SACD-R – 24bit.me

One of Jackie McLean’s more underrated albums from a plethora of Blue Note releases, 1960’s Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While his future fascination with Ornette Coleman’s free-form innovations can be sensed in some of the solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn’t just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing ballads, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like “Francisco” and “Condition Blue” and choice renditions of “Just for Now” and “Don’t Blame Me.” McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean’s own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie’s Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean’s extensive catalog.

Tracklist:
01. Francisco
02. Just for Now
03. Don’t Blame Me
04. Condition Blue
05. Capuchin Swing
06. On the Lion

Personnel
Jackie McLean – alto saxophone
Blue Mitchell – trumpet
Walter Bishop, Jr. – piano
Paul Chambers – bass
Art Taylor – drums

Mastered for this SACD by Mastered by Kevin Gray & Steve Hoffman.

SACD-R

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New Soil wasn’t the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimmerings of McLean’s desire to push beyond the limits of bop are already apparent. They’re subtle, of course, and nowhere near as pronounced as they would be in just a few years’ time, but — as with the 1959 material later issued on Jackie’s Bag — hints of Ornette Coleman’s stream-of-consciousness melodic freedom are beginning to find their way into McLean’s improvisations. His playing is just a touch more angular than the ear expects, especially given the very bluesy nature of pieces like McLean’s 11-minute vamp, “Hip Strut,” and pianist Walter Davis, Jr.’s infectious boogie-woogie “Greasy.” Coleman’s influence is most apparent on McLean’s “Minor Apprehension,” where the freewheeling, Coleman-esque main theme is paralleled by trumpeter Donald Byrd in a definite nod to Don Cherry. What’s more, drummer Pete LaRoca takes a surprisingly free solo of significant length toward the end of the track. However, the cut that the musicians seem to dig into the most is Davis’ twisting, turning bopper “Davis Cup,” which sports a rhumba beat and a bevy of exciting solos. It could be argued that McLean never recorded a bad album for Blue Note, and New Soil got his career with the label off to a terrifically stimulating start.

Tracklist:
01. Hip Strut
02. Minor Apprehension
03. Greasy
04. Sweet Cakes
05. Davis Cup
06. Formidable

Personnel
Jackie McLean – alto saxophone
Donald Byrd – trumpet
Walter Davis Jr. – piano
Paul Chambers – bass
Pete LaRoca – drums

Mastered for this SACD by Mastered by Kevin Gray & Steve Hoffman.

SACD-R

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This Ron Howard film parlays the troubled story of Nobel laureate John Forbes Nash Jr., a gifted Princeton mathematics professor tormented for decades by paranoid schizophrenia, into something considerably richer than typical Hollywood triumph-against-all-odds fare. Howard has teamed here again with frequent collaborator James Horner, and it’s the composer who deftly shades the film’s difficult emotional landscape and helps impart a compelling humanity. Horner’s first task is not inconsiderable: musically portraying the arcane realm of mathematical theorems that are the story’s backdrop. In doing so, the composer leans heavily on modern minimalist technique, bright flourishes that recur briefly throughout an orchestral score that increasingly reflects Nash’s bleak inner landscape in its quietly somber and brooding tones. And while Horner has frequently been accused of excessively repeating himself in his scores, the neo-minimalist gambit employed on this reflectively pastoral, postmodernist soundscape neatly nips such criticism in the bud. Nash’s triumph is ultimately an intensely personal one, well reflected in Welsh soprano Charlotte Church’s lilting performance of the Horner/Will Jennings ballad “All Love Can Be”.

Tracklist:
01. A Kaleidescope Of Mathematics
02. Playing A Game Of “GO”
03. Looking For The Next Great Idea
04. Creating “Governing Dynamics”
05. Cracking The Russian Codes
06. Nash Descends Into Parcher’s World
07. First Drop-Off, First Kiss
08. The Car Chase
09. Alicia Discovers Nash’s Dark World
10. Real Or Imagined?
11. Of One Heart, Of One Mind
12. Saying Goodbye To Those You So Love
13. Teaching Mathematics Again
14. The Prize Of One’s Life… The Prize Of One’s Mind
15. All Love Can Be
16. Closing Credits

SACD-R

FLAC 24-88.2

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James Horner – Titanic: Music From The Motion Picture (1997) [Reissue 2003] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 72:30 minutes | Scans included | 4,69 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,47 GB

James Horner’s score for James Cameron’s epic romance Titanic is much like the film itself — against all expectations, it delivers exactly what it promises. His score is grand, without falling into typical melodrama, and delicately romantic, without being sickly sentimental; it offers genuine emotion and excitement, with the haunting vocals of Norwegian singer Sissel providing a nice counterpoint to Horner’s blend of strings, vocals, orchestras, and synthesizers. Celine Dion’s “My Heart Will Go On” may feel a little like an afterthought, especially after experiencing Horner’s wrenching, affecting score, but its heart is in the right place. Nevertheless, it is Horner’s instrumental work and its whirlwind of emotions that makes the score of Titanic a voyage worth repeating.

