SACD-R – 24bit.me

Since it’s billed as “Directions in Music by Miles Davis,” it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it’s possible to hear the breaking point — though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it’s possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in “direction” was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles de Kilimanjaro bears him out. Though the album sports inexplicable, rather ridiculous French song titles, this is music that is unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band. Where Miles in the Sky meandered a bit, this is considerably more focused, even on the three songs that run over ten minutes, yet it still feels transitional. Not tentative (which In the Sky was), but certainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn’t fly and search the way that Nefertiti did. But that’s not a bad thing — this middle ground between the adventurous bop of the mid-’60s and the fusion of the late ’60s is rewarding in its own right, since it’s possible to hear great musicians find the foundation of a new form. For that alone, Filles de Kilimanjaro is necessary listening.

Tracklist:
01. Frelon Brun
02. Tout De Suite
03. Petits Machins
04. Filles De Kilimanjaro
05. Mademoiselle Mabry

Personnel
Miles Davis – trumpet
Wayne Shorter – tenor saxophone
Herbie Hancock – electric piano
Chick Corea – piano
Ron Carter – electric bass
Dave Holland – double bass

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzBOVEUF9/Mil3sDavis-Fill3sD3Kilimanjaro1969Japan3s3R3issu32007FLAC24-88.2.part1.rar
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or
http://rapidgator.net/file/389ebb8ab0471164a95919544409b9a9/Mil3sDavis-Fill3sD3Kilimanjaro1969Japan3s3R3issu32007FLAC24-88.2.part1.rar.html
http://rapidgator.net/file/38c0f181f87ca644b6fbbdb356cb6e71/Mil3sDavis-Fill3sD3Kilimanjaro1969Japan3s3R3issu32007FLAC24-88.2.part2.rar.html

The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly’s interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses. Davis himself has never played with more intensity and muscularity on record than he does here. He is absolutely fierce, both on the Friday night and Saturday night sets. Kelly plays more like a drummer than a pianist, using gorgeously percussive left-hand comps and fills to add bottom to the front line’s solos. Mobley displays his bebop rather than hard bop and groove sides here, and reveals his intricate knowledge of the bop phraseology; he sounds free of the baggage and responsibility that he replaced John Coltrane and Cannonball Adderley. His solos on “If I Were a Bell” and “No Blues” are simply revelatory. This is an underappreciated group because of its relatively short life, but as evidenced here, the bandmembers swung fast and hard and never looked back. Hearing a dropped bassline, an out-of-time cymbal flourish, and a shortened series of phrases by Miles because he miscounted — you guess the track — adds to the charm of this being recorded as it was, without any cleanup. It is difficult to recommend this set over Saturday Night or vice versa; Miles fans will need both to fully appreciate how special this engagement with this particular band was.

Tracklist:
01. Walkin’
02. Bye Bye Blackbird
03. All Of You
04. No Blues
05. Bye Bye (Theme)
06. Love, I’ve Found You

Personnel
Miles Davis – trumpet
Hank Mobley – tenor sax
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzBPVFEF9/Mil3sDavis-InP3rson.FridayNightAtTh3BlackhawkSanFranciscoVol.11961Japan2000FLAC24-88.2.part1.rar
http://www.datafile.com/d/TVRRd05UYzBPVE0F9/Mil3sDavis-InP3rson.FridayNightAtTh3BlackhawkSanFranciscoVol.11961Japan2000FLAC24-88.2.part2.rar
or
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The second volume in the (finally) complete recordings from Miles Davis’ legendary two-night stand at the Blackhawk in 1961 with his new quintet — which featured Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy Cobb — is as stunning as the first. While this set has been available in many different configurations in the U.S. and Japan over the years, it has never been complete until now. In Person: Saturday Night at the Blackhawk features no less than nine unreleased performances — including an unprecedented fourth set on two CDs. The groove is quite different on Saturday evening. Rather than the slashing bop of Sonny Rollins’ “Oleo” from Friday, a loping, bluesed-out version of “If I Were a Bell” opens the program. Kelly’s interplay with Davis here is enlightening and inspiring; his comps and fills dance around the trumpeter’s solo without ever punching through its center. His sense of timing is remarkable in how he anticipates the end of Miles’ lines. He shifts gears with Mobley, who is in a speedier Coleman Hawkins mood here and pushes the middle harder, more percussively, as Mobley then plays all around the changes. This gives way to an unbelievably speedy “So What,” clocking in at over 12 minutes and driven by Chambers’ pizzicato bass playing. Davis’ solo in the first few choruses is more reminiscent of his tenure with Charlie Parker than anything of his own, except for the warmer tone. The tune is an odyssey of harmonic invention with Kelly acting as a bridge between Davis and Mobley, offering wide-open sevenths and diminished fifths for each player to wander in and out of. Kelly’s solo comes right out of the blues, pure and angular; his touch is heavier — deep left-hand accents and trills decorate it.

Tracklist:
01. Well You Needn’t
02. Fran-Dance
03. So What
04. Oleo
05. If I Were A Bell
06. Neo

Personnel
Miles Davis – trumpet
Hank Mobley – tenor sax
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzFNVE0F9/Mil3sDavis-InP3rson.SaturdayNightAtTh3BlackhawkSanFranciscoVol.21961Japan2000FLAC24-88.2.part1.rar
http://www.datafile.com/d/TVRRd05UYzFNVEkF9/Mil3sDavis-InP3rson.SaturdayNightAtTh3BlackhawkSanFranciscoVol.21961Japan2000FLAC24-88.2.part2.rar
or
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Miles Ahead is an album by Miles Davis that was released in 1957 by Columbia Records. It was Davis’ first collaboration with arranger Gil Evans following the Birth of the Cool sessions. Along with their subsequent collaborations Porgy and Bess (1959) and Sketches of Spain (1960), Miles Ahead is one of the most famous recordings of Third Stream, a fusion of jazz, European classical, and world musics. Davis played flugelhorn throughout.

