SACD / DSD – HDMusic.me

Bob Dylan returned from exile with John Wesley Harding, a quiet, country-tinged album that split dramatically from his previous three. A calm, reflective album, John Wesley Harding strips away all of the wilder tendencies of Dylan’s rock albums – even the then-unreleased Basement Tapes he made the previous year – but it isn’t a return to his folk roots. If anything, the album is his first serious foray into country, but only a handful of songs, such as “I’ll Be Your Baby Tonight,” are straight country songs. Instead, John Wesley Harding is informed by the rustic sound of country, as well as many rural myths, with seemingly simple songs like “All Along the Watchtower,” “I Dreamed I Saw St. Augustine,” and “The Wicked Messenger” revealing several layers of meaning with repeated plays. Although the lyrics are somewhat enigmatic, the music is simple, direct, and melodic, providing a touchstone for the country-rock revolution that swept through rock in the late ’60s.

Tracklist:
01. John Wesley Harding
02. As I Went Out One Morning
03. I Dreamed I Saw St. Augustine
04. All Along the Watchtower
05. The Ballad Of Frankie Lee and Judas Priest
06. Drifter’s Escape
07. Dear Landlord
08. I Am a Lonesome Hobo
09. I Pity the Poor Immigrant
10. The Wicked Messenger
11. Down Along the Cove
12. I’ll Be Your Baby Tonight

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

ISO

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FLAC

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Bob Dylan – John Wesley Harding (1967) [MFSL 2016] {Mono}
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:18 minutes | Scans included | 1,57 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 781 MB
MONO / Mobile Fidelity Sound Lab # UDSACD 2183

ISO

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FLAC

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Bob Dylan’s Love and Theft is a visionary train ride through the vast American landscape and all its hills, valleys, mountains, river towns, and urban and rural settlements. As they burrow into villages and barrel across trestle bridges, the 2001 record’s songs introduce us to outlaws, outliers, gamblers, brawlers, tricksters, bootleggers, and scoundrels. It is, in effect, a commanding survey of and plunge into American music. Named the best album of the year by Rolling Stone and the Village Voice’s Pazz & Jop Critics Poll, anointed the second-best album of the decade by Newsweek, and later declared the 385th Greatest Album of All Time by Rolling Stone, Love and Theft remains the Nobel Laureate’s finest effort since 1975’s Blood on the Tracks – and an extension of the jesting, imagery, and free-form looseness present on his seminal 1960s works. Now, it possess knock-out sound.

Mastered from the original master tapes and strictly limited to 3,000 numbered copies, Mobile Fidelity’s transparent hybrid SACD reveals the you-are-there immediacy of Dylan’s production and the colorful textures inherent to every passage. Experienced on this audiophile version, the songs possess a sense of swing and naturalism so sure-footed that they seem to float, with Dylan and his crack ensemble setting up as a live band taking down the house in a deep-in-the-woods Louisiana shotgun shack. Prized aural traits such as presence, imaging, separation, and soundstaging depth don’t come better. This is the very definition of sonic chemistry.

Time Out of Mind was a legitimate comeback, Bob Dylan’s first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he’s made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned “Things Have Changed,” his Oscar-winning theme to Curtis Hanson’s 2000 film Wonder Boys. Just as important, Daniel Lanois’ deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding “Lonesome Day Blues” and burning it down with the fabulously swinging “Summer Days.” They’re equally captivating on the slower songs, whether it’s the breezily romantic “Bye and Bye,” the torch song “Moonlight,” or the epic reflective closer, “Sugar Baby.” Musically, Dylan hasn’t been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but they’re supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early ’60s, through the absurdist storyteller of the mid-’60s, through the traditionalist of the early ’70s, to the grizzled professional of the ’90s. None of this is conscious, it’s all natural. There’s an ease to his writing and a swagger to his performance unheard in years – he’s cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. It’s reminiscent of his classic records, but he’s never made a record that’s been such sheer, giddy fun as this, and it stands proudly among his very best albums.

