SACD / DSD – HDMusic.me

What’s a guitar hero to do now that the masses prefer electronic beats and rap-metal to killer scale runs? Joe Satriani seeks that answer on Strange Beautiful Music. Satriani set himself apart from other would-be kings of the six-string in the 1980s by combining impeccable technique with great feel and pop hooks. With those qualities, he produced great guitar-driven albums like Surfing With the Alien and Flying in a Blue Dream. On his 2002 release, Satriani tries to make his music fresh by incorporating world music influences and a bit of techno flava. To his credit, he succeeds more than he fails. “Belly Dancer” combines straight-up rock riffs with Middle Eastern-twinged melodies and faster-than-sound runs up and down the fretboard. On “Oriental Melody,” Satch’s world music sensibility shines with the help of ping-pong delay and keyboards. He still has a knack for great hooks, too, as is evident on “New Last Jam,” which features a melody that bounces around in your head for days. But none of these tracks approach the pop brilliance of his Surfing With the Alien songs. In many ways, the experimental nature of songs like “What Breaks a Heart” hark back to his Not of This Earth release. But Strange Beautiful Music suffers from inconsistency. While the mix-and-match approach works on “Belly Dancer,” it can also result in the bland discontinuity of “Chords of Life,” which at times sounds like “All Along the Watchtower” and at others resembles scale and chord exercises from Yngwie Malmsteen — not an enticing combo. And “Starry Night,” while a nice ballad, feels like an attempt to rewrite his masterful ballad “Always With You, Always With Me.”

Tracklist:

01. Oriental Melody
02. Belly Dancer
03. Starry Night
04. Chords of Life
05. Mind Storm
06. Sleep Walk
07. New Last Jam
08. Mountain Song
09. What Breaks a Heart
10. Seven Strings
11. Hill Groove
12. Journey
13. Traveler
14. You Saved My Life

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Although seemingly impossible to comprehend, this landmark jazz date made in 1960 was recorded in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane’s Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet — which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) — allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet’s capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio — most notably Tyner — gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard “Everytime We Say Goodbye” and tenor solos on “But Not for Me” easily establish Coltrane as a pioneer of both instruments.

Tracklist:
01. My Favorite Things
02. Everytime We Say
03. Summertime
04. But Not for Me

Personnel
John Coltrane – soprano (1,2) & tenor (3,4,) saxophone
McCoy Tyner – piano
Steve Davis – bass
Elvin Jones – drums

ISO

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For his second long player, John Coltrane (tenor saxophone) joined forces with his Prestige labelmate Red Garland (piano) to command a quartet through a five song outing supported by a rhythm section of Paul Chambers (bass) and Art Taylor (drums). The absence of any unessential instrumentalists encourages a decidedly concerted focus from Coltrane, who plays with equal measures of confidence and freedom. The Coltrane original “Traneing In” is a rousing blues that exemplifies the musical singularity between Coltrane and Garland. Even though the pianist takes charge from the start, the structure of the arrangement permits the tenor to construct his solo seamlessly out of Garland’s while incrementally increasing in intensity, yet never losing the song’s underlying swinging bop. Chambers then gets in on the action with an effervescent run that quotes the seasonal favorite “Santa Claus Is Coming to Town.” The poignant “Slow Dance” is a dark ballad with a simple, refined tune that is established by Coltrane. He turns things over to Chambers, and then Garland — whose respective style and grace are virtually indescribable — before bringing it home with one final verse. “Bass Blues” is the second Coltrane-penned selection on the album. Right from the tricky opening riff, the slightly asymmetrical melody showcases Chambers’ ability to mirror even the most intricate or seemingly improvised lines from Coltrane. The mid-tempo pace is a springboard for the tenor’s spontaneous inventions as he interfaces with a rollicking and ready Garland alongside Chambers’ unfettered bowing. “You Leave Me Breathless” provides everything that a love song should with long, languid runs by Coltrane, Garland, and what is arguably Paul Chambers at his absolute finest. Few passages can match the grace and stately refinement of the bassist as he pilots the proceedings behind Taylor’s steady metronome and Garland’s luminous, effective comps. John Coltrane with the Red Garland Trio (1957) draws to a close on the bebop lover’s dream, a fast and furious interpretation of the Irving Berlin classic “Soft Lights and Sweet Music.” Clearly Coltrane excels within this context, laying down his note clusters more rapidly than the listener can actually absorb them. These are clear demarcations pointing toward the remarkable sonic advancements Coltrane was espousing. And although it would be a few years before he’d make the leap into full-blown free jazz, the roots can clearly be traced back here.

Tracklist:
01. Tranein’ In
02. Slow Dance
03. Bass Blues
04. You Leave Me Breathless
05. Soft Lights and Sweet Music

ISO

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FLAC

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Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train — Coltrane’s only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane’s innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry — touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they’re playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller’s even-toned trombone, which bops throughout the title track as well as the frenetic “Moments Notice.” Other solos include Paul Chambers’ subtly understated riffs on “Blue Train” as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during “Locomotion.” The track likewise features some brief but vital contributions from Philly Joe Jones — whose efforts throughout the record stand among his personal best. Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad “I’m Old Fashioned” is the only standard; in terms of unadulterated sentiment, this version is arguably untouchable. Fuller’s rich tones and Drew’s tastefully executed solos cleanly wrap around Jones’ steadily languid rhythms. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane’s career, but of the entire genre of jazz music as well.

