Luqman Hamza – With This Voice (2000)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 57:49 minutes | Scans included | 2,46 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,21 GB
or DSF Stereo DSD64/2.82MHz | 2.29 GB
Genre: Jazz

With a sensual & seductive voice right out of the ’40s or ’50s, Luqman Hamza (pronounced Luke-mahn Hahm-za) is a real discovery, a vocalist of exceptional pedigree & talent (a former Ink Spot) who inhabits a soulful middle ground that seems to straddle the sounds of Nat King Cole & JohnnyHartman. Previously known as Larry Cummings, Luqman Hamza, an ex-Decca & Argo recording artist in the 50s both as a solo artist & with The Five Aces, is now 1 of the brightest stars of the Kansas City scene who performs regularly to enthusiastic & sold out audiences throughout the Midwest.

This latest release from Groove Note Records was recorded by Luqman Hamza at Airborne Audio in Kansas City & features a fine band of well known supporting musicians from the area. Produced by Joe Harley (Audioquest, Telarc, Enya, ECM) & engineered by Mike Ross, this is another standout vocal recording from Groove Note.

The album features an eclectic & varied selection of standards & popular ballads, ranging from Smoke Gets In Your Eyes & Blue Moon through Laura & My Funny Valentine to the stirring rendition of the less well known With These Hands. On With This Voice Luqman Hamza delivers a seamless performance with an unforgettable mix of richness & emotion, utilizing a winning combination of trio, quartet & quintet arrangements that will leave many listeners clamoring for more.

Tracklist:
01. Born To Be Blue
02. Feeling Good
03. My One And Only Love
04. Never Let Me Go
05. Weaver Of Dreams
06. Until The Real Thing Comes Along
07. Blue Moon
08. My Funny Valentine
09. Don’t Get Around Much Anymore
10. Laura
11. What Does It Take
12. Just One Of Those Things
13. With These Hands
14. Smoke Gets In Your Eyes

The album was recorded on 1/2 inch BASF900 analogue tape running at 30 ips as well as on DSD hard disk recording machine courtesy of Sony.
The album was mastered by Bernie Grundman using DSD processors supplied by Sony/Phillips at Bernie Grundman Mastering in Hollywood.

Personnel
Luqman Hamza – vocals
Ahmad Alaadeen – tenor sax
Kim Park – alto sax, flute
Tyrone Clark – bass
Sonny Kenner – guitar
Todd Strait – drums
Tommy Ruskin – drums

ISO

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FLAC

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DSF Stereo DSD64/2.82MHz

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McCoy Tyner – McCoy Tyner with Stanley Clarke and Al Foster (2000)
DSF Stereo DSD64/2.82MHz  | Time – 01:05:36 minutes | 2,59 GB | Genre: Jazz
Source: ISO SACD | ©  Telarc
Recorded: (DSD recording) Clinton Recording Studio “B”, New York City, April 27-28, 1999

One of the musical highlights of the new millennium is already here: McCoy Tyner with Stanley Clarke and Al Foster, the follow-up to the legendary pianist’s critically-acclaimed Telarc debut, McCoy Tyner and the Latin All-Stars. On this new release, McCoy Tyner explores the art of the trio, with a dynamic set of 11 tracks that features new tunes from Tyner and Clarke.
McCoy Tyner with Stanley Clarke and Al Foster is a clear indication that Tyner’s interests lie firmly in the future, and in his own compositions. In addition to two takes of “I Want to Tell You ‘Bout That” (the first with Clarke on electric bass, the next on acoustic), other Tyner compositions include “Trane-like,” “Once Upon A Time,” “Goin’ ‘Way Blues,” “Carriba” and “Memories.” Tyner’s unique and blazing interpretations of standards are apparent in his renditions of “Never Let Me Go” and “Will You Still Be Mine.” Another highlight is Clarke’s own “In the Tradition Of.”
McCoy Tyner is assured of a major position in any jazz history of the 20th century—a versatile composer, arranger and leader whose distinctive sound looms over entire generations. He was born in Philadelphia in 1938 when Bud Powell, Benny Golson (and of course, John Coltrane) and many others were in the neighborhood. And Tyner is the only jazz giant to have honed his craft in, of all places, his mother’s beauty parlor in West Philadelphia—jamming among the hair dryers and curling irons.
Stanley Clarke (born in 1951) is also from Philly, and on this project he plays mostly acoustic bass. Well known for his work with Return to Forever and as a trailblazing solo artist, Clarke continues to revolutionize his instrument. A first-generation fusion player who is constantly shifting directions, this project offers a rare opportunity to hear his more straight-ahead playing.
McCoy Tyner with Stanley Clarke and Al Foster is a brilliant second installment of Tyner’s work on Telarc. Both discs make it clear that the undeniable talents of McCoy Tyner continue growing greater with time.

No longer trying to push the envelope of innovation, Tyner settles down with a pair of experts and carves out a very nice, fairly orthodox piano trio album. This is Tyner reaffirming most of his strengths: the massive tone quality, the two-handed control over the entire keyboard, and the generally uplifting attitude conveyed through the shape of his melodic invention. He does so in a program of six originals, three standards, and one tune by Stanley Clarke, mixing modal tunes, blues, funk, ballads, and a mildly Caribbean ringer. Only once does he evoke memories of the classic John Coltrane Quartet — not in “Trane-Like” but in “The Night Has a Thousand Eyes.” Clarke takes a break from the film studios and turns in one of his rare sessions on acoustic double bass, producing solid, faultless, relatively conventional support. He doesn’t leave the electric bass entirely at home, however; his funky side bumps through one of the two versions of “I Want to Tell You ‘Bout That,” and he exercises low-key, electric subtleties on his “In the Tradition Of” and “Caribe.” Foster throws himself skillfully into every situation; he is at ease in all idioms. The sound is excellent, with each instrument, even Tyner’s formidable piano, in perfect balance. –Richard S. Ginell

Tracklist:
1 Trane-like 9:10
2 Once Upon A Time 5:28
3 Never Let Me Go 4:16
4 I Want To Tell You ‘Bout That (Electric Bass Version) 5:16
5 Will You Still Be Mine 6:44
6 Goin’ Way Blues 6:28
7 In The Tradition Of 7:36
8 The Night Has A Thousand Eyes 4:49
9 Carriba 5:38
10 Memories 3:31
Bonus Track
11 I Want To Tell You ‘Bout That (Acoustic Bass Version/Alternate Take) 5:57

Personnel:
McCoy Tyner, piano
Stanley Clarke, bass, electric bass
Al Foster, drums

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SACD ISO

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McCoy Tyner – Nights Of Ballads & Blues (1963) [APO Remaster 2011]
PS3 Rip | SACD ISO | DSD64 Stereo > 1-bit/2.8224 MHz | 38:46 minutes | Scans included | 1,61 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 813 MB

As the title implies, this McCoy Tyner release is a low-key, after-hours affair. Far removed from the intensity of work with then-boss John Coltrane, Tyner stretches out on a fine mix of standards and bebop classics. The pianist, of course, always had his own fleet and rich way with ballads, in spite of the galvanizing marathon solos he became known for on live dates and his later experimental recordings with Coltrane. His ballad style is even touched with a bit of sentimentality, which thankfully is kept in check by a bevy of tasteful lines. Backed by the topnotch rhythm tandem of bassist Steve Davis and drummer Lex Humphries, Tyner finds the room to develop classic statements on highlights like Monk’s “‘Round Midnight,” Ellington and Strayhorn’s “Satin Doll,” and Parker’s “Star Eyes.” On more easeful tracks like “For Heaven’s Sake,” Tyner utilizes his block chord approach to meditative and romantic effect. Rounded out by solid blues sides like “Blue Monk” and Tyner’s own “Groove Waltz,” Nights of Ballads and Blues qualifies as one of the pianist’s most enjoyable early discs.