Tracklist:
01. Tweedle Dee & Tweedle Dum
02. Mississippi
03. Summer Days
04. By And By
05. Lonesome Day Blues
06. Floater (Too Much To Ask)
07. High Water (for Charley Patton)
08. Moonlight
09. Honest With Me
10. Po’ Boy
11. Cry A While
12. Sugar Baby

Mastered by Neal Harris. Assisted by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

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FLAC

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HDTracks 24-96

http://hdmusic.pw/bob-dylan-love-and-theft-20012014-official-digital-download-24bit96khz/

SACD 2003

http://hdmusic.pw/bob-dylan-love-and-theft-2001-sacd-2003-ps3-iso-flac/

The Freewheelin’ Bob Dylan is the second studio album by American singer-songwriter Bob Dylan, released on May 27, 1963 by Columbia Records. Whereas his debut album Bob Dylan had contained only two original songs, Freewheelin’ represented the beginning of Dylan’s writing contemporary words to traditional melodies. Eleven of the thirteen songs on the album are Dylan’s original compositions. The album opens with “Blowin’ in the Wind”, which became an anthem of the 1960s, and an international hit for folk trio Peter, Paul & Mary soon after the release of Freewheelin’. The album featured several other songs which came to be regarded as amongst Dylan’s best compositions and classics of the 1960s folk scene: “Girl from the North Country”, “Masters of War”, “A Hard Rain’s a-Gonna Fall” and “Don’t Think Twice, It’s All Right”.

Dylan’s lyrics embraced stories taken from the headlines about civil rights and he articulated anxieties about the fear of nuclear warfare. Balancing this political material were love songs, sometimes bitter and accusatory, and material that features surreal humor. Freewheelin’ showcased Dylan’s songwriting talent for the first time, propelling him to national and international fame. The success of the album and Dylan’s subsequent recognition led to his being named as “Spokesman of a Generation”, a label Dylan repudiated.

The Freewheelin’ Bob Dylan reached number 22 in the United States (eventually going platinum), and became a number-one hit in the United Kingdom in 1964. In 2003, the album was ranked number 97 on Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2002, Freewheelin’ was one of the first 50 recordings chosen by the Library of Congress to be added to the National Recording Registry.

Tracklist:
01. Blowin’ In The Wind
02. Girl From The North Country
03. Masters Of War
04. Down The Highway
05. Bob Dylan’s Blues
06. A Hard Rain’s A-Gonna Fall
07. Don’t Think Twice, It’s All Right
08. Bob Dylan’s Dream
09. Oxford Town
10. Talkin’ World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free

ISO

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FLAC

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Another Side of Bob Dylan is the fourth studio album by American singer and songwriter Bob Dylan, released on August 8, 1964 by Columbia Records.

The album deviates from the more socially conscious style which Dylan had developed with his previous LP, The Times They Are A-Changin’. The change prompted criticism from some influential figures in the folk community – Sing Out! editor Irwin Silber complained that Dylan had “somehow lost touch with people” and was caught up in “the paraphernalia of fame”.

Despite the album’s thematic shift, Dylan performed the entirety of Another Side of Bob Dylan as he had previous records – solo. In addition to his usual acoustic guitar and harmonica, Dylan provides piano on one selection, “Black Crow Blues”. Another Side of Bob Dylan reached No. 43 in the US (although it eventually went gold), and peaked at No. 8 on the UK charts in 1965.

Tracklist:
01. All I Really Want To Do
02. Black Crow Blues
03. Spanish Harlem Incident
04. Chimes Of Freedom
05. I Shall Be Free No. 10
06. To Ramona
07. Motorpsycho Nightmare
08. My Back Pages
09. I Don’t Believe You
10. Ballad In Plain D
11. It Ain’t Me Babe

ISO

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FLAC

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Highway 61 Revisited is the sixth studio album by the American singer-songwriter Bob Dylan, released on August 30, 1965 by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, except for the closing 11-minute ballad, “Desolation Row”. Critics have focused on the innovative way in which Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural chaos of contemporary America. Author Michael Gray has argued that in an important sense the 1960s “started” with this album.

