Bela Bartok – The Two Violin Concertos – Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski (2010) [DSF Stereo DSD64/2.82MHz]

January 14, 2018, 7:23 am

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Bela Bartok – The Two Violin Concertos – Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski (2010)
DSF Stereo DSD64/2.82MHz | Time – 01:01:11 minutes | 2,41 GB | Genre: Classical
Source: ISO SACD | © Pentatone Music B.V.
Recorded: Victoria Hall, Geneva, Switzerland, June/July, 2009

Whilst unfulfilled passion and unre- quited love have driven many to depression, Béla Bartók was able to sublimate such personal disappointment into exuberant creativity. In February 1908, after his passionate courting attempts had been rejected by the Swiss violinist, Stefi Geyer, Bartók wrote her: “Having read your letter, I sat down at the piano – and had the sad premonition that, in life, music is to be my only consolation.” He illustrated these lines with a musical quotation which included the broken major-seventh chord, c-sharp – e – g-sharp – b-sharp, adding the words: “This is your leitmotiv.” It will have been particularly bitter for the composer that he had completed the score of the violin concerto, which had been written for Stefi, and into which he had poured his profound feelings for her, just a few days before her rejection. It is also to her that he dedicated the concerto, which, as in “a narcotic dream” (Römer), had been inspired a year earlier by his intoxicating love for her, but he did not do so without adding a tragic poem by Béla Balázs to the autograph score. Stefi Geyer kept the score until her death in 1956, with- out every performing the concerto publicly. It was not until 30 May 1958, thirteen years after Bartók’s death, that the concerto finally had its first public performance, in Basel, under the baton of Paul Sacher, with Hansheinz Schneeberger as soloist.

Though he was not himself a violinist, Béla Bartók managed to compose two incredible violin concertos, the second of which is considered by some to be the most important violin concerto of the 20th century. The first concerto was written for the unrequited love of his youth, violinist Stefi Geyer, who never performed the work publicly and kept hold of the manuscript until her death in 1956. The two-movement work is filled with references to Bartók’s relationship with her; the first movement luxuriously romantic and the second a pyrotechnic display of sheer virtuosity. The Second Concerto came about nearly two decades later from a commission. Though the work is in a Classical three-movement format, the inner workings are a mesmerizing series of motivic variations entirely of Bartók’s design. Performing on this PentaTone Classics album are violinist Arabella Steinbacher and the Orchestre de la Suisse Romande under Marek Janowski. Steinbacher continues in her recent trend of producing exemplary recordings and joining forces with equally refined orchestras. Both concertos are executed with virtually flawless technical accuracy: polished intonation, precise rhythm and articulation, and a right arm that equally creates long, flowing lines and aggressive, forceful accents. Steinbacher’s connection with the score is clear as she guides listeners through the emotions of the First Concerto and the ingenious variations of the Second. Janowski leads his orchestra in a sensitive yet robust accompaniment, and PentaTone’s sound is rich, full, and clear. –AllMusic Review by Mike D. Brownell

Tracklist:

Béla Bartók (1881-1945)

Violin Concerto No. 2 (1938)
1 Allegro non troppo 16. 39
2 Andante tranquillo 10. 35
3 Allegro molto 12. 21

Violin Concerto No. 1, Op. Posth. (1907-08)
4 Andante sostenuto 9. 21
5 Allegro giocoso 12. 03

Personnel:
Arabella Steinbacher, violin
Orchestre de la Suisse Romande
Marek Janowski, conductor

Download:

https://subyshare.com/weqqm32x31mc/BartkTheTw0Vi0linC0ncert0sArabellaSteinbacherMarekJan0wski2010DSD64.part1.rar.html
https://subyshare.com/lgizznickzse/BartkTheTw0Vi0linC0ncert0sArabellaSteinbacherMarekJan0wski2010DSD64.part2.rar.html
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FLAC 24-96

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Bruch, Korngold: Violin Concertos / Chausson: Poeme – Arabella Steinbacher, Orquestra Gulbenkian, Lawrence Foster (2013) [DSF Stereo DSD64/2.82MHz]

January 15, 2018, 1:45 am

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≪ Previous: Bela Bartok – The Two Violin Concertos – Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski (2010) [DSF Stereo DSD64/2.82MHz]

Bruch, Korngold: Violin Concertos / Chausson: Poeme – Arabella Steinbacher, Orquestra Gulbenkian, Lawrence Foster (2013)
DSF Stereo DSD64/2.82MHz | Time – 01:10:08 minutes | 2,77 GB | Genre: Classical
Source: ISO SACD | © Pentatone Music B.V.
Recorded: Grande Auditório of the Calouste, Gulbenkian Foundation Lisbon, July 2012

Arabella Steinbacher has firmly established herself as one of today’s leading violinists on the international concert scene, where her mastery of the violin frequently joins forces with the world’s major symphony orchestras. The New York Times summed up her playing as follows: “Balanced lyricism and fire – among her assets are a finely polished technique and a beautifully varied palette of timbres.”
Steinbacher’s feeling for the timeless melodies on this CD runs as deep as her technical command is great. The result is lyricism of the highest order. The album opens with a lush arrangement of Max Bruch’s much-loved, yet surprising, Violin Concerto No. 1, followed by two exquisite pieces: Chausson’s Poème and Steinbacher’s acclaimed interpretation of Korngold’s Violin Concerto in D major.