Tracklist:
01. Satin Doll
02. We’ll Be Together Again
03. ‘Round Midnight
04. For Heaven’s Sake
05. Star Eyes
06. Blue Monk
07. Groove Waltz
08. Days Of Wine And Roses

ISO

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FLAC

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Michael Jackson – Thriller (1982) [Reissue 1999]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 42:11 minutes | Scans included | 1,7 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 857 MB

Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable — an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific “Baby Be Mine” and the pretty good ballad “The Lady in My Life” are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul — expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn’t as tight as Off the Wall — and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum — but those one or two cuts don’t detract from a phenomenal set of music. It’s calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as “Human Nature” coexists comfortably with the tough, scared “Beat It,” the sweet schmaltz of the Paul McCartney duet “The Girl Is Mine,” and the frizzy funk of “P.Y.T. (Pretty Young Thing).” And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record’s two best songs: “Billie Jean,” where a woman claims Michael is the father of her child, and the delirious “Wanna Be Startin’ Something,” the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music.

Tracklist:
01. Wanna Be Starting Somethin’
02. Baby Be Mine
03. The Girl Is Mine (With Paul McCartney)
04. Thriller
05. Beat It
06. Billie Jean
07. Human Nature
08. P.Y.T. (Pretty Young Thing)
09. The Lady In My Life

ISO

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FLAC

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Queen – Discography (1973-1995)
SACD to FLAC 24bit/96kHz | Rock | 05:59:54 | 1973-1995/2011-2012

Queen are a British rock band that formed in London in 1970. Their classic line-up was Freddie Mercury (lead vocals, piano), Brian May (lead guitar, vocals), Roger Taylor (drums, vocals), and John Deacon (bass guitar). Queen’s earliest works were influenced by progressive rock, hard rock and heavy metal, but the band gradually ventured into more conventional and radio-friendly works by incorporating further styles, such as arena rock and pop rock, into their music.

Before forming Queen, Brian May and Roger Taylor had played together in Smile. Mercury, then known by his birth name, Farrokh “Freddie” Bulsara, was a fan of Smile and encouraged them to experiment with more elaborate stage and recording techniques. Mercury joined in 1970, suggested the name “Queen”, and adopted his familiar stage name. Deacon was recruited before the band recorded their eponymous debut album in 1973. Queen first charted in the UK with their second album, Queen II, in 1974, but it was the release of Sheer Heart Attack later that year and A Night at the Opera in 1975 which brought them international success. The latter featured “Bohemian Rhapsody”, which stayed at number one in the UK for nine weeks and was influential in helping to popularise the music video.

The band’s 1977 album News of the World contained “We Will Rock You” and “We Are the Champions”, which have become anthems at sporting events. By the early 1980s, Queen were one of the biggest stadium rock bands in the world. “Another One Bites the Dust” (1980) became their best-selling single, while their 1981 compilation album Greatest Hits is the best-selling album in the UK and is certified eight times platinum in the US. Their performance at the 1985 Live Aid concert has been ranked among the greatest in rock history by various music publications. In 1991, Mercury died of bronchopneumonia, a complication of AIDS, and Deacon retired in 1997. May and Taylor have performed under the Queen name with Paul Rodgers and Adam Lambert as vocalists on several tours since.

Estimates of their record sales range from 150 million to 300 million records, making them one of the world’s best-selling music artists. Queen received the Outstanding Contribution to British Music Award from the British Phonographic Industry in 1990. They were inducted into the Rock and Roll Hall of Fame in 2001.

Album list:

01. Queen I
02. Queen II
03. Sheer Heart Attack
04. A Night At The Opera
05. A Day At The Races
06. News Of The World
07. Jazz
08. The Game
09. Flash Gordon
10. Hot Space
11. The Works
12. A Kind Of Magic
13. The Miracle
14. Innuendo
15. Made In Heaven

Tracklist:

Queen I
01. Keep Yourself Alive 03:47
02. Doing All Right 04:09
03. Great King Rat 05:43
04. My Fairy King 04:13
05. Liar 06:25
06. The Night Comes Down 04:23
07. Modern Times Rock ‘n’ Roll 01:48
08. Son And Daughter 03:23
09. Jesus 03:44
10. Seven Seas Of Rhye… 01:16

Queen II
01. Procession 01:12
02. Father To Son 06:14
03. White Queen (As It Began) 04:36
04. Some Day One Day 04:22
05. The Loser In The End 04:06
06. Ogre Battle 04:09
07. The Fairy Feller’s Master-Stroke 02:41
08. Nevermore 01:19
09. The March Of The Black Queen 06:33
10. Funny How Love Is 02:51
11. Seven Seas Of Rhye 02:50

Sheer Heart Attack
01. Brighton Rock 05:10
02. Killer Queen 03:01
03. Tenement Funster 02:47
04. Flick Of The Wrist 03:17
05. Lily Of The Valley 01:45
06. Now I’m Here 04:18
07. In The Lap Of The Gods 03:22
08. Stone Cold Crazy 02:16
09. Dear Friends 01:09
10. Misfire 01:50
11. Bring Back That Leroy Brown 02:15
12. She Makes Me (Stormtrooper In Stilettos) 04:09
13. In The Lap Of The Gods… Revisited 03:47

A Night At The Opera
01. Death On Two Legs (Dedicated To…… 03:43
02. Lazing On A Sunday Afternoon 01:07
03. I’m In Love With My Car 03:05
04. You’re My Best Friend 02:52
05. ’39 03:31
06. Sweet Lady 04:04
07. Seaside Rendezvous 02:20
08. The Prophet’s Song 08:21
09. Love Of My Life 03:39
10. Good Company 03:24
11. Bohemian Rhapsody 05:54
12. God Save The Queen 01:15
A Day At The Races
01. Tie Your Mother Down 04:49
02. You Take My Breath Away 05:07
03. Long Away 03:33
04. The Millionaire Waltz 04:56
05. You And I 03:29
06. Somebody To Love 04:59
07. White Man 04:59
08. Good Old-Fashioned Lover Boy 02:53
09. Drowse 03:46
10. Teo Torriatte (Let Us Cling Together) 05:54

News Of The World
01. We Will Rock You 02:01
02. We Are The Champions 02:59
03. Sheer Heart Attack 03:28
04. All Dead, All Dead 03:10
05. Spread Your Wings 04:34
06. Fight From The Inside 03:06
07. Get Down, Make Love 03:50
08. Sleeping On The Sidewalk 03:08
09. Who Needs You 03:08
10. It’s Late 06:28
11. My Melancholy Blues 03:32

Jazz
01. Mustapha 03:01
02. Fat Bottomed Girls 04:17
03. Jealousy 03:14
04. Bicycle Race 03:03
05. If You Can’t Beat Them 04:15
06. Let Me Entertain You 03:06
07. Dead On Time 03:23
08. In Only Seven Days 02:30
09. Dreamers Ball 03:31
10. Fun It 03:30
11. Leaving Home Ain’t Easy 03:15
12. Don’t Stop Me Now 03:29
13. More Of That Jazz 04:17

The Game
01. Play The Game (03:32)
02. Dragon Attack (04:19)
03. Another One Bites The Dust (03:35)
04. Need Your Loving Tonight (02:49)
05. Crazy Little Thing Called Love (02:48)
06. Rock It (Prime Jive) (04:33)
07. Don’t Try Suicide (03:53)
08. Sail Away Sweet Sister (03:33)
09. Coming Soon (02:51)
10. Save Me (03:49)

Flash Gordon
01. Flash’s Theme
02. In The Space Capsule (The Love Theme)
03. Ming’s Theme (In The Court Of Ming The Merciless)
04. The Ring (Hypnotic Seduction Of Dale)
05. Football Fight
06. In The Death Cell (Love Theme Reprise)
07. Execution Of Flash
08. The Kiss (Aura Resurrects Flash)
09. Arboria (Planet Of The Tree Men)
10. Escape From The Swamp
11. Flash To The Rescue
12. Vultan’s Theme (Attack Of The Hawk Men)
13. Battle Theme
14. The Wedding March
15. Marriage Of Dale And Ming (And Flash Approaching)
16. Crash Dive On Mingo City
17. Flash’s Theme Reprise (Victory Celebrations)
18. The Hero