Tracklist:
01. Blue Train
02. Moment’s Notice
03. Locomotion
04. I’m Old Fashioned
05. Lazy Bird
06. Blue Train (Alternate Take)
07. Lazy Bird (Alternate Take)

Personnel:
John Coltrane – tenor saxophone
Kenny Drew – piano
Curtis Fuller – trombone
Lee Morgan – trumpet
Paul Chambers – double bass
Philly Joe Jones – drums

ISO

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History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane’s debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane’s tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed “sheets of sound.” Coltrane’s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre — turning it into the equivalent of easy listening. He wastes no time as the disc’s title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of “Countdown” does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral “Naima” was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.

Tracklist:
01. Giant Steps
02. Cousin Mary
03. Countdown
04. Spiral
05. Syeeda’s Song Flute
06. Naima
07. Mr. P. C.

ISO

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FLAC

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Tracklist:
01. My Favorite Things
02. Everytime We Say
03. Summertime
04. But Not for Me

ISO

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FLAC

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This is the 3rd of a series of live performances given in the Concertgebouw, Amsterdam by Martha Argerich. The concerts date from 1978 & 1979 & offer the record collector the opportunity to compare & contrast Argerich the recitalist at that time with Argerich the accompanist now.

It is as important to forget the relatively low playing time of the present disc as it is to forget the occasional splatter of wrong notes. Freed from the studio, Argerich gives her imagination absolutely full rein. Her strong affinity with Schumann is evident throughout her account of the Fantasiestьcke, in which she demonstrates a near miraculous ability to capture the essence of each of the individual movements. What’s more, Schumann’s unpredictable mood shifts & extreme sense of fantasy seem to strike a chord with Argerich’s own persona: the sections of ‘Fabel’, for example, are unapologetically contrasted. Schumann’s ornamentation comes across as if improvised. Perhaps the greatest achievement of this performance is the last movement, in which Argerich paces Schumann’s cumulative, obsessive repetitions to perfection.

Argerich seems to elevate the stature of Ravel’s diminutive Sonatine. She accords the 2nd movement, ‘Mouvement de menuet’, an egg-shell delicacy: in fact throughout her lightened tone is entirely appropriate. But it is Gaspard that finds her at her most inspired. Perhaps what is most awe-inspiring about this is that no matter how tough the going gets pianistically (& it gets pretty tough), the texture is never over-burdened so that the level of detail that comes across is nothing short of revelatory. Argerich’s tonal variety is 1 of her strongest points, & nowhere is this better demonstrated than in ‘Le gibet’, that enormous test of keyboard control. Despite some obtrusive audience noise at the beginning of ‘Scarbo’, Argerich ensures that this is a jaw-dropping experience, right from the gestural sweep of the earlier passages. A salutary reminder of just what Argerich was capable of in her then-chosen guise as keyboard giant.

Tracklist:
01. Robert Schumann: Fantasiestucke Op. 12: Des Abends
02. Robert Schumann: Fantasiestucke Op. 12: Aufschwung
03. Robert Schumann: Fantasiestucke Op. 12: Warum?
04. Robert Schumann: Fantasiestucke Op. 12: Grillen
05. Robert Schumann: Fantasiestucke Op. 12: In der nacht
06. Robert Schumann: Fantasiestucke Op. 12: Fabel
07. Robert Schumann: Fantasiestucke Op. 12: Traumes wirren
08. Robert Schumann: Fantasiestucke Op. 12: Ende von Lied
09. Maurice Ravel: Sonatine: Modere
10. Maurice Ravel: Sonatine: Mouvement de menuet
11. Maurice Ravel: Sonatine: Anime
12. Maurice Ravel: Gaspard de la nuit: I. Ondine (Lent)
13. Maurice Ravel: Gaspard de la nuit: II. Le Gibet (Tres lent)
14. Maurice Ravel: Gaspard de la nuit: III. Scarbo (Modere – Vif)

Recorded in May 1978 & April 1979.
Digitally Remastered. EMI Japan # TOGE-11074

ISO

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Mel Tormé had recorded relatively few rewarding albums in the decade before this set, originally put out by Gryphon before being reissued on CD by DCC Jazz. However, his voice had improved with time, his range had widened, and he had become an even stronger jazz singer than before. Since Tormé is joined here by the largely anonymous Chris Gunning Orchestra, with guest altoist Phil Woods, on a set of generally “contemporary” pop songs (including “All in Love Is Fair,” “New York State of Mind,” “Send in the Clowns” and “The First Time Ever I Saw Your Face”), this set is not too essential. However, Tormé’s professionalism and ability to swing makes this an interesting outing anyway, and launched his “comeback”.

