SACD / DSD – HDMusic.me

Harry Haag James was an American musician who is best known as a trumpet playing band leader who led a big band from 1939 to 1946. He broke up his band for a short period in 1947 but shortly after he re-organized and was active again with his band from then until his death in 1983. He was especially known among musicians for his astonishing technical proficiency as well as his superior tone, and was extremely influential on up-and-coming trumpet players from the late 1930s into the 1940s. He was also an actor in a number of films that usually featured his band.

Tracklist:
01. Strictly Instrumental
02. Flatbush Flanagan
03. I’m Beginning To See The Light
04. Don’t Be That Way
05. September Song From “Knickebocker Holiday”
06. Tango Blues
07. Jalousie
08. I Cried Out For You
09. It’s Been A Long, Long Time
10. Bye Bye Blues
11. Melancholy Rhapsody
12. James Session
13. These Foolish
14. Autumn Serenade
15. The Molde
16. I’ve Heard That Song Before
17. Two O’Clock Jump
18. You Made Me Love You
19. Trumpet Blues And Cantabile

ISO

https://subyshare.com/a6snr3djfpsy/HarryJamesSupremeJazz2006SACDIS0.part1.rar.html
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FLAC

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https://subyshare.com/nuwwaxgnjw4m/HarryJamesSupremeJazz2006FLACStere02488.part2.rar.html

Two cool Henry Mancini album – one soundtrack, and one sweet set of instrumentals! Return Of The Pink Panther is a surprisingly groovy record – and one that’s very different from the original Pink Panther soundtrack. Symphonic Soul is one of Henry Mancini’s grooviest LPs from the 70s – a mixture of tight large arrangements with a smooth funky edge, similar to some of his best soundtrack work at the time. The rhythm section is great – with Harvey Mason on drums and Joe Sample on keyboards, and guitar by David T Walker and Dennis Budimir – and the album also features some cool solos on instruments like African finger piano and piccolo trumpet.

Vocalion have returned to familiar territory with their release of Henry Mancini’s twofer CD The Return of the Pink Panther / Symphonic Soul (CDSML 8535). Released in 1975, both albums were also launched in Stereo and Quadrophonic versions. So it’s nice to see Vocalion’s CD make a welcome debut on the hybrid SACD format. As far as Mancini pairings go, this selection works extremely well. The choice of Return of the Pink Panther is undoubtedly a smart move as it is arguably the best of the Panther soundtracks. Recorded at London’s CTS studios, there’s a nice range of styles spread across this memorable score. Released on the cusp of the disco era, there’s naturally a great deal of funky guitar riffs (provided by session musician Alan Parker) as well as some beautiful pieces such as ‘Dreamy’ which saw Mancini himself take to the piano. The highlight piece is arguably The Return of the Pink Panther (parts 1 & 2) which accompanied the theft of the Pink Panther diamond. It’s a great piece of composition which incorporates both the Pink Panther theme, a slow (but increasing dramatic) tension builder and a full on frenzy of brass and strings for its climax.

Supporting Mancini’s soundtrack release is his studio album, Symphonic Soul. The album was recorded in L.A. and manages to merge the funky mid 70s sound with Mancini’s lush orchestrations. Mancini brought a few of his own new compositions to the album including the wonderful title track. He also took this opportunity to introduce a new souped-up version of his memorable Peter Gunn theme. There’s also some well-established period pieces to be found among the track listing including a great variation of The Average White Band’s funk anthem ‘Pick up the pieces’ and Herbie Hancock’s ‘Butterfly’.

Vocalion’s mastering by Michael J. Dutton (from the original master tapes) is reflective of the label’s usual high standards whilst a detailed 8 page booklet rounds off the packaging perfectly.

Tracklist:
01. The Pink Panther Theme
02. The Greatest Gift instrumental
03. Heres Looking at You Kid
04. Summer in Gstaad
05. So Smooth
06. The Return of the Pink Panther Part 1 & 2
07. The Greatest Gift vocal version
08. The Orange Float
09. Dreamy
10. Disco
11. Navel Manoeuvre
12. Belly Belly Bum Bum
13. The Wet Look
14. Symphonic Soul
15. Butterfly
16. Satin Soul
17. Peter Gunn new version
18. Slow Hot Wind Lujon
19. Pick up the Pieces
20. Sun Goddess
21. Soul Saga Song of the Buffalo Soldier
22. African Symphony

Tracks “01-13” is “The Return of the Pink Panther” (LP ‘1975)
Tracks “14-22” is “Chet Atkins Picks the Best” (LP ‘1975)
Remastered from the Original Master tapes by Michael J. Dutton.

ISO

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FLAC

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https://subyshare.com/0lci1923yz6x/HenryManciniReturn0fThePinkPantherSymph0nicS0ul1975Reissue2018FLACStere02488.part2.rar.html

Funky jazz pianist Yoshioka Hideaki’s long-awaited first East Coast recording. Hideaki plays with Jamir Nasser and Jimmy Cobb who he was eager to co-star most. Includes “Don’t Take Your Love From Me”, “Blowin’ The Blues Away”, “Some One To Light Up My Life”, “Harlem Blues” and “Moment To Moment”, plus two Yoshioka originals. Recorded at Rudy Van Gelder Studio.

Tracklist:
01. Wired
02. Don’t Take Your Love From Me
03. Blowin’ The Blues Away
04. Some One To Light Up My Life
05. Harlem Blues
06. Moment To Moment
07. Hudson

Produced by Tetsuo Hara. Engineered, Mixed & Mastered by Rudy Van Gelder.
Recorded on May 31, 2000 at Van Gelder Recording Studio in New Jersey.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-286.

Personnel
Hideaki Yoshioka – piano
Jamil Nasser – bass
Jimmy Cobb – drums

ISO

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FLAC

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https://subyshare.com/2qkkgpjb343a/HideakiY0shi0kaTri0M0mentT0M0ment2000Japan2018FLAC2488.part2.rar.html

Horace Ward Martin Tavares Silver was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s. After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped further, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver’s first hit, “The Preacher”. After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver’s popularity, even through changes of personnel.

