SACD / DSD – HDMusic.me

The Genius of Ray Charles is a 1959 album by Ray Charles. In 2003, the album was ranked number 263 on Rolling Stone magazine’s list of the 500 greatest albums of all time. Some players from Ray Charles’ big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. “Let the Good Times Roll” and “Deed I Do” are highlights, and there are solos by tenorman David “Fathead” Newman, trumpeter Marcus Belgrave, and (on “Two Years of Torture”) tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns.

Some players from Ray Charles’ big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. “Let the Good Times Roll” and “Deed I Do” are highlights, and there are solos by tenorman David “Fathead” Newman, trumpeter Marcus Belgrave, and (on “Two Years of Torture”) tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns (including “Come Rain or Come Shine” and “Don’t Let the Sun Catch You Cryin’”). Charles’ voice is heard throughout in peak form, giving soul to even the veteran standards…

Tracklist:
01. Let The Good Times Roll
02. It Had To Be You
03. Alexander’s Ragtime Band
04. Two Years Of Torture
05. When Your Lover Has Gone
06. Deed I Do
07. Just For A Thrill
08. You Won’t Let Me Go
09. Tell Me You’ Wait For Me
10. Don’t Let The Sun Catch You Cryin’
11. Am I Blue
12. Come Rain Or Come Shine

ISO

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FLAC

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One of the best early-’60s examples of soul/jazz crossover, this record, like several of his dates from the period, featured big-band arrangements (played by the Count Basie band). This fared better than some of Charles’ similar outings, however, if only because it muted some of his straight pop aspirations in favor of some pretty mean and lean, cut-to-the-heart-of-the-matter B-3 Hammond organ licks. Most of the album is instrumental and swings pretty vivaciously, although Charles does take a couple of vocals with “I’m Gonna Move to the Outskirts of Town” and “I’ve Got News for You.” Yet one of those instrumentals, a cover of the Clovers’ “One Mint Julep,” would give Charles one of his most unpredictable (and best) early-’60s hits.

Tracklist:
01. From The Heart
02. I’ve Got News For You
03. Moanin’
04. Let’s Go
05. One Mint Julep
06. I’m Gonna Move To The Outskirts Of Town
07. Stompin’ Room Only
08. Mister C
09. Strike Up The Band
10. Birth Of The Blues

ISO

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FLAC

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Jaco Pastorius was a meteor who blazed on to the scene in the 1970s, only to flame out tragically in the 1980s. With a brilliantly fleet technique and fertile melodic imagination, Pastorius made his fretless electric bass leap out from the depths of the rhythm section into the front line with fluid machine-gun-like passages that demanded attention. He also sported a strutting, dancing, flamboyant performing style and posed a further triple-threat as a talented composer, arranger and producer. He and Stanley Clarke were the towering influences on their instrument in the 1970s.

It’s impossible to hear Jaco Pastorious’ debut album today as it sounded when it was first released in 1976. The opening track — his transcription for fretless electric bass of the bebop standard “Donna Lee” — was a manifesto of virtuosity; the next track, the funk-soul celebration “Come On, Come Over” was a poke in the eye to jazz snobs and a love letter to the R&B greats of the previous decade (two of whom, Sam & Dave, sing on that track); “Continuum” was a spacey, chorus-drenched look forward to the years he was about to spend playing with Weather Report. The program continues like that for three-quarters of an hour, each track heading off in a different direction — each one a masterpiece that would have been a proud achievement for any musician. What made Jaco so exceptional was that he was responsible for all of them, and this was his debut album. Beyond his phenomenal bass technique and his surprisingly mature compositional chops (he was 24 when this album was released), there was the breathtaking audacity of his arrangements: “Okonkole Y Trompa” is scored for electric bass, French horn, and percussion, and “Speak Like a Child,” which Pastorious composed in collaboration with pianist Herbie Hancock, features a string arrangement by Pastorious that merits serious attention in its own right. For a man with this sort of kaleidoscopic creativity to remain sane was perhaps too much to ask; his gradual descent into madness and eventual tragic death are now a familiar story, one which makes the bright promise of this glorious debut album all the more bittersweet.

Tracklist:
01. Donna Lee
02. Come On, Come Over
03. Continuum
04. Kuru / Speak Like A Child
05. Portrait Of Tracy
06. Opus Focus
07. Okonkole Y Trompa
08. (Used to Be A) Cha-Cha
09. Forgotten Love

SACD Produced by Moto Uehara.
Remastering Engineer: Mark Wilder.

ISO

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FLAC

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Maestro Arne Domnerus plays classical and spiritual pieces. All tracks have been mastered using HDCD technology. The first eleven songs were recorded at Spanga Chuch in 1976, the last songs were recorded in Stockholm’s Cathedral, Sweden. Recording engineer: Gert Palmcrantz. Remastered by Paul Stubblebine. Released on SACD on 2001 by First Impression Music (FIMSACD-050).