Tracklist:
01. Never An Absolution
02. Distant Memories
03. Southampton
04. Rose
05. Leaving Port
06. “Take Her To Sea, Mr. Murdoch”
07. “Hard To Starboard”
08. Unable To Stay, Unwilling To Leave
09. The Sinking
10. Death Of Titanic
11. A Promise Kept
12. A Life So Changed
13. An Ocean Of Memories
14. My Heart Will Go On (Love Theme From “Titanic”)
15. Hymn To The Sea

SACD-R

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Returning anew to the original record it’s fascinating to re-discover how provocative Pink Floyd’s classic remains, and to hear how well this quartet’s collective interplay served that music. And how beautifully Sam Yahel’s organ-while not the dominant voice, surely a prominent presence-sets the aesthetic tone for these proceedings: nothing rushed or forced or extravagant…elegant and swinging and exploratory, never stepping on anyone’s toes-deceptively laid back and responsive, always listening intently, with plenty of rhythmic vitality…a sensibility he shares with collaborators Mike Moreno, Ari Hoenig and Seamus Blake, which goes a long ways towards explaining why their take on Pink Floyd’s music is so engaging and stands up so well to repeated listenings.

Tracklist:

01. Breathe (00:06:29)
02. On The Run (Part 1) (00:03:42)
03. Time (00:11:00)
04. Any Colour You Like (00:02:17)
05. The Great Gig In The Sky (00:08:42)
06. Money (00:06:48)
07. Us and Them (00:06:22)
08. Brain Damage (00:06:20)
09. On The Run (Part 2) (00:03:45)

Personal:

SAM YAHEL Hammond B3 Organ
MIKE MORENO Electric & Acoustic Guitar
ARI HOENIG Drums
SEAMUS BLAKE Tenor Saxophone

SACD-R

When it comes to music, “old” can be a relative term. Jazz may be a revered and ancient language to its practitioners and fans, but it’s a mere infant compared to the music of the West African Manding Empire, which dates back to the 13th Century rule of Sunjata Keita, its founder and first king. Until recently, you had to be from one of a handful of select families to be qualified to play Manding music right. But times have changed, colonialism notwithstanding, and players like France’s Jean-Jacques Avenel have made Manding music their own.

African fusions have been approached in any number of different ways, but this mix of jazz and traditional Manding music is definitely something different. French bassist Avenel has worked for years with kora players, but this time out seems to nail both the spirit of tradition and adventure. Listen, for example, to “Pi-Pande,” where overdubbed basses move the textures and melody, while the kora provides a beautiful high overlay. On the original “Batou Kagni” it’s flute, bass and n’goni that do the work, bouncing off each other in some excellent improvisations. And on “Jarabi” the music seems to travel, moving from West Africa across the Atlantic to the Caribbean. All in all it makes for a heady mix that works on all levels — intelligently, thoughtfully, and with a sense of passion about the music. The backgrounds of the musicians mean different approaches to the music, although those mesh very well — as a group the dynamics become ideal, as they show on the closer, “Tubaka.” It’ll be interesting to see where they take these ideas next time around; certainly on this outing they’re successful enough.

Tracklist:
01. Lamba
02. Pi-Pande
03. Batou Kagni
04. Guelema
05. N’Dondore
06. Jarabi
07. Kaпra
08. Denko
09. Destin
10. Tubaka

Recorded to DSD February 7-9, 2003 by Thierry Balasse (Inouïe), and mixed in analogue to stereo and 5.0 DSD March 11-13, 2003 by Thierry Balasse assisted by Djengo Hartlap (Hartlap, Paris), at La Muse en Circuit, Alfortville-Paris.

SACD-R

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Jeff Buckley was many things, but humble wasn’t one of them. Grace is an audacious debut album, filled with sweeping choruses, bombastic arrangements, searching lyrics, and above all, the richly textured voice of Buckley himself, which resembled a cross between Robert Plant, Van Morrison, and his father Tim. And that’s a fair starting point for his music: Grace sounds like a Led Zeppelin album written by an ambitious folkie with a fondness for lounge jazz. At his best — the soaring title track, “Last Goodbye,” and the mournful “Lover, You Should’ve Come Over” — Buckley’s grasp met his reach with startling results; at its worst, Grace is merely promising.

Tracklist:
01. Mojo Pin
02. Grace
03. Last Goodbye
04. Lilac Wine
05. So Real
06. Hallelujah
07. Lover, You Should’ve Come Over
08. Corpus Christi Carol
09. Eternal Life
10. Dream Brother

SACD-R

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Joe Walsh’s catalog by this point was two albums strong and of a consistently high quality. Despite a change of lineup for So What — a wide range of musicians is used, including the Eagles’ Don Henley — the sound is very similar to previous releases. A number of classic Walsh tracks are featured, including a more polished version of “Turn to Stone,” originally featured on his debut album, Barnstorm, in a somewhat more riotous style. “Help Me Thru the Night,” Walsh’s mellowest song to date, is helped along by some fine lead and backing vocals from the band. So What sees Walsh in top form as a guitarist. Most of the nine tracks feature solos of unquestionable quality in his usual rock style. The classic rock genre that the man so well defined with his earlier albums is present here throughout, and it is pulled off with the usual unparalleled Joe Walsh ability.

