James Moody - The Chronological James Moody 1951-1954 (2006) [Classics 1410]

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James Moody - The Chronological James Moody 1951-1954 (2006) [Classics 1410]

James Moody - The Chronological James Moody 1951-1954 (2006)
EAC | FLAC | Tracks (Cue&Log) ~ 328 Mb | Mp3 (CBR320) ~ 166 Mb | Scans included
Bop, Hard Bop, Saxophone Jazz | Label: Classics | # 1410 | Time: 01:10:53

Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals – trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore – show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955.

Gerard McChrystal - Aria (2011) works by Handel, Michael Nyman, Villa-Lobos, Debussy, Ravel, Philip Glass, Faure, McGlynn etc

Posted By: Designol
Gerard McChrystal - Aria (2011) works by Handel, Michael Nyman, Villa-Lobos, Debussy, Ravel, Philip Glass, Faure, McGlynn  etc

Gerard McChrystal - Aria (2011)
with Shiroma de Silva, piano; Craig Ogden, guitar; Smith Quartet
Codetta; Trinity Laban String Ensemble; Nic Pendlebury, conductor

EAC | FLAC | Image (Cue&Log) ~ 311 Mb | Mp3 (CBR320) ~ 197 Mb | Scans included
Classical, Chamber, Saxophone | Label: First Hand | # FHR13 | Time: 01:13:40

This brilliantly devised CD from Gerard McChrystal is a deeply personal album; at times mystical, the music is always beautiful and captivating. Indeed 'Aria' has similar qualities to Jan Gabarek's 'Officium' (which sold 1.4 million copies) and will appeal to this fan-base. Featuring soprano and alto saxophone with a colourful array of different ensemble accompaniments — string orchestra, choir, guitar, piano, solo, string quartet and electronics. Baroque music blends seamlessly with contemporary; Handel resolves into Michael Nyman, Debussy's Syrinx morphs into Ravel's Piece en forme de habanera. All the tracks lead to the next by key or by starting and ending on the same note. Other works include Philip Glass Façades, Faure Les Berceaux, Bozza Aria, as well as original works by Billy Cowie, Karen Tanaka, Andy Scott and Michael McGlynn (from the vocal group Anúna who featured in Riverdance). Accompanying Gerard on this album are some of the UK's finest classical musicians including the Smith Quartet and the No. 1 best-selling classical artist, guitarist Craig Ogden. Gerard McChrystal is a multi-award winning saxophonist who has performed as a soloist in over 30 countries with many of the World's leading orchestras and ensembles.

Fountains Of Wayne - Utopia Parkway (1999) [15 tracks Edition]

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Fountains Of Wayne - Utopia Parkway (1999) [15 tracks Edition]

Fountains Of Wayne - Utopia Parkway (1999) [15 tracks Edition]
EAC | FLAC | Tracks (Cue&Log) ~ 389 Mb | Mp3 (CBR320) ~ 152 Mb | Scans included
Alternative Pop/Rock, Power Pop | Label: Atlantic | # 7567809342 | 00:49:04

There's no denying that Fountains of Wayne know how to craft a great pop record. They know how to write a hook, they can pull of mild rockers and sweet ballads with equal aplomb, and they write melodies that feel like half-forgotten favorites. They have all the elements of a classic power pop band but they suffer from that peculiar '90s ailment – detachment. For all their flair, talent, and craftsmanship, the band don't really dig deeper than the surface. Of course, that doesn't mean they make bad records, and their second album, Utopia Parkway, is, if anything, every bit as good as their fine debut. All the songs immediately make a connection and all of their melodic attributes simply strengthen with repeated listens. However, those repeated listens reveal that Fountains of Wayne don't have a lot to say. That's not a cardinal sin in guitar pop, since most bands simply recycle the same lovelorn themes, but Fountains choose to have fun with clichés, throwing in goofy asides even in their ballads.