Tracklist:
01. Träumerei
02. Sometimes I Feel Like A Motherless Child
03. Nobody Knows The Trouble I’ve Seen
04. Antiphone Blues
05. Jag Vet En Dejig Rosa
06. Entonigt Klingar Den Lilla Klockan
07. Heaven
08. Come Sunday
09. Den Signade Dag
10. Almighty God
11. Largo
12. The Shepard
13. Hymn To Freedom
14. Dedication
15. Tonight I Shall Sleep

Arne Domnérus – saxophone
Gustav Sjökvist – organ

ISO

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FLAC

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“That’s the Way I’ve Always Heard It Should Be,” the leadoff track of Carly Simon’s first album and a Top Ten hit, in which the singer expresses reservations about getting married, benefited from a sense of role reversal – it’s such a guy sentiment, but sung by a woman in 1971, it came across as a feminist statement, consistent with the overall disillusionment so prevalent then. Nothing on the rest of the album was quite as pointed, though the other songs maintained the same ambivalence toward romance. The one other standout track, “Dan, My Fling,” in which the singer tries to rekindle a relationship with a man she has discarded, was, like the single, co-written by Jacob Brackman (in this case, with Fred Gardner, not Simon), suggesting that the real creative talent here was him and not her (especially since the writing credits also featured another four names). And since Simon, with her plaintive, proper, and relatively inexpressive voice, was such an unremarkable performer, her debut seemed less auspicious than the attention it attracted might have implied.

Tracklist:
01. That’s The Way I’ve Always Heard It Should Be
02. Alone
03. One More Time
04. The Best Thing
05. Just A Sinner
06. Dan, My Fling
07. Another Door
08. Reunions
09. Rolling Down The Hills
10. The Love’s Still Growing

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

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FLAC

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Born in Aachen and now living in Germany’s buzzing urban metropolis Berlin, Christoph smartly moves within the jazz genre ever since the early 90s, but never felt responsible really to surrender to its boundaries and clichees. “Magic” is his first album.

Can’t believe this guy’s trumpet. Very creative, sultry, bright, subdued and always classy. The first two selections (Magic and Finally Alone) are typical jazz selections. Pearls for My Flat and Slow Mood are worth the price alone- very moody. Picked this up as a bargain SACD and absolutely love it. Trying to find other CDs from this lyrical genius. Will definitely keep my eye on him. – review from amazon.com

Tracklist:
01. Magic
02. Finally Alone
03. Dancing On My Clouds
04. Naa …Hey …Na
05. Suchen
06. Pearls For My Flat
07. Mon
08. Neil Conti
09. Slow Mood
10. Peter´s Walk
11. Rich And Famous
12. Opera
13. Rotation
14. Litho

Personnel
Christoph Titz – trumpet
Philips Niessen – guitar
Christian von Kaphengst – bass
Gero Körner – keyboard
Afra Mussawisade – drums & percussion

ISO

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Australian new age pianist, singer, and composer known for her Celtic-themed recordings. Her 2013 album 600 Years in a Moment draws on Celtic music from her family traditions as well as vocal and instrumental performances representing Mongolia, Hungary, China, Africa, Tibet, Ireland, the Middle East, Native America centered around her playing on a 102-key Stuart and Sons piano, being recorded in Newcastle (Australia), at Imaginary Road Studios (Vermont), Los Angeles, New York, Bremen and Portland (Maine), and Halifax (Canada). Featured musicians include cellist Eugene Friesen (Paul Winter Consort), bassist Tony Levin (Paul McCartney and Peter Gabriel), drummer Jeff Haynes (Pat Metheney) and violinist Charlie Bisharat (Yanni), violinist/vocalist Rebecca Daniel (Australian Chamber Orchestra) as well as guitarists Will Ackerman and Todd Boston. The album was awarded the Best Instrumental Album – Piano at the 2013 ZMR Music Awards.

Tracklist:
01. 600 Years
02. Naked Love
03. The Journey
04. Earthbound
05. Gliding
06. Tango On Wednesday
07. Running On Joy
08. Ancient Albatross
09. The Lost Ballerina
10. Antarctica
11. Captured Freedom
12. Forgiveness

ISO

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FLAC

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It took Jennifer Warnes five years to construct a follow-up to Famous Blue Raincoat, and she still wasn’t able to come up with a unifying concept as simple and workable as recording a set of songs by Leonard Cohen. She did find some excellent covers, including Todd Rundgren’s “Pretending To Care” and The Waterboys’ “The Whole Of The Moon,” that may have been new to her listeners, and she got a song from Donald Fagen (“Big Noise, New York”). She also did some of her own writing, and got participation from Cohen on “Way Down Deep.” All of which is to say that there are some worthy selections on The Hunter, but on the whole, this record doesn’t match its illustrious predecessor.

Tracklist:
01. Rock You Gently
02. Somewhere, Somebody
03. Big Noise, New York
04. True Emotion
05. Pretending To Care
06. Whole Of The Moon
07. Lights Of Lousianne
08. Way Down Deep
09. The Hunter
10. I Can’t Hide

ISO

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FLAC

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Jennifer Warnes – The Well (2001) [Reissue 2005] {PS3 ISO + FLAC}

While Loggins and Messina created many fine albums this one stands out as most representative of their impact. In the early ’70s the duo pioneered true country/rock and showcased it with style and near-flawless performances.