01. Welcome To The Club
02. Falling Down
03. Pavane Of The Sleeping Beauty
04. Time Out
05. All Night Laundry Mat Blues
06. Turn To Stone
07. Help Me Through The Night
08. County Fair
09. Song For Emma

Mastered for this SACD by Kevin Gray at Cohearent Audio.

SACD-R

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Johannes Brahms – Hardy Rittner – Early Piano Works Vol.2
SACD ISO (2.0/MCH): 3,51 GB | 24B/88,2kHz Stereo FLAC: 0,99 GB | Full Artwork
Label/Cat#: MDG “Scene” # 904 1538-6 | Country/Year: Germany 2008 | 3% Recovery Info
Genre: Classical | Style: Romantic, Piano

Hardy Rittner seemed on top of his game both technically and interpretively in his first volume of Brahms’ early piano works, but for some reason he seems less assured and less interpretively attuned to Brahms’ music in this, his second volume. Performing the north German composer’s C major and F minor sonatas, Rittner does not bring out of the piano the massive sonorities the music’s out-sized chords require. This may be due in part to his choice of instrument. On the first volume, Rittner performed on a rich-toned 1851 Johann Baptist Streicher piano, but here he’s playing an 1850 Bösendorfer lacking both depth and resonance. As he did in the previous disc, Rittner does well with the poetic side of Brahms’ nature and his account of the F minor Sonata’s Andante espressivo is thoroughly persuasive. But when he needs to pour on the power as in the same sonata’s Finale, Rittner and his Bösendorfer can’t supply what’s wanted. Though Musikproduktion Dabringhaus und Grimm’s super audio sound is clear and present, this disc fails to live up to the promise of its earlier sibling.
~ Review by James Leonard allmusicguide

This second volume pairs the first and third sonatas, so now we have the complete sonatas in period performances. Instead of the Johann Baptist Streicher, an 1849/50 Bösendorfer is employed and gives a certain extra element of brightness, weight and tonal depth without sacrificing anything of the clarity that period instruments tend to bring to the proceedings.

It is often said that Brahms was late in writing a symphony but Rittner’s playing shows that to be false; these works are symphonic in scope and scale – all that was left was for Brahms to produce an orchestration. Apart from capturing the grand sweep of the phrases and the structure of the compositions, Rittner also delivers on the poetry of the music. No detail escapes his attention but neither does it interrupt the musical narrative. The Scherzo movements of each sonata have a nice Viennese lilt to them and the slower movements a tender eloquence. The Finale’s are dazzling in their virtuosity yet Rittner’s playing is fully at the service of the music, not his self-aggrandisement.

The recording from MDG, again a 2+2+2 production, is as clear and rounded as that in volume 1.

Very highly recommended and one looks forward to future volumes. ~SA-CD.net

SACD Info:
Johannes Brahms – Hardy Rittner – Early Piano Works Vol.2
Label: MDG
Series: Scene
Catalog#: 904 1538-6
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2008
Genre: Classical

Tracklist:
01 Sonata No. 1 op. 1 in C major – Allegro 10:30.32
02 Sonata No. 1 op. 1 in C major – Andante 05:18.77
03 Sonata No. 1 op. 1 in C major – Scherzo. Allegro molto e con fuoco 05:41.33
04 Sonata No. 1 op. 1 in C major – Finale. Allegro con fuoco 07:01.93
05 Sonata No. 3 op. 5 in F minor – Allegro maestoso 10:47.12
06 Sonata No. 3 op. 5 in F minor – Andante espressivo 12:11.79
07 Sonata No. 3 op. 5 in F minor – Scherzo. Allegro energico 04:57.33
08 Sonata No. 3 op. 5 in F minor – Intermezzo. Andante molto 03:26.00
09 Sonata No. 3 op. 5 in F minor – Finale. Allegro moderato ma rubato 07:57.08

SACD-R

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Info+art

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Although seemingly impossible to comprehend, this landmark jazz date made in 1960 was recorded in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane’s Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet — which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) — allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet’s capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio — most notably Tyner — gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard “Everytime We Say Goodbye” and tenor solos on “But Not for Me” easily establish Coltrane as a pioneer of both instruments.

Tracklist:
01. My Favorite Things
02. Everytime We Say
03. Summertime
04. But Not for Me

Personnel
John Coltrane – soprano (1,2) & tenor (3,4,) saxophone
McCoy Tyner – piano
Steve Davis – bass
Elvin Jones – drums

SACD-R

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FLAC 24-88.2

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or
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John Hiatt – Bring The Family (1987) [Reissue 2003] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 45:29 minutes | Scans included | 2,99 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 45:37 mins | Scans | 911 MB
Features 2.0 Stereo and 5.1 multichannel surround sound | Genre: Rock, Blues

John Hiatt is an American rock guitarist, pianist, singer, and songwriter. He has played a variety of musical styles on his albums, including New Wave, blues and country. Hiatt has been nominated for several Grammy Awards and has been awarded a variety of other distinctions in the music industry. He remains one of the most respected and influential American singer-songwriters.