Tracklist:
01. Doodlin’
02. Creepin’ In
03. Room 608
04. Stop Time
05. Wonder Why
06. Moonray
07. Stonewall
08. Silver’s Blue
09. To Beat Or Not To Beat
10. Shoutin’ Out
11. Hank’s Tune

ISO

https://subyshare.com/bguav1uzs1hw/H0raceSilverSupremeJazz2006SACDIS0.part1.rar.html
https://subyshare.com/4of21l7l2jhk/H0raceSilverSupremeJazz2006SACDIS0.part2.rar.html
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FLAC

https://subyshare.com/vpozhzx7i22n/H0raceSilverSupremeJazz2006FLACStere02488.part1.rar.html
https://subyshare.com/hn96tr13cf4v/H0raceSilverSupremeJazz2006FLACStere02488.part2.rar.html

Hubert Sumlin was a brilliant guitarist who was a Howlin’ Wolf sideman and a vast influence on Eric Clapton and Peter Green amongst others. This killer album started with a five-week tour of Europe with these musicians before they hit the UK. There was a lot of songwriting in hotel rooms which paid off handsomely. Here are 5 brand new songs from Hubert, a couple of well thought-out instrumentals and Hubert playing his usual imaginative lead guitar on 3 new songs by Richard Studholme. Musically, it’s all tough blues but within that there is tremendous variation ranging from some nice modern touches to a couple of Jimmy Reedish tracks with just two guitars and drums. Altogether a superb team effort and a real revelation.

Tracklist:
01. All I Can Do
02. You Got To Help Me
03. Blues Is Here To Stay
04. Sometimes I’m Right
05. Spanish Greens
06. Still Playing The Blues
07. It Could Be You
08. Pickin’
09. Look Don’t Touch
10. I’ve Stopped Crying

Produced by Bruce Stedman. Engineered by Gavin Lewis.
Recorded in June -July 1990 at Triple X Studio, London.
Newly Mixed by Martin Atkinson at M.A.R.S. England.

Personnel
Hubert Sumlin – vocals, guitar
Richard Studholme – guitar, bass, vocals
Jack Hill – piano, Hammond organ
Steve Thorneycroft – drums

ISO

https://subyshare.com/9fzo6lgyzpyk/HubertSumlinBluesGuitarB0ss1990Reissue2005SACDIS0.part1.rar.html
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FLAC

https://subyshare.com/zavo4r1b33ez/HubertSumlinBluesGuitarB0ss1990Reissue2005FLACStere02488.rar.html

Next Move is the 11th album in a career that took off after Hue and Cry, the stage name of brothers Pat Kane and Greg Kane, opened for Madonna in 1986. Since then, they have done quite well, sitting at the U.K. Top of the Charts on more than one occasion. The album combines elements of jazz, rock, and pop. To better assess the performance, the album should be broken up into two categories, the music and the words, which rarely come together here, at least in the way generally represented in jazz vocalizing.

The music takes your breath away. After the first few bars of the opening tune, your hips are bouncing and your foot is tapping to the beats of heavy bass and keyboard-created organ weaving in, out, and around a wailing soprano sax all driven by Ian Thomas’ often jagged, dissonant drum rhythms. The wildest cut on the CD is “24/7,” a raucous six-plus minutes on the musical wild side leaving you gasping. Since the words can barely be heard over the music, the lyrics to the tunes and Pat Kane’s vocalizing are irrelevant, except for the two ballads on the set. The lyrics to these tunes are another matter. Most of them are depressing, maudlin, or whining and tell stories of protagonists who always seem to be hurting. “Once in a Lifetime” asks the question “Will I jump or step back when I hear the whip crack?,” a modern-day version of the conundrum expressed in Hamlet’s “To be or not to be?” The two ballads, “Sonny Cried,” by Harry Connick, Jr., and “Pawn of the Weekend” also relate hapless situations. The latter is the last cut on the album and is a welcome respite from the wildness that preceded it. Interesting music that it is, the protagonist is another loser as he is “last to be set up, first to be used, rules of the contest are not his to choose.” This album is not for those who have recently experienced emotional trauma.

Tracklist:
01. She Moves Through The Wires
02. I Didn’t Know
03. Sign O’ the Times
04. Sonny Cried
05. Once in a Lifetime
06. Next Move
07. 24/7
08. Speed O’lite
09. Pawn of the Weekend

Produced by Greg Kane. Mastered by Tony Bridge.

ISO

https://subyshare.com/juda7zgko9ja/HueCryNextM0ve1999SACDIS0.part1.rar.html
https://subyshare.com/3gzizfocxdbh/HueCryNextM0ve1999SACDIS0.part2.rar.html
https://subyshare.com/ssia93wbnlir/HueCryNextM0ve1999SACDIS0.part3.rar.html

FLAC

https://subyshare.com/o8o64tgqyu32/HueCryNextM0ve1999FLAC24882.part1.rar.html
https://subyshare.com/6fzm7fqnk0v0/HueCryNextM0ve1999FLAC24882.part2.rar.html

A pair of 70s albums from Hugo Montenegro – back to back on a single CD! Rocket Man is excellent – very groovy stuff! After paying tribute to Stevie Wonder and Bob Dylan on other LPs, Hugo Montenegro turns his talents to the groovy compositions of Elton John in this nice album of moogy instrumentals – a set that’s got some upbeat material that almost hits a funky club style – graced with loads of work on Arp by John Montenegro! The tune are all big ones by Elton, mostly – and the presentation here is pretty cool, with a very different vibe than the big hits. There’s also a few solos by trumpeters Chuck Findley and Gary Barone – and titles include “Rocket Man”, “Bitch Is Back”, “Daniel”, “Take Me To The Pilot”, “Philadelphia Freedom”, and “Goodbye Yellow Brick Road” – plus the originals “Splashdown” and “Blastoff”, which bracket the album in a “rocket” theme. Mammy Blue is funky moogy material from Hugo Montenegro, recorded during the time when he was making the shift from crime jazz and vocal themes to more electronic stuff with a 70s groove! The record’s got some very nice Arp on it in parts, and even though the tracks are mostly pop ones, they’re given the usual Montenegro twist, and have a nice nutty edge. Titles include “Peace Train”, “Zingaro”, “Movin On”, “Uncle Albert/Admiral Halsey”, “Superstar”, and “I Feel The Earth Move”.