The eponymously titled 1972 Loggins and Messina album built on the strengths of their debut outing, “Sittin’ In.” The same mix of short catchy country-folk-pop gems with longer intricately layered and meaningful ballads bordering on jazz and edgy rock powered its success.The album reached #16 on the Billboard charts and “Your Mama Don’t Dance” charted at #4. The epic “Angry Eyes” became an instant FM radio staple reaching the top of the college radio and AOR charts.

This Loggins and Messina album has many varied textures and arrangements. A little bit of country, a number of quality ballads and some good old rock ‘n’ roll. Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young.

The Loggins and Messina album became the true introduction of the band, Loggins and Messina, not as soloists playing together, but rather as a duo that offered pure genius in their music.

The first full-fledged L&M album found the duo in good form as songwriters, with Messina turning in the sparkling “Thinking Of You,” and the two collaborating on the hit single “Your Mama Don’t Dance” and “Angry Eyes.” Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young. –AllMusic Review by William Ruhlmann

Tracklist:
1 Good Friend 4:10
2 Whiskey 2:00
3 Your Mama Don’t Dance 2:52
4 Long Tail Cat 3:53
5 Golden Ribbons 6:15
6 Thinking Of You 2:27
7 Just Before The News 1:13
8 Till The Ends Meet 3:15
9 Holiday Hotel 2:05
10 Lady Of My Heart 1:47
11 Angry Eyes 7:47

Personnel:
Kenny Loggins – vocals, rhythm guitar, harmonica, acoustic guitar
Jim Messina – vocals, lead guitar, electric mandolin, acoustic guitar
Loggins & Messina band:
Merel Bregante – backing vocals, drums
Lester “Al” Garth – violin, recorder, alto and tenor saxophone
Jon Clarke – flute, oboe, recorder, baritone saxophone, soprano saxophone, tenor saxophone
Larry Sims – backing vocals, bass
Sidemen:
Michael Omartian – Hammond organ, piano, harmonium, clavinet, tack piano, Wurlitzer electric piano
Rusty Young – dobro on “Long Tail Cat”
Milt Holland – percussion
Stephen Stills – vocals

ISO

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DSD64

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Uses 2012 DSD master based on the UK original analog tape. Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players). DSD Transferred by Richard Whittaker.

Black Sabbath’s debut album is the birth of heavy metal as we now know it. Compatriots like Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Circumstance certainly played some role in the birth of this musical revolution — the sonic ugliness reflecting the bleak industrial nightmare of Birmingham; guitarist Tony Iommi’s loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, thus creating Sabbath’s signature style. These qualities set the band apart, but they weren’t wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath’s genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it. Take the legendary album-opening title cut. The standard pentatonic blues scale always added the tritone, or flatted fifth, as the so-called “blues note”; Sabbath simply extracted it and came up with one of the simplest yet most definitive heavy metal riffs of all time. Thematically, most of heavy metal’s great lyrical obsessions are not only here, they’re all crammed onto side one. “Black Sabbath,” “The Wizard,” “Behind the Wall of Sleep,” and “N.I.B.” evoke visions of evil, paganism, and the occult as filtered through horror films and the writings of J.R.R. Tolkien, H.P. Lovecraft, and Dennis Wheatley. Even if the album ended here, it would still be essential listening. Unfortunately, much of side two is given over to loose blues-rock jamming learned through Cream, which plays squarely into the band’s limitations. For all his stylistic innovations and strengths as a composer, Iommi isn’t a hugely accomplished soloist. By the end of the murky, meandering, ten-minute cover of the Aynsley Dunbar Retaliation’s “Warning,” you can already hear him recycling some of the same simple blues licks he used on side one (plus, the word “warn” never even appears in the song, because Ozzy Osbourne misheard the original lyrics). (The British release included another cover, a version of Crow’s “Evil Woman” that doesn’t quite pack the muscle of the band’s originals; the American version substituted “Wicked World,” which is much preferred by fans.) But even if the seams are still showing on this quickly recorded document, Black Sabbath is nonetheless a revolutionary debut whose distinctive ideas merely await a bit more focus and development. Henceforth Black Sabbath would forge ahead with a vision that was wholly theirs.

Tracklist:
01. Black Sabbath
02. The Wizard
03. Behind the Wall of Sleep
04. N.I.B.
05. Evil Woman, Don’t Play Your Games with Me
06. Sleeping Village
07. Warning

DSD transferred from the original analogue master tapes by Richard Whittaker at FX Copyroom, England (2012).