Tracklist:
01. Send In The Clowns
02. New York State Of Mind
03. All In Love Is Fair
04. The First Time I Ever Saw Your Face
05. Stars
06. Ordinary Fool
07. Medley: When The World Was Young – Yesterday When I Was Young
08. Bye Bye Blackbird

Originally Released on the Griphon label as “Torme: A New Album”
Re-Mastered by Steve Hoffman at Kevin Gray’s AcousTech Mastering.
The image ripped direct and unretouched using an Oppo BDP-105D, Sonore ISO2DSD, and sacd_extract.

ISO

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FLAC

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Jazz purists may turn up the nose at this jazz-reggae summit meeting, but that’s their loss. It’s not that they wouldn’t have the right to be suspicious – experiments in jazz-reggae fusion do not have a distinguished history. But the combination of Jamaican-born jazz pianist Monty Alexander and reggae godfathers Sly Dunbar and Robbie Shakespeare works beautifully here for a number of reasons: first of all, Alexander is a gifted melodist with an unerring sense of groove (not always a given with jazz players), and second of all, Sly and Robbie emancipated themselves long ago from reggae’s rhythmic strictures, so there’s lots of variety on this album. The grooves are never less than bone deep: on “Monty’s Groove,” Shakespeare’s minimalist bassline and Dunbar’s funky drumming propel Alexander into inspired (if a bit restrained) flights of improvisation, and “People Make the World Go ‘Round” is a slow, dark dancehall workout that gives Alexander’s piano lots of open space to work with. “Hot Milk,” the album’s closer, is a touching tribute to the late reggae organist Jackie Mittoo, on which Alexander plays mournful melodica over a modified rocksteady beat. There are times when you might wish Alexander would cut loose and wail a bit more, but this album is a delight from beginning to end.

Tracklist:
01. Chameleon
02. Monty’s Groove
03. Soulful Strut
04. The In Crowd
05. Sidewinder
06. People Make the World Go ‘Round
07. (Do the) Kool Step
08. Moanin’
09. Mercy, Mercy, Mercy
10. Hot Milk

ISO

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Recorded in 1975 at the Köln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid – and a few of the more sophisticated ones in high school – owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that’s another story. What Keith Jarrett had begun a year before on the Solo Concerts album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public. Jarrett’s intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection “because the chicks dug it.” Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility – if only briefly – of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard.

Tracklist:
01. Part I
02. Part II – A
03. Part II – B
04. Part II – C

Produced by Manfred Eicher. Engineered by Martin Wieland.
Recorded at the Opera House in Cologne on January 24, 1975.
DSD Remastered by Christoph Stickel in January 2017.

This Japanese SACD released in Japan on March 8, 2017. Tower Records Japan Inc. # PROZ-1087
The image ripped direct and unretouched using an Oppo BDP-105D, Sonore ISO2DSD, and sacd_extract.

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Lou Donaldson’s undisputed masterpiece, Blues Walk, marks the point where the altoist began to decisively modify his heavy Charlie Parker influence and add a smoky, bluesy flavor of his own. The material is still firmly in the bebop vein, and the mellower moments aren’t as sleepy as some of Donaldson’s subsequent work, so the album sounds vital and distinctive even as it slows down and loosens things up. That makes it the definitive release in Donaldson’s early, pre-soul-jazz period, but what elevates Blues Walk to classic status is its inviting warmth. Donaldson’s sweetly singing horn is ingratiating and melodic throughout the six selections, making even his most advanced ideas sound utterly good-natured and accessible. The easy-swinging title cut is a classic, arguably Donaldson’s signature tune even above his late-’60s soul-jazz hits, and his other two originals — “Play Ray” and “Callin’ All Cats” — are in largely the same vein. Elsewhere, Donaldson displays opposite extremes of his sound; the up-tempo bebop classic “Move” provokes his fieriest playing on the record, and his romantic version of “Autumn Nocturne” is simply lovely, a precursor to Lush Life. The addition of Ray Barretto on conga is a subtle masterstroke, adding just a bit more rhythmic heft to the relaxed swing. There are numerous likable records in Donaldson’s extensive catalog, but Blues Walk is the best of them all.

Tracklist:
01. Blues Walk
02. Move
03. The Masquerade Is Over
04. Play Ray
05. Autumn Nocturne
06. Callin’ All Cats

Mastered from the original analogue master tapes by Kevin Gray & Steve Hoffman.

Personnel:
Lou Donaldson – alto sax
Herman Foster – piano
Peck Morrison – bass
Ray Barretto – conga
Dave Bailey – drums

ISO

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Lou Donaldson – Sunny Side Up (1960/2011)
DSF Stereo DSD64/2.82MHz | Time – 00:44:50 minutes | 1,77 GB | Genre: Jazz
Source: ISO SACD | © Blue Note Records
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on February 5 (tracks 3 & 6-8) and February 28 (tracks 1-2 & 4-5), 1960.

