Piano Allegro Con Fuoco – Maximiliano Martin
15. Sonata ‘Graz’ (No.3) For Violin & Continuo In D, RV 11 Allegro – Adrian Chandler
16. Cumbees – William Carter

ISO:

https://subyshare.com/2kwdhwtregvb/LinnRecordsTheSuperAudioSurroundCollectionVolume3.part1.rar.html
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DSD64

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https://subyshare.com/c2wiwqyzl9z7/LinnRecordsLinnRecordsSuperAudioSurroundSamplerVol3.part3.rar.html

VA – The Super Audio Surround Collection Volume 2
SACD ISO (2.0/MCH): 3,56 GB | 24B/88,2kHz Stereo FLAC: 1,08 GB | Artwork | 3% Recovery Info
Label/Cat#: Linn Records # AKP 284 | Country/Year: UK 2006
Genre: Classical, Jazz | Style: Vocal Jazz, Contemporary Jazz, Romantic

The Scotland-based label has long had a reputation for the highest fidelity in all their recordings, and the 17 tracks here present a nice mix of classical, pop and jazz selections. Their girl singers – Sarah Moule, Claire Martin, Barb Jungr and Emma Bell, all have lovely voices, beautifully reproduced with startling presence. The Scottish chamber ensembles shine in their classical selections, especially the movement of Mozart’s Flute Concerto. ~John Sunier, 2009 audiophile audition

SACD Info:

VA – The Super Audio Surround Collection Volume 2

Label: Linn Records
Catalog#: AKP 284
Format: Hybrid-SACD, Compilation, Stereo, Multichannel
Country: UK
Released: 2006
Genre: Classical, Jazz
Style: Romantic

Tracklist:

01. Ian Shaw – Barangrill (04:25)
02. Richard Rodney Bennett – Any Place I Hang My Hat Is Home (02:49)
03. Martin Taylor – Minor Swing (05:34)
04. Sarah Moule – That Old Black Magic (03:59)
05. Girl Talk – I Enjoy Being A Girl (02:09)
06. Barb Jungr – Who Do You Love? (02:56)
07. Claire Martin – The Meaning Of The Blues (04:11)
08. Haftor Medboe Group – Little Auk (07:33)
09. Scottish Ensemble – Britten: Aria Italiana (01:22)
10. Scottish Chamber Orchestra – Dvorak: Czech Suite – Polka (04:10)
11. Scottish Chamber Orchestra – Mozart: Flute Concerto – Rondo: Allegro (07:40)
12. Artur Pizarro – Chopin: Fantaisie Impromptu in C# minor (05:03)
13. Emma Bell – Handel: Orrida agli occhi miei (For My Eyes) (02:23)
14. Concerto Caledonia – Erskine: Overture in C op.5 no.4 Allegro (03:21)
15. Allison McGillivray – Geminiani: Sonata op.5 no.4 – Allegro (00:54)
16. William Carter – Corbetta: Gigue a la maniere Anglois (01:55)
17. Ian Bruce – Burns: Lassie wi’the lintwhite locks (03:05)

Following the success of Volume One of our SACD sampler series, which Audio & Video Lifestyle called the best consumer sound quality available today (5 stars), Linn Records have released ‘The Linn Surround Sound Collection Volume 2’ which features many new tracks and new artists, all in glorious Linn surround sound.

ISO

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FLAC

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Info+Art

https://subyshare.com/lxy5e6vq535n/SuperAudioSurroundVol2_InfoArt.rar.html

Angela Hewitt – Piano Music by Emmanuel Chabrier (2006)
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 76:04 minutes | Artwork (PDF) | 3,51 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 1,12 GB
Features 2.0 Stereo and 5.0 multichannel surround sound | Hyperion Records # SACDA67515

Anyone with a passing awareness of her wonderful recordings for Hyperion knows that Angela Hewitt is one of the world’s leading interpreters of Bach, and that she’s no slouch in recording works by Chopin, Couperin, Messiaen, and Ravel, either. Add to this distinguished roster the name of Emmanuel Chabrier, whose keyboard works Hewitt recorded in 2004, and rendered with as much technical polish and expressive depth as anyone could lavish on them. Whether or not such light and sometimes inconsequential piano music deserves special treatment, Hewitt is unstinting in her musicality, and she delivers colorful, idiomatic readings of these late nineteenth century miniatures that arguably make them sound better than they really are. All will agree that Hewitt’s sensitivity and skill are beyond dispute and that this program is an excellent showcase for her astonishing abilities; it is only secondarily of interest because of Chabrier’s music, which tends toward mildly picturesque vignettes at best and shallow parlor novelties at worst. In the former category are the late pieces, Aubade (1883), Habanera (1885), and Bourrée fantasque (1891), which exude sophistication and dry wit, and seem slightly ahead of their time; also worth hearing for their charming modern qualities are the posthumously published Ballabile, Caprice, and Feuillet d’album (all 1897). Something of a mixed bag is Dix pièces pittoresques (1881), which are character sketches and dances in a pretty salon style, but most are melodically trite, harmonically predictable, and emotionally superficial. The earliest works offered, the Impromptu (1873) and the Ronde champêtre (ca. 1870), are less compelling, except perhaps for a few eccentric harmonies and rhythms that vaguely anticipate Ravel; little else recommends them except their period color. So fans of Angela Hewitt will rejoice that she performs here with her usual brilliance and panache, but they may feel a little less jubilant about her choice of repertoire this time out. Hyperion’s recording, however, is sublime in every way.