Hot Space
1. Staying Power 04:13
2. Dancer 03:50
3. Back Chat 04:36
4. Body Language 04:32
5. Action This Day 03:38
6. Put Out The Fire 03:20
7. Life Is Real (Song For Lennon) 03:31
8. Calling All Girls 03:53
9. Las Palabras De Amor (The Words Of Love) 04:31
10. Cool Cat 03:29
11. Under Pressure 04:06

The Works
1. Radio Ga Ga 05:49
2. Tear It Up 03:29
3. It’s A Hard Life 04:09
4. Man On The Prowl 03:31
5. Machines (or ‘Back To Humans’) 05:11
6. I Want To Break Free 03:21
7. Keep Passing The Open Windows 05:23
8. Hammer To Fall 04:29
9. Is This The World We Created…? 02:14

A Kind Of Magic
1. One Vision 05:10
2. A Kind Of Magic 04:25
3. One Year Of Love 04:27
4. Pain Is So Close To Pleasure 04:22
5. Friends Will Be Friends 04:13
6. Who Wants To Live Forever 05:17
7. Gimme The Prize (Kurgan’s Theme) 04:35
8. Don’t Lose Your Head 04:38
9. Princes Of The Universe 03:33

The Miracle
1. Party 02:24
2. Khashoggi’s Ship 02:48
3. The Miracle 05:02
4. I Want It All 04:41
5. The Invisible Man 04:03
6. Breakthru 04:08
7. Rain Must Fall 04:23
8. Scandal 04:43
9. My Baby Does Me 03:23
10. Was It All Worth It 05:47

Innuendo
1. Innuendo 06:32
2. I’m Going Slightly Mad 04:23
3. Headlong 04:38
4. I Can’t Live With You 04:34
5. Don’t Try So Hard 03:40
6. Ride The Wild Wind 04:43
7. All God’s People 04:22
8. These Are The Days Of Our Lives 04:15
9. Delilah 03:35
10. The Hitman 04:57
11. Bijou 03:37
12. The Show Must Go On 04:36

Made In Heaven
1. It’s A Beautiful Day 02:33
2. Made In Heaven 05:25
3. Let Me Live 04:46
4. Mother Love 04:49
5. My Life Has Been Saved 03:15
6. I Was Born To Love You 04:51
7. Heaven For Everyone 05:35
8. Too Much Love Will Kill You 04:20
9. You Don’t Fool Me 05:25
10. A Winter’s Tale 03:50
11. It’s A Beautiful Day (Reprise) 03:01
12. Yeah 00:04
13. Track 13 22:33

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Ray Charles – Live In Concert (1964/2012)
DSF Stereo DSD64/2.82MHz  | Time – 41:03 minutes | 1,62 GB | Genre: Jazz
Source: ISO SACD | ©  ABC-Paramount
Recorded: 1964 September 20, Shrine Auditorium, Los Angeles, California

In the half-century between his earliest recordings in the 1950s and his death in 2004, Ray Charles ascended to icon status by leaving his mark on virtually every form of American popular music that emerged in the latter half of the 20th century. Nowhere was this more evident than in his live performances, where one was likely to hear shades of blues, soul, R&B, jazz, gospel, country and more in a single evening – indeed, sometimes in a single song. To put it simply, the Right Reverend did it all.
All of these subtle shades and styles are evident on Ray Charles Live In Concert. Originally released by ABC-Paramount in early 1965, Live In Concert captured Ray at the Shrine Auditorium in Los Angeles in September 1964. “There could be no more uplifting live musical experience than digging Ray Charles and his mighty orchestra in their prime,” says roots music historian Bill Dahl. Indeed, the 15-piece orchestra backing Ray on this date – assembled just a few years earlier in 1961 – boasted no less than a dozen horns, including formidable saxophonists David “Fathead” Newman, Hank Crawford and Leroy “Hog” Cooper, all of whom had been with Ray since his days as a leader of smaller combos.
A huge piece of the Ray Charles legacy is his mastery of any style he touched, and his ability to make it his own in a way that no other artist could – powers that can only come from an innate sense of adventure and spontaneity that are fully evident in Ray Charles Live In Concert.

This classic 1964 recording by Ray Charles includes 12 vintage tracks performed to perfection. His voice is in great shape, and the recording by Wally Heider is a marvel for its day; all the instruments are placed nicely with Charles’ voice out front where it belongs. There’s a slinky version of “Hallelujah I Love Her So,” the musicians creating nice little changes behind Charles’ soulful nuances. The singer tells us Miss Lillian Ford of the Raelets “helps out” on “Don’t Set Me Free”; it’s a duet and a nice change of pace. Rick Ward’s tacky liner notes fail to say who is backing up the singer at The Shrine Auditorium in Los Angeles, except for David “Fathead” Newman credited with the tenor solo on “Swing a Little Taste,” the opening track. Not to be confused with the 1973 re-release Ray Charles Live, which is comprised of 1958 and 1959 concerts, this album is called Live in Concert, and is Charles in Los Angeles after a Japanese tour in 1964. “What I’d Say” and a nice version of “Margie” are here, along with a six-minute take on “I Gotta Woman.” For the finale he has the Ray Charles Choir come out to help close the show with a marching-band version of “Pop Goes the Weasel.” The 12 tracks are priceless Ray Charles, especially the reinvention of “You Don’t Know Me,” stirringly different from his timeless hit version but just as impressive. Excellent photos by Ray Hearne, especially the cover profile. –Joe Viglione, AllMusic

The Concord Music group inaugurated a release cycle celebrating Ray Charles’ 80th birthday with Rare Genius: The Undiscovered Masters (Concord Records, 2010). Now, its reissue of Ray Charles Live in Concert, expanded with previously unreleased material from the same September 20, 1964 performance at the Shrine Civic Auditorium in Los Angeles, captures Charles enjoying the pinnacle of his powers.
Charles released few commercial live recordings in the 1950s and ’60s, when his considerable talent and influence were being most potently felt in American music. Ray Charles at Newport (Atlantic) was release in 1959, recorded the year before. A year later, Charles released Ray Charles in Person (Atlantic, 1960), a live concert captured in May 1959, at Morris Brown College. These two recordings were combined and rereleased as the well-known Ray Charles Live (Atlantic, 1987), and are the live testaments to Charles’ stay with Atlantic Records.
Charles moved to ABC Records in November 1959 when his contract with Atlantic concluded. He immediately released The Genius Hits the Road (ABC-Paramount, 1960) and the single “Georgia on my Mind,” launching him into super-stardom. Live in Concert was released in 1965, as a 12-selection LP, well-representing his ABC catalog of the time. This CD reissue adds nine songs to the original release, spotlighting Charles’s game changing Modern Sounds in Country and Western Music (ABC-Paramount, 1962).
While remaining a compelling performer well into his long career, Charles was never more essential than on this live recording. He had not grown bored with his material yet, and he played and sang with all to the playful soul and sensuality he had brought to the music 15 years before. He introduces and sings “I Got A Woman” (1955) like it was recorded the previous day, respecting the song the for what it provided him—and us (The Rolling Stones should be so graceful). He plays organ on “Georgia on my Mind,” infusing more soul than thought possible into the Carmichael/Gorrell classic.
Of the previously unreleased material (besides “Georgia”) “That Luck Old Sun,” “Busted” and “My Baby (I Love Her, Yes I Do)” make the greatest additions to the original release. Charles fronts a big band, the format he used with such success a few years earlier on Genius + Soul = Jazz! (reissued Concord, 2010). He has both alto saxophonist Hank Crawford and tenor saxophonist David “Fathead” Newman in the horn section, giving a touch of the older days. This is prime genius in his prime. The finest testament of the power Ray Charles wielded live in concert. –C. Michael Bailey, All About Jazz