This album is perhaps most significant for the process it set in motion — the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two of Davis’ best albums. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn’t worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future (because of Davis’ contractual obligations with Prestige). Davis was also expected to carry the album as its only soloist, and manage not to get lost among a cast of supporting musicians that included a huge horn section. To a large extent, he succeeds. Evans’ arrangements in particular are well-suited to the format, and he and Davis formed a deep and close partnership where ideas were swapped back and forth, nurtured, and developed long before they were expressed in the studio. Davis gets off to a great start, with the hyper-kinetic “Springsville,” which seems to almost perfectly embody Evans’ and Davis’ partnership with its light, flexible exchanges between soloist and orchestra. He is strongest on the ballads, though, where his subdued and wistful tone rises high above the hushed accompaniment, especially on “Miles Ahead” and “Blues for Pablo” (which foreshadows the bluesy, Latin-tinged sound of Sketches of Spain). The upbeat “I Don’t Want to Be Kissed (By Anyone but You)” is another strong song, but shows the weakness of the format as Davis intersperses a charming, bright, technically challenging solo with a blasting horn section that occasionally buries him. It is a fine end, however, to an album that gave a hint of the greatness that would come as Evans and Davis fine-tuned their partnership over the course of the next several years.

Tracklist:
01. Springsville
02. The Maids of Cadiz
03. The Duke
04. My Ship
05. Miles Ahead
06. Blues for Pablo
07. New Rhumba
08. The Meaning of the Blues
09. Lament
10. I Don’t Wanna Be Kissed (by Anyone but You)

SACD-R

http://www.datafile.com/d/TVRRd05UYzFOREEF9/Mil3sDavis-Mil3sAh3ad1957Japan2000SACD-ISO.part1.rar
http://www.datafile.com/d/TVRRd05UYzFOVE0F9/Mil3sDavis-Mil3sAh3ad1957Japan2000SACD-ISO.part2.rar
http://www.datafile.com/d/TVRRd05UYzFORFEF9/Mil3sDavis-Mil3sAh3ad1957Japan2000SACD-ISO.part3.rar
or
http://rapidgator.net/file/faab5c1ecba52ea3d581d1683ce93a98/Mil3sDavis-Mil3sAh3ad1957Japan2000SACD-ISO.part1.rar.html
http://rapidgator.net/file/dc9daa818fe865c6cb7a683951e51ea0/Mil3sDavis-Mil3sAh3ad1957Japan2000SACD-ISO.part2.rar.html
http://rapidgator.net/file/127c55c229f765a345c3b0a14d648930/Mil3sDavis-Mil3sAh3ad1957Japan2000SACD-ISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzFNekkF9/Mil3sDavis-Mil3sAh3ad1957Japan2000FLAC24-88.2.part1.rar
http://www.datafile.com/d/TVRRd05UYzFNalUF9/Mil3sDavis-Mil3sAh3ad1957Japan2000FLAC24-88.2.part2.rar
or
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http://rapidgator.net/file/2283d20fdac7461a54320dc620bf4736/Mil3sDavis-Mil3sAh3ad1957Japan2000FLAC24-88.2.part2.rar.html

Nefertiti, the fourth album by Miles Davis’ second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes — but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on “Hand Jive.” Yet even when the instrumentalists and soloists are placed in the foreground — such as Miles’ extended opening solo on “Madness” or Hancock’s long solo toward the end of the piece — this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What’s impressive, like on all of this quintet’s sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti’s charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.

Tracklist:
01. Nefertiti
02. Fall
03. Hand Jive
04. Madness
05. Riot
06. Pinocchio

Personnel
Miles Davis – trumpet
Wayne Shorter – tenor saxophone
Herbie Hancock – piano
Ron Carter – double bass
Tony Williams – drums

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

SACD-R

http://www.datafile.com/d/TVRRd05UYzFOek0F9/Mil3sDavis-N3f3rtiti1968MFSL2015SACD-ISO.part1.rar
http://www.datafile.com/d/TVRRd05UYzFPRFUF9/Mil3sDavis-N3f3rtiti1968MFSL2015SACD-ISO.part2.rar
http://www.datafile.com/d/TVRRd05UYzFOemsF9/Mil3sDavis-N3f3rtiti1968MFSL2015SACD-ISO.part3.rar
or
http://rapidgator.net/file/7487603b77135916cf74a4ae13f48c8f/Mil3sDavis-N3f3rtiti1968MFSL2015SACD-ISO.part1.rar.html
http://rapidgator.net/file/f3ee7b2b352d862bdfeb7900ed7ec03f/Mil3sDavis-N3f3rtiti1968MFSL2015SACD-ISO.part2.rar.html
http://rapidgator.net/file/44a86d18c92411167e2e064e01110be1/Mil3sDavis-N3f3rtiti1968MFSL2015SACD-ISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzFOamsF9/Mil3sDavis-N3f3rtiti1968MFSL2015FLAC24-88.2.part1.rar
http://www.datafile.com/d/TVRRd05UYzFOVFUF9/Mil3sDavis-N3f3rtiti1968MFSL2015FLAC24-88.2.part2.rar
or
http://rapidgator.net/file/848c6419d1a9ac57b44489b66da0ccd3/Mil3sDavis-N3f3rtiti1968MFSL2015FLAC24-88.2.part1.rar.html
http://rapidgator.net/file/cd62dc0d3241b6eadccf86a74b1f0854/Mil3sDavis-N3f3rtiti1968MFSL2015FLAC24-88.2.part2.rar.html

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there’s little of the dense, manic energy on Miles Smiles — this is about subtle shadings, even when the compositions are as memorable as Tony Williams’ “Pee Wee” or Herbie Hancock’s “Sorcerer.” As such, it’s a little elusive, since it represents the deepening of the band’s music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren’t placed at the forefront the way they were on the two predecessors — it all merges together, pointing toward the dense soundscapes of Miles’ later ’60s work. It’s such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it’s intended as a tribute to Miles’ then-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).