In 1987, John Hiatt, clean and sober and looking for an American record deal, was asked by an A&R man at a British label to name his dream band. After a little thought, Hiatt replied that if he had his druthers, he’d cut a record with Ry Cooder on guitar, Nick Lowe on bass, and Jim Keltner on drums. To Hiatt’s surprise, he discovered all three were willing to work on his next album; Hiatt and his dream band went into an L.A. studio and knocked off Bring the Family in a mere four days, and the result was the best album of Hiatt’s career. The musicians certainly make a difference here, generating a lean, smoky groove that’s soulful and satisfying (Ry Cooder’s guitar work is especially impressive, leaving no doubt of his singular gifts without ever overstepping its boundaries), but the real triumph here is Hiatt’s songwriting. Bring the Family was recorded after a period of great personal turmoil for him, and for the most part the archly witty phrasemaker of his earlier albums was replaced by an wiser and more cautious writer who had a great deal to say about where life and love can take you. Hiatt had never written anything as nakedly confessional as “Tip of My Tongue” or “Learning How to Love You” before, and even straight-ahead R&B-style rockers like “Memphis in the Meantime” and “Thing Called Love” possessed a weight and resonance he never managed before. But Bring the Family isn’t an album about tragedy, it’s about responsibility and belatedly growing up, and it’s appropriate that it was a band of seasoned veterans with their own stories to tell about life who helped Hiatt bring it across; it’s a rich and satisfying slice of grown-up rock & roll.

Tracklist:
01. Memphis In The Meantime
02. Alone In The Dark
03. Thing Called Love
04. Lipstick Sunset
05. Have A Little Faith In Me
06. Thank You Girl
07. Tip Of My Tongue
08. Your Dad Did
09. Stood Up
10. Learning How To Love You

Reissue Supervision by Mike Ragogna.
5.1 Surround Sound Mix and Mastering by David Tickle.
Mixed and Mastered at Avalon Studios, Kauai Hawaii.
Stereo Program Mastered by Erick Labson at Universal Mastering Studios, North Hollywood, CA.

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRRMU16STFNVGcF9/JohnHiattBringTh3Family1987R3issu32003FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRRMU16STFNVE0F9/JohnHiattBringTh3Family1987R3issu32003FLAC2488.2.part2.rar
or
http://rapidgator.net/file/25a8d9fb02ece32c5d41b22433900892/JohnHiattBringTh3Family1987R3issu32003FLAC2488.2.part1.rar.html
http://rapidgator.net/file/23907f4302c2c89db6b12ce23b72176e/JohnHiattBringTh3Family1987R3issu32003FLAC2488.2.part2.rar.html

John Hiatt has often wavered back and forth between his instincts as a rocker and a more measured singer/songwriter bent, and after the rowdy guitar-fueled blues-rock of 2003’s Beneath This Gruff Exterior, it should come as no great surprise that Hiatt toned things down a bit for his next album, 2005’s Master of Disaster. Produced by Jim Dickinson, with his sons Luther Dickinson and Cody Dickinson (from the North Mississippi Allstars) on guitar and drums, Master of Disaster is rooted in loosely tight Memphis groove, but while Hiatt sounds soulful as all get out (as per usual) on this set, the lingering mood is often downbeat and introspective. The title cut is a stinging meditation on the role of addiction in a musician’s life, “Love’s Not Where We Left It” and “Ain’t Never Goin’ Back” are as lean and unsentimental as songs about love can get, and even his ode to the wonders of the Ford Thunderbird finds room for some pithy recollections about one man’s bitter relationship with his father. Still, Hiatt does find some room for comic relief in his meditation on cold weather, “Wintertime Blues,” he has fun with his crotchety old man tale “Old School,” and the raspy grain that has worked its way into his voice suits both the singer and his songs just fine, giving the performances a welcome warmth and humanity. Master of Disaster packs too much good and greasy East Memphis vibe to qualify as “mellow,” even when Hiatt is searching the depths of his soul, and his material strikes a comfortable balance between his more confessional work and his impulsive rock & roll, allowing him to have it both ways for a change.

Tracklist:
01. Master Of Disaster
02. Howlin’ Down The Cumberland
03. Thunderbird
04. Wintertime Blues
05. When My Love Crosses Over
06. Love’s Not Where We Thought We Left It
07. Ain’t Ever Goin’ Back
08. Cold River
09. Find You At Last
10. Old School
11. Back On The Corner

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRRMU16STFNekEF9/JohnHiattMast3rOfDisast3r2005FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRRMU16STFNamMF9/JohnHiattMast3rOfDisast3r2005FLAC2488.2.part2.rar
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http://rapidgator.net/file/1f4ba4d1b55cf1dcc0f7769885c19c3e/JohnHiattMast3rOfDisast3r2005FLAC2488.2.part2.rar.html

Juan Diego Flórez – Great Tenor Arias
Orchestra Sinfonica e Coro di Milano Giuseppe Verdi / Carlo Rizzi
SACD ISO (2.0/MCH): 3,15 GB | 24B/88,2kHz Stereo FLAC: – | Full Artwork | 3% Recovery Info
Label/Cat#: Decca # 475 6187 DSA | Country/Year: Europe 2004
Genre: Classical | Style: Opera