There was something I really liked about Arabella Steinbacher’s playing on the first of her recordings to come my way—the Shostakovich concertos on Orfeo followed by the Bartók concertos on PentaTone. But next came her Brahms Concerto with Fabio Luisi and the Vienna Symphony Orchestra, also on PentaTone, and doubts began to creep in. There seemed to be an excess of caution, an underplaying for the sake of safety, which resulted in a performance that never took wing. And now, I find myself starting off my review of Steinbacher’s latest album with almost the same equivocation I tendered in my 36:4 review of the violinist’s Prokofiev concertos, wherein I said, “It’s difficult to write a critical review of an artist towards whom you are favorably disposed and whose latest recording you really want to like.”
The plain truth is that there are things I really do like about Steinbacher’s playing. Her tone is not a particularly big one but it’s very refined, and she’s capable of producing some of the most exquisitely soft, delicate, and melting Pianissimo s of any violinist I’ve heard. Virtuosic passages pose no difficulties for her, but she wears her virtuosity modestly. While it’s hard to imagine any technical challenge that would defeat her—she has, after all, performed a number of the violin repertoire’s most demanding works—Steinbacher doesn’t strike me as the type of player who would strut her stuff in Paganini’s Caprices. Her recordings, thus far, have defined her primarily as an artist not given to superficial or flamboyant displays of technical prowess.
And that, perhaps, in part, at least, is what I found a bit disappointing in her previous Prokofiev album, and it’s what gives me cause for concern about this, her latest venture. Both the Bruch, and even more so the Korngold, concertos are virtuoso showpieces, and neither benefits from underplaying.
Yet, if there’s an element of panache lacking here, especially in the Bruch, it’s not necessarily Steinbacher who’s at fault. The recording and balance engineers have placed her against the orchestra in what is actually a realistic concert hall perspective, which is to their credit; I’m not criticizing them for that. But the result is that the soloist is not placed out front and up close, as we’ve become accustomed to from what has been pretty much standard operating procedure since time immemorial. In the case of a player who projects with a bigger, more robust tone and greater authority, the effect might not be so disadvantageous, but in Steinbacher’s case—recall her exquisitely soft, delicate, and melting Pianissimo s noted above—there are too many instances where she simply vanishes from the stage. One example comes in the first movement of the Bruch at the passage marked Stringendo poco a poco , where the violin begins an ascending chromatic scale marked p . As I strained to hear it, I found myself asking out loud, “Arabella, where are you?”
Exacerbating the balance problem is another matter, and that is the occasional lack of synchronicity between soloist and orchestra at important points of articulation. Lawrence Foster and the Gulbenkian Orchestra have proven themselves attentive concerto partners, quite recently in fact, with the very talented young pianist, Sa Chen, in a recording of piano concertos by Grieg and Rachmaninoff. But here, it’s as if every now and then, Steinbacher is given to a spontaneous rhythmic adjustment for which rehearsals didn’t prepare Foster or the orchestra, resulting in the violin ending up slightly ahead or behind an orchestral cadence.
On the plus side—and it’s a big plus—Steinbacher’s Korngold concerto is a thing of such rarefied, lofty beauty that it renders the above reservations immaterial. Besides, there are so many competing versions of the Bruch that you’re bound to have a favorite or two in your collection you can turn to as an alternative. But the Korngold, while not neglected, has not been recorded nearly as often. Frankly, I wasn’t prepared for a performance of the piece that would rival, let alone surpass, the relatively recent account by James Ehnes with Bramwell Tovey and the Vancouver Symphony Orchestra on CBC, but Steinbacher’s performance is spellbinding, and Foster, with a helping hand from PentaTone’s sumptuous SACD recording, directs the orchestra in a reading that’s both vibrant and voluptuous.
When it comes to Chausson’s Poème , I’m beginning to believe that you really do have to be French, or at least Belgian, to get it just right. Of all the performances I’ve heard, none approaches the one by Arthur Grumiaux and the Lamoureux Orchestra under Max Rosenthal for that thinly veiled atmosphere of expectant eroticism. Interestingly, another performance that manages to capture the mood of the piece perfectly also happens to have been led by Rosenthal, only this time conducting the Monte Carlo Philharmonic and violinist Augustin Dumay.
The current version by Steinbacher and Foster is one I really don’t like very much, only this time I blame Foster rather than his soloist. In my opinion, he interprets some of Chausson’s rhythms in a way that makes the music sound jaunty and almost dance-like and frivolous, which most would agree, I think, runs contrary to the character of the piece.
At the end of deliberations, what we have is a non-unanimous verdict. There are more fully realized and satisfying versions of the Bruch concerto to be had, and definitely more fluent and idiomatic versions of Chausson’s Poème , but Steinbacher’s Korngold stands tall and commanding among the pack. For the Korngold alone, I would therefore accord this release a strong recommendation. –Jerry Dubins, Fanfare

Tracklist:

Erich Wolfgang Korngold (1897-1957)
Violin Concerto in D Op. 25
1 Moderato nobile 9. 59
2 Romance – Andante 9. 18
3 Finale – Allegro assai vivace 7. 49

Ernest Chausson (1855-1899)
Poème for Violin and Orchestra Op. 25
4 Lento misterioso-Animato-Allegro 16. 37

Max Bruch (1838-1920)
Violin Concerto No. 1 in G minor Op. 26
5 Vorspiel. Allegretto moderato 8. 47
6 Adagio 9. 34
7 Finale. Allegro energico 7. 57

Personnel:
Arabella Steinbacher, violin
Orquestra Gulbenkian
Lawrence Foster, conductor

DSF DSD64

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FLAC 24-96

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Anton Bruckner – Symphonies 4, 6-8 – Sergiu Celibidache, Munchner Philharmoniker (2012) [DSF Stereo DSD64/2.82MHz]

January 15, 2018, 1:50 am

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Anton Bruckner – Symphonies 4, 6-8 – Sergiu Celibidache, Munchner Philharmoniker (2012)
DSF Stereo DSD64/2.82MHz | Time – 05:23:41 minutes | 12,7 GB | Genre: Classical
Source: ISO SACD | © Sony Music Entertainment (Japan) Inc.
Recorded: No. 4: 5 & 6 February 1989, Musikverein; No. 6: 26-30 November 1991, Munich Philharmonic in Gasteig; No. 7: 18 October 1990, Suntory Hall (Tokyo); No. 8: 20 October 1990, Suntory Hall (Tokyo)

These recordings are from late in Celibidache’s career, recorded between 1989 and 1991 (he died in 1996 at the age of 84). They are representative of the expansive and mystical approach to Bruckner that he developed during his tenure with the Munich Philharmonic. The timings tell the tale. The 4th, for example, is over 1 hour 20 minutes long, compared say with 63 minutes for Haitink’s Philips recording with the Concertgebouw. No major conductor whom I can find has recorded a 4th that is less than 10 minutes shorter than this one. Interestingly, the expansiveness is not uniform. The major stretch occurs in the finale (30″13′ for Celibidache, vs. 19″49′ for Haitink).

The DVDs reveal a compelling podium presence, able to extract gradations of sound with tiny movements of the baton. The Munich Philharmonic is incredibly responsive, and clearly well attuned to their principal conductor’s way with Bruckner. Celibidache conducts from memory and appears to be in a state of mystical communion with the music. He is visibly pained at how quickly the applause begins at the end of the 8th.