Tracklist:
01. Prince Of Darkness
02. Pee Wee
03. Masqualero
04. The Sorcerer
05. Limbo
06. Vonetta
07. Nothing Like You

Personnel
Miles Davis – trumpet
Wayne Shorter – tenor saxophone
Herbie Hancock – piano
Ron Carter – bass
Tony Williams – drums

SACD-R

http://www.datafile.com/d/TVRRd05UYzJNREEF9/Mil3sDavis-Sorc3r3r1967Japan2007SACD-ISO.part1.rar
http://www.datafile.com/d/TVRRd05UYzJNRGMF9/Mil3sDavis-Sorc3r3r1967Japan2007SACD-ISO.part2.rar
http://www.datafile.com/d/TVRRd05UYzJNRFUF9/Mil3sDavis-Sorc3r3r1967Japan2007SACD-ISO.part3.rar
or
http://rapidgator.net/file/6fea927ef3d183ab197b1c735cb64005/Mil3sDavis-Sorc3r3r1967Japan2007SACD-ISO.part1.rar.html
http://rapidgator.net/file/9caf712b258716b340c70c13c9c7ac6a/Mil3sDavis-Sorc3r3r1967Japan2007SACD-ISO.part2.rar.html
http://rapidgator.net/file/2285307cde2b420a59e7092562d01ae2/Mil3sDavis-Sorc3r3r1967Japan2007SACD-ISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzFPVFEF9/Mil3sDavis-Sorc3r3r1967Japan2007FLAC24-88.2.part1.rar
http://www.datafile.com/d/TVRRd05UYzFPRGsF9/Mil3sDavis-Sorc3r3r1967Japan2007FLAC24-88.2.part2.rar
or
http://rapidgator.net/file/cfc809305a033b48b89e7bc4a3a8a689/Mil3sDavis-Sorc3r3r1967Japan2007FLAC24-88.2.part1.rar.html
http://rapidgator.net/file/551a91d5653812129fa72b793df45790/Mil3sDavis-Sorc3r3r1967Japan2007FLAC24-88.2.part2.rar.html

Tracklist:
01. Prince Of Darkness
02. Pee Wee
03. Masqualero
04. The Sorcerer
05. Limbo
06. Vonetta
07. Nothing Like You

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

SACD-R

http://www.datafile.com/d/TVRRd05UYzJNakkF9/Mil3sDavis-Sorc3r3r1967MFSL2015SACD-ISO.part1.rar
http://www.datafile.com/d/TVRRd05UYzJORFUF9/Mil3sDavis-Sorc3r3r1967MFSL2015SACD-ISO.part2.rar
http://www.datafile.com/d/TVRRd05UYzJNalkF9/Mil3sDavis-Sorc3r3r1967MFSL2015SACD-ISO.part3.rar
or
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http://rapidgator.net/file/3108e5188bbf648916951272ecbddded/Mil3sDavis-Sorc3r3r1967MFSL2015SACD-ISO.part2.rar.html
http://rapidgator.net/file/2547fe883b2213558d2e2c2a9d6e7bd1/Mil3sDavis-Sorc3r3r1967MFSL2015SACD-ISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzJNVFkF9/Mil3sDavis-Sorc3r3r1967MFSL2015FLAC24-88.2.part1.rar
http://www.datafile.com/d/TVRRd05UYzJNRFkF9/Mil3sDavis-Sorc3r3r1967MFSL2015FLAC24-88.2.part2.rar
or
http://rapidgator.net/file/39febb73395a1d65824e5588918e0282/Mil3sDavis-Sorc3r3r1967MFSL2015FLAC24-88.2.part1.rar.html
http://rapidgator.net/file/7516a4f38d3733772b79ed818704cc8f/Mil3sDavis-Sorc3r3r1967MFSL2015FLAC24-88.2.part2.rar.html

Miles Davis’ final Columbia recording (other than Aura which was released several years later) includes his straightforward ballad interpretations of Cyndy Lauper’s “Time After Time” & the Michael Jackson-associated “Human Nature,” 2 songs he would play in most of his concerts for the remainder of his life. Other tunes (including “You’re Under Arrest,” “One Phone Call” & “Ms. Morrisine”) were quickly discarded. In addition to Davis (who had regained his earlier chops) tenor-saxophonist Bob Berg, guitarist John Scofield & guest John McLaughlin get in a few decent solos on this competent, but not overly memorable effort.

Tracklist:
01. One Phone Call / Street Scenes
02. Human Nature
03. Intro: MD 1 / Somethings On Your Mind / MD 2
04. Ms. Morrisine
05. Katia Prelude
06. Katia
07. Time After Time
08. You’re Under Arrest
09. Medley: Jean Pierre / You’re Under Arrest / Then There We None

Recorded in January 1984/85. DSD mastering from original Analogue Master.

SACD-R

http://www.datafile.com/d/TVRRd05UYzJOekkF9/Mil3sDavis-Your3Und3rArr3st1985Japan2000SACD-ISO.part1.rar
http://www.datafile.com/d/TVRRd05UYzJOemsF9/Mil3sDavis-Your3Und3rArr3st1985Japan2000SACD-ISO.part2.rar
http://www.datafile.com/d/TVRRd05UYzJPRFUF9/Mil3sDavis-Your3Und3rArr3st1985Japan2000SACD-ISO.part3.rar
or
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http://rapidgator.net/file/2f890e352fc5a344e9e0e948f243d691/Mil3sDavis-Your3Und3rArr3st1985Japan2000SACD-ISO.part2.rar.html
http://rapidgator.net/file/b47b834cc58d0490f98b437ea1235635/Mil3sDavis-Your3Und3rArr3st1985Japan2000SACD-ISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRRd05UYzJOVFEF9/Mil3sDavis-Your3Und3rArr3st1985Japan2000FLAC24-88.2.part1.rar
http://www.datafile.com/d/TVRRd05UYzJORGcF9/Mil3sDavis-Your3Und3rArr3st1985Japan2000FLAC24-88.2.part2.rar
or
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http://rapidgator.net/file/d06138d38e57981c0ddc7c50fab6d9fc/Mil3sDavis-Your3Und3rArr3st1985Japan2000FLAC24-88.2.part2.rar.html

While still a member of the Charles Lloyd Quartet, Keith Jarrett did some occasional moonlighting with a trio, anchored by two future members of Jarrett’s classic quartet, Charlie Haden (bass) and Paul Motian (drums). On this release, Jarrett turns in a very eclectic set at Shelly’s Manne-Hole in Hollywood, careening through a variety of idioms where his emerging individuality comes through in flashes. He covers Bob Dylan’s “My Back Pages” — which actually came out as a single on the Vortex label — in an attractive, semi-funky style reminiscent of Vince Guaraldi. “Pretty Ballad” delivers a strong reflective dose of Bill Evans, while “Moving Soon” is chaotic free jazz. By the time we reach “New Rag,” we begin to hear the distinctive Jarrett idiom of the later trios, but then, “Old Rag” is knockabout stride without the stride. As an example of early, unfocused Jarrett, this is fascinating material.