Leading with the hit single “Like a Rolling Stone”, the album features songs that Dylan has continued to perform live over his long career, including “Ballad of a Thin Man” and “Highway 61 Revisited”. He named the album after the major American highway which connected his birthplace, Duluth, Minnesota, to southern cities famed for their musical heritage, including St. Louis, Memphis, New Orleans, and the Delta blues area of Mississippi.

Highway 61 Revisited peaked at No. 3 in the United States charts and No. 4 in the United Kingdom. The album was ranked No. 4 on Rolling Stone’s “500 Greatest Albums of All Time”. “Like a Rolling Stone” was a top-10 hit in several countries, and was listed at No. 1 on Rolling Stone’s 500 Greatest Songs of All Time list. Two other songs, “Desolation Row” and “Highway 61 Revisited”, were listed at No. 187 and No. 373 respectively.

Tracklist:
01. Like A Rolling Stone
02. Tombstone Blues
03. It Takes A Lot To Laugh, It Takes A Train To Cry
04. From A Buick 6
05. Ballad Of A Thin Man
06. Queen Jane Approximately
07. Highway 61 Revisited
08. Just Like Tom Thumb’s Blues
09. Desolation Row

ISO

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FLAC

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Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released on May 16, 1966, on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan’s live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album — “One of Us Must Know (Sooner or Later)”. At producer Bob Johnston’s suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville’s top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album’s songs have been described as operating on a grand scale musically, while featuring lyrics one critic called “a unique blend of the visionary and the colloquial”.It was one of the first double albums in rock music.

The album peaked at No. 9 on the Billboard 200 chart in the U.S., where it eventually went double-platinum, and reached No. 3 in the UK. Blonde on Blonde spawned two singles that were top twenty hits in the U.S.: “Rainy Day Women #12 & 35” and “I Want You”. Two additional songs, “Just Like a Woman” and “Visions of Johanna”, have been named as among Dylan’s greatest compositions and were featured in Rolling Stone’s 500 Greatest Songs of All Time list.

The album was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die.

Tracklist:
CD1 #01. Rainy Day Women #12 & 35
CD1 #02. Pledging My Time
CD1 #03. Visions Of Johanna
CD1 #04. One Of Us Must Know (Sooner Or Later)
CD1 #05. I Want You
CD1 #06. Stuck Inside Of Mobile With The Memphis Blues Again
CD1 #07. Leopard-Skin Pill-Box Hat
CD1 #08. Just Like A Woman
CD2 #01. Most Likely You Go Your Way (And I’ll Go Mine)
CD2 #02. Temporary Like Achilles
CD2 #03. Absolutely Sweet Marie
CD2 #04. Fourth Time Around
CD2 #05. Obviously Five Believers
CD2 #06. Sad-Eyed Lady Of The Lowlands

ISO

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FLAC

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John Wesley Harding is the eighth studio album by American singer-songwriter Bob Dylan,released on December 27, 1967 by Columbia Records. Produced by Bob Johnston, the album marked Dylan’s return to acoustic music and traditional roots, after three albums of electric rock music. John Wesley Harding shares many stylistic threads with, and was recorded around the same time as, the prolific series of home recording sessions with the Band, partly released in 1975 as The Basement Tapes.

John Wesley Harding was exceptionally well received by critics and enjoyed solid sales, reaching #2 on the US charts and topping the UK charts. The commercial performance was considered remarkable considering that Dylan had kept Columbia from releasing the album with much promotion or publicity.[citation needed] Less than three months after its release, John Wesley Harding was certified gold by the RIAA. “All Along the Watchtower” became one of his most popular songs after it was recorded by Jimi Hendrix the following year.

In 2003, the album was ranked number 301 on Rolling Stone magazine’s list of the 500 greatest albums of all time, moving to 303 in the 2012 version of that list .