Tracklist:
01. Impromptu, for piano in C major
02. Pièces posthumes (5), for piano: Ronde champêtre
03. Pièces pittoresques (10), for piano: Paysage
04. Pièces pittoresques (10), for piano: Mélancolie
05. Pièces pittoresques (10), for piano: Tourbillon
06. Pièces pittoresques (10), for piano: Sous-bois
07. Pièces pittoresques (10), for piano: Mauresque
08. PiÃ..ces pittoresques (10), for piano: Idylle
09. PiÃ..ces pittoresques (10), for piano: Dans villageoise
10. PiÃ..ces pittoresques (10), for piano: Improvisation
11. PiÃ..ces pittoresques (10), for piano: Menuet pompeux
12. Pièces pittoresques (10), for piano: Scherzo-valse
13. Pièces posthumes (5), for piano: Aubade
14. Pièces posthumes (5), for piano: Ballabile
15. Pièces posthumes (5), for piano: Caprice
16. Pièces posthumes (5), for piano: Feuillet d’album
17. Habañera, for piano (or orchestra)
18. Bourrée fantasque, for piano (also for orchestra)

ISO

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FLAC

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The Dave Brubeck Quartet – Concord On A Summer Night (1982) [Reissue 2003] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 39:36 minutes | Scans included | 2,32 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 732 MB
Features 2.0 Stereo and 5.1 multichannel surround sound

In 1982 pianist Dave Brubeck welcomed clarinetist Bill Smith (who he had played with back in his octet days in the late ’40s) as a permanent member of his Quartet along with drummer Randy Jones and Chris Brubeck on electric bass and occasional bass trombone. This album features the new Quartet at the Concord Jazz Festival playing what would become their typical mixture of songs: three Brubeck compositions (“Benjamin,” “Koto Song” and “Softly, William, Softly”), a standard (“Black and Blue”) and yet another remake of “Take Five.” These are fine performances.

Tracklist:
01. Benjamin
02. Koto Song
03. Black And Blue
04. Softly, William, Softly
05. Take Five

– Dave Brubek: piano
– Bill Smith: clarinet
– Chris Brubeck: electric bass, bass trombone
– Randy Jones: drums

ISO

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FLAC

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Dave Brubeck – Supreme Jazz (2006) [2.0 & 5.1]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 72:27 minutes | Scans included | 3,99 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,27 GB
Features 2.0 Stereo and 5.1 multichannel surround sound

Over a long career that is still going strong, Dave Brubeck has always been one of jazz’s most popular performers. Furthermore, that success has not been achieved at the cost of compromising; Brubeck has consistently experimented with rhythms, time signatures and tonalities not often found even in jazz. At the beginning of his career, his influences were the great piano players of early jazz – Duke Ellington, Art Tatum and Fats Waller, and, like Ellington, as his career developed he introduced extended pieces into his repertoire of self-composed material. Music for ballet and theatre features amongst his work, and he has written an oratorio, a Mass and tone poems. Brubeck has performed regularly for American presidents, and he has toured the world many times over. Dave Brubeck is one of the giant talents of jazz.

Tracklist:
01. Audrey
02. Jeepers
03. Pennies From Heaven
04. Why Do I Love You
05. Stompin’ For Mili
06. Keepin’ Out Of Mischief Now
07. A Fine Romance
08. Brother, Can You Spare A Dime?
09. Sometimes I’m Happy
10. The Duke
11. Indiana
12. Love Walked In
13. Look For The Silver Lining
14. Two-Part Contention

Tracks “01-12” Recorded in 1954-1955
Dave Brubeck (p), Paul Desmond (as), Bob Bates (b), Joe Dodge (d).

Track “13” – Look For The Silver Lining – Recorded in 1951, Hollywood.
Dave Brubeck (p), Paul Desmond (as), Wyatt Ruther (b), Herb Barman (d).

Track “14” – Two-Part Contention – Recorded in Oakland, CA. on April 19, 1956
Dave Brubeck (p).