Celibidache’s late style has rapturous proponents and violent detractors. This is exactly to be expected, given the extreme nature of his interpretation. And in a sense both groups are correct. It is quite right that nobody conducts Bruckner like Celibidache, and that his interpretation opens up aspects of each symphony that are either hidden or backgrounded with other conductors. The speed at which he moves allows the complex layers of Bruckner’s orchestration to emerge in all their richness, and Celibidache’s ability to shape a melodic contour is really quite extraordinary.

At the same time, however, there are definite losses. At times the musical line is so elongated that momentum is almost lost and it becomes hard to see the wood for the (admittedly wonderful) trees. It is also difficult for Celibidache to bring out some of the rhythmic and tempo contrasts that give structure to Bruckner’s symphonies. The Scherzo in the 8th, for example, lacks the bite and edge that most conductors give it (and that, in my view, it needs to have for the symphony to work). And, more generally, one of the reasons Bruckner’s Adagios are so powerful is that they open up a sense of musical space not present in the other movements. This differentiation can be lost in Celibidache’s interpretations.

To my ear the 8th is the least successful of these concerts, precisely because of this loss of contrast and tension in the outer movements (the Adagio, as might be expected, is very powerful indeed). I had similar problems with the 4th, at least until the last movement. The 7th lends itself more to Celibidache’s ultra-measured approach, but the most successful performance is definitely the 6th.

Acoustically and visually this set is a testament to the vision of a great Bruckner conductor. These will never be reference recordings, but I think that every Brucknerian will want to listen to these recordings, and many will treasure them.

Tracklist:

Anton Bruckner (1824-1896)

Symphony No. 4 in E-flat ‘Romantic’
1 I. Bewegt nicht zu schnell
2 II. Andante quasi Allegretto
3 III. Scherzo. Bewegt – Trio. Nicht zu schnell. Keinesfalls schleppend
4 IV. Finale. Bewegt doch nicht zu schnell

Symphony No. 6 in A major
5 I. Majestoso
6 II. Adagio Sehr feierlich
7 III. Scherzo Nicht schnell – Trio Langsam
8 IV. Finale Bewegt doch nicht zu schnell

Symphony No. 7 in E major
9 I. Allegro moderato
10 II. Adagio. Sehr feierlich und sehr langsam
11 III. Scherzo – Trio. Sehr schnell
12 IV. Finale. Bewegt doch nicht schnell

Symphony No. 8 in C minor
13 I. Allegro moderato
14 II. Scherzo. Allegro moderato
15 III. Adagio. Feierlich langsam doch nicht schleppend
16 IV. Finale. Feierlich nicht schnell

Personnel:
Münchner Philharmoniker
Sergiu Celibidache, conductor

DSD64

↧

Chet Baker – Baker’s Holiday (1965) [Verve’s Reissue 2004] {PS3 ISO + FLAC}

January 15, 2018, 8:01 am

≫ Next: Chet Baker – Chet (1959) [Analogue Productions’ Remaster 2002] {PS3 ISO + FLAC}

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Baker’s Holiday finds Chet Baker effectively paying tribute to Billie Holiday with mellow trumpet solos and occasional vocals. Baker is backed by a full sax section and a four-piece rhythm section that includes pianist Hank Jones; Jimmy Mundy contributed the colorful arrangements. His performance of ten songs associated with Lady Day (most of which he had not recorded previously) is often exquisite.

Tracklist:
01. Trav’lin’ Light
02. Easy Living
03. That Ole Devil Called Love
04. You’re My Thrill
05. Crazy She Calls Me
06. When Your Lover Has Gone
07. Mean To Me
08. These Foolish Things (Remind Me Of You)
09. There Is No Greater Love
10. Don’t Explain

ISO

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FLAC

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Chet Baker – Chet (1959) [Analogue Productions’ Remaster 2002] {PS3 ISO + FLAC}

January 17, 2018, 12:05 am

≫ Next: Chet Baker – Chet Baker In New York (1958) [Concord Records, Reissue 2004] {PS3 ISO + FLAC}

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Few figures in jazz history have been able to extract as much feeling from a ballad as Chet Baker. Despite his lack of formal training, he was capable of burrowing deep inside the most sophisticated popular songs and tapping a vein of pure emotion. When surrounded by great musicians in an unusual ensemble, as he is on this album, Baker’s poetic instincts were at their keenest. The distinctive septet of jazz giants contains a front line of trumpet, flute, and baritone sax playing Herbie Mann’s delicate arrangements over a rhythm section that is empathy personified. Baker never recorded with a more talented or sensitive group, as the music evokes a mood captured so seductively in the cover photo.

Chet Baker’s penultimate session for Riverside — which was strictly instrumental — produced an all-star lineup to support him, including jazz heavyweights Pepper Adams, Bill Evans, and Kenny Burrell. Each of them makes important contributions to the session. Adams’ baritone sax solo on “Alone Together” is one of the album’s high points, while Herbie Mann and Bill Evans make their presence known on several cuts. Baker possessed one of the most melodious trumpets in jazz, compelling in its simplicity. Rarely extending his range above a single octave, he nonetheless had few peers when it came to slow, romantic ballads, which make up the playlist here. His characteristically soft approach is heard to good effect on “It Never Entered My Mind,” where he works with the guitar of Kenny Burrell. Burrell and Baker also collaborate on a moving rendition of “September Song.” Chet is a good place to hear Baker’s special way with the horn, and is made even more attractive with the presence and contributions of top jazz artists.

Tracklist:
01. Alone Together
02. How High The Moon
03. It Never Entered My Mind
04. ‘Tis Autumn
05. If You Could See Me Now
06. September Song
07. You’d Be So Nice To Come Home To
08. Time On My Hands (You In My Arms)
09. You and the Night and the Music
10. Early Morning Mood [Bonus track]

CHET BAKER – trumpet
PEPPER ADAMS – baritone saxophone
HERBIE MANN – flute
KENNY BURRELL – guitar
BILL EVANS – piano
PAUL CHAMBERS – bass
CONNIE KAY, PHILLY JOE JONES – drums

Produced by Orvin Keepnews. Recording engineer: Jack Higgins (Reeves Sound Studios).
Recorded in New York City; December 30, 1958 and January 19, 1959.

About the Mastering:
This music was recorded using only vacuum-tube components. As this is the primary reason the sound is so lush and natural, Doug Sax mastered this recording from the original analog tapes using the Mastering Lab’s proprietary all-tube electronics until the final digital conversion. Sax used the latest third-generation Analog-to-DSD converters by Ed Meitner/EMM Labs to transfer the music to the SACD layer.