Tracklist:
01. Blastoff
02. Rocket Man
03. The Bitch is Back
04. Goodbye Yellow Brick Road
05. Philadelphia Freedom
06. Take Me to the Pilot
07. Your Song
08. Lowdown Hoedown
09. Daniel
10. Lucy in the Sky with Diamonds
11. Splashdown
12. All I Can Do
13. Uncle Albert & Admiral Halsey
14. Superstar
15. If I Were a Rich Man Fiddler on the Roof
16. Mammy Blue
17. I Feel the Earth Move
18. Peace Train
19. The Night They Drove Old Dixie Down
20. Zingaro
21. Yo Yo
22. Movin On

Tracks “01-11 is “Rocket Man: A Tribute To Elton John” (LP 1975)
Tracks “12-22” is “Mammy Blue” (LP 1971)

Remastered from the Original Master tapes by Michael J. Dutton.

ISO

https://subyshare.com/rj48dvaktq2t/Hug0M0ntenegr0R0cketManMammyBlue197571Reissue2018SACDIS0.part1.rar.html
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FLAC

https://subyshare.com/q1c3ly1tur8c/Hug0M0ntenegr0R0cketManMammyBlue197571Reissue2018FLACStere02488.part1.rar.html
https://subyshare.com/6wboi8mfsdqw/Hug0M0ntenegr0R0cketManMammyBlue197571Reissue2018FLACStere02488.part2.rar.html

Ian Shaw’s debut album on Linn Records is a stunning collection of re-workings of classic and lesser-known Joni Mitchell songs. Ian Shaw records a personal tribute to his personal heroine Joni Mitchell. Drawn To All Things includes three songs which had not previously been recorded by anyone other than Joni; ‘Talk to Me’, ‘Love Or Money’ and ‘Stay In Touch’. Top jazz vocalists and musicians lend their support; Claire Martin and Lea de Laria on vocals, plus trumpeter Guy Barker and guitarist Jim Mullen.

For years now, Ian Shaw has been topping Britain’s Best Jazz Singer polls. An ardent believer in all things Joni Mitchell, it was only a matter of time before he delivered his versions of the Joni songs he deemed most suitable for reinvention. An emotional, expressive interpreter with the ability to explore every aspect of both lyric and melody, he’s at his most creative on ballads like A Case of You and Stay In Touch, the basic rhythm section sometimes cushioning solos by guest guitarist Jim Mullen and horn men Guy Barker and Nigel Hitchcock. There’s also fun to be had – Talk To Me jumps happily, Chelsea Morning appears in breezy guise, Harlem in Havana is a basis for scatting between Shaw and Lea de Laria, while Night Ride Home finds Claire Martin stepping up for duet duties.

Tracklist:
01. Jericho
02. Moon At The Window
03. Night In The City
04. Edith And The kingpin
05. Harlem In Havana
06. A Case Of You
07. Barangrill
08. Chelsea Morning
09. Love Or Money
10. Talk To Me
11. River
12. Night Ride Home
13. Both Sides Now
14. Stay In Touch

Produced by Richard Cottle. Engineered by John Gallen.
Recorded at Bunker Studios, Hertfordshire, UK on November 23-30, 2005.
Mixed by Richard Cottle and John Gallen at Denham Sound Suite, Buckinghamshire, UK.

Personnel
Ian Shaw – vocals, piano and electric piano
Janette Mason – piano (tracks 1, 2, 5, 9)
Tim Lapthorn – piano (tracks 3, 4, 8, 10, 13)
Simon Little – bass
Mark Fletcher – drums
Miles Bould – percussion
Guy Barker – trumpet
Nigel Hitchcock – saxes
David Preston – guitar (tracks 3, 4, 5, 8, 9, 10)
Jim Mullen – guitar (tracks 12, 13)
Richard Cottle – additional keyboards
Lea de Laria – guest vocals (track 5)
Claire Martin – guest vocals (track 12)

The Tapestry Strings:
Andrew Haveron – violin
Frances Andrade – violin
Levine Andrade – viola
Bozidar Vukotic – cello

ISO

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FLAC

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Inger Marie waited for many years before she ventured upon a solo career, but she has ample experience from many years’ activities in the music field. For twenty years she has been active as vocalist in several bands, ranging from a youthful rock band to a six year period as lead singer of a jazz big band. She has also fronted her own jazz quintet ”My Favorite Strings”, as well as collaborating with several excellent jazz musicians, among them Tom Lund, one of Norway’s finest Latin jazz-guitarists, founder of the renowned group ”Trio de Janeiro”. ”Make This Moment” was released in Norway in October 2004. The album received rave reviews and instant recognition by jazz aficionados. After some months, Inger Marie’s voice started touching hearts and impressing music lovers in places far from Norway. Now the album has been released in most of Asia, as well as in Europe, and has touched the hearts and souls of thousands of listeners.

Anyone hearing the debut album of IMG, “Make This Moment”, will realise that this is an artist belonging to the elite of this style, and that she is totally involved with a kind of music that she really loves. After years singing in rock bands and big bands, trying out different styles of music, Inger Marie has found a home in jazz. The love and maturity with which she delivers sublime interpretations of both new songs and well-known standards, makes this a debut album of rare quality. Producer Lars Martin Myhre says that never did he get a bigger surprise than when Inger Marie Gundersen made her debut in a recording studio. She was displaying a voice so controlled, so beautiful and so personal at her first recording date that the seasoned producer was left sitting there with his mouth open, admiring the awareness and the warm and direct communication in her voice.In a music world where different shades of jazz-pop and more or less succsessful artists have entered the mainstream, this mature first timer enters with an unprecedented maturity and command of the style.