DSO Berlin, Robin Ticciati, Magdalena Kozena - Debussy: La mer; Ariettes oubliees; Faure: Pelleas et Melisande (2017)

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DSO Berlin, Robin Ticciati, Magdalena Kozena - Debussy: La mer; Ariettes oubliees; Faure: Pelleas et Melisande (2017)

Claude Debussy: La mer; Ariettes oubliées; Gabriel Fauré: Pelléas et Mélisande (2017)
Deutsches Symphonie-Orchester Berlin; Robin Ticciati, conductor; Magdalena Kožená

EAC | FLAC | Image (Cue&Log) ~ 237 Mb | Mp3 (CBR320) ~ 159 Mb | Artwork included
Classical, Orchestral, Vocal | Label: Linn Records | # CKD 550 | Time: 01:08:33

This marks the first release with Robin Ticciati leading the Deutsches Symphonie Orchester Berlin, and it makes the requisite splash. There's a world premiere: even if you're not on board with the trend of enlarging the repertory through arrangements of works that are perfectly good in their original form, you will likely be seduced by mezzo-soprano Magdalena Kozená's ravishing reading of Debussy's voice-and-piano Ariettes oubliées, inventively arranged by Brett Dean. There's a little-known work: the opening one, Fauré's Prelude to Pénélope (a sparsely performed opera, with a slightly less sparsely performed prelude) is a lush and beautifully controlled arc. Controlled and detailed are two words that come to mind for Ticciati's interpretation of La mer, the warhorse work on the program; it may seem a bit deliberate, but there are many hues in his performance. The two Debussy works are balanced by two of Fauré's: the fourth work is the suite from Fauré's incidental music to Pélleas et Mélisande (in Charles Koechlin's version), also deliberate and lush. Linn recorded the performance in Berlin's Jesus Christus Kirche, which allows the full spectrum of orchestral colors to come through. Worth the money for Kozená fans for her turn alone, and a fine French program for all.

Lionel Hampton - The Chronological Lionel Hampton: 1951-1953 (2006) [Classics 1429]

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Lionel Hampton - The Chronological Lionel Hampton: 1951-1953 (2006) [Classics 1429]

Lionel Hampton - The Chronological Lionel Hampton: 1951-1953 (2006)
EAC | FLAC | Tracks (Cue&Log) ~ 267 Mb | Mp3 (CBR320) ~ 160 Mb | Scans included | 01:05:29
Swing, Marimba Jazz, Vibraphone Jazz, Jazz-Blues | Label: Classics | # 1429

Here is the 12th volume in the complete chronological recordings of Lionel Hampton as reissued by the Classics label. It opens with Hamp's final five recordings for the MGM label, waxed in Los Angeles on October 17, 1951. This was a 20-piece big band using charts written by Quincy Jones, and the music it made feels much different from what's to be heard in the next leg of Lionel Hampton's odyssey, a Norman Granz-produced quartet session with Oscar Peterson, Ray Brown and Buddy Rich, recorded in New York on September 2, 1953. While the big band sides are exciting and fun, with a hip vocal by Sonny Parker on "Don't Flee the Scene Salty" and a singalong routine led by Hamp on "Oh Rock," the quartet swings cohesively, stretching out for six, seven or nearly eleven minutes, for the LP era had begun and Norman Granz encouraged extended improvisations. The combination of Oscar Peterson and Lionel Hampton, whether cooking together on "Air Mail Special" or savoring the changes of a ballad like "The Nearness of You" made spirits to soar and sparks to fly.

Tab Benoit - The Sea Saint Sessions (2003)

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Tab Benoit - The Sea Saint Sessions (2003)

Tab Benoit - The Sea Saint Sessions (2003)
EAC | FLAC | Image (Cue&Log) ~ 321 Mb | Mp3 (CBR320) ~ 124 Mb | Scans ~ 122 Mb
Modern Electric Blues, Louisiana Blues | Label: Telarc | # CD-83573 | 00:54:31

Soulful singer and guitarist Tab Benoit has never made secret his devout allegiance to the Louisiana music tradition. With The Sea Saint Sessions, Benoit, ably assisted by several Crescent City stalwarts, takes his music back to the source, setting up shop at the famed hit factory to cook up a sonic gumbo that successfully recaptures the spontaneity of the classic Sea Saint sound. Benoit's guests conjure up some of the studio's old musical magic as "Big Chief" Monk Boudreaux infuses Mardi Gras Indian spirit into "Monk's Blues," Meter man George Porter Jr. funkifies "Making the Bend," and Cyrille Neville sings on his own "Plareen Man". But it is Benoit's distinctive guitar lines–somehow both supple and hard-edged–and the impeccable elasticity of his regular rhythm section that makes the music work. Most of the material is Benoit's own, although he pays tribute to Louisiana legend Guitar Slim with a take on the classic "Sufferin' Mind" and dips into the Howlin' Wolf songbook for a rendition of "Howlin' for My Darling".