ISO

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FLAC

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Chet Baker – Chet Baker In New York (1958) [Concord Records, Reissue 2004] {PS3 ISO + FLAC}

January 17, 2018, 12:07 am

≫ Next: Yes – Going For The One (1977) [Audio Fidelity ‘2013] {PS3 ISO + FLAC

≪ Previous: Chet Baker – Chet (1959) [Analogue Productions’ Remaster 2002] {PS3 ISO + FLAC}

Chet Baker’s West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker’s first — in a four album deal — with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums). The results are uniformly brilliant as Baker’s cool-toned solos fly and bop with authority around the equally impressive supporting soloists. Conversely, the same cohesive unity continues on the introspective numbers that are more akin to Baker’s California cool. Undoubtedly one of the charms of this collection is the distinct choice of material. Running the gamut from the relaxed and soothing “Polka Dots and Moonbeams” and equally serene “Blue Thoughts” at one end of the spectrum to the percolating and driving intensity of “Hotel 49″ on the other. This track features each quintet member taking extended solos corralling together at the head and again at the coda for some intense bop interaction. Especially ferocious is Philly Joe Jones, who could easily be mistaken for Keith Moon, Ginger Baker, or even Gene Krupa with his cacophonous solo that never strays from the beat or loses its sense of swing. Perhaps the best meshing of styles can be heard on the Miles Davis composition “Solar.” This “best-of” candidate refers to both Chambers’ and Jones’ concurrent involvement with Davis. The churning backbeat likewise propels the melody and ultimately the performers into reaching beyond their individual expertise and into an area of mutual brilliance. Chet Baker in New York is a highly recommended entry into Baker’s catalog. It should also be noted that these same sides were issued in 1967 as Polka Dots and Moonbeams on the Jazzland label.

Tracklist:
01. Fair Weather
02. Polka Dots and Moonbeams
03. Hotel 49
04. Solar
05. Blue Thoughts
06. When Lights Are Low
07. Soft Winds

ISO

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FLAC

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Yes – Going For The One (1977) [Audio Fidelity ‘2013] {PS3 ISO + FLAC

January 26, 2018, 1:36 am

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Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman’s return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman’s keyboards, and the solid rhythms of Alan White and Chris Squire. The title track features Howe on steel guitar (he’s the only prog rocker who bothers with the instrument). “Turn of the Century” and the album’s single, “Wonderous Stories,” are lovely ballads the way only Yes can do them. “Parallels” is the album’s big, pompous song, so well done that in later years the band opened concerts with it. Wakeman’s stately church organ, recorded at St. Martin’s Church, Vevey, Switzerland, sets the tone for this “Roundabout”-ish track. The concluding “Awaken” is the album’s nod to the extended suite. Again, the lyrics are spacy in the extreme, but Jon Anderson and Squire are dead-on vocally, and the addition of Anderson’s harp and White’s tuned percussion round out this evocative track.

Tracklist:
01. Going For The One
02. Turn Of The Century
03. Parallels
04. Wondrous Stories
05. Awaken

Mastered for this SACD by Steve Hoffman at Stephen March Mastering.

ISO

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Yes – High Vibration: SACD Box (2013) [Japanese 16 Discs Box Set] {PS3 ISO + FLAC}

January 26, 2018, 1:40 am

≫ Next: Duke Ellington and Johnny Hodges – Side By Side (1959/2012) [DSF Stereo DSD64/2.82MHz]

≪ Previous: Yes – Going For The One (1977) [Audio Fidelity ‘2013] {PS3 ISO + FLAC

ISO part27 downlod link fixed!

High Vibration is a limited edition 16 SACD box set, featuring the 13 albums released by English prog rock supergroup Yes, between 1968 and 1987, including live album “Yessongs”. A unique 12-track bonus SACD features rare selections such “Owner of a Lonely Heart (Move Yourself Mix)” from 1991 and 1972′s “Total Mass Retain (Single version)” is also included. Everything has been newly remastered in Japan by Isao Kikuchi, and comes with a 200-page book (mostly on japanese language). Albums includes: “Yes (1969)”, “Time and a Word (1970)”, “The Yes Album (1971)”, “Fragile (1971)”, “Close to the Edge (1972)”, “Yessongs (1973)”, “Tales from Topographic Oceans (1973)”, “Relayer (1974)”, “Going for the One (1977)”, “Tormato (1978)”, “Drama (1980)”, “90125 (1983)”, and “Big Generator (1987)”.

Tracklist:
01. Beyond And Before
02. I See You
03. Yesterday And Today
04. Looking Around
05. Harold Land
06. Every Little Thing
07. Sweetness
08. Survival

Tracklist:
01. No Opportunity Necessary, No Experience Needed
02. Then
03. Everydays
04. Sweet Dreams
05. The Prophet
06. Clear Days
07. Astral Traveller
08. Time And A Word

Tracklist:
01. Yours Is No Disgrace
02. The Clap
03. Starship Trooper
04. I’ve Seen All Good People
05. A Venture
06. Perpetual Change

Tracklist:
01. Roundabout
02. Cans And Brahms
03. We Have Heaven
04. South Side Of The Sky
05. Five Per Cent For Nothing
06. Long Distance Runaround
07. The Fish (Schindleria Praemeturus)
08. Mood For A Day
09. Heart Of The Sunrise

Tracklist:
01. Close To The Edge
02. And You And I
03. Siberian Khatru

Tracklist:
Disc 1 –
01. Opening (Except From ‘Firebird Suite’)
02. Siberian Khatru
03. Heart Of The Sunrise
04. Perpetual Change
05. And You And I
06. Mood For A Day
07. Excepts From ‘The Six Wives Of Henry VIII’
08. Roundabout

Disc 2 –
01. I’ve Seen All Good People
02. Long Distance Runaround / The Fish (Schindleria Praemeturus)
03. Close To The Edge
04. Yours I No Disgrace
05. Starship Trooper

Tracklist:
Disc 1 –
01. The Revealing Science Of God (Dance Of The Dawn)
02. The Remembering (High The Memory)

Disc 2 –
01. ‘The Ancient’ (Giants Under The Sun)
02. Ritual (Nous Sommes Du Soleil)

Tracklist:
01. The Gates Of Delirium
02. Sound Chaser
03. To Be Over

Tracklist:
01. Going For The One
02. Turn Of The Century
03. Parallels
04. Wonderous Stories
05. Awaken