Tracklist:
01. Let It Be Me
02. Make This Moment
03. Blame It On My youth
04. Will You Still Love Me Tommorrow
05. But Beautiful
06. Melancholy Blue
07. Fool On The Hill / Nature Boy
08. Song For You Far Away
09. Always On My Mind
10. Just A Song Before I Go
11. Sebastians Waltz

Produced by Lars Martin Myhre. Engineered by Kai Stokkeland.
Mixed by Lars Martin Myhre & Kai Stokkeland. Mastered by Morten Lund.

Personnel
Inger Marie Gundersen – vocals
Oscar Jansen – piano
Ole Kristian Kvamme – bass
Geir Age Johnsen – drums
Per Sigmond – trumpet
Olvind G. Stomer – saxophone
Kristoffer Hansen – piano on “9”

ISO

https://subyshare.com/24mg3odoc85h/IngerMarieGundersenMakeThisM0ment2004SACDIS0.rar.html

FLAC

https://subyshare.com/jnvus3rn63wp/IngerMarieGundersenMakeThisM0ment2004FLAC2488.2.part1.rar.html
https://subyshare.com/2qlqu4pbpx1n/IngerMarieGundersenMakeThisM0ment2004FLAC2488.2.part2.rar.html

James Louis “J. J.” Johnson was an American jazz trombonist, composer and arranger. Johnson’s work in the 1940s and 1950s demonstrated that the slide trombone could be played in the bebop style; as trombonist Steve Turre has summarized, “J. J. did for the trombone what Charlie Parker did for the saxophone. And all of us that are playing today wouldn’t be playing the way we’re playing if it wasn’t for what he did. And not only, of course, is he the master of the trombone—the definitive master of this century—but, as a composer and arranger, he is in the top shelf as well”. From the mid-1950s on, Johnson was a perennial polling favorite in jazz circles, even winning “Trombonist of the Year” in Down Beat magazine during years he was not active. He was voted into the Down Beat Hall of Fame in 1995.

Tracklist:
01. Donґt Argue
02. How Long Has This Been Going On
03. Riviera
04. Dinner For One
05. Hip Bones
06. Wind Bag
07. Weґll Be Togehter Again
08. Bagґs Groove
09. Too Marvellous For Words
10. Jay
11. Old Devil Moon
12. Itґs Yo Or No One
13. Coffee Pot
14. Pennies From Heaven
15. Viscosity
16. Youґre Mine Yo
17. “Daylie” Double
18. Groovin

ISO

https://subyshare.com/ai9hnmfvov9q/JayJayJ0hns0nSupremeJazz2006SACDIS0.part1.rar.html
https://subyshare.com/vmtm6f614j1h/JayJayJ0hns0nSupremeJazz2006SACDIS0.part2.rar.html
https://subyshare.com/u2tpsmmofn1f/JayJayJ0hns0nSupremeJazz2006SACDIS0.part3.rar.html
https://subyshare.com/paj1qs5v6tt6/JayJayJ0hns0nSupremeJazz2006SACDIS0.part4.rar.html

FLAC

https://subyshare.com/t2c00yk3x8ow/JayJayJ0hns0nSupremeJazz2006FLACStere02488.part1.rar.html
https://subyshare.com/0mcnwrv0hrqy/JayJayJ0hns0nSupremeJazz2006FLACStere02488.part2.rar.html

On this tribute to Ray Brown, this stellar trio plays its way through 11 standards in nearly 66 minutes, and the result is as fresh and tasty as you could ever wish. The trio’s instrumentation begs comparison with the great Oscar Peterson Trio, of whom Brown was such an important member, but this threesome plays with confidence and gusto, as if to scoff at the folly of such futile mind play. Joy and good fun exude from the disc as if from pores, writes reviewer J. Robert Bragonier.

Highlights of the album include a brisk and sparkling “Street Where You Live,” Green’s awe-inspiring solo on “No Greater Love,” Green and Cohn’s counterpoint in the opening minute and again near the conclusion of “Just in Time,” Leonhart’s wistful arco bass solos in “Alone Together” that sandwich a swinging samba beat; and the beautiful, underexposed Cole Porter ballad “Dream Dancing.” The disc concludes with the lovely and relatively obscure “Some Other Time” by Leonard Bernstein.

Tracklist:
01. When Lights Are Low
02. On The Street Where You Live
03. Skylark
04. There Is No Greater Love
05. That Old Feeling
06. Just In Time
07. Alone Together
08. Fly Me To The Moon
09. I’ve Got The World On A String
10. Dream Dancing
11. Some Other Time

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by James Faber.
Recorded on July 23, 2003 at Avatar Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-283.

Personnel
Jay Leonhart – bass
Benny Green – piano
Joe Cohn – guitar

ISO

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FLAC

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One of the great urban blues/jazz singers of the post World War II period, Jimmy Witherspoon (1923-1997) recorded prolifically until contracting throat cancer in the 1980s. This delightful set was laid down in a London studio in June 1981, before he fell ill, when he was still roaring like a lion. Three members of his backing combo – Peter King (sax), Mike Carr (keyboards) and Jim Mullen (guitar) – were top-flight British jazz musicians perfectly in tune with the singer’s needs, while drummer Harold Smith was an American then living in Europe. They’re joined by one of Spoon’s contemporaries, tenor saxist Hal ‘Cornbread’ Singer, whose career path resembles the singer’s in its fascinating R&B/Jazz duality.

Reissue of a 1981 double LP, Big Blues is a sprawling piece of modernized electric jump blues that honestly never quite catches fire despite the best efforts of Jimmy Witherspoon and his guest star, tenor saxophonist Hal “Cornbread” Singer. Both Witherspoon and Singer play and sing with soulful grit and a relaxed ease, but the band backing them never quite comes together. One issue is that there’s no bass player on the album, just keyboardist Mike Carr working a set of bass pedals with his feet à la Ray Manzarek of the Doors; this leaves drummer Harold Smith out in the cold, unable to work up the kind of in-the-pocket groove this kind of slow-cooking blues needs to get over. The overextended song lengths are no help either; one-third of these 12 songs break the seven-minute barrier, with “Whiskey Drinkin’ Woman” and “Lotus Blossom” weighing in at a staggering eight and a half minutes each. Although both Witherspoon and Singer get in a few good solos, the length is simply not justified by the mostly lackadaisical performances.