In the late 1950s and early 1960s, alto saxophonist Lou Donaldson recorded primarily either with his own quartet featuring pianist Herman Foster, or with organ trios. Occasionally, he’d change things up as he did on this 1960 session that was strictly a hard bop affair. Foster didn’t take part in this recording; Horace Parlan replaced him at the piano and has been singled out by critics for his breathtaking performance. There’s still plenty of funk in evidence on Goose Grease, but Hardman’s Politely, Softly As In A Morning Sunrise and The Man I Love find Donaldson digging deep into his bop roots. In addition to Donaldson and Parlan, the rest of the quintet on this album includes Bill Hardman on trumpet, Laymon Jackson and Sam Jones splitting bass duties and Al Harewood on drums.

Sunny Side Up is closer to hard bop than the straight-ahead bop that characterized Lou Donaldson’s ’50s Blue Note records. There’s a bit more soul to the songs here, which pianist Horace Parlan helps emphasize with his lightly swinging grooves. The pair help lead the group — which also features trumpeter Bill Hardman, drummer Al Harewood and bassist Sam Jones (Laymon Jackson plays bass on two of the eight songs) — through a mellow set of standards and bluesy originals from Donaldson and Parlan. Even the uptempo numbers sound relaxed, never fiery. Despite the general smoothness of the session, Donaldson stumbles a little — the quotation of “Flight of the Bumblebee” on “Blues for J.P.” is awkward, as is the snippet of “Pop Goes the Weasel” on “Politely,” and “Way Down Upon the Swanee River” sounds lazy — but there’s enough solid material to make Sunny Side Up a worthwhile listen for fans of Donaldson and early-’60s hard bop. –Stephen Thomas Erlewine

Tracklist:
1 Blues For J.P. 5:37
2 The Man I Love 5:12
3 Politely 5:50
4 It’s You Or No One 3:55
5 The Truth 5:19
6 Goose Grease 6:05
7 Softly As In A Morning Sunrise 6:31
8 Way Down upon the Swanee River 5:55

Personnel:
Lou Donaldson – alto saxophone
Horace Parlan – piano
Bill Hardman – trumpet (tracks 1-4, 6-8)
Laymon Jackson – bass (tracks 1-2, 4-5)
Sam Jones – bass (tracks 3, 6-8)
Al Harewood – drums

Download:

https://subyshare.com/go11rvsklqy5/L0uD0nalds0nSunnySideUp1960DSD64.part1.rar.html
https://subyshare.com/2dm0bc0ekbwh/L0uD0nalds0nSunnySideUp1960DSD64.part2.rar.html

FLAC 24-192

http://hdmusic.pw/lou-donaldson-sunny-side-up-19602014-official-digital-download-24bit192khz/

A soul survivor in every sense of the term, this alto saxophonist is 1 of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion & the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his 1st recordings for the label with Art Blakey’s Jazz Messengers, it was clear that Lou Donaldson put melody & sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker.

Tracklist:
01. Lou’s Blues
02. Be My Love
03. Idaho
04. The Nearness Of You
05. Mack The Knife
06. Crosstown Shuffle
07. Tangerine

Mastered from the original analogue master tapes by Kevin Gray & Steve Hoffman.

Personnel:
Lou Donaldson – alto sax
Blue Mitchell – trumpet
Horace Parlan, piano
Laymon Jackson – bass
Ray Barretto – conga
Dave Bailey – drums

ISO

https://subyshare.com/8r56i8pct5zn/L0uD0nalds0nTheTimeIsRight1959AP0Remaster2011SACDIS0.part1.rar.html
https://subyshare.com/tki5z17gk2ty/L0uD0nalds0nTheTimeIsRight1959AP0Remaster2011SACDIS0.part2.rar.html

FLAC

https://subyshare.com/m14kbkew88af/L0uD0nalds0nTheTimeIsRight1959AP0Remaster2011FLAC2488.2.rar.html

Alma Caribeña (Caribbean Soul), Gloria Estefan’s third Spanish-language album, is another assured, varied effort in the tradition of its predecessors, Mi Tierra (1993) and Abriendo Puertas (1995), both of which were popular successes. The album is a virtual tour of the Caribbean Islands, not only presenting styles from the singer’s native Cuba but also from other Latin American countries. Much of the record has a traditional feel with acoustic instruments prominent, but that doesn’t prevent a wide range of rhythms and musical approaches from being used. Salsa, son, murga, bolero, bachata, and Afro-Cuban styles are mixed, sometimes several in one song. Estefan sings with assurance and is joined for one song each by Latin music forbears Celia Cruz and José Feliciano. Though the album is intensely rhythmic, there is little for the singer’s dance audience until the end, when a remix of the first single, “No Me Dejes de Querer (Don’t Stop Loving Me),” provides the requisite dancefloor entry.