ISO

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FLAC

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Various Artists – Rockin’ The Spirit: Piano Blues, Boogie & Spirituals (2005) [2.0 & 5.0]
PS3 Rip | SACD ISO | DSD64 Stereo & DST64 5.0 > 1-bit/2.8224 MHz | 60:22 minutes | Scans included | 4,18 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,04 GB

After attending an annual boogie-woogie concert organized by Mark Braun (Mr. B.), Monty Alexander headed a recording project that paid tribute to both boogie-woogie and spirituals. Five pianists participated, performing two numbers apiece, with four of the players (all but Alexander) playing a pair of duets. Alexander, Eric Reed, and Johnny O’Neal are better known nationally than Bob Seeley and Mark Braun, but all five pianists fare well, stretching beyond boogie-woogie and spirituals to include a few swing standards and even a bluish duet on Benny Golson’s “Whisper Not.” Recommended to boogie-woogie fans and the curious.

Tracklist:
01. Bob Seeley – St. Louis Blues
02. Johnny O’Neal – Happy Days Are Here Again/Jitter Bug Waltz
03. Mark Braun – Pinetop’s Boogie Woogie
04. Bob Seeley – Amazing Grace
05. Mark Braun – My Sunday Best
06. Eric Reed – You Took Advantage Of Me
07. Johnny O’Neal – Glory, Glory Hallelujah
08. Monty Alexander – Boogie Woogie Keys
09. Mark Braun and Bob Seeley – Fourplay Boogie Woogie
10. Eric Reed – Three Hymns
11. Monty Alexander – Nobody Knows The Trouble I’ve Seen/No Woman, No Cry
12. Johnny O’Neal and Eric Reed – Whisper Not

Produced by David Chesky. Recording Engineer: Nicholas Prout.

ISO

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FLAC

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Various Artists – Telarc SACD Sampler (1999)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 69:28 minutes | Scans included | 2,84 GB

Tracklist:
01. Erich Kunzel & Cincinnati Pops Orchestra – Let Yourself Go
02. Erich Kunzel & Cincinnati Pops Orchestra – September in the Rain
03. Erich Kunzel & Cincinnati Pops Orchestra – Night and Day
04. Monty Alexander – No Woman, No Cry
05. Monty Alexander – So Ja Sah
06. Ray Brown Trio with Nancy King and Antonio Hart – The Perfect Blues
07. Dave Brubeck Quartet – Deep Purple
08. Oscar Peterson, Ray Brown, Milt Jackson – Caravan
09. Rudolf Werthen / I Fiamminghi – Piazzolla: No. 1 Street Tango
10. Erich Kunzel & Cincinnati Pops Orchestra – Children Will Listen (Into the Woods)
11. Erich Kunzel & Cincinnati Pops Orchestra – He Lives In You (Lion King)
12. Erik van Nevel / Currende – De Monte: Bona est oratio cum ieiunio
13. Robert Shaw / Atlanta Symphony Orchestra and Chorus – Dvorak: Stabat Mater

Download:

https://subyshare.com/eppcs3di3a3l/VATelarcSACDSampler1999SACDIS0.part1.rar.html
https://subyshare.com/a84fc51p9dxt/VATelarcSACDSampler1999SACDIS0.part2.rar.html
https://subyshare.com/r29h5isuqcaw/VATelarcSACDSampler1999SACDIS0.part3.rar.html

The English Patient: Original Soundtrack Recording (1996) [Reissue 2003]
PS3 Rip | SACD ISO | DST64 5.1 > 1-bit/2.8224 MHz | 75:05 minutes | Scans included | 3,29 GB
or FLAC 5.1 (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 3,98 GB
Original music composed by Gabriel Yared, and performed by Academy Of St. Martin In The Fields

Gabriel Yared composed most of the music for the soundtrack of one of 1996’s most acclaimed dramas, which was largely performed by the Academy of St. Martin in the Fields; John Constable (on solo piano) and Marta Sebestyen (vocals) are also featured. Yared’s score is mostly typical wide-screen epic stuff–nothing special. More interesting are Hungarian folk singer Sebestyen’s occasional contributions. A few period pop/jazz cuts by Benny Goodman, Ella Fitzgerald, and Fred Astaire are interspersed throughout, and are most likely more effective on screen than on disc, where they juxtapose uncomfortably with the orchestral instrumental pieces.