Review by Allen Schrott
On his third aria collection for Decca, Juan Diego Flórez continues to stretch his repertory beyond the Rossini roles that established his solo career. But he never strays far, wisely sticking to roles that suit his light, gracious sound, and which make the most of his exhilarating top notes without requiring dramatic heft. Flórez is a truly special singer, one of the best put together young tenors around, and Great Tenor Arias shows him off to great effect.
Despite the album’s title, very few of the selections included are from the usual Tenors hit parade; only Verdi’s “La donna è mobile” from Rigoletto will be familiar to the casual listener. Coincidentally, that aria is the only real misfire on the album — which is not to say Flórez sings it badly; rather, his tone is just too likable, too boyishly friendly, to capture the spirit of one of opera’s most notorious bad guys. But almost every other selection on the album is spot on vocally, musically, and in character. Hearing Flórez tear into the florid coloratura of Rossini’s Semiramide can’t help but bring a smile to your face. His “J’ai perdu mon Euridice” from the less-often heard French version of Gluck’s Orphée et Euridice shows him tackling a difficult “haute-contre” tessitura with no trouble. And his “Firenze è come un albero fiorito” from Puccini’s Gianni Schicchi (probably the only Puccini role Flórez is likely to sing) has the perfect blend of youthful enthusiasm and vocal thrust. In general, this collection shows that Flórez has a more colorful palette at his disposal than many light tenors. His high notes have ring and a visceral “tug,” and he can sing softly without sacrificing energy or intensity. Carlo Rizzi and the Orchestra Sinfonica e Coro di Milano Giuseppe Verdi are deluxe partners for Flórez. Great Tenor Arias is a highly enjoyable listen, and an impressive step in this young singer’s career. ~allmusicguide

SACD Info:

Juan Diego Flórez – Great Tenor Arias

Orchestra Sinfonica e Coro di Milano Giuseppe Verdi / Carlo Rizzi

Label: Decca
Catalog#: 475 6187 DSA
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: UK & Europe
Released: 2004
Genre: Classical
Style: Opera

Tracklist:

1 Gluck – Orphée et Euridice – J’ai perdu mon Euridice 4:38
2 Verdi – Un giorno di regno – Pietoso al lungo pianto alfin m’arride amore… … 6:32
3 Rossini – Semiramide – La speranza più soave già quest’alma lusingava 7:42
4 Donizetti – La figlia del reggimento – Eccomi finalmente… Feste? Pompe? Oma… 6:31
5 Halévy – La Juive – Loin de son amie vivre sans plaisirs 5:01
6 Rossini – L’italiana in Algeri – Languir per una bella 7:43
7 Verdi – Rigoletto – La donna è mobile 2:26
8 Cimarosa – Il matrimonio segreto – Pria che spunti in ciel l’aurora 6:45
9 Donizetti – Lucrezia Borgia – Com’è soave quest’ora di silenzio al mio dolent… 7:44
10 Puccini – Gianni Schicchi – Avete torto!… Firenze è come un albero fiorrito 3:21

Download:

All 24 timeless classics that comprise the entirety of 1957’s Here’s Little Richard and 1958’s Little Richard are here, each remastered from the original master tapes. For the first time, the sheer exuberance, ferocious urgency, and joyous passion of all of the singer’s moans, screams, yelps, shouts, whoos, and impromptu interjections come alive with high-voltage detail and colorful immediacy. This is as explosive, engaging, and lively as early Rock N’ Roll can sound.

Review by Birney Brown, Audiophile audition:
When you think about it, there really haven’t been all that many musicians who actually did change the face of rock ‘n’ roll. Little Richard was certainly one of the select few. He merged gospel, soul and rock into a rollicking stew – but also just might have provided the genesis for the glam movement of the 1970s. His ground-breaking mascara, pencil-thin mustache and outrageous stage antics provided inspiration for a multitude of artists. He had a habit of leaving and then returning to the rock ‘n’ roll scene, but was always worshipped. As is often the case, one of his comebacks completely captivated trendy Britain. Not many artists can say he had the Beatles and Rolling Stones appear on his show bill, as well as once having Jimi Hendrix as a band member. One of the keys to Little Richard’s bombastic shows was his piano-driven singing style combined with the presence of background vocals and sharper-than-sharp New Orleans based horns. He certainly did have a magnificent conception of the keyboard’s contribution, both when punishing them on stage and in the studio.
This superb Mobile Fidelity Sound Labs release combines Little Richard’s first two album releases from 1957 (“Here’s Little Richard”) and 1958 (“Little Richard”). Both records on the Specialty label were actually collections of his singles and B-sides released from 1956-58. Twenty-three tracks presented in the glorious original mono without any gimmicky attempt to re-channel into fake stereo. That’s the way it must be ’cause you really shouldn’t fool around with perfection – leave it as it is and just goose the existing sonics to state-of-the-art.
The disc starts off with “Tutti Fruitti”, a number LR had going around his head. Actually, his initial “version” almost got him kicked out of the studio before he cleaned it up for safe consumption by the masses (and the producer). The remaining tracks as listed below are all equally as hot. Just about all of them placed in both the R&B and pop charts. One of Little Richard’s other ground-breaking qualities was his ability to cross over and appeal to all types of music lovers. One of my greatest failures as a life-long music lover has been missing the live stage acts of both Little Richard and the mid-sixties James Brown. Even though I was quite young at the time, I could have somehow pulled it off and not doing so was simply inexcusable.
One of the best things about Little Richard’s records is that they invariably contain a live vibe. So if you can try to imagine the visuals, it’s still a great show. With the much-anticipated return to the scene of Mobile Fidelity Sound Labs, the sonics have been raised to a level only before heard in the original studio sessions. The packaging itself is fascinating with the technical description of mastering techniques and a “so cool” B&W photo of the band in action – Little Richard is at the piano on one leg with his arms surrounding his other raised leg with its foot above the keys!
This double-album release is a necessary purchase on so many levels, even at the premium price. No rock ‘n’ roll historian or anyone else pretending to have anything even approaching an exhaustive music collection should be without it! Prime stuff from one of the greatest performers ever in this cultural gift we call music.