Tracklist:
1 Opening 0:35
2 Band: Swing A Little Taste 3:35
3 I Gotta Woman 6:10
4 Margie 2:29
5 You Don’t Know Me 3:14
6 Hide Nor Hair 2:57
7 Baby, Don’t You Cry 2:35
8 Makin’ Whoopee 6:17
9 Hallelujah I Love Her So 2:55
10 Don’t Set Me Fee 3:58
11 What’d I Say 4:30
12 Finale 1:55

Personnel:
Ray Charles – piano, Hammond organ (on “One Mint Julep”, “Georgia On My Mind”, “That Lucky Old Sun” and the intro to “What’d I Say?”), vocals
Oliver Beener – trumpet
Wallace Davenport – trumpet
Philip Guilbeau – trumpet
John Hunt – trumpet, flugelhorn
Henderson Chambers – trombone
James Harbert – trombone
Frederic “Keg” Johnson – trombone
Julian Priester – trombone
Bennie “Hank” Crawford – alto saxophone
William “Buddy” Pearson – alto saxophone, flute
David “Fathead” Newman – tenor saxophone
Leroy “Hog” Cooper – baritone saxophone
Elbert “Sonny” Forriest – guitar
Edgar Willis – bass
Wilbert Hogan – drums
The Raeletts (Gwen Berry, Lillian Forte, Pat Lyle, Darlene MacRae) – backing vocals

Download:

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Stevie Wonder – Fulfillingness’ First Finale (1974) [Japanese Limited SHM-SACD 2011 # UIGY-9072]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 42:38 minutes | Scans included | 1,72 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 856 MB

After the righteous anger and occasional despair of the socially motivated Innervisions, Stevie Wonder returned with a relationship record: Fulfillingness’ First Finale. The cover pictures his life as an enormous wheel, part of which he’s looking ahead to and part of which he’s already completed (the latter with accompanying images of Little Stevie, JFK and MLK, the Motor Town Revue bus, a child with balloons, his familiar Taurus logo, and multiple Grammy awards). The songs and arrangements are the warmest since Talking Book, and Stevie positively caresses his vocals on this set, encompassing the vagaries of love, from dreaming of it (“Creepin’”) to being bashful of it (“Too Shy to Say”) to knowing when it’s over (“It Ain’t No Use”). The two big singles are “Boogie on Reggae Woman,” with a deep electronic groove balancing organic congas and gospel piano, and “You Haven’t Done Nothin’,” an acidic dismissal of President Nixon and the Watergate controversy (he’d already written “He’s Misstra Know-It-All” on the same topic). As before, Fulfillingness’ First Finale is mostly the work of a single man; Stevie invited over just a bare few musicians, and most of those were background vocalists (though of the finest caliber: Minnie Riperton, Paul Anka, Deniece Williams, and the Jackson 5). Also as before, the appearances are perfectly chosen; “Too Shy to Say” can only benefit from the acoustic bass of Motown institution James Jamerson and the heavenly steel guitar of Sneaky Pete Kleinow, while the Jackson 5 provide some righteous amens to Stevie’s preaching on “You Haven’t Done Nothin’.” It’s also very refreshing to hear more songs devoted to the many and varied stages of romance, among them “It Ain’t No Use,” “Too Shy to Say,” “Please Don’t Go.” The only element lacking here, in comparison to the rest of his string of brilliant early-’70s records, is a clear focus; Fulfillingness’ First Finale is more a collection of excellent songs than an excellent album.

Tracklist:
01 – Smile Please
02 – Heaven Is 10 Zillion Light Years Away
03 – Too Shy To Say
04 – Boogie On Reggae Woman
05 – Creepin’
06 – You Haven’t Done Nothin’
07 – It Ain’t No Use
08 – They Won’t Go When I Go
09 – Bird Of Beauty
10 – Please Don’t Go

Uses the 2011 DSD master based on US 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 Kevin Reeves.

ISO

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FLAC

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Stevie Wonder – Hotter Than July (1980) [Japanese Limited SHM-SACD 2011 # UIGY-9075]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 45:48 minutes | Scans included | 1,85 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 937 MB

Four years after the pinnacle of Stevie Wonder’s mid-’70s typhoon of classic albums, Hotter Than July was the proper follow-up to Songs in the Key of Life (his Journey Through the Secret Life of Plants concept record was actually a soundtrack to an obscure movie that fared miserably in theaters). It also found Wonder in a different musical climate than the one that savored his every move from 1972 to 1977. Disco and new wave had slowly crept their way into the mainstream record-buying public, and hindered the once-ample room for socially and politically charged lyrics. However, Wonder naysayed the trends and continues to do what he did best. Solid songwriting, musicianship, and production are evident in the majority of Hotter Than July. Wonder also carries on his tradition of penning songs normally not associated with his trademark sound, from the disco-tinged “All I Do” (originally planned to be released by Tammi Terrell almost ten years previously) to the reggae-influenced smash “Master Blaster (Jammin),” which went straight to the top of the R&B charts. While admittedly there are a few less-than-standard tracks, he closes the album on an amazing high note with one of the most aching ballads in his canon (“Lately”) and a touching anthem to civil rights pioneer Martin Luther King, Jr. (“Happy Birthday”). While most definitely not on the same tier as Innervisions or Songs in the Key of Life, Hotter Than July is the portrait of an artist who still had the Midas touch, but stood at the crossroads of an illustrious career.

Tracklist:
01 – Did I Hear You Say You Love Me
02 – All I Do
03 – Rocket Love
04 – I Ain’t Gonna Stand For It
05 – As If You Read My Mind
06 – Master Blaster (Jammin’)
07 – Do Like You
08 – Cash In Your Face
09 – Lately
10 – Happy Birthday

Features the 2011 DSD mastering based on the US master. 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 Ellen Fitton.

ISO

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FLAC

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Official Digital Download 24bit/96kHz

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Stevie Wonder – Talking Book (1972) [Japanese Limited SHM-SACD 2011 # UIGY-9064]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 43:26 minutes | Scans included | 1,75 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 866 MB

After releasing two “head” records during 1970-71, Stevie Wonder expanded his compositional palate with 1972’s Talking Book to include societal ills as well as tender love songs, and so recorded the first smash album of his career. What had been hinted at on the intriguing project Music of My Mind was here focused into a laser beam of tight songwriting, warm electronic arrangements, and ebullient performances — altogether the most realistic vision of musical personality ever put to wax, beginning with a disarmingly simple love song, “You Are the Sunshine of My Life” (but of course, it’s only the composition that’s simple). Stevie’s not always singing a tender ballad here — in fact, he flits from contentment to mistrust to promise to heartbreak within the course of the first four songs — but he never fails to render each song in the most vivid colors. In stark contrast to his early songs, which were clever but often relied on the Motown template of romantic metaphor, with Talking Book it became clear Stevie Wonder was beginning to speak his mind and use personal history for material (just as Marvin Gaye had with the social protest of 1971’s What’s Going On). The lyrics became less convoluted, while the emotional power gained in intensity. “You and I” and the glorious closer “I Believe (When I Fall in Love It Will Be Forever)” subtly illustrate that the conception of love can be stronger than the reality, while “Tuesday Heartbreak” speaks simply but powerfully: “I wanna be with you when the nighttime comes / I wanna be with you till the daytime comes.” Ironically, the biggest hit from Talking Book wasn’t a love song at all; the funk landmark “Superstition” urges empowerment instead of hopelessness, set to a grooving beat that made it one of the biggest hits of his career. It’s followed by “Big Brother,” the first of his directly critical songs, excoriating politicians who posture to the underclass in order to gain the only thing they really need: votes. With Talking Book, Stevie also found a proper balance between making an album entirely by himself and benefiting from the talents of others. His wife Syreeta and her sister Yvonne Wright contributed three great lyrics, and Ray Parker, Jr. came by to record a guitar solo that brings together the lengthy jam “Maybe Your Baby.” Two more guitar heroes, Jeff Beck and Buzzy Feton, appeared on “Lookin’ for Another Pure Love,” Beck’s solo especially giving voice to the excruciating process of moving on from a broken relationship. Like no other Stevie Wonder LP before it, Talking Book is all of a piece, the first unified statement of his career. It’s certainly an exercise in indulgence but, imitating life, it veers breathtakingly from love to heartbreak and back with barely a pause.