Tracklist:
01. Academy Of St. Martin In The Fields – The English Patient
02. Academy Of St. Martin In The Fields – A Retreat
03. Academy Of St. Martin In The Fields – Rupert Bear
04. Academy Of St. Martin In The Fields – What Else Do You Love?
05. Academy Of St. Martin In The Fields – Why Picton?
06. Fred Astaire – Cheek To Cheek
07. Academy Of St. Martin In The Fields – Kip’s Lights
08. Academy Of St. Martin In The Fields – Hana’s Curse
09. Academy Of St. Martin In The Fields – I’ll Always Go Back To That Church
10. Academy Of St. Martin In The Fields – Black Nights
11. Academy Of St. Martin In The Fields – Swoon, I’ll Catch You
12. Academy Of St. Martin In The Fields – Am I K. In Your Book ?
13. Academy Of St. Martin In The Fields – Let Me Come In
14. Benny Goodman – Wang Wang Blues
15. Academy Of St. Martin In The Fields – Convento Di Sant’Anna
16. Academy Of St. Martin In The Fields – Herodotus
17. Márta Sebestyén – Szerelem, Szerelem
18. Academy Of St. Martin In The Fields – Ask Your Saint Who He’s Killed
19. Benny Goodman – One O’Clock Jump
20. Academy Of St. Martin In The Fields – I’ll Be Back
21. Academy Of St. Martin In The Fields – Let Me Tell You About Winds
22. Academy Of St. Martin In The Fields – Read Me To Sleep
23. Academy Of St. Martin In The Fields – The Cave Of Swimmers
24. Shepheard’s Hotel Jazz Orchestra – Where Or When
25. Julie Steinberg – Aria From The Goldberg Variations
26. Ella Fitzgerald – Cheek To Cheek
27. Academy Of St. Martin In The Fields – As Far As Florence
28. Academy Of St. Martin In The Fields – En Csak Azt Csodalom (Lullaby For Katharine)

ISO

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MCH FLAC

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George Szell & Cleveland Orchestra – Grieg / Bizet / Mussorgsky (2001)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 76:02 minutes | Scans included | 3,07 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,48 GB
Originally Released in 1958 / 1963 / 1966 | Sony Classical

Sony Masterworks’ new “Expanded Edition” offers well-known recordings newly remastered using DSD technology, along with “bonus” material extending the playing time of the original LP (not the previous CD edition, if any), all at a very attractive price. The question for most collectors is a simple one: does it sound better? The answer, without reservation, is “Yes”–at least for this present issue, which offers Szell’s magnificent Pictures at an Exhibition, already well known from its Essential Classics incarnation…although Russian music was not an area in which Szell made his reputation, both he and the Cleveland Orchestra are on top form throughout. Sonically the performances feature a more open top, enhanced clarity, and richer bass than any previous edition, making this a truly first class experience on all counts.

Tracklist:
01. Grieg: Peer Gynt Suite No. 1, Op. 46 – I. Morning Mood
02. Grieg: Peer Gynt Suite No. 1, Op. 46 – II. Ase’s Death
03. Grieg: Peer Gynt Suite No. 1, Op. 46 – III. Anitra’s Dance
04. Grieg: Solvejg’s Song (from Peer Gynt Suite No. 2, Op. 55)
05. Grieg: Peer Gynt Suite No. 1, Op. 46 – V. In the Hall of the Mountain King
06. Bizet: L’Arlésienne Suite No. 1 – I. Overture
07. Bizet: L’Arlésienne Suite No. 1 – II. Minuetto
08. Bizet: L’Arlésienne Suite No. 1 – III. Adagietto
09. Bizet: L’Arlésienne Suite No. 1 – IV. Carillon
10. Bizet: Farandole (from L’Arlésienne Suite No. 2)
11. Mussorgsky: Pictures at an Exhibition – Promenade
12. Mussorgsky: Pictures at an Exhibition – Gnomus
13. Mussorgsky: Pictures at an Exhibition – Promenade
14. Mussorgsky: Pictures at an Exhibition – The Old Castle
15. Mussorgsky: Pictures at an Exhibition – Promenade
16. Mussorgsky: Pictures at an Exhibition – Tuileries
17. Mussorgsky: Pictures at an Exhibition – Bydlo
18. Mussorgsky: Pictures at an Exhibition – Promenade
19. Mussorgsky: Pictures at an Exhibition – Ballet of the Chicks in their Shells
20. Mussorgsky: Pictures at an Exhibition – Samuel Goldenberg and Schmuyle
21. Mussorgsky: Pictures at an Exhibition – Limoges, the Market Place
22. Mussorgsky: Pictures at an Exhibition – Catacombs (Roman Sepulchre)
23. Mussorgsky: Pictures at an Exhibition – Con mortuis in lingua mortua
24. Mussorgsky: Pictures at an Exhibition – The Hut on Fowls’ Legs
25. Mussorgsky: Pictures at an Exhibition – The Great Gate at Kiev
26. Mussorgsky: Dawn on the Moskva River from “Khovanshchina”

Engineered for SACD by Dixon Van Winkle. DSD Authoring by Jen Wyler.