Tracklist:
01. My Back Pages
02. Pretty Ballad
03. Moving Soon
04. Somewhere Before
05. New Rag
06. A Moment For Tears
07. Pouts’ Over (And The Day’s Not Through)
08. Dedicated To You
09. Old Rag

Personnel
Keith Jarrett – Piano
Charlie Haden – Bass
Paul Motion – Drums

SACD-R

http://www.datafile.com/d/TVRReE56azNPVEEF9/K3ithJarr3ttTrioSom3wh3r3B3for31968Japan2011SHMSACDISO.part1.rar
http://www.datafile.com/d/TVRReE56azRNRFUF9/K3ithJarr3ttTrioSom3wh3r3B3for31968Japan2011SHMSACDISO.part2.rar
http://www.datafile.com/d/TVRReE56azRNREUF9/K3ithJarr3ttTrioSom3wh3r3B3for31968Japan2011SHMSACDISO.part3.rar
or
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FLAC 24-88.2

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http://www.datafile.com/d/TVRReE56azNOekUF9/K3ithJarr3ttTrioSom3wh3r3B3for31968Japan2011FLAC2488.2.part2.rar
or
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KUNIKO’s much-anticipated third studio recording features the works of Iannis Xenakis, whose work has had a huge impact within the world of music, and in particular on percussion repertoire. Full of challenges, from the pioneering mathematical influences, to unusual notation and virtuosic performance requirements, many classify Xenakis’ compositions as unplayable, but KUNIKO’s unrivalled prowess sees her perfectly realise the composer’s vision. KUNIKO gave the world premiere of Project IX at the Japan Society in New York in 2014. Pléiades explores a rich variety of percussive sounds and textures; marimba, vibraphone, xylophone, xylo-marimba and drums create a sound world of rhythmic complexity and vibrant colours. Uniquely, Pléiades also requires a SIXXEN, an instrument designed by Xenakis and customised by KUNIKO, who hand-selected 120 metal bars to craft the perfect sound.

Among Iannis Xenakis’ most frequently performed and recorded works are his solo percussion pieces, Pléïades and Rebonds, which stretch the limits of a performer’s dexterity, speed, and stamina. As part of her touring Project IX, Kuniko Kato has performed Pléïades in a multimedia presentation with dancer Megumi Nakamura, and Rebonds has been a part of her repertoire ever since she became a professional percussionist, so she has a thorough knowledge of Xenakis’ system of notation and methods. This hybrid SACD from Linn provides the best format for capturing the subtle nuances and timbres of the instruments, which include pitched and unpitched percussion, and the multichannel recording reproduces the wide dynamic range and spatial dimensions of Kato’s performances. Listeners who are coming to Xenakis for the first time may find the percussion works quite accessible, and they will appreciate the precision and power of Kato’s virtuosic playing. Highly recommended.

Tracklist:
01. Pleiades – I. Melanges
02. Pleiades – II. Metaux
03. Pleiades – III. Claviers
04. Pleiades – IV. Peaux
05. Rebonds – I. A
06. Rebonds – II. B

SACD-R

FLAC 24-88.2

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The finest of Labelle’s original albums, Nightbirds was recorded in New Orleans with funkmeister Allen Toussaint handling the production chores and, one assumes, members of the Meters taking care of the session work. Worth the price of admission for the Bob Crewe-written “Lady Marmalade” alone, the album veers between the strutting New Orleans, horn-laden singles and more mainstream pop material.

Tracklist:
01. Lady Marmalade
02. Somebody Somewhere
03. Are You Lonely?
04. It Took A Long Time
05. Don’t Bring Me Down
06. What Can I Do For You?
07. Nightbird
08. Space Children
09. All Girl Band
10. You Turn Me On

4.0 Analog to High Definition DSD Digital Transfer by Gus Skinas.
Mastered by Kevin Gray.

SACD-R

FLAC 24-88.2

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This date was one of trumpeter Lee Morgan’s more obscure Blue Note sessions, but fortunately, it has been reissued on SACD. Matched with altoist Jackie McLean, pianist Bobby Timmons, bassist Paul Chambers, and drummer Art Blakey, Morgan interprets two of Cal Massey’s compositions, McLean’s “Midtown Blues” and his own blues “The Lion and the Wolf.” The music is essentially hard bop with a strong dose of soul; the very distinctive styles of the principals are the main reasons to acquire this enjoyable music.

Tracklist:
01. These Are Soulful Days
02. The Lion and the Wolf
03. Midtown Blues
04. Nakatini Suite

Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering.