ISO

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FLAC

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Vol. 4 is the point in Black Sabbath’s career where the band’s legendary drug consumption really starts to make itself felt. And it isn’t just in the lyrics, most of which are about the blurry line between reality and illusion. Vol. 4 has all the messiness of a heavy metal Exile on Main St., and if it lacks that album’s overall diversity, it does find Sabbath at their most musically varied, pushing to experiment amidst the drug-addled murk. As a result, there are some puzzling choices made here (not least of which is the inclusion of “FX”), and the album often contradicts itself. Ozzy Osbourne’s wail is becoming more powerful here, taking greater independence from Tony Iommi’s guitar riffs, yet his vocals are processed into a nearly textural element on much of side two. Parts of Vol. 4 are as ultra-heavy as Master of Reality, yet the band also takes its most blatant shots at accessibility to date — and then undercuts that very intent. The effectively concise “Tomorrow’s Dream” has a chorus that could almost be called radio-ready, were it not for the fact that it only appears once in the entire song. “St. Vitus Dance” is surprisingly upbeat, yet the distant-sounding vocals don’t really register. The notorious piano-and-Mellotron ballad “Changes” ultimately fails not because of its change-of-pace mood, but more for a raft of the most horrendously clichéd rhymes this side of “moon-June.” Even the crushing “Supernaut” — perhaps the heaviest single track in the Sabbath catalog — sticks a funky, almost danceable acoustic breakdown smack in the middle. Besides “Supernaut,” the core of Vol. 4 lies in the midtempo cocaine ode “Snowblind,” which was originally slated to be the album’s title track until the record company got cold feet, and the multi-sectioned prog-leaning opener, “Wheels of Confusion.” The latter is one of Iommi’s most complex and impressive compositions, varying not only riffs but textures throughout its eight minutes. Many doom and stoner metal aficionados prize the second side of the album, where Osbourne’s vocals gradually fade further and further away into the murk, and Iommi’s guitar assumes center stage. The underrated “Cornucopia” strikes a better balance of those elements, but by the time “Under the Sun” closes the album, the lyrics are mostly lost under a mountain of memorable, contrasting riffery. Add all of this up, and Vol. 4 is a less cohesive effort than its two immediate predecessors, but is all the more fascinating for it. Die-hard fans sick of the standards come here next, and some end up counting this as their favorite Sabbath record for its eccentricities and for its embodiment of the band’s excesses.

Tracklist:
01. Wheels Of Confusion
02. Tomorrow’s Dream
03. Changes
04. FX
05. Supernaut
06. Snowblind
07. Cornucopia
08. Laguna Sunrise
09. St. Vitus’ Dance
10. Under The Sun

DSD transferred from the original analogue master tapes by Richard Whittaker at FX Copyroom, England (2012).

ISO

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FLAC

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Ryuichi Sakamoto is a Japanese musician, composer, arranger, record producer, writer, singer, pianist, actor, and activist, based in Tokyo and New York. He began his career in the 1970s, first gaining major success in 1978 as a member of electronic music group Yellow Magic Orchestra (YMO). He concurrently pursued a solo career, releasing the experimental electronic fusion album Thousand Knives. The album is named after Henri Michaux’s description of the feel of using mescaline in Misérable Miracle. It was recorded in about 500 hours, and Sakamoto would spend whole days without sleeping working on it.

Ryuichi Sakamoto’s first solo album appeared before he formed Yellow Magic Orchestra in late 1978, after the young keyboardist had earned his M.A. in music from Tokyo University. Six long instrumentals make up this CD, but apart from a taste for Asian-sounding synth lines, they hint at very little of what was to come in YMO. “Thousand Knives” is a long disco-lite jazzy workout with a very un-synthesized guitar solo by Kazumi Watanabe (who would later join YMO on tour and have his solo album produced by Sakamoto). Side two’s “Da Neue Japanische Electronische Volkslied” and “The End of Asia” (later revamped in YMO) are closest to the new wave of Japanese electronic music that he would spawn. “Island of Woods” and “Grasshoppers” trade in rhythm for sound landscapes, and the sort of cheeriness that would pop up later in Sakamoto’s childrens movie scores. Harry Hosono turns up on one track, and generally the album is a pleasant, if unadventurous, listen.

Tracklist:
01. Thousand Knives
02. Island Of Woods
03. Grasshoppers
04. Das Neue Japanische Elektronische Volkslied
05. Plastic Bamboo
06. The End Of Asia

Producer Ryuichi Sakamoto.
Recorded: April 10 – July 27, 1978 at Columbia Studios 1, 2 & 4, Tokyo.
Remastered by Seigen Ono at Saidera Mastering.

ISO

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FLAC

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The Best of Santana is a 16-track collection that greatly expands the scope of Santana’s previous hits compilation, Greatest Hits. Drawing from the band’s entire 30-year career, the disc contains such familiar items as “Evil Ways,” “Jingo,” “Black Magic Woman/Gypsy Queen,” and “Oye Como Va,” but it also has a number of longtime favorites of the band and fans. Furthermore, all the songs have been subjected to Super Bit remastering, resulting in the best sound ever. For some casual fans, Greatest Hits remains definitive, since it’s a portrait of the band at its peak, but listeners wanting a career-spanning single-disc compilation will find that The Best of Santana suits their needs.