Tracklist:
01. You Got Me Running
02. Whiskey Drinking Woman
03. Once There Lived A Fool
04. Just A Dream
05. Lotus Blossom
06. Big Boss Man
07. Nobody Knows You When You’re Down And Out
08. That’s The One
09. Let’s Think A While
10. Swing On It
11. The Point
12. The Snow Was Falling

Produced by John Stedman. Engineered by Alex Burak.
Recorded in June 1981 at The Point Studio, London.
Newly Mixed by Martin Atkinson at M.A.R.S. England.

Personnel
Jimmy Witherspoon – vocals on “1-7”
Hal Singer – tenor sax on “8-12”, vocals on “12”
Peter King – alto sax on “1,2,5,6,8-12”
Mike Carr – organ, bass pedals, electric piano, piano
Jim Mullen – guitar
Harold Smith – drums

ISO

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FLAC

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Multiple Grammy nominee John Di Martino–composer, arranger, pianist–has recorded many albums for Venus Records with his Romantic Jazz Trio. Noted for his versatility, John has performed and recorded with such notables as Kenny Burrell, James Moody, Joe Lovano, David “Fat Head” Newman, Pat Martino, Paquito D’Rivera and Houston Person.

In his time on the New York scene pianist John di Martino has established a widely respected reputation as an adaptable straight-ahead player, a sensitive and sought-after accompanist of singers, and, having worked in the bands of Ray Barretto and Bobby Sanabria, among others, a brilliant Latin jazz keyboard artist. How wonderful it is that the versatile di Martino, at last, has gotten the chance to highlight his many gifts in a classic trio setting with two exemplary associates. Ugonna Okegwo is one of the most active freelance bassists working today, and with good reason. For over four decades Grady Tate has served as ‘the musician’s drummer,’ having backed an astounding array of instrumental and vocal talent. Di Martino presents Tate with a rhythmic tour de force on the opening track, infusing Ernesto Lecuona’s ‘La Comparsa’ with a New Orleans street beat. Two other Cuban standards, the rumba ‘Drume Negrita’ and the bolero ‘Historia de un Amor,’ receive more traditional treatments, revealing di Martino’s experience in and regard for the genre. Jazz musicians know that ‘My Melancholy Baby’ is one of those tunes—OK, you all may roll your eyes now—but the pianist, supported by Okegwo’s clean two-beat feel and Tate’s clipped, tightly closed hi-hat time, paraphrases the shopworn melody without a hint of irony or condescension. The trio’s handling of ‘And I Love Her,’ leisurely and languid, until suddenly energized in the coda, demonstrates that there still are many riches left to mine in the Beatles’ songbook. Di Martino seems to take inspiration from the title of Luis Bonfa’s bossa nova, ‘The Gentle Rain,’ employing a light touch that makes each notes fall like drops of rain. This lovely track also offers up still more joys of Grady Tate, whose subtle brush work is, at times, more felt than heard. He truly is the ‘anti-Buddy Rich,’ making his presence known, not as an overpowering or dominating force in the ensemble, or even as a soloist (although he is a wonderful one), but by what he can contribute to enhance the collective performance. You may not always notice Grady Tate when he is there, but you miss him when he is not. The same can be said of Ugonna Okegwo, who, on a straight-ahead, unpretentious treatment of Richard Rodgers’ ‘The Sweetest Sound,’ does exactly what a bassist should do in a trio setting, working in close tandem with di Martino, strengthening and supporting the pianist’s elegantly swinging lines. The romanticism of ‘John di Martino’s Romantic Jazz Trio’ is unbound in ‘The Things I Love,’ based on a theme by the ultimate romantic, Tchaikovsky, but discreet touches of the blues help keep it real. At over nine minutes, the CD’s longest track, ‘You Must Believe in Spring,’ affords di Martino an opportunity for extended, inspired exploration. Especially instructive is his use of block chords, richly voiced, effectively placed, always an enhancement, never a cliché or a crutch. John di Martino’s Romantic Jazz Trio is, in fact, a recording session-generated group, but after hearing this CD you just may think it was a permanent working unit—and you’ll wish it was.

Tracklist:
01. La Comparsa
02. My Melancholy Baby
03. And I Love Her
04. The Gentle Rain
05. The Sweetest Sound
06. Drume Negrita
07. In My Solitude
08. The Lamp Is Low
09. The Things I Love
10. You Must Belive In Spring
11. Historia De Un Amor

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by David Darlington.
Recorded on August 30-31, 2003 at Avatar Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-268.

Personnel
John Di Martino – piano
Ugonna Okegwo – bass
Grady Tate – drums

ISO

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FLAC

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2008年生誕100周年を迎える指揮者朝比奈隆。
当代きってのブルックナー指揮者でもあった彼のラスト･ブルックナー・シリーズとも言えるEXTONでの録音をHYBRID盤で再リリースいたします。
朝比奈隆が贈る最後の交響曲第4番は長年深化に深化を重ねた朝比奈こそがたどり着けた究極の純粋美。
骨太かつ歌に満ち、生命感に溢れるこの演奏は、まさに朝比奈が行き着いた最後の「ロマンティック」。SACDの高音質でご堪能下さい。

Tracklist:

01 – Symphony No. 4 in E-flat major, WAB 104 ‘Romantic’- I. Bewegt, nicht zu schnell
02 – Symphony No. 4 in E-flat major, WAB 104 ‘Romantic’- II. Andante, quasi allegretto
03 – Symphony No. 4 in E-flat major, WAB 104 ‘Romantic’- III. Scherzo. Bewegt
04 – Symphony No. 4 in E-flat major, WAB 104 ‘Romantic’- IV. Finale- Bewegt, doch nicht zu schnell

Download:

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Like many other prominent jazz musicians, master pianist John Hicks started his early career with Art Blakey’s Jazz Messengers (1964-1965). This special album for Venus Records was recorded in 1992 as a tribute to his former boss who had passed away two years earlier. Aided by his well-known collaborators Marcus Maclaurene on bass and Victor Lewis on drums, Hicks here perform some of the familiar Jazz Messengers’ repertories with a lot of emotion and extra earthiness.