Tracklist:
01. Por Un Beso
02. Punto De Referencia
03. Dame Otra Oportunidad
04. Como Me Duele Perderte
05. Te Tengo A Ti
06. Tres Gotas De Agua Bendita
07. Nuestra Felicidad
08. La Flor Y Tu Amor
09. Me Voy
10. Sólo Por Tu Amor
11. Tengo Que Decirte Algo
12. No Me Dejes De Querer
13. No Me Dejes De Querer (“Flores” del Caribe Mix)

ISO

https://subyshare.com/ydp714emdyzn/Gloria3st3fanAlmaCarib3na2000SACDISO.part1.rar.html
https://subyshare.com/k3p2gznlc9x4/Gloria3st3fanAlmaCarib3na2000SACDISO.part2.rar.html
https://subyshare.com/is9b8ff48hsd/Gloria3st3fanAlmaCarib3na2000SACDISO.part3.rar.html

FLAC

https://subyshare.com/fnwmhtevulqq/Gloria3st3fanAlmaCarib3na2000FLAC2488.2.part1.rar.html
https://subyshare.com/qsjshg4c9452/Gloria3st3fanAlmaCarib3na2000FLAC2488.2.part2.rar.html

The renowned guitarist Joe Beck together with premier jazz flutist Ali Ryerson have teamed to create a remarkably accessible new sound by pairing alto flute & a unique new guitar approach with compelling arrangements that emphasize beauty & melody. Percussionist Steve Davis joins Beck & Ryerson on half of the pop, jazz, & folk standards. Alto is the 1st commercial recording captured with Sony & Philip’s Direct Stream Digital (DSD) technology…

Ali Ryerson is a jazz flutist. She has the ideal combination of classical technique & jazz sensibilities. This album makes another perfect combination: alto flute & guitar. Of all Ali Ryerson’s releases, this is my favorite. It’s probably because the tunes are standards, but the mellow tone of the alto flute & the blend with the guitar’s sound make it especially easy on the ears.
Alto features Joe Beck on alto guitar (3 pairs of strings in 3 separate registers), Ali Ryerson on alto flute, & Steve Davis on very tasteful, unobtrusive percussion. The tunes are mostly standards, but they are given new life by the very nice sound these instruments make together. It’s quiet, but it’s fiery. There’s a definite gentleness, but it’s never boring. Beck’s been around awhile. His experience runs the gamut. I own some fusion-style albums from the ’70s. I’ve heard some brilliant studio work he’s done (you really have to hear his blues solo on a version of “Kansas City” by Libby Titus in the ’70s – just incredible!). He’s also noted for being the first guitarist to work with Miles Davis. Ryerson’s throaty alto is just gorgeous. Whether beautifully stating melodies or adding a bit to the original flavor, she never falters. I can’t recommend this enough. It’s 1 of those albums that prove simple is best. I don’t mean simple playing. I mean 3 people in a room doing a terrific job on some great tunes.

Tracklist:
01. Ode To Billy Joe
02. ‘Round Midnight
03. Joy Spring
04. Mother’s Day
05. Willow Weep For Me
06. Waiting Is The Hardest Part
07. Summertime
08. Scarborough Fair / Norwegian Wood
09. Authumn Leaves
10. Cuidado
11. Song For My Father
12. What Would I Do Without You?
13. Billie’s Bounce
14. We Will Meet Again

Joe Beck – Guitar
Ali Ryerson – Alto Flute
Steve Davis – Percussion

ISO

https://subyshare.com/rvhqpso7z1zk/JoeBeckandAliRyersonAlto1997Reissue1999SACDISO.part1.rar.html
https://subyshare.com/do6wsk7bf9mh/JoeBeckandAliRyersonAlto1997Reissue1999SACDISO.part2.rar.html
https://subyshare.com/pt1n0l1ix2xy/JoeBeckandAliRyersonAlto1997Reissue1999SACDISO.part3.rar.html

FLAC

https://subyshare.com/arz1f0f2c9bg/JoeBeckandAliRyersonAlto1997Reissue1999FLAC2488.2.rar.html

Joe Beck and Ali Ryerson have been working as a team for more than four years, playing concerts and other gigs under the name Duo. This is their second album, and, with the name Django, one would assume it is in honor of guitarist Django Reinhardt. Instead, the set is dedicated to the members of the Modern Jazz Quartet, who pioneered chamber jazz, the style that dominates this session with flautist Ryerson. John Lewis’ “Django” is one of the tunes on the agenda that they play within the chamber style. Ryerson’s passion for Brazilian music is documented on her six albums for Concord Jazz. She gets to show her mastery of this tempo on “Carioca Blue” and “O Barquinho.” Jazz veteran Joe Beck, one of the first to mix jazz and rock guitar, uses an alto guitar which he invented. It provides a strong harmonically mellow and rhythmic cushion upon which Ryerson carries the melody line with her expressive, buoyant flute. Their mutual comfort is evident on such tunes as the medley “Come Together”/”Alone Together” and expresses itself on a haunting rendition of “Tenderly.” If anything, this album is epitomized by some striking improvising. The two generally take one chorus, stating the melody, and then let their collective imagination take over. That they play together rather than separately when they extemporize makes this album distinctive. And they do it successfully whether the tune be one by Miles Davis or Johnny Mercer. With just the two instruments, their inventive way of collaborating makes sure that the listener’s attention will not drift away. Recommended.