Tracklist:
01. Jingo
02. Evil Ways (Album Version)
03. Black Magic Woman / Gypsy Queen
04. Oye Como Va
05. Samba Pa Ti
06. She’s Not There
07. No One to Depend On
08. Open Invitation (Album Version)
09. Hold On
10. Bella
11. Winning
12. All I Ever Wanted
13. Dance Sister Dance (Baila Mi Hermana) (Album Version)
14. Europa (Earth’s Cry, Heaven’s Smile)
15. Everybody’s Everything
16. Soul Sacrifice (Album Version)

ISO

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https://subyshare.com/5mejqv3nx3wc/SantanaTheBest0fSantana1998Reissue2015SACDIS0.part4.rar.html

FLAC

https://subyshare.com/mayoxdqaapfx/SantanaTheBest0fSantana1998Reissue2015FLAC2488.2.part1.rar.html
https://subyshare.com/zo9ie1ctif58/SantanaTheBest0fSantana1998Reissue2015FLAC2488.2.part2.rar.html

Stile Antico – Song of Songs
Renaissance choral works by Palestrina, Guerrero and others
SACD ISO (2.0/MCH): 3,84 GB | 24B/88,2kHz Stereo FLAC: 1,27 GB | Full Artwork
Label/Cat#: Harmonia Mundi USA # HMU 807489 | Country/Year: US 2009 | 3% Recovery Info
Genre: Classical | Style: Vocal, Choral, Sacred, Renaissance

Stile Antico gave us a wonderful sample of Renaissance polyphony from English masters on their previous disc (Heavenly Harmonies – Stile Antico), and now they turn to the other hubs of such music in the C16; the Low Countries, Spain and Italy.
The biblical Song of Songs is a collection of Hebrew love poetry, often explicitly erotic, and as such has echoed down the ages, attracting the attention of musicians even in our own times. Christian Church fathers absorbed the verses as allegories, and they were often used liturgically as a focus for Marian worship.
This Stile Antico programme is an ingenious one, ranging from the early C16th (Clemens non Papa) to works which are in effect polychoral, and thus anticipate the Early Baroque (Guerrero). Groups of polyphonic works are interspersed with short plainchant antiphons from (or adapted from) the Song of Songs, sung by a small group of women. These timeless melismas are palate-cleansing when set against the rich tapestries of interweaving polyphony. Several of the plainchant melodies were also used as the thematic basis for the polyphonic works (as ‘cantus firmus’).
The dozen members of British group Style Antiquo are all in their 20s, and certainly rival a number of well-established choirs in this repertoire, such as Harry Christophers’ The Sixteen. The group has a distinctive sound, however, with a sweet freshness and spontaneity deriving from their chamber music approach (having no conductor). They also prepare their own performing editions for most of the pieces on the recording. Concentration and preparation are remarkable; structure, textural meaning and harmonic movements are all fully worked out for each piece, then translated to a gripping and purposefully flowing interpretation with superbly controlled line-shaping and dynamics. Final cadences are often arrived at with magical effect, truly a ‘coming home’, whether on a climactic note or a gentle diminuendo. It is unusually easy to listen “inside” the transparent textures and hear each individual voice. From the inward stillness of the opening piece by Clemens non Papa to the surging and passionate drama of Victoria’s final Vidi speciosam, these are performances of great depth and vision. It is important to remember that these manuscripts have almost no tempo or dynamic instructions, the performing practices being passed on by imitation from those directed by the composer-singers.
The Harmonia Mundi recording took place in the well-known venue of St Jude-on-the-Hill, London. Its benevolent acoustic resounds with the vocal tapestries, providing an unforgettable multi-channel experience. An immaculate balance is established from the start, and the singers use the sonorities offered by the building with great intelligence. The quietly-sung plainchants seem to be heard from slightly further back, which is very atmospheric. Stile Antico have a surprisingly wide dynamic range which is easily contained in this remarkably natural-sounding DSD capture.
Production values are very high as usual for this label, with beautiful art-work and photography. I was amused by the visual joke of having a photograph of the choir members sitting very formally on chairs around a white room on the booklet cover, while on the booklet sleeve in the digipak, the chairs are empty. There is also a photo of the group warming up with physical exercises before singing. A very informative account of the music is provided, and full Latin texts are supported by translations in English, French and German.
Ancient love-poetry and masterpieces of Renaissance polyphony: the very essence of music. Not to be missed.
Copyright © 2009 John Miller and HRAudio.net

SACD Info:
Stile Antico – Song of Songs
Label: Harmonia Mundi USA
Catalog#: HMU 807489
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: US
Released: 2009
Genre: Classical
Style: Vocal, Choral, Renaissance

Tracklist:
01 Clemens non Papa
Ego flos campi 6:05
02 Giovanni Pierluigi da Palestrina
Osculetur me 3:24
03 Plain-chant
Antiphon: Cum esset rex 0:44
04 Francisco Guerrero
Surge, propera amica mea 6:07
05 Nicolas Gombert
Quam pulchra es 6:11
06 Plain-chant
Antiphon: Nigra sum 0:41
07 Orlande de Lassus
Veni, dilecte mi 4:19
08 Tomás Luis de Victoria
Vadam et circuibo 10:41
09 Plain-chant
Alleluia: Tota pulchra es 2:41
10 Francisco Guerrero
Ego flos campi 3:18
11 Jean Lhéritier
Nigra sum 5:34
12 Plain-chant
Antiphon: Laeva eius 0:37
13 Rodrigo de Ceballos
Hortus conclusus 5:33
14 Giovanni Pierluigi da Palestrina
Nigra sum 3:58
15 Plain-chant
Antiphon: Speciosa facta es 0:42
16 Sebastian de Vivanco
Veni, dilecte mi 4:22
17 Francisco Guerrero
Trahe me post te 5:16
18 Plain-chant
Antiphon: Iam hiems transiit 0:49
19 Tomás Luis de Victoria
Vidi speciosam 6:39