ISO

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FLAC

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George Szell, The Cleveland Orchestra – Live In Tokyo (1970) [Japanese Reissue 2000]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 83:39 minutes | Scans included (PDF) | 3,37 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included (PDF) | 1,62 GB

This 1970 concert, recorded live in Tokyo by NHK radio engineers, is the stuff of which legends are made. Already fatally ill with the cancer that would kill him two months later, George Szell led the orchestra he had nurtured since 1946 on a triumphant tour of the Far East, sharing the podium with Pierre Boulez, husbanding his strength, refusing to give in to increasing frailty and exhaustion. On the evening of May 22, he directed the program recorded here, and it remains arguably the single-most astonishingly perfect live performance ever captured by the microphones. This is all music that Szell conducted in the studio, and superbly well too. What, you already own those recordings? Never mind. The Oberon Overture has not been available in anything other than the Japanese Sony Szell Edition (in which this concert also features prominently), so its presence here is doubly welcome. The Mozart G minor Symphony should erase any notion of this conductor’s lack of flexibility. Yes, he was a severe disciplinarian, but his reputation tends to cloud people’s judgment (and clog their ears) when listening to the actual performances. This rendition thrives on subtle variations of pulse; Szell’s always-fresh way of introducing the upbeats to the principal theme whenever it returns offers one example, just as the unparalleled elegance (and yes, even playfulness) of phrasing throughout the slow movement provides another. Szell recorded a stellar Sibelius Second with the Concertgebouw for Philips, recently reissued in magnificently remastered sound. It has long been a version of reference for the work. This performance resembles the earlier one, interpretively speaking, but even the excellence of the Dutch orchestra cannot approach the ferocious virtuosity on display here. Start with the extraordinary energy and finely layered sonorities of the first movement’s central development section, and move on from there to the dazzling sectional interplay that ignites the second movement’s agitated climaxes (another classic example of Szell flexibly and fearlessly exploiting a huge range of tempo). By the time you reach the sizzling yet lighter-than-air strings in the scherzo (like Mravinsky/Leningrad at their peak, only with more colorful articulation), it should be clear that this performance sets a standard that remains unmatched to this day, technically and interpretively. Listen to the way Szell constructs the transition to the finale, and to its ideal mixture of Romantic expansiveness and structural solidity. The final climax rises out of the depths of the orchestra like a force of nature, a massive physical presence, and an incomparable musical experience. Berlioz’s Rákóczy March, the brilliantly played encore, is merely the icing on the cake.

Tracklist:
01. APPLAUSE
02. C.M.V.WEBER: OVERTURE “OBERON”
03. W.A.MOZART: SYMPHONY NO.40 MOV.1
04. W.A.MOZART: SYMPHONY NO.40 MOV.2
05. W.A.MOZART: SYMPHONY NO.40 MOV.3
06. W.A.MOZART: SYMPHONY NO.40 MOV.4
07. J.SIBELIUS: SYMPHONY NO.2 MOV.1
08. J.SIBELIUS: SYMPHONY NO.2 MOV.2
09. J.SIBELIUS: SYMPHONY NO.2 MOV.3
10. J.SIBELIUS: SYMPHONY NO.2 MOV.4
11. H.BERLIOZ: RÁKÓCZY MARCH FROM “THE DAMNATION OF FAUST”

ISO

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FLAC

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Mikhail Pletnev – Pletnev Plays Schumann (2x SACD, 2004)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 76:26 minutes | Artwork (PDF) | 5,44 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 1,34 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Deutsche Grammophon # 477 057-2

Mikhail Pletnev gives polished, serious performances of these Schumann works. It is not that they are cold or uninviting, but more that normal people are to admire, but not touch them. Pletnev is always in control, making sure throughout the Symphonic Etudes that the melody is obvious and on top of whatever else may be going on. Each variation and etude is technically perfect, and even though there is a wide range of emotion, it is always sober. The less weighty ones, such as Etude No. 3, and Variations No. 4 and No. 5 have no sunshine in them. The brief Etude No. 9, marked Presto possible, is like a gnawing interpretation of Mendelssohn’s fairy music. The Fantasie also seems to exist on a higher plane than that of mere mortals. The second movement is a bit more engaging in its energy, but the otherworldly remoteness returns in the final movement. The Albumblätter and Arabeske receive a similar treatment. Yes, Schumann had a hard, depressing life, and yes, he was a genius composer, but surely, there is room in this music for some brightness, some sense of his humanity. Wonderful as Pletnev’s playing is, he has made other recordings where he invites the listener into the music more than he does with these Schumann pieces.