Tracklist:
01. People Make the World Go ‘Round
02. Laura
03. Django
04. Carioca
05. When I Fall In Love
06. Spain
07. Come Together/Alone Together
08. Tenderly
09. Hobo
10. It Takes Two
11. Barquino
12. Nardis
13. Danny Boy

Joe Beck – guitar
Ali Ryerson – flute

Pure DSD Recording
Recorded by Tom Jung at Ambient Recording, Stamford, CT. on February 10, 2001
Mastered by Bob Ludwig at Gateway Mastering.

ISO

https://subyshare.com/d6coir91dddj/J0eBeckAliRyers0nDjang02001SACDIS0.part1.rar.html
https://subyshare.com/xt3b7vwqow5n/J0eBeckAliRyers0nDjang02001SACDIS0.part2.rar.html
https://subyshare.com/s20qaoqki1ud/J0eBeckAliRyers0nDjang02001SACDIS0.part3.rar.html
https://subyshare.com/eai6swi597zb/J0eBeckAliRyers0nDjang02001SACDIS0.part4.rar.html

FLAC

https://subyshare.com/1zapdh5blm5u/J0eBeckAliRyers0nDjang02001FLACStere02488.2.part1.rar.html
https://subyshare.com/lzohik2xs8vy/J0eBeckAliRyers0nDjang02001FLACStere02488.2.part2.rar.html

Pat Metheny’s debut studio album is a good one, a trio date that finds him already laying down the distinctively cottony, slightly withdrawn tone and asymmetrical phrasing that would serve him well through most of the swerves in direction ahead. His original material, all of it lovely, bears the bracing air of his Midwestern upbringing, with titles like “Missouri Uncompromised,” “Midwestern Nights Dream,” and “Omaha Celebration.” There is also a sole harbinger of radical matters way down the road with the inclusion of a loose-jointed treatment of Ornette Coleman’s “Round Trip/Broadway Blues,” proving that Song X did not come from totally out of the blue. Besides being Metheny’s debut, this LP also features one of the earliest recordings of Jaco Pastorius, a fully formed, well-matched contrapuntal force on electric bass, though content to leave the spotlight mostly to Metheny. Bob Moses, who like Metheny played in the Gary Burton Quintet at the time, is the drummer, and he can mix it up, too.

Tracklist:
01. Bright Size Life
02. Sirabhorn
03. Unity Village
04. Missouri Uncompromised
05. Midwestern Nights Dream
06. Unquity Road
07. Omaha Celebration
08. Round Trip / Broadway Blues

Personnel
Pat Metheny – 6-string guitar, electric 12-string guitar
Jaco Pastorius – bass
Bob Moses – drums

Produced by Manfred Eicher. Engineered by Martin Wieland.
Recorded in December 1975 at Tonstudio, Bauer, Ludwigsburg.
DSD Remastered by Christoph Stickel in January 2017.

This Japanese SACD released in Japan on March 8, 2017. Tower Records Japan Inc. # PROZ-1089
The image ripped direct and unretouched using an Oppo BDP-105D, Sonore ISO2DSD, and sacd_extract.

ISO

https://subyshare.com/vgub8fwvptre/PatMethenyBrightSizeLife1976Japan2017SACDIS0.part1.rar.html
https://subyshare.com/gcg3wnxf8ze2/PatMethenyBrightSizeLife1976Japan2017SACDIS0.part2.rar.html

FLAC

https://subyshare.com/ybgbuh4tyyk9/PatMethenyBrightSizeLife1976Japan2017FLAC2488.2.rar.html

Herbert Von Karajan, Berlin Philharmonic Orchestra – Mozart: Serenade No.13 / Divertiment No.15 (1965/2015)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 54:41 minutes | Scans NOT included | 2,19 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 1,02 GB
DSD Remaster based on Deutsche Grammophon analog tape / Universal Japan, SHM-SACD # UCGG-9072

Eine kleine Nachtmusik (Serenade #13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart. The German title means “a little serenade,” though it is often rendered more literally but less accurately as “a little night music.” The work is written for an ensemble of 2 violins, viola, & cello with optional double bass, but is often performed by string orchestras. On this release, Herbert von Karajan conducts the Berlin Philharmonic for a performance of Mozart’s Eine Kleine Nachtmusik & Divertimento KV 287.

Tracklist:
01. Serenade No.13 In G Major, K.525 “Eine Kleine Nachtmusik” 1. Allegro
02. Serenade No.13 In G Major, K.525 “Eine Kleine Nachtmusik” 2. Romance (Andante)
03. Serenade No.13 In G Major, K.525 “Eine Kleine Nachtmusik” 3. Menuetto (Allegretto)
04. Serenade No.13 In G Major, K.525 “Eine Kleine Nachtmusik” 4. Rondo (Allegro)
05. Divertimento No.15 In B Flat Major, K.287 1. Allegro
06. Divertimento No.15 In B Flat Major, K.287 2. Tema con variazioni: Andante grazioso
07. Divertimento No.15 In B Flat Major, K.287 3. Menuetto
08. Divertimento No.15 In B Flat Major, K.287 4. Adagio
09. Divertimento No.15 In B Flat Major, K.287 5. Menuetto
10. Divertimento No.15 In B Flat Major, K.287 6. Andante – Allegro molto

Remastered at Emil Berliner Studios in November 2014.