ISO

https://subyshare.com/ojxuolcxyqb9/StileAntic0S0ng0fS0ngsIS0.part1.rar.html
https://subyshare.com/awybpyr01l1j/StileAntic0S0ng0fS0ngsIS0.part2.rar.html
https://subyshare.com/vqh4uaa6052b/StileAntic0S0ng0fS0ngsIS0.part3.rar.html
https://subyshare.com/lw5v65jqcexp/StileAntic0S0ng0fS0ngsIS0.part4.rar.html

FLAC

https://subyshare.com/n25w5ohuc1o2/StileAntic0S0ng0fS0ngsFLAC.part1.rar.html
https://subyshare.com/hgbvnuq8hb3e/StileAntic0S0ng0fS0ngsFLAC.part2.rar.html

Scottish jazz saxophonist emerged in the early 1980s, moved on to create challenging works with major players.

Guitarist John Scofield has never had a problem interacting with saxophonists in a piano-less environment; anyone who admires the strong rapport that him and saxman Joe Lovano have enjoyed when there is no pianist on board can attest to that. So it isn’t surprising that Scofield and Scottish saxophonist Tommy Smith prove to be a strong combination on 1999’s Blue Smith, which finds the two forming a piano-less quartet with upright bassist James Genus and drummer Clarence Penn. The only familiar song on this post-bop is “Amazing Grace”; all of the other selections were written by Smith, who keep things unpredictable and provides a variety of blues-influenced material for the quartet to work with. Scofield excels on everything that Smith throws his way, and that includes the funky “Rain Dance” and the angular “Dr. Sco,” as well as the Native American-influenced “Rain Dance” and the John Coltrane-minded “Touch Your Toes.” As the title indicates, Blue Smith is a Album with a lot of blues feeling; it isn’t an album in which Smith (who is heard on both tenor and soprano) plays 12-bar blues numbers exclusively, but it is an album in which Smith and Scofield never forget the importance of blues feeling. Blue Smith is among his strongest albums.

Tracklist:
01. El Niсo
02. Hubba Hubba
03. Rain Dance
04. Dr Sco
05. Touch Your Toes
06. Amazing Grace
07. Blacken’ Blue
08. The Blues Blew Blue
09. Eany Meany Miny Mo
10. Miracle
11. Dr Smith

Personnel
Tommy Smith – tenor & soprano saxophone
James Genus – acoustic bass
John Scofield – guitar
Clarence Penn – drums

ISO

https://subyshare.com/g7mxv7bej8ws/T0mmySmithBlueSmith1999SACDIS0.part1.rar.html
https://subyshare.com/qkkd94hfs8nc/T0mmySmithBlueSmith1999SACDIS0.part2.rar.html
https://subyshare.com/pon583hkfvex/T0mmySmithBlueSmith1999SACDIS0.part3.rar.html

FLAC

https://subyshare.com/3xm22gvqn50e/T0mmySmithBlueSmith1999FLAC2488.2.part1.rar.html
https://subyshare.com/a6a7jra1ouga/T0mmySmithBlueSmith1999FLAC2488.2.part2.rar.html

The trailblazing force behind the emergence of the Japanese techno-pop sound of the late ’70s, Yellow Magic Orchestra remains a seminal influence on contemporary electronic music – hugely popular both at home and abroad, their pioneering use of synthesizers, sequencers and drum machines places them second only to Kraftwerk as innovators of today’s electronic culture.

Tracklist
CD 1:
01. Computer Game “Theme From The Circus”
02. Firecracker
03. Tong Poo
04. La Femme Chinoise
05. Technopolis
06. Insomnia
07. Rydeen
08. Behind The Mask
09. Solid State Survivor
10. Radio Junk
11. Jingle “Y.M.O.”
12. Nice Age
13. Tighten Up (Japanese Gentlemen Stand Up Please!)
14. The End Of Asia
15. Citizens Of Science
16. Hirake Kokoro – Jiseiki
CD 2:
01. CUE
02. Ballet
03. U.T.
04. Gradated Gre
05. Taiso
06. Lover Come Back To Me
07. Kimi Ni Mune Kyun
08. Chaos Panic
09. Ongaku
10. Lotus Love
11. Kai-Koh
12. Kagekina Shukujyo
13. The Madmen
14. You’ve Got To Help Yourself
15. Perspective
16. M-16
17. Pocketful Of Rainbows
18. Behind The Mask

ISO

https://subyshare.com/z843yk5j9kma/Yell0wMagic0rchestraYM0UltimateC0llecti0n20032xSACDIS0.part1.rar.html
https://subyshare.com/m5bhrygk3lwb/Yell0wMagic0rchestraYM0UltimateC0llecti0n20032xSACDIS0.part2.rar.html
https://subyshare.com/mdvwl7j5jgco/Yell0wMagic0rchestraYM0UltimateC0llecti0n20032xSACDIS0.part3.rar.html
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https://subyshare.com/bfh43xbdy5cq/Yell0wMagic0rchestraYM0UltimateC0llecti0n20032xSACDIS0.part5.rar.html
https://subyshare.com/bzdk0dlm4nvr/Yell0wMagic0rchestraYM0UltimateC0llecti0n20032xSACDIS0.part6.rar.html