Personnel
Lee Morgan – trumpet
Jackie McLean – alto sax
Bobby Timmons – piano
Paul Chambers – bass
Art Blakey – drums

SACD-R

http://www.datafile.com/d/TVRReE56azROVGcF9/L33MorganL33Way1960APOR3mast3r2008SACDISO.part1.rar
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FLAC 24-88.2

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Ludwig van Beethoven – Symphony No. 7 in A major, op. 92 & No. 8 in F major, op. 93
Berliner Philharmoniker / Herbert von Karajan
SACD ISO (Stereo): 2,43 GB | 24B/88,2kHz Stereo FLAC: 1,08 GB | Full Artwork | 3% Recovery Info
Label/Cat#: Deutsche Grammophon # 474 604-2 G SA6 | Country/Year: Germany 2003, 1963
Genre: Classical | Style: Viennese School, Orchestral

[review on the complete reissue series] I acquired this set, originally recorded in sessions in 1961 and 1962, as part of the process of comparing performances of Beethoven’s 5th on SACD and have since been listening to the other symphonies. Except for the 8th and 9th symphonies, this was my first exposure to this Karajan cycle. I acquired those LP’s of the 8th and 9th in the early 70’s, and then acquired the entire mid-seventies set, again on LP. Critical consensus at the time was that the newer set superseded the earlier one, so I saw no need to acquaint myself with it until now. I haven’t heard the later set for many years now, so I’m not in a position to do a detailed comparison.

In general, I like this cycle very much, although it has its flaws. If Sony were to release the slightly earlier Szell/Cleveland complete on SACD I could easily imagine preferring that one virtually across the board, and as I noted, I also think Vanska’s new 5th symphony is superior to Karajan’s. However, there is a lot of spirit and joy in this cycle, something Karajan wasn’t always accused of. It proves that it always pays to listen with open ears before passing judgment.

Generalizing, I find the textures to be string dominated, with brass and wind relatively recessed. Masur, for example, in his set (I bought that one, too, review to come) does a better job than Karajan in bringing out wind detail. Percussion is quite emphatic, however, and it sounds like the timpanist is using hard sticks. A combination of the reverberant acoustic in the Jesus Christus Kirche, free bowing (more below) and a tendency for under articulation leads to a sweet, even gooey (don’t know how else to describe it) string sound. The composer/conductor Bruno Maderna once referred to Karajan’s “chocolate” Beethoven, and I now understand what he meant.

Richard Osborne’s excellent biography of Karajan (Herbert von Karajan, a Life in Music) relates that Karajan allowed his string players to bow freely. Given HvK’s reputation, I found this hard to believe when I read it, even from as authoritative source as Osborne, but hearing these recordings I can well believe it. Most conductors require their string players to bow in unison, and typically mark the parts to show the bowings they want. With free bowing, you get a lusher but also less precise string sound, which is evident in many of these recordings. There are even a few instances (such as the first movement of the 4th) where the ensemble lapses are noticeable, possibly due to the use of free bowing. Leopold Stokowski was another famous advocate of free bowing, by the way.

With a few exceptions, tempos are relatively swift, and Karajan has a tendency to insert retards before codas and at the end of movements. Repeats are not taken in the first movements of the Eroica, Pastoral and 7th.

The most successful performances are the Eroica, the 4th, (despite a few retards announcing the trio sections in the scherzo), the 5th, and the 9th. These will sweep you along, but without slighting the music. I’m not crazy about Kmentt (the tenor) in the 9th, but the rest of the vocalists are superb, as are the Wiener Singverein. Karajan sets tempos that make utter sense in the context of the music, and pays close attention to tempo relationships as well. I am convinced by Karajan’s way with the 7th for the first and second movements, but he loses me in the scherzo where he follows the tradition of converting the trio into a virtual dirge. While the score indicates a much slower tempo than the presto, listen to Toscanini (the incandescent 1936 NYPO recording) for an object lesson in the tempo relationships in this movement. To be fair, most conductors follow the tradition here for a very slow trio, but it is way more effective played up to the tempo indicated in the score. In the last movement, I feel that Karajan overplays the countermelody at the expense of the main line.

Karajan’s Pastoral is controversial, with a very fast tempo in the first movement. I’m in a minority to think it works, mostly due to the beautiful string playing from the Berliners, but I too prefer a slightly slower pace, and a repeat if I can get one. Great storm. I have found that my own first choice for the Pastoral is idiosyncratic, since no one else seems to share this – Reiner and the CSO-just an absolutely beautiful performance, relaxed, limpid, stunning. Hope it comes out on SACD.

The first two symphonies feel overblown to me-large orchestra, emphatic rhythms, relatively moderate pacing of the scherzos-not bad, but not as good as these can be played. The 4th symphony, as noted, is very good. The 8th is quite good for 3 of the 4 movements, but I’ve always felt that Karajan’s tempo for the 3rd movement is just too slow. Osborne, in his notes to the set, calls Karajan’s tempo “ponderous” – I totally agree.

I cannot comment on the sound of this release vs. earlier incarnations – my LP’s of the 8th and 9th are long gone. In general, the sound is good, but over reverberant for my taste, which leads to a certain opaqueness-at times I feel like I have to peer through a slightly fogged over window to see the performance, if I can use an analogy.

The packaging of this is first class. I really appreciate the layout – symphonies are coupled consecutively, which I much prefer. There is the bonus rehearsal disc (haven’t heard it yet), and some excellent notes from Osborne. As individual recordings, the discs of the Eroica and 4th symphonies, and the 9th are highly recommended; however, I believe there is a lot of merit in listening to an entire cycle, and certainly this one afforded hours of unexpected pleasure; even with the flaws I’ve mentioned. ~sa-cd.net

SACD Info:

Ludwig van Beethoven – Symphony No. 7 in A major, op. 92 & No. 8 in F major, op. 93

Berliner Philharmoniker / Herbert von Karajan

Label: Deutsche Grammophon
Catalog#: 474 604-2 G SA6
Format: Hybrid-SACD, Album, Reissue, Stereo only!
Country: Germany
Released: 2003, 1963
Genre: Classical
Style: Viennese School, Orchestral

Tracklist:

1 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-01 Vivace 11:27
2 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-02 Allegretto 8:02
3 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-03 Presto 7:48
4 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-04 Allegro con brio 6:46
5 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-01 Allegro vivace e con brio 9:22
6 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-02 Allegretto scherzando 3:58
7 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-03 Tempo di Menuetto 5:59
8 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-04 Allegro vivace 7:18

SACD-R

FLAC 24-88.2

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Info+Art

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Nicki Parrott is a premier jazz vocalist and string bass player. Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15. “Moon River” is Nicki Parrott’s debut as a leader. The album received Swing Journal’s “Best Jazz Vocal Album” award.