Tracklist:
01 – You Are The Sunshine Of My Life
02 – Maybe Your Baby
03 – You And I
04 – Tuesday Heartbreak
05 – You’ve Got It Bad Girl
06 – Superstition
07 – Big Brother
08 – Blame It On The Sun
09 – Lookin’ For Another Pure Love
10 – I Believe (When I Fall In Love It Will Be Forever)

Uses the 2011 DSD master based on US 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 Ellen Fitton.

ISO

https://subyshare.com/6z5zdrur3izn/StevieW0nderTalkingB00k1972Japan2011SHMSACDIS0.part1.rar.html
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FLAC

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Official Digital Download 24bit/192kHz

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Tony Bennett – Playin’ with My Friends: Bennett Sings the Blues (2001) [2.0 & 5.1]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 57:19 mins | Scans included | 3,36 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,07 GB
Featuring duets with notable vocalists. | Features 2.0 Stereo and 5.1 multichannel surround sound

Tony Bennett’s latter-day albums tend to have themes, and this one has two, as indicated by its double-barreled title: It is both a duets album and a blues album. The duet partners include ten singers who range from his recent touring partners Diana Krall and k.d. lang to fellow veterans Ray Charles, B.B. King, and Kay Starr, and younger, but still mature pop stars Stevie Wonder, Bonnie Raitt, and Billy Joel.

All sound happy to be sharing a mic with Bennett. Not surprisingly, the singer’s conception of the blues does not extend to the Mississippi Delta or the South Side of Chicago; rather, he is interested in the blues as filtered through the sound of the Swing Era, particularly from around Kansas City, and as interpreted by Tin Pan Alley and show tunes. For the former, his true mentor is Count Basie, whose overt influence is heard on six of the 15 tracks. Bennett makes no attempt to hide this, leading off the album with two songs, “Alright, Okay, You Win” (a duet with Krall) and “Everyday (I Have the Blues)” (a duet with Wonder), closely associated with Basie singer Joe Williams. The Broadway and Hollywood blues style is introduced in three selections written by Harold Arlen. On about half the tracks, the Ralph Sharon Quartet is augmented by Harry Allen’s saxophone and Mike Melvoin’s Hammond organ, but this remains a small, intimate affair that emphasizes the singers. There are missteps — Sheryl Crow’s Billie Holiday impersonation on “Good Morning, Heartache” is unfortunate, and Natalie Cole, as usual, sounds out of her depth on “Stormy Weather.” But the trade-offs Bennett enjoys with King and Charles are priceless, and the Joel duet is surprisingly effective. On the whole, this is yet another entry in Bennett’s lengthening series of autumnal recorded triumphs.

Tracklist:
01. Tony Bennett with Diana Krall – Alright, Okay, You Win
02. Tony Bennett with Stevie Wonder – Everyday (I Have The Blues)
03. Tony Bennett – Don’t Cry Baby
04. Tony Bennett with Sheryl Crow – Good Morning, Heartache
05. Tony Bennett with B.B. King – Let The Good Times Roll
06. Tony Bennett with Ray Charles – Evenin’
07. Tony Bennett with Bonnie Raitt – I Gotta Right To Sing The Blues
08. Tony Bennett with K.D. Lang – Keep The Faith, Baby
09. Tony Bennett – Old Count Basie Is Gone (Old Piney Brown Is Gone)
10. Tony Bennett with Kay Starr – Blue And Sentimental
11. Tony Bennett with Billy Joel – New York State Of Mind
12. Tony Bennett – Undecided Blues
13. Tony Bennett – Blues In The Night
14. Tony Bennett with Natalie Cole – Stormy Weather
15. Tony Bennett with Various Duet Artists – Playin’ With My Friends

ISO

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FLAC

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Ornette Coleman – The Shape Of Jazz To Come (1959) [Japanese Limited SHM-SACD 2011]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 48:05 minutes | Scans included | 1,93 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 898 MB

Ornette Coleman’s Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven’t come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece’s tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section — bassist Charlie Haden and drummer Billy Higgins — that was loose and open-eared enough to follow his already controversial conception. Coleman’s ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it’s hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It’s true that Coleman’s piercing, wailing alto squeals and vocalized effects weren’t much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group’s improvisations were very free-associative. But at this point, Coleman’s desire for freedom was directly related to his sense of melody — which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting “Lonely Woman” is a stone-cold classic, and “Congeniality” and “Peace” aren’t far behind. Any understanding of jazz’s avant-garde should begin here.

Tracklist:
01. Lonely Woman
02. Eventually
03. Peace
04. Focus On Sanity
05. Congeniality
06. Chronology
07. Monk And The Nun
08. Just For You

ISO

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FLAC

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The Eagles – Hotel California (1976) [Japanese SACD 2011]
PS3 Rip | ISO | SACD DST 64 2.0 & 5.1 > 1-bit/2.8224 MHz | 43:30 minutes | Scans included | 3,11 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/88,2 kHz | 43:36 mins | Scans included | 933 MB
SACD Hybrid reissue release from The Eagles. Features 2.0 Stereo and 5.1 multichannel surround.

The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for The Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band’s dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album’s music, which marks a peak in The Eagles’ playing. Early on, the group couldn’t rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, The Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of “classic rock,” music appropriate for the arenas and stadiums the band was playing. The result was The Eagles’ biggest-selling regular album release, and one of the most successful rock albums ever.

Tracklist:
01. Hotel California
02. New Kid In Town
03. Life In The Fast Lane
04. Wasted Time
05. Wasted Time (Reprise)
06. Victim Of Love
07. Pretty Maids All In A Row
08. Try And Love Again
09. The Last Resort

5.1 Mix by Elliot Scheider with Bill Szymczyk at The Dog House, Santa Monica, CA. (March 2001).
5.1 Mastered by Ted Jensen at Sterling Sound, NYC.

ISO

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FLAC

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Franz Liszt – The 2 Piano Concertos – Nareh Arghamanyan, Rundfunk-Sinfonieorchester Berlin, Alain Altinoglu (2012)
DSF Stereo DSD64/2.82MHz  | Time – 01:12:25 minutes | 2,86 GB | Genre: Classical
Source: ISO SACD | ©  Pentatone Music B.V.  | Recorded: Haus des Rundfunks, RBB Berlin, April 2012

During his stay in the French capital, the German poet Heinrich Heine wrote a series of articles for the Augsburger Allgemeine Zeitung, entitled “Musikalische Saison in Paris” (= musical season in Paris). These articles still make for fascinating reading, with Heine providing a highly ironic and personal account of musical life in Paris. And, of course, he repeatedly dealt with composer Franz Liszt. This was again the case in the article devoted to the year 1841. That year, Liszt had given two piano recitals based on the music of Beethoven. Heine writes the following: “Despite his genius, Liszt meets with opposition here in Paris, which usually consists of serious musicians and crowns his rival, the imperial Thalberg, with laurels. – Liszt has already given two concerts in which he has played all by himself, against all tradition, without involving other artists. He is now preparing a third concert in honour of Beethoven. This composer must indeed appeal most to the taste of someone like Liszt.”