Tracklist:
01. John Wesley Harding
02. As I Went Out One Morning
03. I Dreamed I Saw St. Augustine
04. All Along The Watchtower
05. The Ballad Of Frankie Lee And Judas Priest
06. Drifter’s Escape
07. Dear Landlord
08. I Am A Lonesome Hobo
09. I Pity The Poor Immigrant
10. The Wicked Messenger
11. Down Along The Cove
12. I’ll Be Your Baby Tonight

ISO

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FLAC

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Planet Waves is the fourteenth studio album by American singer-songwriter Bob Dylan, released on January 17, 1974 by Asylum Records in the United States and Island Records in the United Kingdom.

Dylan is supported on the album by longtime collaborators the Band, with whom he embarked on a major reunion tour (documented on the live album Before the Flood) following its release (the tour started a couple weeks before release—though Asylum had wanted the album out first). With a successful tour and a host of publicity, Planet Waves was a hit, enjoying a brief stay at #1 on the US Billboard charts—a first for the artist—and #7 in the UK. Critics were not as negative as they had been with some then-recent Bob Dylan albums (namely Self Portrait and Dylan), but still not enthusiastic for the album’s brand of laid-back roots rock.

The album was originally set to be titled Ceremonies of the Horsemen, a reference to the song “Love Minus Zero/No Limit”, from the 1965 album Bringing It All Back Home; the release was delayed two weeks when Dylan decided to change the title at the last minute. Another, earlier working title was Wedding Song.

Tracklist:
01. On A Night Like This
02. Going, Going, Gone
03. Tough Mama
04. Hazel
05. Something There Is About You
06. Forever Young
07. Forever Young
08. Dirge
09. You Angel You
10. Never Say Goodbye
11. Wedding Song

ISO

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FLAC

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Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975 by Columbia Records. The album marked Dylan’s return to Columbia Records after a two-album stint with Asylum Records. Dylan commenced recording the album in New York City in September 1974. In December, shortly before Columbia was due to release the record, Dylan abruptly re-recorded much of the material in a studio in Minneapolis. The final album contained five tracks from New York and five tracks from Minneapolis.

Blood on the Tracks was initially received with mixed reviews, but has subsequently been acclaimed as one of Dylan’s greatest albums by critics and fans. The songs have been linked to tensions in Dylan’s personal life, including estrangement from his then-wife Sara. One of their children, Jakob Dylan, has described the songs as “my parents talking”.The album has been viewed as an outstanding example of the confessional singer-songwriter’s craft, and it has been called “the truest, most honest account of a love affair from tip to stern ever put down on magnetic tape”.In interviews, Dylan has denied that the songs on the album are autobiographical. In 2003, the album was ranked number 16 on Rolling Stone’s list of the 500 greatest albums of all time, and in 2004, it was placed at number 5 on Pitchfork Media’s list of the top 100 albums of the 1970s.

The album reached #1 on the Billboard 200 charts and #4 on the UK Albums Chart. The single “Tangled Up in Blue” peaked at #31 on the Billboard Hot 100 singles chart. The album remains one of Dylan’s best-selling studio releases, with a double-platinum US certification by the Recording Industry Association of America (RIAA).

Tracklist:
01. Tangled Up In Blue
02. Simple Twist Of Fate
03. You’re A Big Girl Now
04. Idiot Wind
05. You’re Gonna Make Me Lonesome When You Go
06. Meet Me In The Morning
07. Lily, Rosemary And The Jack Of Hearts
08. If You See Her, Say Hello
09. Shelter From The Storm
10. Buckets Of Rain

ISO

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FLAC

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Street-Legal is the eighteenth studio album by American singer-songwriter Bob Dylan, released on June 15, 1978 by Columbia Records. The album was a serious musical departure for Dylan, who uses a large pop-rock band—complete with female backing vocalists—for the first time.

Following the twin successes of Blood on the Tracks and Desire, Street-Legal was another gold record for Dylan, but it peaked at only #11 on the US Billboard charts, making it his first studio album to miss the US Top 10 since 1964. However, it became his best-selling studio album in the UK, reaching #2 on the charts (his highest position in eight years) and achieving platinum status with 300,000 copies sold (the only other Dylan album to do this was The Essential Bob Dylan).