Since leaving her native Australia to settle in the U.S., bassist/singer Nicki Parrott has settled into the New York City jazz scene and the jazz party circuit, with occasional recording opportunities coming her way as a leader. These 2007 sessions recorded for the Japanese Venus label showcase her engaging vocals and bass chops, backed by pianist John Di Martino, guitarist Paul Meyers, drummer Billy Drummond, and on some tracks, tenor saxophonist Harry Allen. She doesn’t showboat as a singer, opting to glide gently around the core of each melody, with a light, swinging style that proves highly effective. Especially fun are her renditions of “You’d Be So Nice to Come Home To” (which is seductive) and a hip, bluesy “Makin’ Whoopee.” Warmly recommended.

Tracklist:
01. Moon River
02. Is You Is Or Is You Ain’t My Baby?
03. Say It Isn’t So
04. You’d Be So Nice To Come Home To
05. Takin’ A Chance On Love
06. I Don’t Know Enough About You
07. Makin’ Whoopee
08. Cry Me A River
09. What A Difference A Day Made
10. Besame Mucho
11. I Can’t Give You Anything But Love
12. Nicki’s Blues
13. The More I See You

Produced by Tetsuo Hara. Engineered by Katherine Miller.
Recorded at The Studio in New York on June 7-8, 2007.
Mixed and Mastered by Tetsuo Hara.

Personnel
Nicki Parrott – vocal & bass
Harry Allen – tenor sax
John Di Martino – piano
Paul Myers – guitar
Billy Drummond – drums

SACD-R

FLAC 24-88.2

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Sandy Lam, also known as Lam Yik Lin (林憶蓮), is a Chinese singer who sings in Cantonese, Mandarin, English, and Japanese.

Sandy Lam, whose parents are migrants from Shanghai, was born in Hong Kong and began her career at the age of sixteen, getting a job as a D.J. for Commercial Radio Hong Kong. She began her singing career in 1984 when she was signed to CBS Sony. Her first single was I Don’t Know About Love. Sandy Lam has recorded not only with CBS Sony in the 1980s, but also with Warner Music, Rock Records (Taiwan’s largest independent label), Virgin Records, and now Capitol Music.
Sandy Lam started her singing career in Hong Kong in the mid-80s with a string of up-tempo Japanese style songs. She then issued some “City-Rhythm” R&B tracks. In 1991 she released the ground breaking coming-of-age “Wildflower” album to rave reviews, part of the “unplugged” craze in the Cantopop scene.
Lam gained popularity in Taiwan with her debut Mandarin release “愛上一個不回家的人” (Home Again Without You) in 1991. In 1995 she teamed up with Jonathan Lee, Taiwanese music producer, and released her 4th Mandarin album Love, Sandy featuring a hit single “傷痕” (Scars), which became one of the all time best selling Chinese language albums. Since then Sandy has moved beyond the Hong Kong music scene and spent most of her time in Taiwan, China, and Japan. Her 2006 Mandarin language album “Breathe Me” was recorded in Korea, Taiwan, mainland China and Hong Kong.
Lam returned to the music scene with a hit single “至少還有你” (At Least I Still Have You) from her first album with Virgin in 2000. A Korean remake of the song, sung by Super Junior-M, a sub-group of the K-Pop band Super Junior, was released in their Me album titled 당신이기에 (Tangshiniki-e) in 2008. In December 2001 she released a Mandarin-language album entitled “Truly Sandy”, on which she co-wrote four songs. In the same year, Lam appeared as cast member of an Andrew Lloyd Webber concert Masterpiece, which also featured West End and Broadway star Elaine Paige and China’s all-time best-selling recording artist, American-Chinese Kris Phillips. This concert was sold out with an audience of over 17,700 people.
Lam has won many awards in the course of her career, including Best Regional Performing Female Artist, Best Album, Best Female Vocalist, the Asia Pacific Most Outstanding Female Artist, and an honorary Music Award for her contributions to the music industry.
Lam won a total of four awards at the 24th Golden Melody Awards in 2013. These include “Best Female Singer” as well as “Best Mandarin Album”, “Best Album Producer” & “Best Musical Arranger” for her album “Gaia”.

Tracklist:
01. You’re Unforgetable
02. In The Middle Of The Night
03. It’s So Late… There Is No Excuse
04. And… On
05. You Are My Man
06. Talk Too Much
07. Still
08. Escape From The City
09. Burning
10. No No No
11. Sliding
12. You Make My Sexy
13. Last Life
14. Rush Rush
15. In Love With The Wrong Man
16. Tears From The Lover Eyes

SACD-R

FLAC 24-88.2

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Texas-born singer songwriter Sara K. is well known to audiophiles for her superb albums released by Chesky Records. Her latest, Made In The Shade comes from a German audiophile label Stockfisch Records. Like good wine, this one has it all–that inner glow, that shining light that is the true sign of real art. Guitars, fretless bass and exotic instruments including the concert harp and various percussions form an ideal backdrop for the singer, with Sara K. sounding articulate to the highest degree.

Sara K’s songs reflect folk-blues, rock and jazz sensibilities, and together with her intelligent lyrics they are in a class by themselves. As is the case with her prior recordings, Made In The Shade is beautifully recorded with stunning, vivid details that move the listener. If you care about good sound and have a good stereo system, you will be able to savor all the details, textures and nuances of the wonderful performance.