Armenian pianist Nareh Arghamanyan, who has been playing since the age of five, has been making an impressive round of performances with noted orchestras all over the world. She shows amazing maturity and restraint in these two warhorses. Arghamanyan takes a lyrical and more sedate style into her soul with readings that are just loaded with flexible and soaring flight-of-fancy finger work that focuses on Liszt’s inimitable sense of rhapsodic invention. These are not hell-bent-for-leather performances but instead those that seek a chamber music intimacy within the confines of a large orchestra whole — and it works. One could argue that a piece like Totentanz, maybe the composer’s most devilish orchestral score, would not respond to the melodic musings of a light touch, but you would be wrong. This work, a series of variations on the Gregorian Dies irae, achieves its percussive effects on its own with little help needed from the pianist, and holds her own in a splendid reading. The Fantasy on Hungarian Folk Tunes, that originally featured conductor Hans von Bulow as the pianist at the premiere, is one of two arrangements Liszt made of his Hungarian Rhapsody No. 14. It is an enthusiastic and fun piece of work taken for what it is — an audience-pleaser and rousing work of great invention. Again, Arghamanyan is at the top of her game, as is the splendid Berlin Radio Symphony Orchestra and their young conductor. Pentatone provides wondrous surround sound. –Audiophile Audition

Tracklist:
Franz Liszt (1811-1886)
Piano Concerto No. 1 in E flat major, S124/R455
1 Allegro maestoso 5:24
2 Quasi adagio – Allegretto vivace 9:10
3 Allegro marziale animato 4:14
Piano Concerto No. 2 in A major, S125/R456
4 Adagio sostenuto assai – 5:10
5 Allegro agitato assai – 7:38
6 Allegro deciso – 2:56
7 Marziale un poco meno allegro 6:07
Totentanz, S126/R457
8 Andante – Allegro – Allegro moderato – 2:00
9 Variation 1 & 2, allegro moderato 1:33
10 Variation 3, molto vivace 0:33
11 Variation 4 (canonique), lento 3:22
12 Variation 5, vivace. fugato-presto 3:59
13 Variation 6, sempre allegro, ma non troppo 4:11
14 Fantasia on Hungarian Folk Themes, S123/R458, “Hungarian Fantasy” 15:33

Personnel:
Nareh Arghamanyan, piano
Rundfunk-Sinfonieorchester Berlin
conducted by Alain Altinoglu

Download:

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Wolfgang Amadeus Mozart – Piano Concertos Nos. 13 & 24 – Martin Helmchen, Netherlands Chamber Orchestra, Gordan Nikolic (2007)
DSF Stereo DSD64/2.82MHz  | Time – 01:00:13 minutes | 2,38 GB | Genre: Classical
Source: ISO SACD | ©  Pentatone Music B.V.  | Recorded: April 2007 at the Philharmonie, Haarlem, The Netherlands

This is the debut album of Martin Helmchen, prize-winning 25-year old German pianist whose career received a boost when he won the 2001 Clara Haskil Competition. Though opening salvos fired by so many young pianists today often come in the form of Mozart, it can be a risky business; bad Mozart-playing can signal the quick end to a career because the nature of the music exposes so many strengths and flaws. Even now we see so many album released by “name” piano-players who really don’t have a clue as to how to handle the composer. Helmchen, I am happy to report, has found the key to the puzzle, and acquits himself very well indeed.
“The sound on this issue is sumptuous; you will not hear finer, more articulate clarity in the orchestra on any other recording that I know of and the piano sounds simply marvellous, clean, bold and rich … well worth hearing for those just building a collection or those with 5,000 Mozart concerto discs already in their collection. Unreservedly recommended.” –Fanfare

“It was a bold gesture on the part of talented pianist Martin Helmchen to make his recording debut with two of Mozart’s piano concertos … (his) decision is strongly vindicated by performances that show him to be a highly sensitive performer with a wonderfully limpid piano tone that is almost ideal for Mozart … there are some beautifully articulated accompaniments, the string tone suitably lean in quality … a highly promising and beautifully recorded disc.” –BBC Music Magazine

Tracklist:

Wolfgang Amadeus Mozart (1756-1791)

Piano Concerto No. 24 in C minor, K. 491
1. I. Allegro 14:14
2. II. Larghetto 7:37
3. III. Allegretto 9:14

Piano Concerto No. 13 in C major, K. 415
4. I. Allegro 10:43
5. II. Andante 9:01
6. III. Rondeau: Allegro 9:11

Personnel:
Martin Helmchen, piano
Netherlands Chamber Orchestra
Gordan Nikolić, conductor

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Sergei Rachmaninov – Piano Works – Nareh Arghamanyan (2012)
DSF Stereo DSD64/2.82MHz  | Time – 01:03:08 minutes | 2,49 GB | Genre: Classical
Source: ISO SACD | ©  Pentatone Music B.V.  | Recorded: Concertboerderij Valthermond, The Netherlands, January 2012

In her early twenties the Armenian pianist Nareh Arghamanyan, winner of the 2008 Montreal International Music Competition, belongs to the promising generation of today’s fine pianists. The last season saw Nareh Arghamanyan making an impressive New York debut at the Frick collection as well as at San Francisco Performances, resulting in a reinvitation to their “Young Master Series”. In concert she performed Saint-Saëns 5th concerto with the Winnipeg Symphony, the Saint-Saëns 2nd with I Musici de Montreal, and the “Emperor” concerto with the McGill Chamber Orchestra. Nareh Arghamanyan has appeared with the Mont Blanc Symphony France, Moscow Chamber Orchestra and the Armenian Philharmonic. In this new PentaTone release, she now turns her formidable talent towards the compositions of Rachmaninoff.

“Arghamanyan’s recital reveals a more disciplined, controlled, architecturally aware and expressively sophisticated artist … helped by PentaTone’s full-bodied, lifelike sonics. A terrific release in every way.” –ClassicsToday.com

Tracklist:
Sergei Rachmaninov (1873-1943)
Morceaux de fantaisie, Op. 3
1 No. 1. Elegie in E flat minor 5:35
2 No. 2. Prelude in C sharp minor 3:49
3 No. 3. Melodie in E major 4:15
4 No. 4. Polichinelle in F sharp minor 3:28
5 No. 5. Serenade in B flat minor 3:29
Etudes-tableaux, Op. 33
6 No. 1 in F minor: Allegro non troppo 2:40
7 No. 2 in C major: Allegro 2:22
8 No. 3 in C minor: Grave 4:37
9 No. 4 in D minor: Moderato 2:59
10 No. 5 in E flat minor: Non allegro 1:43
11 No. 6 in E flat major: Allegro con fuoco 1:43
12 No. 7 in G minor: Moderato 4:03
13 No. 8 in C sharp minor: Grave 3:27
Variations on a Theme of Corelli, Op. 42
14 Theme: Andante 0:57
15 Variations 1-7 4:06
16 Variations 8-12 3:32
17 Variation 13: Agitato 0:31
18 Intermezzo 1:38
19 Variations 14-20 5:42
20 Coda: Andante 1:26

Personnel:
Nareh Argamanyan, piano

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Bartok, Prokofiev, Hindemith – Solo 2 – Ning Feng (2013)
DSF Stereo DSD64/2.82MHz  | Time – 01:09:45 minutes | 2,75 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. 
Recorded: Westvest, Schiedam, February 2012, March 2012

Béla Bartok composed his Sonata for violin solo (1944) after emigrating from Hungary to the USA on the outbreak of World War II. A few years before, he had openly expressed his aversion to Hitler and the rise of the Nazis, refusing to play his own music or have it performed in Germany. Bartók was consequently boycotted almost everywhere, particularly in pro-German countries. Political developments in Hungary and surrounding dictatorships became such an unbearable torment, that after long hesitation he said farewell to his fatherland (and to his mother). In North America, however, the composer and his wife could hardly settle. For many years Bart.k did not compose, and he felt that he would never be able to do so again. He darted through the overcrowded streets of New York like an anxious animal. He felt like a miserable and uprooted stranger, became ill, and weighed hardly 44 kilos in 1943. Bartók died of leukaemia in New York in 1945