The original 1978 LP credits mastering to Stan Kalina at CBS Recording Studios NY; the album was produced by Don DeVito. In 1999, Street-Legal received a special remixing and remastering job from DeVito. The newer version boasted richer sound, correcting numerous issues with the original production. The new mix was also used in a 2003 SACD reissue of Street-Legal. However the original 1978 mix was reinstated for The Complete Album Collection Vol. 1.

Tracklist:
01. Changing Of The Guards
02. New Pony
03. No Time To Think
04. Baby, Stop Crying
05. Is Your Love In Vain?
06. Señor (Tales Of Yankee Power)
07. True Love Tends To Forget
08. We Better Talk This Over
09. Where Are You Tonight? (Journey Through Dark Heat)

ISO

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FLAC

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Slow Train Coming is the nineteenth studio album by American singer-songwriter Bob Dylan, released on August 20, 1979 by Columbia Records. It was the artist’s first effort since becoming a born-again Christian, and all of the songs either express his strong personal faith, or stress the importance of Christian teachings and philosophy. The evangelical nature of the record alienated many of Dylan’s existing fans; at the same time, many Christians were drawn into his fan base. Slow Train Coming was listed at #16 in the 2001 book CCM Presents: The 100 Greatest Albums in Christian Music.

The album was generally well-reviewed in the secular press, and the single “Gotta Serve Somebody” became his first hit in three years, winning Dylan the Grammy for best rock vocal performance by a male in 1980. The album peaked at #2 on the charts in the UK and went platinum in the US, where it reached #3.

Tracklist:
01. Gotta Serve Somebody
02. Precious Angel
03. I Believe In You
04. Slow Train
05. Gonna Change My Way Of Thinking
06. Do Right To Me Baby (Do Unto Others)
07. When You Gonna Wake Up
08. Man Gave Names To All The Animals
09. When He Returns

ISO

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FLAC

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Oh Mercy is the twenty-sixth studio album by American singer-songwriter Bob Dylan, released on September 18, 1989 by Columbia Records. Produced by Daniel Lanois, it was hailed by critics as a triumph for Dylan, after a string of poorly-reviewed albums. Oh Mercy gave Dylan his best chart showing in years, reaching #30 on the Billboard charts in the United States and #6 in the UK.

Tracklist:
01. Political World
02. Where Teardrops Fall
03. Everything Is Broken
04. Ring Them Bells
05. Man In The Long Black Coat
06. Most Of The Time
07. What Good Am I?
08. Disease Of Conceit
09. What Was It You Wanted
10. Shooting Star

ISO

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FLAC

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During his long career, Cedar Walton has been one of hard bop’s most lyrical pianists. His funky touch and cogent melodic sense graced the recordings of many of jazz’s greatest players. He was also one of the music’s more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes (“Mosaic,” “Ugetsu,” and “Bolivia,” to name a few) that found their way into Art Blakey’s book during the pianist’s early-’60s stint with the Jazz Messengers. On this album, Walton and his musician friends Buster Williams and Willie Jones II, have compiled an album of songs dedicated to the works of American composer Victor Young.

Tracklist:
01. Song Of Delilah
02. Beautiful Love
03. Golden Earrings
04. Ghost Of A Chance
05. Around The World
06. My Foolish Heart
07. Street Of Dreams
08. Weaver Of Dreams

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Katherine Miller.
Recorded on February 22-23, 2010 at Avatar Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-177.

Personnel
Cedar Walton – piano
Buster Williams – bass
Willie Jones II – drums

ISO

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FLAC

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Friendship is a very special album Clark Terry and Max Roach recorded together in 2002. At that time, Terry was 82 years old and Roach 78, and as it turned out to be one of the last recordings Roach made before passing in 2007. The bulk of this unique album consists of six duo performances by the two principals, two solo performance by Terry, one solo performance by Roach, and the remaining four are trio and quartet performances with pianist Don Friedman and bassist Marcus McLaurine.