Tracklist:
01. Future Times / Rejoice
02. Don’t Kill The Whale
03. Madrigal
04. Release, Release
05. Arriving Ufo
06. Circus Of Heaven
07. Onward
08. On The Silent Wings Of Freedom

Tracklist:
01. Machine Messiah
02. White Car
03. Does It Really Happen
04. Into The Lens
05. Run Through The Light
06. Tempus Fugit

Tracklist:
01. Owner Of A Lonely Heart
02. Hold On
03. It Can Happen
04. Changes
05. Cinema
06. Leave It
07. Our Song
08. City Of Love
09. Hearts

Tracklist:
01. Rhythm Of Love
02. Big Generator
03. Shoot High Aim Low
04. Almost Like Love
05. Love Will Find A Way
06. Final Eyes
07. I’m Running
08. Holy Lamb (Song For Harmonic Convergence)

Tracklist:
01. Something’s Coming (Single Version / 1969 from ‘Yes’ Expanded & Remastered 2003)
02. Dear Father (1970 from ‘Time And A Word’ Expanded & Remastered 2003)
03. Roundabout (Time And A Word1972 from single ‘Roundabout’)
04. America (1972 from ‘Fragile’ Expanded & Remastered 2003)
05. Total Mass Retain (Single Version / 1972 from ‘Close To The Edge’ Expanded & Remastered 2003)
06. Soon (Single Version / 1975 from ‘Relayer’ Expanded & Remastered 2003)
07. Abilene (1978 from ‘Tormato’ Expanded & Remastered 2004)
08. Run Through The Light (Single Version / 1980 from ‘Drama’ Expanded & Remastered 2004)
09. Run With The Fox (1981 from ‘Yesyears’)
10. Owner Of A Lonely Heart (Move Yourself Mix / 1991 from 12” single ‘Owner Of A Lonely Heart’)
11. Leave It (Remix / 1983 from ‘90125’ Expanded & Remastered 2004)
12. Big Generator (Remix / 1987 from ‘Ultimate Yes: The 35th Anniversary’)

ISO

FLAC

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Duke Ellington and Johnny Hodges – Side By Side (1959/2012) [DSF Stereo DSD64/2.82MHz]

January 28, 2018, 7:16 am

≫ Next: Duke Ellington and Count Basie – First Time! The Count Meets the Duke (1961) [Reissue 2002] {PS3 ISO + FLAC}

≪ Previous: Yes – High Vibration: SACD Box (2013) [Japanese 16 Discs Box Set] {PS3 ISO + FLAC}

Duke Ellington and Johnny Hodges – Side By Side (1959/2012)
DSF Stereo DSD64/2.82MHz | Time – 00:46:14 minutes | 1,82 GB | Genre: Jazz
Source: ISO SACD | © Verve Records
Recorded: August 14, 1958 at Nola Studios, New York City; February 20, 1959 at Columbia Studios, New York
Mastered by George Marino at Sterling Sound

When Norman Granz signed Johnny Hodges to a recording contract in 1951, it was a prelude to Hodges’ leaving the Duke Ellington orchestra to lead his own small band. Four years later Hodges was back in the Ellington fold, but he continued to record for Granz under his own name. Side By Side, recorded in 1958 and 1959, is a throwback to the small-group sessions Ellington recorded with Hodges and other members of his orchestra in the Thirties, but with a couple of important differences: the absence of Ellington himself on several cuts (with Billy Strayhorn taking over on piano), and the presence of such notable non-Ellingtonians as drummer Jo Jones and trumpeters Roy Eldridge and Harry “Sweets” Edison.

Topping off a wealth of full-band recordings, the various stars of Ellington’s great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-’30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry “Sweets” Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging “Going Up” and Hodges’ bluesy closer, “You Need to Rock.” A must for fans of vintage combo swing. –Stephen Cook

Tracklist:
1. Stompy Jones 06:37
2. Squeeze Me 04:35
3. Big Shoe 05:33
4. Going Up 04:50
5. Just A Memory 05:52
6. Let’s Fall In Love 06:46
7. Ruint 02:32
8. Bend One 02:58
9. You Need To Rock 05:51

Personnel:
Tracks 1, 2 and 4:
Duke Ellington – piano
Johnny Hodges – alto saxophone
Harry “Sweets” Edison – trumpet
Les Spann – flute, guitar
Al Hall – bass
Jo Jones – drums
These tracks were recorded February 26, 1959
Tracks 3 and 5 through 9:
Johnny Hodges – alto saxophone
Roy Eldridge – trumpet
Lawrence Brown – trombone
Ben Webster – tenor saxophone
Billy Strayhorn – piano
Wendell Marshall – bass
Jo Jones – drums
These tracks were recorded August 14, 1958

Download:

https://subyshare.com/6ik56vizo6ws/DukeEllingt0nandJ0hnnyH0dgesSideBySide1959DSD64.part1.rar.html
https://subyshare.com/i0x422h1bq5b/DukeEllingt0nandJ0hnnyH0dgesSideBySide1959DSD64.part2.rar.html

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Duke Ellington and Count Basie – First Time! The Count Meets the Duke (1961) [Reissue 2002] {PS3 ISO + FLAC}

January 28, 2018, 7:19 am

≫ Next: Duke Ellington & John Coltrane – Duke Ellington & John Coltrane (1962) [Analogue Productions 2010] {PS3 ISO + FLAC}

≪ Previous: Duke Ellington and Johnny Hodges – Side By Side (1959/2012) [DSF Stereo DSD64/2.82MHz]

At first glance this collaboration should not have worked. The Duke Ellington and Count Basie Orchestras had already been competitors for 25 years but the leaders’ mutual admiration (Ellington was one of Basie’s main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing. “Segue in C” is the highpoint but versions of “Until I Met You,” “Battle Royal” and “Jumpin’ at the Woodside” are not far behind.

Tracklist:
01. Battle Royal
02. To You
03. Take The A Train
04. Corner Pocket (aka Until I Met You)
05. Wild Man (aka Wild Man Moore)
06. Segue In C
07. B D B
08. Jumpin’ At the Woodside
09. One More Once
10. Take The A Train (The Count Departs) [Rehearsal & alternate takes]11. Jumpin’ At the Woodside [Alternate take]12. B D B [Alternate take]13. Blues In Hoss’ Flat (Blues In Frankie’s Flat)
14. Wild Man (aka Wild Man Moore) [Alternate take]15. Battle Royal [Rehersal & alternate takes]16. Pause Track [Blank Track]

Engineered for SACD by Mark Wilder.