Tracklist:
01. Tutti Frutti
02. True Fine Mama
03. Can’t Believe You Wanna Leave
04. Ready Teddy
05. Baby
06. Slippin’ And Slidin’
07. Long Tall Sally
08. Miss Ann
09. Oh Why
10. Rip It Up
11. Jenny Jenny
12. She’s Got It
13. Keep A Knockin’
14. By The Light Of The Silvery Moon
15. Send Me Some Lovin’
16. I’ll Never Let You Go
17. Heeby Jeebies
18. All Around The World
19. Good Golly, Miss Molly
20. Baby Face
21. Hey Hey Hey Hey
22. Ooh! My Soul
23. The Girl Can’t Help It
24. Lucille

Mastered by MFSL, Sebastopol, CA. on Gain 2 System by Shawn R. Brighton.

Download:

NiNa are a multinational pop supergroup formed in 1999 and featuring ’80s new wave musicians Kate Pierson of American band the B-52’s, Mick Karn from the British group Japan, Takemi Shima and Masahide Sakuma from Japanese group the Plastics, as well as Yuki from Japanese ’90s J-Pop legends Judy & Mary. Pierson and Yuki share vocal duties, Karn plays bass, Sakuma deals with guitar, keyboards, and some bass, and session drummer Steven Wolf completes the musical lineup.

Shima is credited as “conceptual and visual agent provocateur” on the album. Through the spring and summer of 1999 the group recorded a self-titled album that was released in late autumn of the same year. NiNa received pre-publicity through the inclusion of two of their songs, “Happy Tomorrow” and “Rest in Peace,” as the first and second ending themes of the anime adaptation of the video game series Arc the Lad. The album sold well, perhaps thanks mostly to the large media profile of co-vocalist Yuki, whose other band at that time, Judy & Mary, were at the peak of their popularity.

However, the heavily new wave-biased nature of the lineup, coupled with the musical influence of chief songwriter Sakuma, tied the band in closely with the ’80s revivalist “Tokyo New Wave of New Wave” movement that was popular in the indie music scene and that produced Polysics, among others. NiNa were quick to acknowledge this connection by inviting leading Tokyo New Wave of New Wave group Motocompo to open for them on the Tokyo leg of their album release tour. The group never officially split up, but activity ceased soon after the promotional activities for the album were completed, with Yuki returning to Judy & Mary for one more album and then launching a solo career. Other members also returned to their own projects with Pierson working again with the B-52’s and Karn pursuing his own musical projects.

Tracklist:
01. Take 27
02. Super Hero
03. Hairspray
04. Aurora Tour
05. In The Park
06. Rest In Peace
07. Hashi Yasume
08. Route
09. Happy Tomorrow
10. Old Delhi
11. I Remember You
12. Film
13. When I Ask You

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRRMU16STFPRFUF9/NiNaNiNa1999FLAC2488.2.part1.rar
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or
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Anna Moffo – Arias From Faust, La Bohème, Dinorah, etc
Rome Opera House Orchestra / Tullio Serafin
SACD ISO (2.0/MCH): 1,76 GB | 24B/88,2kHz Stereo FLAC: 802 MB | 3% Recovery Info
Label/Cat#: RCA Living Stereo # 67905 | Country/Year: US 1960, 2005
Genre: Classical | Style: Opera

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Here is a vivid reminder of Anna Moffo, the Pennsylvania-born lyric-coloratura soprano who made her Met debut in 1959 and had an international career that went beyond the opera stage into pop music and film acting. This recital, led by the the legendary opera veteran Tulio Serafin, was recorded in Rome in 1960 and captures Moffo at her freshest and most brilliant in a selection that includes tender arias such as “Mi chiamano Mimi” from Puccini’s ‘La Boheme’ and Micaela’s Air from Bizet’s ‘Carmen,’ as well as more explosive coloratura fare such as “Bel raggio lusinghier” from Rossini’s ‘Semiramide’ and the delightful “Bell Song” from Delibe’s ‘Lakme,’ whose final high E is worth the price of the disc alone. But, if you need another reason, the sound, of the best RCA “Living Stereo” vintage, is spectacularly present. arkivmusic

This truly delightful disc of mostly coloratura arias forms a nearly perfect bookend with Leontyne Price’s classic “Blue album.” Both Living
Stereo discs were recorded within months of each other, featured the same forces (although here led by Tullio Serafin), and were recorded in
the same venues; and both featured amazing sopranos at the height of their vocal powers. Unfortunately, Anna Moffo, who was much in demand
early on in her career, peaked soon after and disappeared pretty much into obscurity.