The solo Sonatas and Partitas of Bach cast a long and enduring shadow over the entire solo violin repertoire that post-date them. Just about every work written – of any artistic stature – seems to be a reaction against or a homage to those remarkable pieces. Certainly, the thesis holds true for the four works recorded here, which for all the unmistakeable fingerprints of their composers are pulled with a kind of musical gravitation back towards the sun of the Bach originals.
In purely technical terms this is a CD of quite stunning violin playing. Every aspect of Ning Feng’s playing seems to be under extraordinary control. The even-ness of his tone production whether high, low, slow and sustained or precipitously fast is remarkably similar. Usually you can perceive a degree of technical strain in the way the tone hardens or some passage-work might fractionally blur – not here, every note and strand of music remains crystal clear. The Prokofiev and Bartok Sonatas in particular have entered near-enough standard repertoire ever since their 1940s composition so they have been recorded by many top virtuosi since. On the level of technical address Feng is the equal of any.
Here’s the snag, though; my listening notes refer time and again in the most glowing terms to this technical skill, but almost never to the musical aspect of the performances. I am not saying for one second that these are not intelligent and perfectly sane centrist performances because they are, simply that the level of musical insight does not match the technical brilliance. I feel almost ungrateful and churlish asking for more in the presence of such skill. Take one simple and immediately audible example; the opening of the Prokofiev Sonata and compare it to another version I know played by a favourite violinist Gil Shaham. Feng is given a generous acoustic which gives his already superb playing a rich veneer. Indeed his opening has a Bachian grandeur that it wholly impressive … if not very Prokofievian. Shaham, more closely and drily recorded – not totally in his favour it has to be said – is instantly more capricious and sly. The notes still echo Bach but now refracted through Prokofiev’s troubled 20th Century glass. I have no doubt that there will be many who prefer Feng’s approach but I find Shaham’s personality far more individual and more impressive.
Much the same can be said of the rest of the programme – with a growing sense that Feng does not makes enough of the different sound-worlds of the three composers. If you want streams of remarkable playing this is this disc for you and again, perhaps Feng is right to find a continuity where I sense a greater divide. I have to say that the Hindemith Solo Sonatas were unknown to me and as such are a delightful discovery. It struck me that this repertoire – with the closest homage of all in the Op.31 No.1 sonata – most suits Feng, certainly as recorded here. Hindemith never manages to throw off the stigma of being a ‘dry’ and ‘academic’ composer but pick any movement of either sonata to have this caricature refuted. Feng’s ability to sustain double-stopped lines makes the second movement of this Sonata; Sehr langsame Viertel – surely a direct tribute to the opening of the 3rd Bach Sonata – quite superb. Compare Ruggiero Ricci who rather more feverishly takes just 2:42 to Feng’s 4:28 for the same movement; the laurels here rest most certainly with Feng. Indeed this whole sonata seems to most clearly chime with Feng’s style and extraordinary technique. Hindemith wrote these two sonatas for his violinist colleagues in the Amar Quartet of which he played viola. I wonder if the players were delighted or daunted by the gift. The Op.31 No.2 Sonata – subtitled “It’s such fine weather outside” – owes less to Bach. Again while I marvel at the stream of beauty that Feng produces I struggle more to hear the structural skeleton that lies beneath. For sure Feng is willing to play with a single hair of the bow or full-blooded intensity but in the more expressionist Op.31 No.2 I feel that the music would support a more challenging – even ugly – approach.
Fine though all of the music on this disc is there is surely just one masterpiece and that is the Bartók Sonata. Its genesis is well-known, an ailing homesick composer stranded in a foreign country managing to produce a late Indian Summer of major works including the 3rd Piano Concerto and Concerto for Orchestra as well as this Sonata. A masterpiece I would say because it finds a near-perfect balance between originality, homage – the first two movements are marked after all tempo di ciaccona and Fuga – and an innate appreciation of just what could be achieved in the medium. This is great music that happens to have been written for a solo violin. All too often composers wrestle with the understandable limitations that an essentially monophonic single instrument brings. Since I am not alone in recognising the genius at work here it is no surprise that comparative versions in this piece abound and competition is fierce. Again the sheer skill of Feng’s playing astounds. Aided by the rich acoustic this feels like a performance that emphasises the homage more than the originality of the work. Bartók is surely the composer who most successfully fused contemporary and folk-idioms and this work displays this as well as any. Feng’s lush playing understates the spiky fiddling aspect. Try for example Leila Josefowicz or Christian Tetzlaff who are just two of many who project an earthier quality that I personally prefer. Important to note though that in this company Menuhin – the violinist who encouraged Bartók to produce the work and gave the first performance – sounds harsh and effortful. As a major piece clearly both approaches will ‘work’ and will have their admirers. I find the analogy of driving rather fast in a Rolls Royce appropriate; a wonderful ride for sure but where’s the visceral excitement of the driving experience?
Some other passing comments; the liner note is perfectly adequate and offered in English, German and French. Feng’s agent’s website states that he performs on a Stradivarius although on this disc considerable point is made of the fact that he is playing a 2007 Stefan-Peter Greiner violin. As an advert for this maker’s instruments this is superb because, as I have made clear, Feng produces a brilliant even tone across the entire range and as recorded the violin sounds full and rich. The recording is a Super Audio CD listenable to as a 5.0 surround sound disc. My system allows standard reproduction which as I have mentioned places the instrument slightly back in the resonant acoustic. There is one odd quirk which is that – over headphones in particular – Feng’s breathing sounds closer than his violin. Logically that cannot be but that is how it sounded to me. Overall I would say the recorded style suits Feng’s approach very well. A disc that left me hugely impressed yet strangely unmoved at the same time. –Nick Barnard, MusicWeb International

Tracklist:

Sergey Prokofiev (1892-1953)
Solo Sonata in D major op. 115
1 Moderato 05:16
2 Theme and Variations: Andante dolce 04:11
3 Con brio. Allegro precipitato 04:31

Paul Hindemith (1895-1963)
Solo Sonata op. 31 no. 1
4 Sehr lebhafte Achtel 01:47
5 Sehr lagsame Viertel 04:26
6 Sehr lebhafte Viertel 02:44
7 Intermezzo: Lied. Ruhig bewegte Achtl 02:55
8 Prestissimo 01:57
Solo Sonata op. 31 no.2 ‘Es ist so schönes Wetter draussen’
9 Leicht bewegte Viertel 02:34
10 Ruhig bewegte Achtel 03:01
11 Gemächliche Viertel 01:30
12 Funf Variationen Uber das Lied 05:13

Béla Bartók (1881-1945)
Solo Sonata Sz117
13 Tempo di ciaccona 11:11
14 Fuga 05:03
15 Melodia 07:21
16 Presto 05:55

Personnel:
Ning Feng, violin

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Ludwig van Beethoven – Symphony Nos. 4 & 6 – Budapest Festival Orchestra, Ivan Fischer (2010)
DSF Stereo DSD64/2.82MHz  | Time – 01:18:35 minutes | 3,1 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V.
Recorded: February 2010, Palace of Arts, Budapest, Hungary

‘Two fundamentally different symphonies: both works explore feelings from an entirely different point of view. The Fourth is about human feelings and moods: obsession, love (what a melody in the second movement!), happiness, fun, wit, (Beethoven’s most humorous finale!). The Sixth is about feelings that nature awakens in us: calmness, meditation, thankfulness. It has been an especially creative process to work on these masterpieces. We discovered that the Fourth Symphony sounds better with natural horns and trumpets. In the Pastorale we used a different seating arrangement, with the winds scattered among the strings, so that each soloist was surrounded by musicians playing the flow of Beethoven’s nature music. After the storm, when we hear the first tentative call of the clarinet, answered by the horn from a different mountain, as it were, we found it appropriate to use a solo violin, which is gradually joined by the whole orchestra.’ –Iván Fischer

Occasionally a disc comes along that is exemplary in every respect, so let me simply say that this recording was a pleasure to audition. Iván Fischer fully achieves what Jan Willem de Vriend is only partially successful at communicating in an identical program (his disc is reviewed below). The performers on both discs employ natural horns and trumpets within a modern symphony structure, so the comparison is even more apposite.
In the performance of the Fourth Symphony, Fischer captures all of the variety of mood—mystery, melancholy, swagger, and humor—that this fascinating score can project. There is real joy in this music, and Fischer and his orchestra revel in it; by contrast, the second movement possesses a noble character characteristic of the best performances of this work. The sound is full-bodied and has terrific bass, with the kind of presence only rarely achieved in the studio.