ISO

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FLAC

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Duke Ellington & John Coltrane – Duke Ellington & John Coltrane (1962) [Analogue Productions 2010] {PS3 ISO + FLAC}

January 28, 2018, 7:21 am

≫ Next: Duke Ellington And Coleman Hawkins – Duke Ellington Meets Coleman Hawkins (1963) [APO 2010] {PS3 ISO + FLAC}

≪ Previous: Duke Ellington and Count Basie – First Time! The Count Meets the Duke (1961) [Reissue 2002] {PS3 ISO + FLAC}

For this classic encounter, Duke Ellington “sat in” with the John Coltrane Quartet for a set dominated by Ellington’s songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. Their version of “In a Sentimental Mood” is a high point, and such numbers as “Take the Coltrane,” “Big Nick,” and “My Little Brown Book” are quite memorable. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius.

Tracklist:
01. In a Sentimental Mood
02. Take the Coltrane
03. Big Nick
04. Stevie
05. My Little Brown Book
06. Angelica
07. The Feeling of Jazz

ISO

https://subyshare.com/1vfhxrwo479g/DukeEllingtonJohnColtraneDukeEllingtonJohnColtrane1962APRemaster2010SACDISO.part1.rar.html
https://subyshare.com/n739i174hpeg/DukeEllingtonJohnColtraneDukeEllingtonJohnColtrane1962APRemaster2010SACDISO.part2.rar.html

FLAC

https://subyshare.com/f0q3tr86ggy7/DukeEllingtonJohnColtrane1962APRemaster2010FLAC2488.2.rar.html

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Duke Ellington And Coleman Hawkins – Duke Ellington Meets Coleman Hawkins (1963) [APO 2010] {PS3 ISO + FLAC}

January 28, 2018, 7:22 am

≫ Next: Duke Ellington – Blues In Orbit (1960) [MFSL 1999] {PS3 ISO + FLAC}

≪ Previous: Duke Ellington & John Coltrane – Duke Ellington & John Coltrane (1962) [Analogue Productions 2010] {PS3 ISO + FLAC}

This set documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington’s music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance on cornet and violin, trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant “The Jeep Is Jumpin’,” an interesting remake of “Mood Indigo,” and a few new Ellington pieces. This delightful music is recommended in one form or another.

Tracklist:
01. Limbo Jazz
02. Mood Indigo
03. Ray Charles’ Place
04. Wanderlust
05. You Dirty Dog
06. Self Portrait (Of The Bean)
07. The Jeep Is Jumpin’
08. The Ricitic

ISO

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FLAC

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Duke Ellington – Blues In Orbit (1960) [MFSL 1999] {PS3 ISO + FLAC}

January 28, 2018, 7:24 am

≫ Next: Duke Ellington – Supreme Jazz (2006) [2.0 & 5.1] {PS3 ISO + FLAC}

≪ Previous: Duke Ellington And Coleman Hawkins – Duke Ellington Meets Coleman Hawkins (1963) [APO 2010] {PS3 ISO + FLAC}

Blues in Orbit is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1959 and released in 1960.

Blues in Orbit lacks the intellectual cachet of the suites and concept pieces that loomed large in Ellington’s recordings of this period, but it’s an album worth tracking down, if only to hear the band run through a lighter side of its sound – indeed, it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter. Ellington and company were just back from a European tour when the bulk of this album was recorded, at one after-midnight session in New York on December 2, 1959, to arrangements that had to be hastily written out when the copyist failed to appear for the gig. So on the one hand, the band was kicking back with these shorter pieces; on the other, the group was also improvising freely and intensely at various points. The title-track, recorded more than a year before most of the rest, is a slow blues that puts Ellington’s piano into a call-and-response setting with the horns, with Ellington getting in the last word. “Villes Ville Is the Place, Man” is a bracing, beat-driven jaunt, highlighted by solos featuring Ray Nance, Harry Carney, and Johnny Hodges on trumpet, baritone sax, and alto, respectively. “Three J’s Blues” shows off composer Jimmy Hamilton playing some earthy tenor sax in a swinging, exuberant blues setting. “Smada” features Billy Strayhorn on piano and Johnny Hodges on alto, in a stirring dance number. “Pie Eye’s Blues” is a hot studio improvisation featuring Ray Nance and Jimmy Hamilton trading three solos each, while Ellington’s piano and the rest of the band try their emphatic best to get in a word or two. Nance shows up on violin as part of a string of soloists (including Matthew Gee, Paul Gonsalves, Bootie Wood, and Jimmy Hamilton) for “C Jam Blues,” whose four minutes’ running time affords the group a chance to jam without overdoing it, or extending matters past the breaking point. Wood is the featured player on muted trombone on the slow, smooth “Sweet and Pungent.” A pair of more reflective, less extroverted numbers show off the more subtle side of the band, the slow, downbeat “Blues in Blueprint,” with Jimmy Woode’s bass and Harry Carney’s bass clarinet as the major featured players, with Strayhorn sitting in on piano and Ellington snapping his fingers; and “Swingers Get the Blues, Too,” featuring Matthew Gee on baritone horn. The finale, “The Swinger’s Jump,” does just that, with Ellington, Hodges, Nance, Gee, Hamilton (on tenor and clarinet), Wood, and Johnson romping and stomping all over the basic riff. The CD edition of Blues in Orbit offered a trio of tracks off the same sessions when the album came – the bracing “Track 360,” an unpretentious jazz band’s impression of a train ride; and the soaring, lovely “Brown Penny,” a number originally written for Ellington’s attempted interracial musical Beggar’s Holiday 13 years earlier; and the moody, reflective “Sentimental Lady,” both featuring Johnny Hodges very prominently. Blues in Orbit was issued on CD by Columbia records in 1988 in a good-sounding edition, then reissued by Mobile Fidelity in 1999 in a gold-plated audiophile CD with Super-Audio CD encoding. Both were out of print as of early 2002, and either is worth owning.