Friendship is a recording of fresh, swinging music with broad but intelligent appeal to committed Terry or Roach fans as well as new listeners just coming to an appreciation of these great musicians. Clark Terry demonstrates the flawless technique, buttery sound, and elegant, good-natured, witty improvisation for which he is famous. Roach offers, as always, a powerful conception of the drums, using a wide and creative sound palette. His approach on this recording is so unassuming that it is easy to lose sight of how complete his playing is in itself. “Lil’ Max,” for example, is a musical whole. It takes a bit of attention to realize that it is also an unaccompanied drum solo.

Both Don Friedman and the inexplicably under-recognized Marcus McLaurine have long been associated with Terry. Everyone sounds comfortable with themselves, each other, and the straightforward, but demanding quartet setting. Friendship also has an eclectic side. The album begins with “Statements,” a free jazz duet between the co-leaders. The set includes Monk’s “Let’s Cool One” and the standards “But Beautiful,” “When I Fall in Love,” “Makin’ Whoopee,” “The Nearness of You,” and “I Remember Clifford.” By continuing to perform at this level, Terry and Roach, who for decades have had nothing to prove to anyone, not only enrich us musically yet again—they also teach important lessons about artistic integrity. We are lucky to have their example.

Tracklist:
01. Statements
02. Let’s Cool One
03. Brushes and Brass
04. Simple Waltz
05. I Remember Clifford
06. Lil Max
07. But Beautiful
08. The Profit
09. When I Fall in Love
10. For Dancers Only
11. Makin’ Whoopee
12. To Basie with Love
13. The Nearness of You

Produced by Yasohachi “88” Itoh. Engineered by David Baker.
DSD Recording. Recorded on March 10, 2002 at Avatar Studio, New York.
Mastered By Koji “C-chan” Suzuki at Sony Music Studios, Tokyo, Japan.

Personnel
Clark Terry – flugelhorn,trumpet
Max Roach – drums
Don Friedman – piano
Marcus McLaurine – bass

ISO

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FLAC

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Italian pianist Danilo Rea started playing jazz in 1975 with the well-known Trio di Roma. Through the years he’s worked with Chet Baker, Lee Konitz, Bob Berg, Michael Brecker, Tony Oxley, Dave Liebman, Kenny Wheeler and John Scofield. Here he’s accompanied by accomplished jazz players Ares Tavolazzi and Roberto Gatto. Romantic Italian Jazz performed by accomplished Jazz players.

Tracklist:
01. Reginella
02. Munastero ‘E Santa Chiara
03. Tu Si’ ‘Na Cosa Grande
04. Core ‘Ngrato
05. Santa Lucia
06. Che Cosa C’`e
07. Torna A Surriento
08. Parlami D’amore Mari`u
09. Metti Una Sera A Cena
10. Resta Cu’mme
11. Un Giorno Dopo L’altro
12. Se Stasera Sono Qui
13. O’ Surdato ‘Nnammurato
14. Il Silenzio

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Simone Ciammarughi.
Recorded on January 29-30, 2004 at The House Recording Studio in Rome, Italy.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-208.

Personnel
Danilo Rea – piano
Ares Tavolazzi – bass
Roberto Gatto – drums

ISO

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FLAC

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David Hazeltine, in the tradition of Parker, works within and across the constrains of bebop, and arcs toward the aesthetic of consonance rather than dissonance: reaching toward beauty in harmony, melody, rhythm and never straying too deeply from his roots. He is particularly influenced by Parker, Rollins, Bud Powell and early Miles Davis. Although seemingly hard-line about the tradition, Hazeltine has done an impressive amount of innovation and is a gifted arranger and composer. On this, Japan only release, Hazeltine is joined by George Mraz on bass and Billy Drummond on drums.

Today a major pianist in the New York and Japan scenes, David Hazeltine has been playing gigs since he was thirteen. He did not seriously consider going into music until right before college. Once he entered into the jazz world he was encouraged by Chet Baker who told him to go to New York. He has played and recorded with Jon Hendricks, Louis Hayes, and One for All. Although he is a pianist he feels more influenced by saxophonists, particularly Charlie Parker.