Tracklist:
CD1 #01. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Thema. Andante
CD1 #02. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation I. Un poco più vivo
CD1 #03. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation II. Marcato il canto
CD1 #04. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Etüde III. Vivace
CD1 #05. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation III
CD1 #06. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation IV
CD1 #07. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation V. Agitato
CD1 #08. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation VI. Allegro molto
CD1 #09. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation VII
CD1 #10. Symphonic Etudes in Variation Form (5), WoO 6 – Appendix Variation 5
CD1 #11. Symphonic Etudes in Variation Form (5), WoO 6 – Appendix Variation 1
CD1 #12. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Etüde IX. Presto possibile
CD1 #13. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Variation IX. Con espressione
CD1 #14. Symphonic Etudes (“Etudes in the form of variations”), Op. 13 – Finale. Allegro brillante
CD2 #01. Fantasie (Obolen auf Beethovens Monument) for piano in C major, Op. 17 – 1) Durchaus phantastisch und leidenschaftlich vorzutragen – Im Legendanton – Erstes Tempo
CD2 #02. Fantasie (Obolen auf Beethovens Monument) for piano in C major, Op. 17 – 2) Mäßig. Durchaus energisch – Etwas langsamer – Viel bewegter
CD2 #03. Fantasie (Obolen auf Beethovens Monument) for piano in C major, Op. 17 – 3) Langsam getragen. Durchweg leise zu halten – Etwas bewegter
CD2 #04. Bunte Blätter (14) (Colored Leaves) for piano, Op. 99 – 4) Albumblatt I: Ziemlich langsam
CD2 #05. Bunte Blätter (14) (Colored Leaves) for piano, Op. 99 – 5) Albumblatt II. Schnell
CD2 #06. Bunte Blätter (14) (Colored Leaves) for piano, Op. 99 – 6) Albumblatt III. Ziemlich langsam, sehr gesangvoll
CD2 #07. Bunte Blätter (14) (Colored Leaves) for piano, Op. 99 – 7) Albumblatt IV: Sehr langsam
CD2 #08. Bunte Blätter (14) (Colored Leaves) for piano, Op. 99 – 8) Albumblatt V: Langsam
CD2 #09. Arabesque – Arabeske for piano in C major, Op. 18

Recording: Berlin, Teldex Studio, 19-21 August 2003.
Produced by Christian Gansch Tonmeister. Editing: Mark Buecker.
Recording Engineer: Rainer Maillard. Balance Engineer: Raner Maillard
New surround mix: Gernot von Schultzendorff. Recorded, edited and mastered by Emit Berliner Studios.

ISO

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FLAC

https://subyshare.com/198qfvdjb0ly/MikhailPletnevPletnevPlaysSchumann2004FLACStere024882.part1.rar.html
https://subyshare.com/1lsvn0360akn/MikhailPletnevPletnevPlaysSchumann2004FLACStere024882.part2.rar.html

David Oistrakh, The Cleveland Orchestra, George Szell – Brahms: Violin Concerto in D, Op.77 (1970) [Japan 2010]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 40:40 minutes | Scans NOT included | 1,63 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 726 MB
This new audio version feature newly remastered DSD master / Esoteric Japan # ESSE-90044

David Oistrakh, the celebrated Russian violinist, was one of a small group of Soviet artists invited by EMI to participate in their program of recording for the first time with major orchestras in the USA, following the end of the company’s long-standing reciprocal licensing arrangements with CBS and RCA. EMI’s first venture in this field was a set of Beethoven Piano Concertos with Emil Gilels as soloist, made with the Cleveland Orchestra under its Hungarian conductor George Szell in the Severance Hall, Cleveland, in April and May 1968. This was followed in May 1969 with the Brahms Violin Concerto with Oistrakh and the Brahms Double Concerto with Oistrakh and Rostropovich. The Penguin Guide said of the LP of the Violin Concerto that the performance was “full of controlled feeling and disciplined vitality that must be numbered among the finest of the full-price versions available”.

Tracklist:
01. Brahms: Concerto for Violin and Orchestra in D Op.77: I. Allegro non troppo (cadenza: J. Joachim)
02. Brahms: Concerto for Violin and Orchestra in D Op.77: II. Adagio
03. Brahms: Concerto for Violin and Orchestra in D Op.77: III. Allegro giocoso, ma non troppo vivace

Recorded at Severance Hall, Creveland, Ohio, on May 13 & 16, 1969
Remastering Engineer: Kazuie Sugimoto (JVC Mastering Center).