Tracklist:
01. Three J’s Blues
02. Smada
03. Pie Eye’s Blues
04. Sweet And Pungent
05. C Jam Blues
06. In A Mellow Tone
07. Blues In Blueprint
08. The Swingers Get The Blues Too
09. The Swinger’s Jump
10. Blues In Orbit
11. Villes Ville Is The Place, Man

ISO

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https://subyshare.com/zt6e3eo98voa/Duk33llingtonBlu3sInOrbit1960MFSL1999SACDISO.part2.rar.html

FLAC

https://subyshare.com/3w5q0osykd1e/Duk33llingtonBlu3sInOrbit1960MFSL1999FLAC2488.2.rar.html

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

January 28, 2018, 7:26 am

≫ Next: Dead Can Dance – Within The Realm Of A Dying Sun (1987) [MFSL 2008] {PS3 ISO + FLAC}

≪ Previous: Duke Ellington – Blues In Orbit (1960) [MFSL 1999] {PS3 ISO + FLAC}

Duke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards. In addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work that was still being assessed a quarter century after his death.

Tracklist:
01. The Tattooed Bride
02. Sophisticated
03. Solitude
04. Warm Valley
05. Prelude To A Kiss
06. Satin Doll
07. Caravan
08. Flamingo
09. In A Sentimental Mood
10. Black And Tan Fantasy
11. Pasion Flower
12. Bakiff

ISO

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FLAC

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https://subyshare.com/b9d08l9q0xk6/DukeEllingt0nSupremeJazz2006FLACStere02488.2.part2.rar.html

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Dead Can Dance – Within The Realm Of A Dying Sun (1987) [MFSL 2008] {PS3 ISO + FLAC}

January 31, 2018, 8:01 am

≫ Next: Dead Can Dance – Into The Labyrinth (1993) [MFSL 2008] {PS3 ISO + FLAC}

≪ Previous: Duke Ellington – Supreme Jazz (2006) [2.0 & 5.1] {PS3 ISO + FLAC}

Within the Realm of a Dying Sun is the third studio album by the band Dead Can Dance. It was released on 27 July 1987 by record label 4AD.

Tracklist:
01. Anywhere Out Of The World
02. Windfall
03. In The Wake Of Adversity
04. Xavier
05. Dawn Of The Iconoclast
06. Cantara
07. Summoning Of The Muse
08. Persephone (the gathering of flowers)

ISO

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https://subyshare.com/5unir5myvhh1/DCD_1987WithinTheRealmOfADyingSunSAD2708CD2008MFSLSACDRemasterPS3ISO.part2.rar.html

FLAC

http://subyshare.com/gtikb3hbsi0o/DCD_1987WithinTheRealmOfADyingSunSAD2708CD2008MFSLSACDRemasterFLAC2488.2.rar.html

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Dead Can Dance – Into The Labyrinth (1993) [MFSL 2008] {PS3 ISO + FLAC}

January 31, 2018, 8:03 am

≫ Next: Dead Can Dance – Spiritchaser (1996) [MFSL 2008] {PS3 ISO + FLAC}

≪ Previous: Dead Can Dance – Within The Realm Of A Dying Sun (1987) [MFSL 2008] {PS3 ISO + FLAC}

Into the Labyrinth is the sixth album recorded by the Dead Can Dance duo Lisa Gerrard and Brendan Perry. It marked a strong shift from the previous albums, putting ethnic music influences at the forefront as would be the case in the later albums. It was their first album completed on their own without the aid of guest musicians, and their first album to have a major-label release in the U.S., thanks to a distribution deal that 4AD had with Warner Bros. Records. It featured the single “The Ubiquitous Mr Lovegrove”.

Tracklist:
01. Yulunga (Spirit Dance)
02. The Ubiquitous Mr. Lovegrove
03. The Wind That Shakes The Barley
04. The Carnival Is Over
05. Ariadne
06. Saldek
07. Towards The Within
08. Bird
09. Tell Me About The Forest (You Once Called Home)
10. The Spider’s Stratagem
11. Spirit
12. Emmeleia
13. How Fortunate The Man With None

ISO

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FLAC

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Dead Can Dance – Spiritchaser (1996) [MFSL 2008] {PS3 ISO + FLAC}

January 31, 2018, 8:05 am

≫ Next: Eric Bibb And Needed Time – Good Stuff (1997) [Reissue 2001] {2.0 & 5.0} PS3 ISO + FLAC

≪ Previous: Dead Can Dance – Into The Labyrinth (1993) [MFSL 2008] {PS3 ISO + FLAC}

Spiritchaser is the seventh studio album by Dead Can Dance, and the last before Brendan Perry and Lisa Gerrard went their separate ways. It expands on its exploration of world music, and like Into the Labyrinth, was recorded at Quivvy Church, Perry’s personal studio in Ireland.

The album was dedicated to Lisa Gerrard’s deceased brother, Mark Gerrard.

The track “Indus” contains a melody that is very similar to that of “Within You Without You”, a Beatles song that George Harrison wrote and recorded with Indian musicians in 1967. Although not deliberate, Perry and Gerrard were asked to contact Harrison for his permission to use it; he granted it, but the record company insisted that they give him partial songwriting credit on “Indus”.

Tracklist:
01. Nierika
02. Song of the Stars
03. Indus
04. Song of the Dispossessed
05. Dedicace Outo
06. Snake and the Moon
07. Song of the Nile
08. Devorzhum

ISO

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FLAC

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Eric Bibb And Needed Time – Good Stuff (1997) [Reissue 2001] {2.0 & 5.0} PS3 ISO + FLAC

January 31, 2018, 7:58 pm

≫ Next: Eric Bibb – Blues, Ballads & Work Songs (2011) {PS3 ISO + FLAC}

≪ Previous: Dead Can Dance – Spiritchaser (1996) [MFSL 2008] {PS3 ISO + FLAC}

Eric Bibb’s Good Stuff, is a clever fusion of contemporary folk and classic country-blues and classic gospel that emphasizes the guitarist’s skill at fusing genres, as well as his flair for writing solid bluesy songs. Not all of the material really catches hold, but it all shows promise, and the very best moments on the record confirm that he’s one of the more intriguing new bluesmen in the late ’90s.