Gautier Capucon & Gabriela Montero - Rhapsody: Cello Sonatas by Rachmaninov & Prokofiev (2008) [Re-Up]

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Gautier Capucon & Gabriela Montero - Rhapsody: Cello Sonatas by Rachmaninov & Prokofiev (2008) [Re-Up]

Gautier Capuçon & Gabriela Montero - Rhapsody (2008)
Cello Sonatas by Rachmaninov & Prokofiev

XLD | FLAC | Tracks (Cue&Log) ~ 324 Mb | Mp3 (CBR320) ~ 178 Mb | Scans included
Classical | Label: Virgin Classics | # 00946 385786 2 8 | 01:15:07

The nearly uninterrupted string of strong, successful albums produced by cellist Gautier Capuçon (and indeed his violinist brother, Renaud) demonstrates that the CD debut Face à Face was not just a fluke produced by child prodigies. Rather, Face à Face was a springboard for what has proven to be an enduring career and ever-improving musicianship. On this latest album without his brother, Gautier collaborates with pianist Gabriela Montero on the cello sonatas of Rachmaninov and Prokofiev. Fans of Capuçon's playing will recall that he had previously released a recording of the Rachmaninov sonata with pianist Lilya Zilberstein on the EMI label in 2003. While it may seem questionable to make duplicate recordings when he has recorded so little of the cello repertoire, it offers listeners an opportunity to see how his playing continues to mature even over a short span of five years. While some of the tempos are a little different than the 2003 recording, the most notable difference is that of sound, which has developed impressively with the help of his magnificent 1701 Gofriller cello. His command of sound is most obvious in the solo opening of the Prokofiev sonata.

George Duke - After Hours (1998)

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George Duke - After Hours (1998)

George Duke - After Hours (1998)
EAC | FLAC | Image (Cue&Log) ~ 334 Mb | Mp3 (CBR320) ~ 148 Mb | Scans included | 00:58:19
Crossover Jazz, Jazz-Pop, Smooth Jazz, Jazz-Funk | Label: Warner Bros. | # 9362-47073-2

After years of producing albums which were more pop/funk than jazz oriented, George Duke simmers down, leaves off the R&B vocals, and takes a little creative license on the self-proclaimed "mood record" After Hours. While his recent Muir Woods Suite showed off his affinity for classical music, here he's at his best on the meditative Vince Guaraldi-type trio ballads "Together as One" and "Sweet Dreams," which glide along on the improvisational and gently swinging graces of Christian McBride and Leon "Ndugu" Chancler. A whole project in this vein would have been welcome, but Duke charters other new territory, too; on the easy grooving "The Touch" and the almost new agey "From Dusk Till Dawn," he borrows the actual Rhodes from Joe Sample but winds up perfectly simulating Bob James' "Taxi" vibe, especially on the exploratory solo on the latter tune. The untrained ear might swear it's an actual James recording, but Duke's a clever enough producer to go beyond strict imitation. "The Touch" achieves an intriguing low-toned brew, as Sheridon Stokes' bass flute melody drifts gently over a hypnotic weave of Larry Kimpel's bass and Duke's Rhodes.

Junior Watson - If I Had A Genie (2002)

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Junior Watson - If I Had A Genie (2002)

Junior Watson - If I Had A Genie (2002)
EAC | FLAC | Tracks (Cue&Log) ~ 276 Mb | Mp3 (CBR320) ~ 128 Mb | Scans included
Modern Electric Blues, West Coast Blues | Label: Heart Soul | # 10799 | 00:50:21

With nearly 30 years of experience, Junior Watson has reached cult status. A founding member of The Mighty Flyers he stayed with the band for 10 years. He then left to join Canned Heat for 10 years. He then toured for a while with LA-based harmonica player/vocalist Lynwood Slim. All along the way this great guitarist has backed up and recorded with a who's-who of the blues including Big Mama Thorton, George Smith, Jimmy Rogers, Shakey Jake, Luther Tucker, Charlie Musselwhite, Kim Wilson, William Clark and many more. In the past Junior has always been the sideman or featured guest. Here, for the first time in his career, he has a band that is taking the back seat and having Junior do all the driving. For the first time you can hear this amazing, original artist at the forefront.