ISO

https://subyshare.com/9v55t27dxnpw/David0istrakhTheCleveland0rchestraGe0rgeSzellBrahms.Vi0linC0ncert0inD0p.771970Japan2010SACDIS0.part1.rar.html
https://subyshare.com/hpvt3rprwqpd/David0istrakhTheCleveland0rchestraGe0rgeSzellBrahms.Vi0linC0ncert0inD0p.771970Japan2010SACDIS0.part2.rar.html

FLAC

https://subyshare.com/l6x0o5dgdctm/David0istrakhTheCleveland0rchestraGe0rgeSzellBrahms.Vi0linC0ncert0inD0p.771970Japan2010FLAC2488.2.rar.html

Switchfoot – The Beautiful Letdown (2003) [2.0 & 5.1]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 44:30 minutes | Scans included | 2,95 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 981 MB

After gaining a foothold in the contemporary Christian music scene, Switchfoot went mainstream with 2003’s The Beautiful Letdown, a double-platinum album that straddled the line between sacred and secular rock music.

In 2002, alternative CCM rockers Switchfoot cribbed some wider exposure from Mandy Moore, contributing tracks to her film Walk to Remember. It was a good fit, as the film, like the Foot, strode toward the mainstream without forgetting its good-hearted ideals. They returned in February 2003 with the slick modern rock missive The Beautiful Letdown, which promptly blew up the Christian charts and garnered Switchfoot an armful of Dove Award nominations. But, issued through Columbia Records instead of Sparrow, it was clear Letdown had designs on something larger than the CCM market. Thus a year later, in 2004, Switchfoot issued the album again. It’s the same, though the mix is slightly tweaked and an unremarkable DVD with videos and some unreleased stuff appears, hoping to appease those who bought the thing once already. Musically, the album is kind of all over the place. But it’s always melodic and well paced, and carefully emulates what’s already worked for adult alternative. So, while “Meant to Live” approaches the chunky grandeur of Fuel, “Gone” is a winking sing-song of a thing that owes a huge — huge! — debt to Sugar Ray. There’s also stuff like “This Is Your Life” and “More Than Fine,” where slick electronic treatments accentuate Jon Foreman’s slightly Bono-ish vocals. It’s all tinged with the spirituality that’s been Switchfoot’s m.o. since the beginning; however, the band’s work is too easily hooky and mature not to find favor with secular audiences. The meanest thing you can say about a gorgeously layered ballad like “Dare You to Move” is that it’s more of a nice, warm Tuesday evening than the wee hours of a greasy Saturday night. But there needs to be gradation like this in rock, bands on both the good and evil sides of the coin trying to hold it down. And for their part, for what they do, Switchfoot is very talented. Here’s hoping their polished halo brings its gleam to the mainstream.

Tracklist:
01. Meant To Live
02. This Is Your Life
03. More Than Fine
04. Ammunition
05. Dare You To Move
06. Redemption
07. The Beautiful Letdown
08. Gone
09. On Fire
10. Adding To The Noise
11. Twenty-four

ISO

https://subyshare.com/76h508sf24bl/Switchf00tTheBeautifulLetd0wn2003SACDIS0.part1.rar.html
https://subyshare.com/hlmdgzfezger/Switchf00tTheBeautifulLetd0wn2003SACDIS0.part2.rar.html
https://subyshare.com/6auc9bk86xjo/Switchf00tTheBeautifulLetd0wn2003SACDIS0.part3.rar.html
https://subyshare.com/k69swi1a8fuf/Switchf00tTheBeautifulLetd0wn2003SACDIS0.part4.rar.html

FLAC

https://subyshare.com/m1vuybmod8t2/Switchf00tTheBeautifulLetd0wn2003FLACStere02488.2.rar.html

The Dave Brubeck Quartet – Jazz At Oberlin (1953/2003)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | Time – 38:40 minutes | Scans included | 1,64 GB
SACD to DSF 2.0 Mono DSD64/2.82MHz  | Time – 00:37:58 minutes | 1,5 GB 
©  Fantasy Records | Genre: Jazz
Recorded live in Finney Chapel, Oberlin College in Ohio, March 2, 1953.

Jazz at Oberlin is a live album by the Dave Brubeck Quartet. It was recorded in the Finney Chapel at Oberlin College in March 1953, and released on Fantasy Records as F 3245.

Critic Nat Hentoff wrote in Down Beat magazine that the album ranks with the College of the Pacific and Storyville sets “as the best of Brubeck on record”, and jazz critic Gary Giddins has written that it would “make many short lists of the decade’s outstanding albums”.

The concert is credited with making jazz a legitimate field of musical study at Oberlin, but it and the album did much more than that. The album is further credited with initiating making jazz a subject of serious intellectual attention in a listening-centric environment; Wendell Logan, the chair of Oberlin’s Jazz Studies Department, described it as “the watershed event that signaled the change of performance space for jazz from the nightclub to the concert hall”.

In addition, it was one of the early works in the cool jazz stream of jazz; The Guardian’s John Fordham wrote that it “indicated new directions for jazz that didn’t slavishly mirror bebop, and even hinted at free-jazz piano techniques still years away from realisation”; he further observed that it “marked Brubeck’s eager adoption by America’s (predominantly white) youth – a welcome that soon extended around the world … for a rhythmically intricate instrumental jazz”.