John Hicks was an American jazz pianist, composer, and arranger. He was leader for more than 30 recordings and played as a sideman on more than 300. After early experiences backing blues musicians, Hicks moved to New York in 1963. After periods with Kenny Dorham and Joe Henderson, Hicks joined Art Blakey’s Jazz Messengers in 1964. His recording debut was with Blakey in November that year, for the album ‘S Make It. Early in 1965, Hicks toured with Blakey to Japan, France, Switzerland, and England. Blakey encouraged his band members, including Hicks, to compose for the band, although they also played compositions by previous members of the band. He stayed with Blakey for two years, during which time his playing was compared with that of McCoy Tyner, for the level of energy displayed and for some of the intervals that they used.

Hicks’ many influences–including Bud Powell, Art Tatum, Fatz Waller, Oscar Peterson, Thelonious Monk and McCoy Tyner–shaped his modern yet earthy style. It is not easy to perform these tunes–forever etched to jazz fan’s memories with the powerful two-horn quintet sound of the Messengers–with a piano trio, but Hicks is successful here, more than making up the lack of horn players with his powerful piano playing.

Tracklist:
01. No Problem
02. Whisper Not
03. Nica’s Dream
04. Moanin’
05. Blues March
06. A Night In Tunisia

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Fred Kevorkian.
Recorded on October 19, 1992 at Sear Sound Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-288.

Personnel
John Hicks – piano
Marcus Maclaurene – bass
Victor Lewis – drums

ISO

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FLAC

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La Trompette Retrouvée is Freeman-Attwood’s second recording in his series with Linn Records and continues to explore his passion for expanding the limited chamber repertoire for trumpet by imaginatively arranging chamber works previously scored for alternative forces. He is joined on this recording by the pianist Daniel-Ben Pienaar. As the title implies, this album contains works by French composers, transforming works originally for forces such as cello, piano and orchestra into convincing transcriptions for trumpet and piano.

Arthur Butterworth, composer and former principal-trumpet of Barbirolli’s Hallé Orchestra, once lamented to me about the restricted use of the trumpet in the 18th-century orchestra, after the guilds of players that created the great Baroque tradition of high trumpeting had disappeared. But in the 20th century – not least with the coming of jazz – the trumpet has sustained a renaissance, and today there is almost nothing a top-class player cannot do within the instrument’s range (and even above it). Never better demonstrated than in this highly stimulating recital by Gramophone’s own Jonathan Freeman-Attwood with his splendidly responsive partner, Daniel-Ben Pienaar, who constantly illuminates the piano contribution. The transcription of Chabrier’s Pièces pittoresques stands out, full of charm, with the spiccato trumpet in the “Danse villageoise” (a real lollipop) and the galumphing “Scherzo-Waltz” irresistible, so perfectly suited to this instrument. Rameau’s Naïs Suite, which opens the programme, is remarkably successful too, stylish and characterful, with moments of real nobility. Apart from his nimble dexterity, Freeman-Attwood’s playing is just as striking for the beauty of his lyrical phrasing and his richness of colour, so well demonstrated by Saint-Saëns’s “Romanza”, and in the wonderful freedom of his playing in the transcription of Fauré’s Violin Sonata No 2, which at times (and specially in the finale) almost convinces one that it was written for the trumpet. I resisted this remarkable arrangement first time through, but on subsequent listenings put prejudice aside and revelled in the sheer musicianship of this splendidly matched duo. They are helped by absolutely natural recording in an ideal acoustic. It sounds first-class on CD equipment; but subtly bring in the back speakers and you will surely “retrieve” the image of the two players together with complete realism. And if you haven’t got the equipment yet for SACD, you don’t know what you are missing – a truly added dimension in music reproduction in the home!

La Trompette Retrouvée’ includes French chamber music recordings, from Rameau to Fauré, with trumpet. They were discovered’ again with fresh arrangements as the trumpet accompanies the piano. It is the second record in a series of trumpet playing recordings presented in a novel way. The third one is planned in 2008 and it also will include music from 17th Century. It is a brilliant record. The music and the performances are excellent (however, modern technological play doesn’t have to be liked by everyone). The sound quality is fantastic! I have to tell again- it is a fantastic record! There are just two instruments – trumpet and piano, but it sounds like a chamber orchestra. The trumpet plays with strong dynamic and gentle way of legato. This gives a fantastic effect in the sound. Both instruments have got a lot of air around them but they aren’t blurred, which often occurs in the multi-channel recordings. Between the listener and the audience is quite a distance like in a real concert, and we are sitting near to the trumpeter. Therefore, in reality we turn down and up, because we want to find the natural level of sound. However, we are enjoying the music and we just relax, and then the strong entry of the trumpet might punch us to the wall. Piano also is recorded from the long distance. However, we might feel that the piano plays the second role, because it plays less dynamic, in the ‘safe” way. To the perfect play of the record you have to have a system with very good resolution and dynamic.