FLAC

https://subyshare.com/4cokb7u1epjc/Yell0wMagic0rchestraYM0UltimateC0llecti0n2xSACD2003FLAC2488.2.part1.rar.html
https://subyshare.com/l7zoalxwk55d/Yell0wMagic0rchestraYM0UltimateC0llecti0n2xSACD2003FLAC2488.2.part2.rar.html
https://subyshare.com/dh2uokmls8bg/Yell0wMagic0rchestraYM0UltimateC0llecti0n2xSACD2003FLAC2488.2.part3.rar.html

Oscar Peterson Trio – West Side Story (1962/2014)
DSF Stereo DSD64/2.82MHz | Time – 35:21 minutes | 1,4 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © The Verve Music Group
Recorded: New York City, Jan. 24 & 25, 1962

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

One of the first Broadway musical scores to be overtly jazz-influenced was Leonard Bernstein’s West Side Story, a tale of rival street gangs in the inner city. In 1962, pianist Oscar Peterson put his light-swing signature on the already popular score, making it, in the words of one critic, “a delight to hear again” and earning him a Grammy nomination.

West Side Story was a bit of an unusual session for several reasons. First, the popularity of both the Broadway musical and the film version that followed meant that there were many records being made of its music. Second, rather than woodshed on the selections prior to entering the studio, the Oscar Peterson Trio spontaneously created impressions of the musical’s themes on the spot. “Something’s Coming” seems like a series of vignettes, constantly shifting its mood, as if moving from one scene to the next. Ray Brown plays arco bass behind Peterson in the lovely “Somewhere,” while the feeling to “Jet Song” is very hip in the trio’s hands. The snappy interplay between the musicians in the brisk setting of “Tonight” turns it into a swinger. “Maria” initially has a light, dreamy quality, though it evolves into a solid groove. The romp through “I Feel Pretty” is full of humor, while the CD closes with a brief reprise of several themes from the musical to wrap the session with a flourish. –Ken Dryden

Tracklist:
1 Something’s Coming 3:53
2 Somewhere 5:28
3 Jet Song 7:40
4 Tonight 4:30
5 Maria 4:48
6 I Feel Pretty 4:23
7 Reprise 3:55

Personnel:
Oscar Peterson, piano
Ray Brown, bass
Ed Thigpen, drums

Download:

https://subyshare.com/bc9bvp6ubf0f/0scarPeters0nTri0WestSideSt0ry1962DSD64.part1.rar.html
https://subyshare.com/g72su208b08l/0scarPeters0nTri0WestSideSt0ry1962DSD64.part2.rar.html

SACD:

http://www.hdmusic.me/oscar-peterson-trio-west-side-story-1962-apo-remaster-2011-ps3-iso-flac/

Bob Kindred is a great tenor sax player who is consistently underrated & underexposed. Aside from some CDs released by a small audiophile label Mapleshade, it is not easy to find his leader albums in the market. Mr. Hara of Venus Records wanted to correct this situation & signed Kindred a few years ago & released Blue Moon.
For this 2nd release from Venus, Kindred & co., decided to do a collection of latin music, mostly boleros. The brawny & sexy sound of Kindred’s tenor is a perfect match for the mysterious & romantic music. The music transports the listener to a steamy bar in a subtropical country in Latin America. One can almost feel the hot & humid air. The supporting musicians are all 1st rate. Without playing a lot of notes, they would certainly impress an astute listener with their impeccable taste

Tracklist:
1. Dos Gardenias [Two Gardenias] 5:36
2. Que Te Pedi [What I Asked You For] 7:46
3. Taboo 4:44
4. Toda Una Vida [All My Life] 4:27
5. Angelitos Negros [Little Black Angels] 5:01
6. Obsesion 5:34
7. Alma Con Alma [Soul To Soul] 6:45
8. Estrellita [Little Star] 5:28
9. La Comparsa 2:48
10. La Mentira [Yellow Days] 6:20

Personnel:
Bob Kindred – tenor sax
John Di Martino – piano
Boris Kozlov – bass
Horacio “El Negro” Hernandez – drums

ISO:

https://subyshare.com/460g94d9l9iy/B0bKindredQuartetNights0fB0ler0sAndBlues20072015SACDIS0.part1.rar.html
https://subyshare.com/oaa8kni4zk8c/B0bKindredQuartetNights0fB0ler0sAndBlues20072015SACDIS0.part2.rar.html
https://subyshare.com/vnm4xf8rmm6x/B0bKindredQuartetNights0fB0ler0sAndBlues20072015SACDIS0.part3.rar.html

DSF DSD64:

http://subyshare.com/qpnr549agfju/B0bKindredQuartetNights0fB0ler0sAndBlues2007DSD64.part1.rar.html
http://subyshare.com/438resesn713/B0bKindredQuartetNights0fB0ler0sAndBlues2007DSD64.part2.rar.html
http://subyshare.com/7bchug9m4ph3/B0bKindredQuartetNights0fB0ler0sAndBlues2007DSD64.part3.rar.html