Tracklist:
01. Good Stuff
02. Sauser’N’Cup
03. Single By Shingle
04. Don’t Ever Let Nobody Drag Your Spirit Down
05. Where The Green Grass Grows
06. Blacksmith Island
07. New World Comin Through
08. Too Much Whisky
09. Nothin’ Like You Used To Do
10. All Of My Love
11. Simple Song
12. Happy Home Recipe
13. Done Laid Around
14. Rough Waters

ISO

https://subyshare.com/msrje63rpyn6/EricBibbNeededTimeG00dStuff1997Reissue2001SACDIS0.part1.rar.html
https://subyshare.com/mcr9e5shw0p1/EricBibbNeededTimeG00dStuff1997Reissue2001SACDIS0.part2.rar.html
https://subyshare.com/s1kkw257gcov/EricBibbNeededTimeG00dStuff1997Reissue2001SACDIS0.part3.rar.html
https://subyshare.com/lt9sx44ahr7f/EricBibbNeededTimeG00dStuff1997Reissue2001SACDIS0.part4.rar.html

FLAC

https://subyshare.com/fh00p1ce4zx5/EricBibbNeededTimeG00dStuff1997Reissue2001FLACStere02488.2.part1.rar.html
https://subyshare.com/mi6amaz53w5k/EricBibbNeededTimeG00dStuff1997Reissue2001FLACStere02488.2.part2.rar.html

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Eric Bibb – Blues, Ballads & Work Songs (2011) {PS3 ISO + FLAC}

January 31, 2018, 9:05 pm

≫ Next: Frank Sinatra – Songs For Swingin’ Lovers (1956) [MFSL 2014] {PS3 ISO + FLAC}

≪ Previous: Eric Bibb And Needed Time – Good Stuff (1997) [Reissue 2001] {2.0 & 5.0} PS3 ISO + FLAC

This new CD from the great Eric Bibb is one of the very best-sounding guitar recordings I have ever heard.” the audiophile voice

Klassiker von Dave Von Ronk, Leadbelly, Alan Lomax usw. interpretiert er ganz vorzüglich auf einer Baritongitarre sowie sieben- und zwölfsaitigen Modellen. Die SACD-Spur gibt all das wunderbar natürlich wieder.” (Stereo, November 2011)

Durch den warmen, glasklaren Sound lässt sich sein Spiel auf diversen überwiegend akustischen Instrumenten ganz intensiv genießen. Schöner noch ist seine volle, wahnsinnig seelenvolle Stimme – die durch die vielen Jahre auf der Bühne langsam, aber sicher etwas aufgerauter klingt.” bluesnews #68 12 / 2011

Eine Platte für die Ewigkeit!” (Stereo Phono Sonderheft 1 / 2012)

SACD Info:

Eric Bibb – Blues, Ballads & Work Songs

Label: Opus 3
Catalog#: CD 22111
Format: Hybrid-SACD, Album, Stereo
Country: Sweden
Released: 2011
Genre: Blues
Style: Electric Blues, Contemporary Blues

Tracklist:

01 Goin’ Down the Road Feelin’ Bad 3:07
02 John Henry 3:52
03 Take This Hammer 3:07
04 Cocaine Blues 2:37
05 Candy Man 3:09
06 Goin’ Down Slow 4:23
o7 Sittin’ on Top of the World 3:15
08 Come Back Baby 5:39
09 Frankie & Albert 3:12
10 Stagger Lee 3:25
11 Juke Dance 2:04
12 My Honey Pie 3:47
13 Satisfied 4:04
14 Sophisticated Shade 2:32

Eric Bibb – Guitar & Vocal
Roger Ekman – Höfner violin bass. Vintage 63 (track 12 & 13)
Kabanga “Master Vumbi” Dekula – Electric Guitar (track 12)
Bo Juhlin – Sousaphone (track 14)
Christer Lyssarides – Electric slide guitar (track 13) and Mandola (track 14)

Disc Made In Germany

ISO

https://subyshare.com/lrmnk8r5omk5/EricBibbBBWS_ISO.part1.rar.html
https://subyshare.com/46z2amlbwcqg/EricBibbBBWS_ISO.part2.rar.html

FLAC

https://subyshare.com/9jvo5lmxclpd/EricBibbBBWS_FLAC.rar.html

Info+Art

https://subyshare.com/55v9smmjsnnq/EricBibbBBWS_InfoArt.rar.html

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Frank Sinatra – Songs For Swingin’ Lovers (1956) [MFSL 2014] {PS3 ISO + FLAC}

February 2, 2018, 6:49 am

≫ Next: Frank Sinatra – A Swingin’ Affair! (1957) [MFSL 2014] {PS3 ISO + FLAC}

≪ Previous: Eric Bibb – Blues, Ballads & Work Songs (2011) {PS3 ISO + FLAC}

After the ballad-heavy In the Wee Small Hours, Frank Sinatra and Nelson Riddle returned to up-tempo, swing material with Songs for Swingin’ Lovers!, arguably the vocalist’s greatest swing set. Like Sinatra’s previous Capitol albums, Songs for Swingin’ Lovers! consists of reinterpreted pop standards, ranging from the ten-year-old “You Make Me Feel So Young” to the 20-year-old “Pennies From Heaven” and “I’ve Got You Under My Skin.” Sinatra is supremely confident throughout the album, singing with authority and joy. That joy is replicated in Riddle’s arrangements, which manage to rethink these standards in fresh yet reverent ways. Working with a core rhythm section and a full string orchestra, Riddle writes scores that are surprisingly subtle. “I’ve Got You Under My Skin,” with its breathtaking middle section, is a perfect example of how Sinatra works with the band. Both swing hard, stretching out the rhythms and melodies but never losing sight of the original song. Songs for Swingin’ Lovers! never loses momentum. The great songs keep coming and the performances are all stellar, resulting in one of Sinatra’s true classics.

Tracklist:
01. You Make Me Feel So Young
02. It Happened In Monterey
03. You’re Getting To Be A Habit With Me
04. You Brought A New Kind Of Love To Me
05. Too Marvelous For Words
06. Old Devil Moon
07. Pennies From Heaven
08. Love Is Here To Stay
09. I’ve Got You Under My Skin
10. I Thought About You
11. We’ll Be Together Again
12. Makin’ Whoopee
13. Swingin’ Down The Lane
14. Anything Goes
15. How About You?

Mastered for this SACD by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

https://subyshare.com/8oos68rahybc/FrankSinatraS0ngsF0rSwinginL0vers1956MFSL2014SACDIS0.part1.rar.html
https://subyshare.com/clwkb6uiz3tu/FrankSinatraS0ngsF0rSwinginL0vers1956MFSL2014SACDIS0.part2.rar.html

FLAC

https://subyshare.com/038tj7swm666/FrankSinatraS0ngsF0rSwinginL0vers1956MFSL2014FLAC2488.2.rar.html

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