Tracklist:
01. Jean-Philippe Rameau: Suite from Nais – Ouverture (La Discorde et La Guerre)
02. Jean-Philippe Rameau: Suite from Nais – Entree majestueux des dieux
03. Jean-Philippe Rameau: Suite from Nais – Gavotte vive (pour les Zephirs)
04. Jean-Philippe Rameau: Suite from Nais – Sarabande
05. Jean-Philippe Rameau: Suite from Nais – Rigaudons
06. Jean-Philippe Rameau: Suite from Nais – Musette
07. Jean-Philippe Rameau: Suite from Nais – Tambourins
08. Jean-Philippe Rameau: Suite from Nais – Contredanse generale
09. Reynaldo Hahn: A Chloris
10. Emmanuel Chabrier: Suite for Trumpet and Piano – Aubade
11. Emmanuel Chabrier: Suite for Trumpet and Piano – Danse villageoise
12. Emmanuel Chabrier: Suite for Trumpet and Piano – Feuillet d’album
13. Emmanuel Chabrier: Suite for Trumpet and Piano – Scherzo-valse
14. Camille Saint-Saëns: From ‘Cello Sonata No. 2 – Romanza (Poco adagio)
15. Gabriel Fauré: Deuxieme Sonate, Op. 108 – Allegro non troppo
16. Gabriel Fauré: Deuxieme Sonate, Op. 108 – Andante
17. Gabriel Fauré: Deuxieme Sonate, Op. 108 – Allegro non troppo

Recorded at St George’s, Brandon Hill, Bristol, in July 2006.

Personnel
Jonathan Freeman-Attwood – trumpet
Daniel-Ben Pienaar – piano

ISO

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FLAC

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They hit #1 with this 1981 smash, one of the definitive ’80s rock albums. This plays like a greatest-hits collection, with Who’s Crying Now; Don’t Stop Believin’; Open Arms, and Still They Ride.

Escape was a groundbreaking album for San Francisco’s Journey, charting three singles inside Billboard’s Top Ten, with “Don’t Stop Believing” reaching number nine, “Who’s Crying Now” number four, and “Open Arms” peaking at number two and holding there for six weeks. Escape flung Journey steadfastly into the AOR arena, combining Neal Schon’s grand yet palatable guitar playing with Jonathan Cain’s blatant keyboards. All this was topped off by the passionate, wide-ranged vocals of Steve Perry, who is the true lifeblood of this album, and this band. The songs on Escape are more rock-flavored, with more hooks and a harder cadence compared to their former sound. “Who’s Crying Now” spotlights the sweeping fervor of Perry’s voice, whose theme about the ups and downs of a relationship was plentiful in Journey’s repertoire. With “Don’t Stop Believing,” the whisper of Perry’s ardor is crept up to with Schon’s searing electric guitar work, making for a perfect rock song. One of rock’s most beautiful ballads, “Open Arms,” gleams with an honesty and feel only Steve Perry could muster. Outside of the singles, there is a certain electricity that circulates through the rest of the album. The songs are timeless, and as a whole, they have a way of rekindling the innocence of youthful romance and the rebelliousness of growing up, built from heartfelt songwriting and sturdy musicianship.

Tracklist:
01. Don’t Stop Believin’
02. Stone In Love
03. Who’s Crying Now
04. Keep On Runnin’
05. Still They Ride
06. Escape
07. Lay it Down
08. Dead or Alive
09. Mother, Father
10. Open Arms

Mastered for SACD by Bob Ludwig at Gateway Mastering.

ISO

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FLAC

https://subyshare.com/mmpkl6id5ip8/J0urneyEscape1981Reissue1999FLAC2488.2.rar.html

An excellent collection of some of the best tracks from Judy Collins’ early Elektra albums, Colors of the Day will both entertain and leave you wanting more. Lovingly programmed (it leads off with her excellent country-pop hit “Someday Soon,” an Ian Tyson classic), this is Collins at her finest. Earlier explorations into folk-pop (“Both Sides Now”), British folk (“Sunny Goodge Street,” “In My Life”), and gospel (“Amazing Grace”) clearly show her eclecticism. Some of the record’s finest moments are from her exquisite 1968 album Who Knows Where the Time Goes (such as that album’s title track and the aforementioned “Someday Soon”). This anthology brings the “best-of” collection to a new art form.

Tracklist:
01. 01 Someday Soon
02. 02 Since You Asked
03. 03 Both Sides Now
04. 04 Sons Of
05. 05 Suzanne
06. 06 Farewell to Tarwathie
07. 07 Who Knows Where the Time Goes
08. 08 Sunny Goodge Street
09. 09 My Father
10. 10 Albatross
11. 11 In My Life
12. 12 Amazing Grace

SACD Mastering & 4.0 Analog to Hi-Definition DSD Digital Transfer: Steve Hoffman and Stephen Marsh.

ISO

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FLAC

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Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet’s first national exposure, the group was far from the proverbial “overnight sensation.” Under the guise of the Big Thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock & roll in and around the Windy City for several years. Their initial non-musical meeting occurred during a mid-February 1967 confab between the original combo at Walter Parazaider’s apartment on the north side of Chi Town. Over a year later, Columbia Records staff producer James Guercio became a key supporter of the group, which he rechristened Chicago Transit Authority. In fairly short order the band relocated to the West Coast and began woodshedding the material that would comprise this title. In April of 1969, the dozen sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience. This included an unheralded synthesis of electric guitar wailin’ rock & roll to more deeply rooted jazz influences and arrangements. This approach economized the finest of what the band had to offer — actually two highly stylized units that coexisted with remarkable singularity. On the one hand, listeners were presented with an incendiary rock & roll quartet of Terry Kath (lead guitar/vocals), Robert Lamm (keyboards/vocals), Peter Cetera (bass/vocals), and Danny Seraphine (drums). They were augmented by the equally aggressive power brass trio that included Lee Loughnane (trumpet/vocals), James Pankow (trombone), and the aforementioned Parazaider (woodwind/vocals). This fusion of rock with jazz would also yield some memorable pop sides and enthusiasts’ favorites as well. Most notably, a quarter of the material on the double album — “Does Anybody Really Know What Time It Is?,” “Beginnings,” “Questions 67 and 68,” and the only cover on the project, Steve Winwood’s “I’m a Man” — also scored as respective entries on the singles chart. The tight, infectious, and decidedly pop arrangements contrast with the piledriving blues-based rock of “Introduction” and “South California Purples” as well as the 15-plus minute extemporaneous free for all “Liberation.” Even farther left of center are the experimental avant-garde “Free Form Guitar” and the politically intoned and emotive “Prologue, August 29, 1968″ and “Someday (August 29, 1968).” The 2003 remastered edition of Chicago Transit Authority offers a marked sonic improvement over all previous pressings — including the pricey gold disc incarnation.