David Hazeltine evidently salutes pianist Bill Evans on this Venus release, as eight of the nine songs were recorded by Evans for Riverside and the late pianist’s influence is definitely a part of Hazeltine’s style (though the Japanese liner notes make it difficult to confirm for sure). Accompanied by two sympathetic musicians, bassist George Mraz and drummer Billy Drummond, Hazeltine’s interpretations of standards like “Beautiful Love,” “Alice in Wonderland” and “When You Wish Upon a Star” are lyrical and to the point. The lively setting of “How Deep Is the Ocean” and loping treatment of “Tenderly” also merit praise. Hazeltine’s sole composition is “For Bill”, a fluid piece that is also reminiscent of Bill Evans’ approach to the piano and writing. Summary is a beautifully recorded album!

Tracklist:
01. Beautiful Love
02. Sweet & Lovely
03. Alice In Wonderland
04. Autumn Leaves
05. When You Wish Upon A Star
06. For Bill
07. How Deep Is The Ocean
08. Danny Boy
09. Tenderly

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by James Farber.
Recorded at Avatar Studio in New York on July 21-22, 2003.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-35.

Personnel
David Hazeltine – piano
George Mraz – bass
Billy Drummond – drums

ISO

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FLAC

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David Hazeltine is one of the best pianists and arrangers of our time. For a while now he has been releasing albums dedicated to specific musicians and composers. For Cleopatra’s Dream, Hazeltine performed compositions by the legendary Bud Powell. For most pianists, it would be a formidable task to rework Powell’s compositions as he was a respected guitarist who could play the instrument as well as anyone. Hazeltine wildly succeeds by not trying to ape Powell’s unique style but rather by bringing out the elegant melodies and tenderness of the compositions.

George Mraz on bass and Billy Drummond on drums provide exceptional support and add dazzling solos. The title of Hazeltine’s only composition on the album says it all: “This One’s for Bud”.

The capable New York City-based pianist David Hazeltine dives head first into the music of Bud Powell on these 2005 sessions with veteran bassist George Mraz and drummer Billy Drummond. His straight-ahead interpretation of “Tempus Fugit” is full of energy yet without the quirky stop-and-go flavor of many recordings. “Wail” is a light-hearted affair, while the trio saunters through an easygoing take of “Bouncing with Bud.” Hazeltine’s dexterity is put to the test with a brisk rendition of “Dance of the Infidels,” while his lyrical approach to the ballad “I’ll Keep Loving You” also merits praise. Some of Powell’s less frequently performed numbers are also explored, including the playful “Danceland” that showcases Hazeltine’s partners at length, along with a breezy Latin-flavored setting of “Cleopatra’s Dream”. The disc wraps with “This One’s for Bud”, a fine salute to Powell by the pianist.

Tracklist:
01. Cleopatra’s Dream
02. Tempus Fugit
03. Glass Enclosure
04. Wail
05. Bouncing With Bud
06. Danceland
07. Strictly Confidential
08. Dance Of Infidels
09. I’ll Keep Loving You
10. This One’s For Bud

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Katharine Miller.
Recorded at Avatar Studio in New York on June 24-25, 2005.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-86.

Personnel
David Hazeltine – piano
George Mraz – bass
Billy Drummond – drums

ISO

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FLAC

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David Hazeltine is one of New York City’s busiest jazz pianists and he has also attracted attention overseas, having recorded for a number of European and Japanese labels in addition to this work in the U.S. Producer Tetsuo Hara became particularly enamored with Hazeltine and has recorded him on a regular basis for his Venus label; this outing is a tribute to the great pianist/composer Bill Evans, recorded in late 1998.