This three-channel disc offers the first opportunity to hear these tracks as they were originally recorded, and this disc easily eclipses
all previously released digital versions – while managing to sound very analog-like in the process. Anna Moffo’s coloratura is superb; she
sings with a lovely lyrical quality and achieves admirable upper extension throughout. The disc pretty evenly mixes French and Italian
genres; on the French side, we get a sprightly rendering of the Jewel Song from Gounod’s Faust, while her heartfelt singing in Delibes’ Bell
Song from Lakme is nothing short of amazing! Traditional Italian fare comes in the form of well-known arias from Puccini and Rossini; for
good measure, Meyerbeer’s less frequently played (but truly superb) Shadow Song from Dinorah is included.

Tullio Serafin and the Rome Opera Orchestra are no strangers to this repertory, and offer lush and sympathetic accompaniments throughout.
The recorded sound here is remarkable – lets hope RCA/Sony continues to pump these discs out! The only caveat is the rather skimpy 44-minute
playing time the disc clocks in at – but truly, what would you pair it with? Very highly recommended!

– Tom Gibbs audiophile-audition

SACD Info:

Anna Moffo – Arias From Faust, La Bohème, Dinorah, etc

Rome Opera House Orchestra / Tullio Serafin

Label: RCA Red Seal
Series: Living Stereo
Catalog#: 67905
Format: Hybrid-SACD, Album, Stereo, Multichannel (3-ch)
Country: Europe
Released: 2005
Genre: Classical
Style: Opera

Tracklist:

1. Faust: Ah! je ris de me voir si belle “Jewel Song” by Charles Gounod
Length: 5 Minutes 26 Secs.
Language: French
2. La Bohème: Si, mi chiamano Mimì by Giacomo Puccini
Length: 4 Minutes 59 Secs.
Language: Italian
3. Le pardon de Ploërmel “Dinorah”: Ombre legère by Giacomo Meyerbeer
Length: 5 Minutes 58 Secs.
Language: French
4. Carmen: Je dis que rien ne m’épouvante “Micaëla’s Aria” by Georges Bizet
Length: 6 Minutes 55 Secs.
Language: French
5. Turandot: Signore, ascolta by Giacomo Puccini
Length: 2 Minutes 36 Secs.
Language: Italian
6. Turandot: Tu, che di gel sei cinta by Giacomo Puccini
Length: 2 Minutes 38 Secs.
Language: Italian
7. Lakmé: Où va la jeune indoue? “Bell Song” by Léo Delibes
Length: 8 Minutes 15 Secs.
Language: French
8. Semiramide: Bel raggio lusinghier by Gioachino Rossini
Length: 7 Minutes 4 Secs.
Language: Italian

Date of Recording: 07/1960
Venue: Opera House, Rome, Italy

SACD-R

http://www.datafile.com/d/TVRVek5qUTBNRFEF9/AnnaMoffoAriasFromFaustISO.part1.rar
http://www.datafile.com/d/TVRVek5qUTBNRGMF9/AnnaMoffoAriasFromFaustISO.part2.rar
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http://rapidgator.net/file/da6945316c89b454a1759dd5eb27a122/AnnaMoffoAriasFromFaustISO.part3.rar.html

FLAC 24-88.2

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http://www.datafile.com/d/TVRVek5qUXpPVGMF9/AnnaMoffoAriasFromFaustFLAC.part2.rar
or
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http://rapidgator.net/file/2216ebbeb8c044edf1c628c79600c8ce/AnnaMoffoAriasFromFaustFLAC.part2.rar.html

Info+Art

http://www.datafile.com/d/TVRVek5qUXpPVGcF9/AnnaMoffoAriasFromFaustInfoArt.rar
or
http://rapidgator.net/file/e12f4d712ba0dec37285b4a53cc4a23c/AnnaMoffoAriasFromFaustInfoArt.rar.html

Kenneth “Babyface” Edmonds is pop’s best melodic writer since the heyday of Stevie Wonder and Paul McCartney. On The Day, Babyface makes that connection explicit by cowriting “How Come, How Long” with Wonder, who also contributes a duet vocal, a harmonica solo, and longtime bassist Nathan East to the session. Even more impressive is the fact that the eight songs Babyface wrote for The Day without his hero’s help also boast yearning melodies and ear-opening chord changes that are absolutely Wonder-ful.