Although a touch underrated, Jazz at Oberlin is one of the early Dave Brubeck classic recordings. The interplay between the pianist-leader and altoist Paul Desmond on “Perdido” borders on the miraculous, and their renditions of “The Way You Look Tonight,” “How High the Moon” and “Stardust” are quite memorable. Brubeck’s piano playing on “These Foolish Things” is so percussive and atonal in one spot as to sound like Cecil Taylor, who would not emerge for another two years. With bassist Ron Crotty and drummer Lloyd Davis giving the Quartet quiet and steady support, Brubeck and Desmond were free to play at their most adventurous. Highly recommended. –Scott Yanow

Tracklist:
1 These Foolish Things (Remind Me Of You) 6:30
2 Perdido 7:45
3 Stardust 6:25
4 The Way You Look Tonight 7:47
5 How High The Moon 9:03

Personnel:
Dave Brubeck – piano
Paul Desmond – alto saxophone
Lloyd Davis – drums
Ron Crotty – bass

ISO:

https://subyshare.com/k9zhch3k4wsd/DaveBrubeckJazzAt0berlin1953Reissue2003SACDIS0.part1.rar.html
https://subyshare.com/ld5tadx93d0q/DaveBrubeckJazzAt0berlin1953Reissue2003SACDIS0.part2.rar.html

DSF DSD64:

http://subyshare.com/svsjljep178s/DaveBrubeckQuartetJazzAt0berlin1953DSD64.part1.rar.html
http://subyshare.com/0uwwyacei3zg/DaveBrubeckQuartetJazzAt0berlin1953DSD64.part2.rar.html

The Three Sounds – Bottoms UP! (1959/2010)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | Time – 39:38 minutes | Scans included | 1,61 GB
DSF Stereo DSD64/2.82MHz | Time – 39:55 minutes | 1,57 GB
Genre: Jazz | © Blue Note Records

The Three Sounds were part of the trio explosion. Begun in 1956 in Benton Harbor, Michigan as the Four Sounds and consisting of Gene Harris on piano, Andrew Simpkins on bass and Bill Dowdy on drums (the saxophonist was dropped by the time the group moved to Washington, D.C. in 1957), the Sounds eventually migrated to New York City where they were “discovered” by Lou Donaldson. After a single record for Riverside with Nat Adderley, the Three Sounds signed an exclusive contract with Alfred Lion on Blue Note Records. Over the course of five years, the Sounds released nine LPs and appeared on albums by Lou Donaldson and Stanley Turrentine.

The second record by the Three Sounds (which, like too many of their recordings, has yet to be reissued on CD in the U.S.) features the increasingly popular group in prime form. Pianist Gene Harris, bassist Andy Simpkins and drummer Bill Dowdy are in top form performing their brand of funky jazz, which left plenty of room for inventive solos along with the percolating grooves. On this set, the trio plays seven standards (including “Besame Mucho,” “Love Walked In” and “I Could Write a Book”), plus the original “Jinne Lou.” Well worth searching for. –Scott Yanow

Tracklist:
1 Bésame Mucho (Consuelo Velázquez) 4:02
2 Angel Eyes (Matt Dennis) 5:10
3 Time After Time (Sammy Cahn, Jule Styne) 4:51
4 Love Walked In (George Gershwin, Ira Gershwin) 6:05
5 I Could Write a Book (Lorenz Hart, Richard Rodgers) 4:52
6 Jinne Lou (Gene Harris) 4:54
7 Nothing Ever Changes My Love for You (Marvin Fisher, Jack Segal) 3:06
8 Falling in Love With Love (Hart, Rodgers) 6:43

Personnel:
Gene Harris – piano, celeste
Andrew Simpkins – bass
Bill Dowdy – drums

Recorded: September 16, 1958 (#2, 8), September 28, 1958 (#3), February 11, 1959 (#1, 4-7) at Van Gelder Studio, Hackensack, NJ.

Mastered from the original analog master tapes by by Kevin Gray & Steve Hoffman at AcousTech.

ISO:

https://subyshare.com/982qe5a6iak9/TheThreeS0undsB0tt0msUp1959Anal0guePr0ducti0ns2010SACDIS0.part1.rar.html
https://subyshare.com/2kc5jrfzrzbk/TheThreeS0undsB0tt0msUp1959Anal0guePr0ducti0ns2010SACDIS0.part2.rar.html

DSF DSD64/2.82MHz:

http://www.hdmusic.me/the-three-sounds-bottoms-up-19592009-official-digital-download-dsf-stereo-dsd642-82mhz/