It’s a challenge to play Evans’ compositions without a certain degree of his influence in a piano trio setting, but that doesn’t really matter, as the three musicians keep the music fresh, even if there is nothing innovative about their approach. Vetran bassist George Mraz is a veteran of many sessions as a sideman for Venus, and drummer Billy Drummond is also a first-call player, while both fit the mold of musicians who would have complemented Evans himself. Hazeltine never attempts to outright copy Evans’ playing style, beginning with a breezy “Waltz for Debby” that percolates with energy. Ballads are always an acid test for jazz musicians, and Hazeltine’s treatment of the bittersweet “Time Remembered” brings out the lyricism of this beautiful work. Mraz is showcased in good light in the challenging “Funkallero.” Hazeltine has one solo feature, the intricate original “Bill at Peace,” in which the late pianist’s influence is readily apparent. The audio throughout this enjoyable session is superb, giving the listener the feeling of sitting a few feet away from the trio in the studio.

Tracklist:
01. Waltz For Debby
02. Peri’s Scope
03. Time Remembered
04. Show Type Tune
05. Very Early
06. Bill At Peace
07. Funkallero
08. The Two Lonely People
09. Turn Out The Stars

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Mike Krowiak.
Recorded on December 27, 1998 at Clinton Recording Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-204.

Personnel
David Hazeltine – piano
George Mraz – bass
Billy Drummond – drums

ISO

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FLAC

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A jazz pianist noted for his versatility and elegance, Derek Smith, from the ’50s was a staple on the U.K. jazz scene, regularly performing with the giants like Kenny Graham, John Dankworth, and Kenny Baker. Smith remains relatively unknown in the U.S. but is strongly admired by fellow musicians and ardent fans. For his debut for Venus Records, Smith – who was 76 years old at the time of the recording – was paired with a very strong rhythm section: Peter Washington on bass and Joe Ascione on drums. In a program of well-known standards, Smith impresses the listener with his swinging, dynamic and even fiery pianism on fast tunes and beautiful touch and harmonic elegance on slow numbers.

Tracklist:
01. Beautiful Love
02. Close Your Eyes
03. This Can’t Be Love
04. Laura
05. They Can’t Take That Away From Me
06. Lover
07. How Long Has This Been Going On?
08. Dream Dancing
09. Young And Foolish
10. I’m Beginning To See The Lights
11. Two For The Road
12. Give Me The Simple Life

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Katherine Miller.
Recorded on April 7 & 8, 2008 at Avatar Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-211.

Personnel
Derek Smith – piano
Peter Washington – bass
Joe Ascione – drums

ISO

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FLAC

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Bob Dylan – John Wesley Harding (1967) [MFSL 2016] {PS3 ISO + FLAC}

Bob Dylan – John Wesley Harding (1967) [MFSL 2016] {MONO} PS3 ISO + FLAC

Bob Dylan – Love & Theft (2001) [MFSL 2017] {PS3 ISO + FLAC}

Bob Dylan – The Freewheelin’ Bob Dylan (1963) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Another Side Of Bob Dylan (1964) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Highway 61 Revisited (1965) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Blonde On Blonde (2CD) (1966) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – John Wesley Harding (1967) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Planet Waves (1974) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Blood On The Tracks (1975) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Street-Legal (1978) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Slow Train Coming (1979) [SACD 2003] {PS3 ISO + FLAC}

Bob Dylan – Oh Mercy (1989) [SACD 2003] {PS3 ISO + FLAC}

Cedar Walton Trio – Song Of Delilah (2010) [Japan 2016] {SACD ISO + FLAC}

Clark Terry & Max Roach – Friendship (2002) [Japan] {SACD ISO + FLAC}

Danilo Rea Trio – Romantica (2005) [Japan 2017] {SACD ISO + FLAC}

David Hazeltine Trio – Alice In Wonderland (2004) [Japan 2014] {SACD ISO + FLAC}

David Hazeltine Trio – Cleopatra’s Dream (2006) [Japan 2015] {SACD ISO + FLAC}

David Hazeltine Trio – Waltz For Debby (1999) [Japan 2017] {SACD ISO + FLAC}

Derek Smith Trio – Beautiful Love (2009) [Japan 2017] {SACD ISO + FLAC}