ISO

https://subyshare.com/3ha54kn51g15/HerbertV0nKarajanBPM0zart.SerenadeN0.13DivertimentN0.151965Japan2015SHMSACDIS0.part1.rar.html
https://subyshare.com/9apcor48xinh/HerbertV0nKarajanBPM0zart.SerenadeN0.13DivertimentN0.151965Japan2015SHMSACDIS0.part2.rar.html
https://subyshare.com/wtm1uhw3uomc/HerbertV0nKarajanBPM0zart.SerenadeN0.13DivertimentN0.151965Japan2015SHMSACDIS0.part3.rar.html

FLAC

https://subyshare.com/wmebp8lkmfzu/HerbertV0nKarajanBPM0zart.SerenadeN0.13DivertimentN0.151965Japan2015FLAC2488.2.part1.rar.html
https://subyshare.com/zzwzdeldp329/HerbertV0nKarajanBPM0zart.SerenadeN0.13DivertimentN0.151965Japan2015FLAC2488.2.part2.rar.html

Herbert von Karajan, Berliner Philharmoniker – Tchaikovsky: Symphony No.3 ‘Polish’, Marche Slave, Capriccio Italien (2016)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 73:16 minutes | Scans NOT included | 2,95 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 1,36 GB
DSD Remaster based on Deutsche Grammophon analog tape / Universal Japan, SHM-SACD # UCGG-9015

Herbert von Karajan leads the Berliner Philharmoniker in a wonderful performance of Pyotr Ilyich Tchaikovsky’s unique five movement major key Symphony No. 3 plus Marche Slave & Capriccio Italien. Dispite this SHM-SACD marked as Original Japanese SACD, every performance on this disc, including “Marche Slave” and “Capriccio Italien”, are identical to the featured on the “Karajan Conducts Tchaikovsky” box set.

Tracklist:
01. Symphony No. 3 in D major, Op. 29 “Polish”: 1. Introduzione e Allegro – Moderato assai (Tempo di marcia funebre)
02. Symphony No. 3 in D major, Op. 29 “Polish”: 2. Alla tedesca: Allegro moderato e semplice
03. Symphony No. 3 in D major, Op. 29 “Polish”: 3. Andante elegiaco
04. Symphony No. 3 in D major, Op. 29 “Polish”: 4. Scherzo: Allegro vivo
05. Symphony No. 3 in D major, Op. 29 “Polish”: 5. Finale: Allegro con fuoco (Tempo di Polacca)
06. Marche Slave, op. 31
07. Capriccio Italien, op. 45

Recordings:
Symphony No.3 ‘Polish’ – Berlin, Philharmonie, January-February 1979
Marche Slave, op. 31 – Berlin, Jesus-Christus-Kirche, October 1966
Capriccio Italien, op. 45 – Berlin, Jesus-Christus-Kirche, October 1966

ISO

https://subyshare.com/8vppbj9b3rti/Herbertv0nKarajanBPTchaik0vsky.Symph0nyN0.3P0lish2011Japan2016SHMSACDIS0.part1.rar.html
https://subyshare.com/awvjf7iowxaw/Herbertv0nKarajanBPTchaik0vsky.Symph0nyN0.3P0lish2011Japan2016SHMSACDIS0.part2.rar.html
https://subyshare.com/gfudzz4j5yhp/Herbertv0nKarajanBPTchaik0vsky.Symph0nyN0.3P0lish2011Japan2016SHMSACDIS0.part3.rar.html
https://subyshare.com/53of6oij2pgw/Herbertv0nKarajanBPTchaik0vsky.Symph0nyN0.3P0lish2011Japan2016SHMSACDIS0.part4.rar.html

FLAC

https://subyshare.com/w5oun3pc7vm3/Herbertv0nKarajanBPTchaik0vsky.Symph0nyN0.3P0lish2011Japan2016FLAC2488.2.part1.rar.html
https://subyshare.com/p400wqgl2ia1/Herbertv0nKarajanBPTchaik0vsky.Symph0nyN0.3P0lish2011Japan2016FLAC2488.2.part2.rar.html

Lynyrd Skynyrd – Nuthin’ Fancy (1975/2013)
DSF Stereo DSD64/2.82MHz | Time – 00:37:28 minutes | 1,47 GB | Genre: Rock
Official Digital Download – Source: AcousticSounds | © Geffen Records / Analogue Productions
Recorded: WEBB IV Studios, Atlanta, January 1975, (except for track 1, Studio One in Doraville, Georgia, August 1974)
Mastered: At Cohearent Audio by Kevin Gray

Nuthin’ Fancy is a 1975 album by Lynyrd Skynyrd, their third studio album, and their first to reach the Top 10, peaking at #9 on the US albums chart. It was certified Gold on 6/27/1975 and Platinum on 7/21/1987 by the RIAA. This is the first record with new drummer Artimus Pyle and the last with guitarist Ed King until the reformation of Lynyrd Skynyrd and the release of Lynyrd Skynyrd 1991.