Battles - La Di Da Di (2015) [Japanese Edition]

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Battles - La Di Da Di (2015) [Japanese Edition]

Battles - La Di Da Di (2015) [Japanese Edition]
EAC | FLAC | Tracks (Cue&Log) ~ 375 Mb | Mp3 (CBR320) ~ 173 Mb | Scans included
Experimental Rock, Math Rock, Post-Rock | Label: Beat | # BRC-480 | 00:51:28

Battles' John Stanier, Ian Williams, and Dave Konopka always sound psyched to play together, but never more so than on their first entirely instrumental album, La Di Da Di. While vocals – first provided by Tyondai Braxton on their early work and by a host of collaborators on 2011's Gloss Drop – might have seemed necessary to humanize their experimentation, they're not missed on the band's third full-length. If anything, removing them gives the trio's ideas to generate sparks the way they did on Mirrored (particularly on "Tricentennial," which recalls the mischievous alien anthems of their debut) while keeping Gloss Drop's immediacy. Battles' mix of muscular drums and riffs and heady melodies and electronics has never sounded so liberated, whether on "The Yabba," a thrilling seven-minute excursion that sounds more like seven one-minute songs strung together, or on the relatively serene "Luu Le," which uses the same amount of time to close the album with a sun-dappled suite. Here and throughout La Di Da Di, the band sounds mercurial but not chaotic, with an interplay that ebbs and flows like creativity itself.

Tucky Buzzard - Allright On The Night (1973) + Buzzard (1973) [2LP in 1CD, 1996]

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Tucky Buzzard - Allright On The Night (1973) + Buzzard (1973) [2LP in 1CD, 1996]

Tucky Buzzard - Allright On The Night (1973) + Buzzard (1973) [2LP in 1CD, 1996]
EAC | FLAC | Image (Cue&Log) ~ 513 Mb | Mp3 (CBR320) ~ 206 Mb | Scans included
Classic Rock, Hard Rock | Label: Repertoire | # REP 4623-WP | Time: 01:14:25

British hard rockers Tucky Buzzard formed in 1969, and during their five-year career together as a band, featured members David Brown (bass), Paul Francis (drums), Nick Graham (keyboards), Jimmy Henderson (vocals), Chris Johnson (drums), Terry Taylor (guitar), and Paul Kendrick (guitar, vocals). The group is best remembered amongst hardcore Rolling Stones fans for the fact that former Stones bassist Bill Wyman served as producer (and played on) a few of their albums. Tucky Buzzard issued a total of four recordings – 1969's Warm Slash, 1971's Coming on Again, plus a pair of albums in 1973, Alright on the Night and Buzzard – before splitting up.

Ronnie Earl & The Broadcasters - Still River (1993) [Re-Up]

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Ronnie Earl & The Broadcasters - Still River (1993) [Re-Up]

Ronnie Earl & The Broadcasters - Still River (1993)
EAC | FLAC | Image (Cue&Log) ~ 322 Mb | Mp3 (CBR320) ~ 143 Mb | Scans ~ 62 Mb
Modern Electric Blues | Label: AudioQuest | # AQ-CD1018 | Time: 01:02:27

This particular version of the Broadcasters was unarguably magical, and this recording reveals why. Recorded four years after Earl dealt with his demons (alcohol, drugs, nervous collapse), it is the first of a string of all-instrumental albums by Earl, and it drips with class and soul. It's not just the exceptional skill of the players, however, that makes it so special; it was recorded on one of a handful of audiophile labels (AudioQuest), and therefore features state-of-the-art production. From the ringing opening chords of Magic Sam's "Blues for the West Side" to the beautiful acoustic guitar/piano duet of "Derek's Peace," Still River is thoroughly enjoyable. "Kansas City Monarch" is slow and sweet, featuring Bruce Katz tearing up the low notes, a nice sax solo by Anders Gaardmand, and some great double-string work by Earl. There is a moody version of John Coltrane's "Equinox" and a bog-dwelling rouser written by the entire band called "Chili Ba Hugh." You'll also like the greasy Hammond B3 organ on "Soul Serenade".