Alto saxophonist Julian “Cannonball” Adderley was one of the true greats of his day and the height of his career, journalists were even comparing him to the legendary Charlie Parker…

Tracklist:
01. A Little Taste
02. Carribean Cutie
03. Still Talkin’ To Ya
04. Flamingo
05. Spontaneous Combustion

ISO

https://subyshare.com/opik8ta8ffm7/CannonballAdderleySupremeJazz2006SACDISO.part1.rar.html
https://subyshare.com/hd72la70pyap/CannonballAdderleySupremeJazz2006SACDISO.part2.rar.html
https://subyshare.com/g4etghc4dcol/CannonballAdderleySupremeJazz2006SACDISO.part3.rar.html

FLAC

https://subyshare.com/sccpxup6nsit/CannonballAdderleySupremeJazz2006FLACStereo2488.2.rar.html

This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards “April in Paris,” “Jim,” and “Lullaby of Birdland.” As touching as Vaughan is, however, Brown almost equals her with his solos on “Lullaby of Birdland,” “Jim,” and “September Song,” displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices. Quinichette’s solos are magnificent as well, his feathery tone nearly a perfect match for Vaughan’s voice. Ironically though, neither Brown nor Quinichette or Mann appear on the album’s highlight, “Embraceable You,” which Vaughan performs with close accompaniment from the rhythm section: Jimmy Jones on piano, Joe Benjamin on bass, and Roy Haynes on drums. Vaughan rounds the notes with a smile and even when she’s steeping to reach a few low notes, she never loses the tremendous feeling conveyed by her voice. In whichever incarnation it’s reissued, Sarah Vaughan with Clifford Brown is one of the most important jazz-meets-vocal sessions ever recorded.

Tracklist:
01. Lullaby Of Birdland
02. April In Paris
03. He’s My Guy
04. Jim
05. You’re Not The Kind
06. Embraceable You
07. I’m Glad There Is You
08. September Song
09. It’s Crazy
10. Lullaby Of Birdland (Alternate Take)

ISO

https://subyshare.com/u1ywn2t9t4ln/SarahVaughanSarahVaughanwithCliff0rdBr0wn1955VerveReussue2003SACDIS0.part1.rar.html
https://subyshare.com/vkbo5h9im0m7/SarahVaughanSarahVaughanwithCliff0rdBr0wn1955VerveReussue2003SACDIS0.part2.rar.html
https://subyshare.com/qncxx1m3csdf/SarahVaughanSarahVaughanwithCliff0rdBr0wn1955VerveReussue2003SACDIS0.part3.rar.html

FLAC

https://subyshare.com/d2fvgwuk416i/SarahVaughanSarahVaughanwithCliff0rdBr0wn1955VerveReussue2003FLAC2488.2.rar.html

Ray Charles – The Genius Of Ray Charles (1959) [MFSL 2012] {PS3 ISO + FLAC}

Ray Charles – Genius + Soul = Jazz (1961) [Analogue Productions Remaster 2012] {PS3 ISO + FLAC}

Jaco Pastorius – Jaco Pastorius (1976) [Japanese SACD 1999 #ESGA 501] {PS3 ISO + FLAC}

Arne Domnerus & Gustav Sjokvist – Antiphone Blues (1976+1994) [First Impression Music – SACD ‘2001] {PS3 ISO+FLAC}

Carly Simon – Carly Simon (1971) [MSFL 2015] {PS3 ISO + FLAC}

Christoph Titz – Magic (2003) [2.0 & 5.1] {PS3 ISO + FLAC}

Fiona Joy Hawkins – 600 Years In A Moment (2013) {PS3 ISO + FLAC}

Jennifer Warnes – The Hunter (1992) [Reissue 2015] {PS3 ISO + FLAC}

Loggins And Messina – Loggins And Messina (1972) [2015 Audio Fidelity AFZ5 216] {PS3 ISO + DSF DSD64}

Black Sabbath – Black Sabbath (1970) [Japanese Limited SHM-SACD 2012 # UIGY-9094] {PS3 ISO + FLAC}

Black Sabbath – Vol. 4 (1972) [Japanese Limited SHM-SACD 2012 # UIGY-9095] {PS3 ISO + FLAC}

Ryuichi Sakamoto – Thousand Knives (1978) [Japanese Reissue ‘2016] {PS3 ISO + FLAC}

Santana – The Best Of Santana (1998) [Reissue 2015] {PS3 ISO + FLAC}

Stile Antico – Song of Songs (2009) {PS3 ISO + FLAC}

Tommy Smith – Blue Smith (1999) {PS3 ISO + FLAC}

Yellow Magic Orchestra – YMO Ultimate Collection (2x SACD, 2003) {PS3 ISO + FLAC}

Oscar Peterson Trio – West Side Story (1962/2014) [Official Digital Download DSF Stereo DSD64/2.82MHz]

Bob Kindred Quartet – Nights Of Boleros And Blues (2007/2015) {PS3 ISO + DSF DSD64}

Cannonball Adderley – Supreme Jazz (2006) [2.0 & 5.1] {PS3 ISO + FLAC}

Sarah Vaughan – Sarah Vaughan with Clifford Brown (1955) [Reissue 2003] {PS3 ISO + FLAC}