Tracklist:
01. Whatґs A Little More Rain
02. After Thereґs A Blizzard
03. Aura Of The Blade
04. Gypsy Eyes
05. Your Name
06. Watching You Fall Into Sleep
07. Manchild
08. Made In The Shade
09. Sizzlin’
10. Don’t I Know You From Somewhere?
11. When I Didnґt Care
12. There It Is

Produced and Recorded by Gunter Pauler

SACD-R

FLAC 24-88.2

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VA – Sennheiser HD 800: Klang Von Meisterhand
SACD ISO (Stereo): 932 MB | 24B/88,2kHz Stereo FLAC: 409 MB | Full Artwork | 3% Recovery Info
Label/Cat#: Stockfisch Records # SFR 457.9801.2 | Country/Year: Germany 2009
Genre: Folk, Acoustic | Style: Singer/Songwriter

SACD Info:

Various – Sennheiser HD 800 – Klang Von Meisterhand

Label: Stockfisch Records
Catalog#: SFR 457.9801.2
Format: CD, SACD, Compilation
Country: Germany
Released: 2009
Genre: Blues, Folk, World, & Country

Tracklist:

1 Beo Brockhausen – Wolkenmeer 5:16
2 Chris Jones – No Sanctuary Here 3:44
3 Sara K. – When I Didn’t Care 4:15
4 Steve Strauss – Closer 4:15
5 Bassface Swing Trio, The – I Love Paris 4:41

Barcode and Other Identifiers:

Barcode: 4 013357 980129
Matrix Number: A0101562482-A911 16
Other (SID Master): IFPI L556
Other (SID Mould): IFPI 94A8

Discogs Url: http://www.discogs.com/release/2489484

SACD-R

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FLAC 24-88.2

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This recording of Brahms’ four symphonies suggests that Simon Rattle has given little thought to the works. Rattle leads the Berliner Philharmoniker in respectable performances, with the details all in place, the tempos all moving forward, the harmonies all connected, and the themes and their developments all coherent. The Berlin musicians play with unsurpassable virtuosity. From the brilliant brass in the First’s finale’s coda to the characterful woodwinds in the Second and Third’s central movements to the sumptuous strings of the Fourth’s second movement, the orchestra demonstrates that it is manifestly one of the world’s very best. There is nothing here, though, to indicate that Rattle is truly involved in the performances. One listens in vain for a conductor’s trademark interpretive touches: faster or slower tempos, bigger or smaller accelerandos and ritardandos, unusual and unlikely inner voices. But nothing disturbs the surface of the music as it rolls onward without any untoward — or even interesting — incidents to impede its stately progress. A comparison of Rattle’s cool interpretations with any of the orchestra’s great performances of Brahms’ symphonies (notably the robust heroics of Abbado, the lush lyricism of Karajan, or the monumentality of Furtwängler) shows how much the English conductor is missing in these scores. Abbado, Karajan, Furtwängler, and many others reveal Brahms’ symphonies as the finest works in the form since Beethoven’s. Rattle makes them sound like just four more Austro-Germanic symphonies between Beethoven’s and Mahler’s, more interesting than Bruch’s, perhaps, but nothing special. EMI’s live digital recording is thick and heavy, with too little light and color.

Tracklist:
SACD ONE
01. Brahms Symphony No. 1 in C Minor, Op. 68: Un poco sostenuto – Allegro – Meno Allegro
02. Brahms Symphony No. 1 in C Minor, Op. 68: Andante sostenuto
03. Brahms Symphony No. 1 in C Minor, Op. 68: Un poco Allegretto e grazioso
04. Brahms Symphony No. 1 in C Minor, Op. 68: Adagio – Piu Andante – Allegro non troppo, ma con brio – Piu Allegro

DISC TWO
01. Brahms Symphony No. 2 in D Major Op. 73: Allegro non troppo
02. Brahms Symphony No. 2 in D Major Op. 73: Adagio non troppo
03. Brahms Symphony No. 2 in D Major Op. 73: Allegretto Grazioso (Quasi Andantino)
04. Brahms Symphony No. 2 in D Major Op. 73: Allegro con spirito
05. Brahms Symphony No. 3 in F Major Op. 90: Allegro con brio
06. Brahms Symphony No. 3 in F Major Op. 90: Andante
07. Brahms Symphony No. 3 in F Major Op. 90: Poco Allegretto
08. Brahms Symphony No. 3 in F Major Op. 90: Allegro

DISC THREE
01. Brahms Symphony No. 4 in E Minor Op. 98: Allegro non troppo
02. Brahms Symphony No. 4 in E Minor Op. 98: Andante moderato
03. Brahms Symphony No. 4 in E Minor Op. 98: Allegro giocoso
04. Brahms Symphony No. 4 in E Minor Op. 98: Allegro energico e passionate

SACD-R

FLAC 24-88.2

It’s not clear exactly what the “live” component is in this disc from the London Symphony Orchestra’s LSO Live series. The Beethoven Mass in C major, Op. 86, & the “Prisoners’ Chorus” from Fidelio are specified as having been recorded live on 2 different occasions at London’s Barbican concert hall, but if there was an audience any traces of its existence have been very carefully edited out. The performance, however, has the positive tension associated with a successful live performance, as well as the occasional flaws. Colin Davis, nearly 80 when the recording was made, turns in a fine interpretation of the work that was called “unbearably ridiculous & detestable” by Prince Nikolaus Esterhбzy II, patron of the aged Haydn & the commissioner, as well as of his 6 late masses. A good performance of the mass will get at why the prince didn’t like it: it fits the model of the late Haydn masses, but, at every point where Haydn went for confident, crowd-pleasing moves, it takes on an interior quality. The music has to have both a festive tone & the personal feel that distinguishes almost all of Beethoven’s music. Davis delivers the right kind of contrast, a bit splashy, yet with conviction in the big fugues & the rather unorthodox layout of the Credo. He is helped by a stellar quartet of soloists, most notably the fabulous Italian alto Sara Mingardo. The pairing with the “Prisoners’ Chorus,” although it wasn’t part of the original concert, is an intelligent stroke: Davis shows the connections between the Mass in C major & Fidelio, both of which kept Beethoven away from his customary sonata forms but which contained deep personal statements nevertheless. A very strong candidate for any buyer wanting a 1st copy of Beethoven’s 1st mass setting.

Tracklist:
01. Mass in C: Kyrie
02. Mass in C: Gloria
03. Mass in C: Credo
04. Mass in C: Sanctus
05. Mass in C: Benedictus
06. Mass in C: Agnus Dei
07. Fidelio: O welche Lust!