Tracklist:
01. Introduction
02. Does Anybody Really Know What Time It Is?
03. Beginnings
04. Questions 67 And 68
05. Listen
06. Poem 58
07. Free Form Guitar
08. South California Purples
09. I’m A Man
10. Prologue, August 29, 1968
11. Someday (August 29, 1968)
12. Liberation

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

ISO

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FLAC

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Chicago – Chicago V (1972) [Japanese Reissue 2011] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 51:28 minutes | Scans included | 3,73 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 51:52 mins | Scans | 1,12 GB
Features 2.0 Stereo and 5.1 multichannel surround sound

With four gold multi-disc LPs and twice as many hit singles to its credit, Chicago issued its fifth effort, the first to clock in at under an hour. What they lack in quantity, they more than make up for in the wide range of quality of material. The disc erupts with the progressive free-form “A Hit by Varese” — which seems to have been inspired as much by Emerson, Lake & Palmer’s Tarkus (1971) or Yes circa Close to the Edge (1972) as by the Parisian composer for whom it is named. Fully 80 percent of the material on Chicago V (1972) is also a spotlight for the prolific songwriting of Robert Lamm (keyboards/vocals). In addition to penning the opening rocker, he is also responsible for the easy and airy “All Is Well,” which is particularly notable for its lush Beach Boys-esque harmonies. However, Lamm’s most memorable contributions are undoubtedly the Top Ten sunshine power pop anthem “Saturday in the Park” and the equally upbeat and buoyant “Dialogue, Pt. 1″ and “Dialogue, Pt. 2.” Those more accessible tracks are contrasted by James Pankow’s (trombone/percussion) aggressive jazz fusion “Now That You’ve Gone.” Although somewhat dark and brooding, it recalls the bittersweet “So Much to Say, So Much to Give” and “Anxiety’s Moment” movements of “Ballet for a Girl in Buchannon” found on Chicago II…

Tracklist:
01. A Hit by Varèse
02. All Is Well
03. Now That You’ve Gone
04. Dialogue (Part I)
05. Dialogue (Part II)
06. While The City Sleeps
07. Saturday In The Park
08. State Of The Union
09. Goodbye
10. Alma Mater
11. Dialogue (Live at The Aerie Crown Theatre, Chicago 1972) [Bonus Track]

Surround Sound Remix Produced by JOHN KELLOGG.
Surround Sound Remix Engineered & Mixed by PAUL KLINGBERG at MAGNET VISION STUDIOS, Santa Monica, CA.
Assistant Engineer: CAMERON MARCARELLI. Mastered by STEVE HALL at FUTUREDISC, Los Angeles, CA.

ISO

http://subyshare.com/vkw3t9d6zhko/ChicagoChicagoV1972Japan2011SACDISO.part1.rar.html
http://subyshare.com/3yqr2az1m56s/ChicagoChicagoV1972Japan2011SACDISO.part2.rar.html
http://subyshare.com/g1oww26lb4mf/ChicagoChicagoV1972Japan2011SACDISO.part3.rar.html
http://subyshare.com/4e4qx3kse4ll/ChicagoChicagoV1972Japan2011SACDISO.part4.rar.html

FLAC

https://subyshare.com/e7mocx6knwsq/ChicagoChicagoV1972Japan2011FLAC2488.2.part1.rar.html
https://subyshare.com/605w9ux755yj/ChicagoChicagoV1972Japan2011FLAC2488.2.part2.rar.html

Harry James – Supreme Jazz (2006) {2.0 & 5.1} {SACD ISO + FLAC}

Henry Mancini – Return Of The Pink Panther & Symphonic Soul (1975) [Reissue 2018] {2.0 & 5.1} PS3 ISO + FLAC

Hideaki Yoshioka Trio – Moment To Moment (2000) [Japan 2018] {SACD ISO + FLAC}

Horace Silver – Supreme Jazz (2006) [2.0 & 5.1] {SACD ISO + FLAC}

Hubert Sumlin – Blues Guitar Boss (1990) [Reissue 2005] {2.0 & 5.1} SACD ISO + FLAC

Hue and Cry – Next Move (1999) {SACD ISO + FLAC}

Hugo Montenegro – Rocket Man & Mammy Blue (1975/1971) [Reissue 2018] {2.0 & 5.1} PS3 ISO + FLAC

Ian Shaw – Drawn To All Things (2006) [2.0 & 5.1] {SACD ISO + FLAC}

Inger Marie Gundersen – Make This Moment (2004) [Reissue 2005] {SACD ISO + FLAC}

Jay Jay Johnson – Supreme Jazz (2006) {SACD ISO + FLAC}

Jay Leonhart Trio – Fly Me To The Moon (2004) [Japan 2018] {SACD ISO + FLAC}

Jimmy Witherspoon – Big Blues (1981) [Reissue 2004] {SACD ISO + FLAC}

John Di Martino’s Romantic Jazz Trio – The Sweetest Sound (2004) [Japan 2018] {SACD ISO + FLAC}

Takashi Asahina, Osaka Philharmonic Orchestra – Bruckner: Symphony No. 4 ‘Romantic’ (2008) [DSF Stereo DSD64/2.82MHz]

John Hicks Trio – Moanin’: Portrait Of Art Blakey (1997) [Japan 2018] {SACD ISO + FLAC}

Jonathan Freeman-Attwood – La Trompette Retrouvee (2007) [2.0 & 5.1] {SACD ISO + FLAC}

Journey – Escape (1981) [Reissue 1999] {PS3 ISO + FLAC}

Judy Collins – Colors Of The Day (1972) [Audio Fidelity 2015] {PS3 ISO + FLAC}

Chicago – The Chicago Transit Authority (1969) [MFSL 2015] {PS3 ISO + FLAC}

Chicago – Chicago V (1972) [Japanese Reissue 2011] {2.0 & 5.1} PS3 ISO + FLAC