The Day was the first album Babyface released after being elevated into a virtually guaranteed hitmaker in the mid-’90s through his work with Whitney Houston, Boyz II Men, Madonna, and Mariah Carey, among many others. The album confirms his skill for subtle, inventive songwriting and accessible, polished yet soulful production. Babyface can straddle the line between hip-hop and traditional soul better than nearly any other artist, as evidenced by the hits he has orchestrated for other artists. On his own, he is still compelling — his voice is as smooth as silk, and nearly as seductive — but it doesn’t quite have the force of personality as his greatest productions. Nevertheless, The Day qualifies as state-of-the-art mid-’90s soul, featuring a handful of terrific songs, and a lot of extremely pleasurable filler. [The 2001 reissue adds historical liner notes and three bonus tracks: remixes of “Everytime I Close My Eyes,” “This Is For the Lover in You,” and “Everytime I Feel the Groove,” the last of which was previously unreleased and not found on the original album in any form].

Tracklist:
01. Every Time I Close My Eyes
02. Talk To Me
03. I Said I Love You
04. When Your Body Gets Weak
05. Simple Days
06. All Day Thinkin’
07. Seven Seas
08. The Day (That You Gave Me A Son)
09. How Come, How Long
10. This Is For The Lover In You
11. Every Time I Close My Eyes (Timbaland Remix) [Bonus track]12. Every Time I Feel The Groove Remix (Urban Soul Basement Mix) [Bonus track]13. This Is For The Lover In You (Honey Lookin’ Laced Extended Remix) [Bonus track]

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRVek5qUTBNVFEF9/Babyfac3Th3Day1966R3issu32001FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRVek5qUTBNVEUF9/Babyfac3Th3Day1966R3issu32001FLAC2488.2.part2.rar
or
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http://rapidgator.net/file/d14d90e797f4c69fa1bdeba2af4fecb5/Babyfac3Th3Day1966R3issu32001FLAC2488.2.part2.rar.html

The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of “Autumn Leaves.” Other than introducing Evans’ “Peri’s Scope,” the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as “Come Rain or Come Shine,” “When I Fall in Love,” and “Someday My Prince Will Come” (which preceded Miles Davis’ famous recording by a couple years) are full of subtle and surprising creativity. A gem.

Tracklist:
01. Come Rain Or Come Shine
02. Autumn Leaves (take 1)
03. Autumn Leaves (mono)
04. Witchcraft
05. When I Fall In Love
06. Peri’s Scope
07. What Is This Thing Called Love?
08. Spring Is Here
09. Someday My Prince Will Come
10. Blue In Green (take 3)
11. Blue In Green (take 2)

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRVek5qUTBNalkF9/Bill3vansPortraitInJazz1959R3issu32003FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRVek5qUTBNalUF9/Bill3vansPortraitInJazz1959R3issu32003FLAC2488.2.part2.rar
or
http://rapidgator.net/file/42380db7c68af561e1e2ad34b17bcf82/Bill3vansPortraitInJazz1959R3issu32003FLAC2488.2.part1.rar.html
http://rapidgator.net/file/aa59c653b2ab45a44cd70c971e6066fd/Bill3vansPortraitInJazz1959R3issu32003FLAC2488.2.part2.rar.html

Sir Colin Davis, London Symphony Orchestra – Haydn: Symphonies 92 & 93, 97-99 (2014) [2xSACD] SACD-R

Jacintha – Jacintha Is Her Name: Dedicated To Julie London (2003) {SACD-R + FLAC 24-88.2}

Jackie McLean – Capuchin Swing (1960) [Analogue Productions 2008] {SACD-R + FLAC 24-88.2}

Jackie McLean – New Soil (1959) [Analogue Productions 2010] {SACD-R + FLAC 24-88.2}

James Horner – A Beautiful Mind: Original Motion Picture Soundtrack (2002) {SACD-R + FLAC 24-88.2}

James Horner – Titanic: Music From The Motion Picture (1997) [Reissue 2003] {SACD-R + FLAC 24-88.2}

Various Artists – Jazz Side of the Moon: The Music of Pink Floyd (2008) SACD-R

Jean-Jaques Avenel – Waraba (2004) {SACD-R + FLAC 24-88.2}

Jeff Buckley – Grace (1994) [Reissue 2014] {SACD-R + FLAC 24-88.2}

Joe Walsh – So What (1974) [Audio Fidelity 2015] {SACD-R + FLAC 24-88.2}

Johannes Brahms – Hardy Rittner – Early Piano Works Vol.2 (2008) {SACD-R + FLAC 24-88.2}

John Coltrane – My Favorite Things (1961) [Stereo, Reissue 2013] {SACD-R + FLAC 24-88.2}

John Hiatt – Bring The Family (1987) [Reissue 2003] {SACD-R + FLAC 24-88.2}

John Hiatt – Master Of Disaster (2005) {SACD-R + FLAC 24-88.2}

Juan Diego Flórez – Great Tenor Arias (2004) SACD-R

Little Richard – Here’s Little Richard / Little Richard, Vol.2 (1957-58) [2006’s MFSL # UDSACD 2028] SACD-R

NiNa – NiNa (1999) {SACD-R + FLAC 24-88.2}

Anna Moffo – Arias From Faust, La Bohème, Dinorah, etc (1960) [SACD Remaster 2005] {SACD-R + FLAC 24-88.2}

Babyface – The Day (1996) [Reissue 2001] {SACD-R + FLAC 24-88.2}

Bill Evans Trio – Portrait In Jazz (1959) [Reissue 2003] {SACD-R + FLAC 24-88.2}