Recorded February 2006 at the Barbican, London.
Track 7 recorded May 2006 at the Barbican, London.

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE9EQXlOakEF9/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part1.rar
http://www.datafile.com/d/TVRReE9EQXlOVFUF9/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part2.rar
or
http://rapidgator.net/file/b71288a80c02c8eceff5c8e91a76f99f/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part1.rar.html
http://rapidgator.net/file/9dd94dfa18b0082176f5458c935aa90f/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part2.rar.html

James MacMillan’s St. John Passion, completed and premiered in 2008, was commissioned by a consortium that included the London Symphony Orchestra, the Royal Concertgebouw Orchestra, the Boston Symphony Orchestra, and the Berlin Radio Choir. Scored for large orchestra, chorus, chamber choir, and baritone, it’s one of MacMillan’s biggest works and the weight of its significance must have felt like a burden on the composer, a devout Roman Catholic, a constraint on the characteristic freedom of his imagination in the expectation of creating an appropriately magisterial work. The melodic contour of much of the choral writing, particularly for the small Narrator Chorus, is derived from plainchant and has the character of a meandering choral recitative. Jesus’ vocal lines are so floridly melismatic that they come across as precious and mannered rather than plainly communicative. The work has moments of effectiveness, though; by the end of the third movement, MacMillan generates real excitement in the choral writing, and the fourth movement ends in a stunning chorale. He’s at his strongest in the expansively lyrical and powerful final movement, which is for orchestra alone. Overall, though, the Passion falls short of conveying the depth and eloquence for which the composer was clearly aiming. It receives an intense and dedicated performance by the London Symphony Chorus and Orchestra, led with conviction by Colin Davis, to whom it is dedicated. Christopher Maltman has a secure and resonant baritone and makes the most of the thankless solo role. The SACD recording is taken from a live performance and is clean and well balanced, although stray vocal sounds, perhaps coming from Davis, are occasionally distracting.

Tracklist:
SACD 1:
01. St John Passion: Part I: i. The arrest of Jesus
02. St John Passion: Part I: ii. Jesus before Annas and Caiaphas. Peter disowns him
03. St John Passion: Part I: iii. Jesus before Pilate
04. St John Passion: Part I: iv. Jesus is condemned to death

SACD 2:
01. St John Passion: Part II: v. The Crucifixion
02. St John Passion: Part II: vi. Christ’s garments divided
03. St John Passion: Part II: vii. Jesus and his Mother
04. St John Passion: Part II: viii. The Reproaches
05. St John Passion: Part II: ix. The death of Jesus
06. St John Passion: Part II: x. Sanctus Immortalis, miserere nobis

Produced by James Mallinson
Recorded live April 2008 at the Barbican, London

Personnel
Christopher Maltman – baritone
Narrator Chorus
London Symphony Chrorus
London Symphony Orchestra
Sir Colin Davis – conductor

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE9EQTBOalkF9/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRReE9EQTBOekEF9/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part2.rar
http://www.datafile.com/d/TVRReE9EQTBOamMF9/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part3.rar
or
http://rapidgator.net/file/b71e37e5a310650645c4fcbbb71f277b/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part1.rar.html
http://rapidgator.net/file/5431a0f054aefe410ea0201dab89d3b7/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part2.rar.html
http://rapidgator.net/file/aac5d2bc2929d4dc3eacb1a8d15b85ec/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part3.rar.html

Miles Davis – Filles De Kilimanjaro (1969) [Japanese Reissue 2002] {SACD-R + FLAC 24-88.2}

Miles Davis – In Person: Friday Night At The Blackhawk, San Francisco Vol.1 (1961) [Japanese Reissue 2000] {SACD-R + FLAC 24-88.2}

Miles Davis – In Person: Saturday Night At The Blackhawk, San Francisco Vol.2 (1961) [Japanese Reissue 2000] {SACD-R + FLAC 24-88.2}

Miles Davis – Miles Ahead (1957) [Japanese Reissue 2000] {SACD-R + FLAC 24-88.2}

Miles Davis – Nefertiti (1968) [MFSL 2015] {SACD-R + FLAC 24-88.2}

Miles Davis – Sorcerer (1967) [Japanese Reissue 2007] {SACD-R + FLAC 24-88.2}

Miles Davis – Sorcerer (1967) [MFSL 2015] {SACD-R + FLAC 24-88.2}

Miles Davis – You’re Under Arrest (1985) [Japanese Reissue 2000] {SACD-R + FLAC 24-88.2}

Keith Jarrett Trio – Somewhere Before (1968) [Japanese Limited SHM-SACD 2011] {SACD-R + FLAC 24-88.2}

Kuniko Kato – Iannis Xenakis: Pleiades / Rebonds (2015) {SACD-R + FLAC 24-88.2}

Labelle – Nightbirds (1974) [Audio Fidelity 2015] {SACD-R + FLAC 24-88.2}

Lee Morgan – Lee-Way (1960) [APO Remaster 2008] {SACD-R + FLAC 24-88.2}

Beethoven – Berliner Philharmoniker / Herbert von Karajan – Symphony No. 7 & No. 8 (2003) {SACD-R + FLAC 24-88.2}

Nicki Parrott – Moon River (2008) [Japanese SACD Reissue 2014] {SACD-R + FLAC 24-88.2}

Sandy Lam – SACD Best Collection 16 (2002) {SACD-R + FLAC 24-88.2}

Sara K. – Made In The Shade (2009) {SACD-R + FLAC 24-88.2}

VA – Sennheiser HD 800 Experience (2009) {SACD-R + FLAC 24-88.2}

Simon Rattle, Berliner Philharmoniker – Brahms: The Symphonies (2009) [Reissue 2011, 3x SACD] {SACD-R + FLAC 24-88.2}

Sir Colin Davis, London Symphony Orchestra – Beethoven: Mass in C (2008) {SACD-R + FLAC 24-88.2}

Sir Colin Davis, LSO & Chorus – James MacMillan: St John Passion (2008) [2xSACD] {SACD-R + FLAC 24-88.2}