In his rendition of the Sixth, Fischer interpolates a couple of innovations. He seats the winds among the strings “so that each soloist was surrounded by musicians playing the flow of Beethoven’s nature music,” according to the conductor. This would seem to be well within his prerogative, as is the seating of the violins, which are placed antiphonally. The placement of the winds allows for extra clarity, though in the peasant dance, the exuberant strings occasionally swallow them up (the piccolo being the most obvious casualty). Fischer, however, also gives the first phrase of the principal theme of the last movement to a solo violin. I find this to be quite effective, a lone voice emerging from shelter as the storm passes; purists may feel otherwise.
Fischer has a similar attitude toward tempos, which are quite flexible. The second movement is leisurely indeed, but the molto mosso indication is very much in evidence, as the music never drags. The finale is also taken at a slower speed than on some recent recordings: The timing of 10:58 is almost three minutes longer than Järvi’s fleet pace, for one example, but here again, the music never feels merely slow, as the intensity of the playing radiates a profound sense of gratitude.

It is unusual, to say the least, to find a disc that sounds this fresh in repertoire this familiar, but Fischer and his Budapest band have a knack for doing just that. I wasn’t as taken with the Beethoven Seventh by these forces (reviewed in Fanfare 32:2), but I have no reservations about this new disc, which receives my highest recommendation. –Christopher Abbot, FANFARE

Tracklist:

Ludwig van Beethoven (1770-1827)

Symphony no. 4 in B flat major op. 60 (1806)
1 Adagio /Allegro vivace 11.50
2 Adagio 8.55
3 Allegro vivace 5.48
4 Allegro ma non troppo 6.45
Symphony no 6 in F major op. 68 ‘Pastoral’ (1806-1808)
5 Allegro ma non troppo ‘Angenehme, heitere Empfindungen welche bei der Ankunft auf dem Lande im Menschen erwachen’ 11.52
6 Andante molto mosso ‘Szene am Bach’ 13.38
7 Allegro ‘Lustiges Zusammensein der Landleute’ 5.01
8 Allegro ‘Donner. Sturm’ 3.46
9 Allegretto ‘Hirtengesang, Wohltätige, mit Dank an die Gottheit verbundene Gefühle nach dem Sturm’ 10.58

Personnel:
Budapest Festival Orchestra
Iván Fischer, conductor

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Louis Armstrong And His All-Stars – Ambassador Satch (1956/2000)
DSF Stereo DSD64/2.82MHz  | Time – 54:14 minutes | 2,14 GB | Genre: Jazz
Source: ISO SACD | © Columbia Records/Legacy Recordings
Recorded live at Concert Tour 1955 on Milan, Amsterdam, Los Angeles & New York City

Recorded in Amsterdam, Milan, Hollywood and New York, the performances on Ambassador Satch are largely of the same order as those on Satchmo the Great, except that this collection contains no narrative interludes. Following “Royal Garden Blues,” “Tin Roof Blues,” “Muskrat Ramble” and other tunes, Young is featured on a way-up “Undecided,” Ed Hall on “Darndanella” and Armstrong on “West End Blues,” his crowning classic. Bonus tracks include the previously unissued “Clarinet Marmalade,” another Hall showcase, and “Someday You’ll Be Sorry.”

As Louis Armstrong traversed the globe, bringing jazz to every corner of it, live recordings became the norm. This reissue brings together 1955 concert recordings with the All-Stars from Milan and Amsterdam, buffeted with three previously unreleased bonus studio tracks recorded in New York and Hollywood. Both Satchmo and the All-Stars are in top-notch form here, playing with a real spirit of abandon. Another real good one to add to the collection. —AllMusic Review by Cub Koda

Tracklist:
1 Royal Garden Blues 5:10
2 Tin Roof Blues 4:31
3 The Faithful Hussar 6:11
4 Muskrat Ramble 5:42
5 All Of Me 4:16
6 Twelfth Street Rag 4:59
7 Undecided 3:41
8 Dardanella 3:00
9 West End Blues 4:17
10 Tiger Rag 3:31

Bonus Tracks:
11 Clarinet Marmalade 2:14
12 Someday You’ll Be Sorry 4:23
13 When The Red, Red Robin Comes Bob, Bob, Bobbin’ Along 2:06

Personnel:
Vocals, Trumpet – Louis Armstrong
Bass – Arvell Shaw
Clarinet – Edmond Hall
Drums – Barrett Deems
Piano – Billy Kyle
Trombone – Trummy Young

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Wes Montgomery – A Day In The Life (1967/2014)
DSF Stereo DSD64/2.82MHz  | Time – 34:44 minutes | 1,37 GB | Genre: Jazz
Source: ISO SACD | ©  A&M Records | Universal Music Japan (UCGU-9057)
Recorded: June 6, 7, 8 and 26, 1967 at the Van Gelder Studio, Englewood Cliffs, New Jersey

By the time Wes Montgomery recorded this album (his debut for A&M), he was a major name in the pop world. Montgomery’s melodic renditions of current pop hits caught on and were played regularly on Top 40 radio. In most cases the guitarist did little more than play the melody, using his distinctive octaves, and it was enough to make him saleable. Of his three A&M recordings, A Day in the Life (the first one) was by far the best and, although the jazz content is almost nil, the results are pleasing as background music. “Windy” was a bit of a hit; the other selections (which find Montgomery backed by muzaky strings arranged by Don Sebesky) include “Watch What Happens,” “California Nights,” “Eleanor Rigby” and the title cut. –Scott Yanow

Tracklist:
1 A Day In The Life 5:45
2 Watch What Happens 2:43
3 When A Man Loves A Woman 2:52
4 California Nights 2:29
5 Angel 2:46
6 Eleanor Rigby 3:04
7 Willow Weep For Me 4:31
8 Windy 2:20
9 Trust In Me 4:25
10 The Joker 3:26

Personnel:
Guitar – Wes Montgomery
Arranged By, Conductor – Don Sebesky
Bass – Ron Carter
Cello – Alan Shulman, Charles McCracken
Drums – Grady Tate
Engineer – Rudy Van Gelder
Flute [Bass] – George Marge, Joe Soldo, Romeo Penque, Stan Webb
French Horn – Ray Alonge
Harp – Margaret Ross
Percussion – Jack Jennings, Joe Wohletz, Ray Barretto
Piano – Herbie Hancock
Producer – Creed Taylor
Viola – Emanuel Vardi, Harold Coletta
Violin – Gene Orloff, Harry Glickman, Harry Katzman, Harry Urbont, Jack Zayde, Julius Brand, Leo Kruczek, Lewis Eley, Mac Ceppos, Peter Buonconsiglio, Sylvan Shulman, Tosha Samaroff
Woodwind – Phil Bodner, Stan Webb

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Charles Aznavour – Plus bleu… (1997) [Reissue 2004] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 53:59 minutes | Scans included | 3,85 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,07 MB

Plus Bleu… est le 42e album studio français de Charles Aznavour. Aznavour n’a jamais été avare en remerciements pour Piaf. Il n’a jamais oublié l’aide qu’elle lui a apporté à l’aube de sa carrière. Dans cet album de 1997, c’est un hommage en chanson qui lui est rendue par le bais d’un duo posthume: “Plus bleu…”.

Tracklist:
01. Plus Bleu Que Tes Yeux [En duo avec Edith Piaf]02. Gitana, Gitana
03. Dis-Moi Que Tu M’Aimes
04. Droit des Femines
05. Avant de T’Aimer
06. Caraïbes
07. Amour Amer
08. Piano Bar
09. Images de la Vie
10. Yiddishe Mamma
11. De Déraison en Déraison
12. Ma Dernière Chanson Pour Toi
13. Enfants [avec les Petits Chanteurs de la Croix de Bois]14. Nous Nous Reverrons un Jour Ou l’Autre
15. Ce Métier

ISO

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