Second Helping brought Lynyrd Skynyrd mass success and for the follow-up they offered Nuthin’ Fancy. It was a self-deprecating title for a record that may have offered more of the same, at least on the surface, but was still nearly peerless as a Southern rock record. The biggest difference with this record is that the band, through touring, has become heavier and harder, fitting right in with the heavy album rock bands of the mid-’70s. The second notable difference is that Ronnie Van Zant may have been pressed for material, since there are several songs here that are just good generic rockers. But he and Skynyrd prove that what makes a great band great is how they treat generic material, and Skynyrd makes the whole of Nuthin’ Fancy feel every bit as convincing as their first two records. For one, the record has a rawer edge than Second Helping, which helps make the slight preponderance of predictable (but not bad) material easy to accept, since it all sounds so good. Then there’s the fact that many of these eight songs still showcase Van Zant at the top of his game, whether it’s the storming opener “Saturday Night Special,” “Railroad Song,” “On the Hunt,” or the rollicking “Whiskey Rock-a-Roller.” Yes, this does pale in comparison with its predecessors, but most hard rock bands would give their left arm for a record that swaggers and hits as hard as Nuthin’ Fancy. –Stephen Thomas Erlewine, All Music Guide

Tracklist:
1 Saturday Night Special 5:11
2 Cheatin’ Woman 4:39
3 Railroad Song 4:15
4 I’m A Country Boy 4:23
5 On The Hunt 5:27
6 Am I Losin’ 4:35
7 Made In The Shade 4:38
8 Whiskey Rock-a-Roller 4:19

Personnel:
Ronnie Van Zant – lead vocals
Allen Collins – Gibson Firebird guitar
Ed King – Fender Stratocaster and Gibson SG guitar
Gary Rossington – Gibson Les Paul guitar
Billy Powell – keyboards
Leon Wilkeson – bass guitar
Artimus Pyle – drums, percussion
Barry Harwood – dobro, mandolin
Jimmy Hall – harmonica
David Foster – piano
Bobbye Hall – percussion

Download:

https://subyshare.com/y4md9lmacs0c/LynyrdSkynyrdNuthinFancyDSD64AP.part1.rar.html
https://subyshare.com/4kjan9f48eoi/LynyrdSkynyrdNuthinFancyDSD64AP.part2.rar.html

SACD

http://hdmusic.pw/lynyrd-skynyrd-nuthin-fancy-1975-analogue-productions-remaster-2013-ps3-iso-flac/

Joe Satriani – Strange Beautiful Music (2002) SACD ISO

John Coltrane – My Favorite Things (1961) [Stereo, Reissue 2013] {PS3 ISO + FLAC}

John Coltrane with The Red Garland Trio – Tranein’ In (1958) [APO Remaster 2013, MONO] {PS3 ISO + FLAC}

John Coltrane – Blue Train (1957) [Analogue Productions 2008] {PS3 ISO + FLAC}

John Coltrane – Giant Steps (1960) [Japanese SHM-SACD ‘2011, WPGR-10006] {PS3 ISO + FLAC}

John Coltrane – My Favorite Things (1961) [Japanese SHM-SACD ‘2011, WPGR-10001] {PS3 ISO + FLAC}

Martha Argerich – Live From Concertgebouw 78-79: Schumann, Ravel (1999) [Japan 2011] {PS3 ISO + FLAC}

Mel Torme – The London Sessions (1977) [Audio Fidelity 2002] {PS3 ISO + FLAC}

Monty Alexander – Monty Meets Sly and Robbie (2000) [2.0 & 5.1] {PS3 ISO + FLAC}

Keith Jarrett – The Koln Concert (1975) [Japan 2017] {PS3 ISO + FLAC}

Lou Donaldson – Blues Walk (1958) [APO Remaster 2010] {PS3 ISO + FLAC}

Lou Donaldson – Sunny Side Up (1960/2011) [DSF Stereo DSD64/2.82MHz]

Lou Donaldson – The Time Is Right (1959) [APO Remaster 2011] {PS3 ISO + FLAC}

Gloria Estefan – Alma Caribena (2000) {PS3 ISO + FLAC}

Joe Beck and Ali Ryerson – Alto (1997) [Reissue 1999] {PS3 ISO + FLAC}

Joe Beck & Ali Ryerson – Django (2001) [2.0 & 5.1] {PS3 ISO + FLAC}

Pat Metheny – Bright Size Life (1976) [Japan 2017] {PS3 ISO + FLAC}

Herbert von Karajan, Berlin Philharmonic Orchestra – Mozart: Serenade No.13 / Divertiment No.15 (1965/2015) [Japanese SHM-SACD 2015] {PS3 ISO + FLAC}

Herbert von Karajan, Berliner Philharmoniker – Tchaikovsky: Symphony No.3 ‘Polish’… [Japanese SHM-SACD 2016] {PS3 ISO + FLAC}

Lynyrd Skynyrd – Nuthin’ Fancy (1975/2013) [Official Digital Download DSF Stereo DSD64/2.82MHz]