Daddy Mack Blues Band - A Bluesman Looks At Seventy (2015)

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Daddy Mack Blues Band - A Bluesman Looks At Seventy (2015)

Daddy Mack Blues Band - A Bluesman Looks At Seventy (2015)
EAC | FLAC | Image (Cue&Log) ~ 295 Mb | Mp3 (CBR320) ~ 122 Mb | Scans included
Memphis Blues, Electric Blues | Label: Inside Sounds | # ISC0544 | Time: 00:48:54

When people say, “Memphis blues ain’t what it used to be,” they haven’t heard the Daddy Mack Blues Band. All of its members at one time or another played in the Fieldstones, one of the most talked-about urban blues bands since the 1970s. Led by Mack Orr on lead guitar and vocals, this four-piece group is down-home and funky, and the best band around for cuttin’ loose on a Saturday night. Their raw approach to blues is something too often missing in contemporary blues. Since 1998, they have been the house band at the Center For Southern Folklore on Beale Street, where thousands of tourists from all corners of the world have experienced their natural and soulful musical blend. They have also toured across the country, from Huntsville to Las Vegas, and played in Europe.

Rosamunde Quartett - Joseph Haydn: The Seven Last Words of Jesus Christ (2001)

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Rosamunde Quartett - Joseph Haydn: The Seven Last Words of Jesus Christ (2001)

Rosamunde Quartett - Joseph Haydn: The Seven Words (2001)
EAC | FLAC | Image (Cue&Log) ~ 286 Mb | Mp3 (CBR320) ~ 171 Mb | Scans included
Classical, Chamber | Label: ECM | # ECM New Series 1756, 461 780-2 | 01:06:09

On this recording of The Seven Words, the Rosamunde String Quartet offers a compelling rendition of one of Haydn's most complex compositions. The Seven Words was originally composed for a full orchestra as a series of seven adagios, which were meant to be interludes during a congregation's meditations on the last seven words of Christ on the Cross. Haydn struggled with a way to compose seven connected pieces of music that were solemn and yet varied enough to keep the listener from getting bored. The members of the Rosamunde Quartet are technically brilliant as they demonstrate the composer's solutions to this musical puzzle. Even though the tempo is slow, they never let the music become ponderous or oppressive. But to Haydn, The Seven Words was more than just an aural conundrum. He felt the composition was perhaps his most sacred work, and the quartet plays this music with reverence for the composer's spiritual intentions. This is a profound piece of music, and the Rosamunde does it justice on each of its many levels.

Joni Mitchell - Court And Spark (1974) Remastered by Steve Hoffman, DCC 24 Karat Gold Disc, 1992 [Re-Up]

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Joni Mitchell - Court And Spark (1974) Remastered by Steve Hoffman, DCC 24 Karat Gold Disc, 1992 [Re-Up]

Joni Mitchell - Court And Spark (1974)
Remastered by Steve Hoffman, DCC 24 Karat Gold Disc, 1992
EAC | WV | Image (Cue&Log) ~ 216 Mb | Mp3 (CBR320) ~ 102 Mb | Scans included
Label: DCC Compact Classics/Asylum Records | # GZS 1025 | Time: 00:37:03
Singer/Songwriter, Folk-Rock, Folk-Jazz, Jazz-Rock

Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album – a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise – moves away from confessional songwriting into evocative character studies: the hit "Free Man in Paris," written about David Geffen, is a not-so-subtle dig at the machinations of the music industry, while "Raised on Robbery" offers an acutely funny look at the predatory environment of the singles bar scene. Much of Court and Spark is devoted to wary love songs: both the title cut and "Help Me," the record's most successful single, carefully measure the risks of romance, while "People's Parties" and "The Same Situation" are fraught with worry and self-doubt (standing in direct opposition to the music, which is smart, smooth, and assured from the first note to the last).