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Bela Bartok – The Two Violin Concertos – Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski (2010)
FLAC (tracks) 24 bit/96kHz | Time – 01:01:11 minutes | 1,05 GB | Genre: Classical
Official Digital Download – Source: pentatonemusic.com | © PentaTone Classics
Recorded: Victoria Hall, Geneva, Switzerland, June/July, 2009
Whilst unfulfilled passion and unre- quited love have driven many to depression, Béla Bartók was able to sublimate such personal disappointment into exuberant creativity. In February 1908, after his passionate courting attempts had been rejected by the Swiss violinist, Stefi Geyer, Bartók wrote her: “Having read your letter, I sat down at the piano – and had the sad premonition that, in life, music is to be my only consolation.” He illustrated these lines with a musical quotation which included the broken major-seventh chord, c-sharp – e – g-sharp – b-sharp, adding the words: “This is your leitmotiv.” It will have been particularly bitter for the composer that he had completed the score of the violin concerto, which had been written for Stefi, and into which he had poured his profound feelings for her, just a few days before her rejection. It is also to her that he dedicated the concerto, which, as in “a narcotic dream” (Römer), had been inspired a year earlier by his intoxicating love for her, but he did not do so without adding a tragic poem by Béla Balázs to the autograph score. Stefi Geyer kept the score until her death in 1956, with- out every performing the concerto publicly. It was not until 30 May 1958, thirteen years after Bartók’s death, that the concerto finally had its first public performance, in Basel, under the baton of Paul Sacher, with Hansheinz Schneeberger as soloist.
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Queen – The Studio Collection 15 LP
Vinyl | FLAC | 24bit/96kHz | Aprrox 14GB
2015 Limited Edition Vinyl Box Set covering all the Queen studio albums
ALL 15 HIT STUDIO ALBUMS SOURCED FROM THE ORIGINAL MASTER TAPES
MASTERED BY BOB LUDWIG
HALF-SPEED LACQUERS CUT AT ABBEY ROAD STUDIOS
PRESSED ON HEAVYWEIGHT 180 GRAM COLORED VINYL WITH A LAVISHLY ILLUSTRATED 108 PAGE HARDBACK BOOK
LPs ALSO TO BE AVAILABLE INDIVIDUALLY ON 180 GRAM BLACK VINYL
15 albums? 18 discs? What s the story?
Queen always had a special fondness for vinyl, the medium in which they first began to create, around 1970. As a matter of principle, every Queen studio album was offered at the time of original release on vinyl, even well into the era when CD’s had taken over as the medium of choice for most of the public. However, the final two albums, ‘Innuendo’ and ‘Made In Heaven’ were actually formatted primarily with the CD in mind, with a longer running time, so the contents had to be edited down to fit them on to the two sides of a vinyl album. Now, specially for this edition, for the first time, these two albums have been cut at full length as double vinyl LP’s – four sides each making up a vinyl set that is complete in every way.
The box-set offers many other special features. Most noticeable is the colored vinyl: designed for collectors, each album has been given a different color, in keeping with its original artwork, giving a unique record-deck experience. The color discs have been custom-produced especially for this set, using new material technology which ensures the sound quality is uncompromised.
There are more surprises in the box set; ‘Queen II’ originally never had a designated ‘A side’ or ‘B side’ – but ‘Side White’ and ‘Side Black’. For this new edition, the album has been cut on two separate discs, black and white, each with a custom etching on the reverse side, a nice bonus for collectors.
The collection has been five years in the making. Throughout this time Queen’s production team has worked extensively on all stages of this painstaking mastering process. The first step was the tape research; locating and confirming the correct versions and best sources for all tracks. Most notably, Under Pressure, plus five tracks on the ‘Innuendo’ album, were improved hugely after the discovery of better sources during this period. Particular attention was paid to the original releases to ensure that nothing was lost or changed for the worse by reverting to earlier sources.
The 18 vinyl LP box set comes with a lavishly illustrated 12 x 12 inch 108-page hardback book which features introductions to each album, quotes from Queen themselves, hand-written lyrics, rare photographs, memorabilia, and information on singles and videos – all made possible with unlimited access to Queen’s own archive plus the personal archives of Brian May, Roger Taylor and some generous fans. Thanks to all.
The Queen Studio Collection
Queen
Queen II *
Sheer Heart Attack
A Night at the Opera
A Day at the Races
News of the World
Jazz
The Game
Flash Gordon
Hot Space
The Works
A Kind of Magic
The Miracle
Innuendo
Made in Heaven
* 2 disc special edition exclusive to the box set. 1 disc standard edition available separately.
Wild Bill Davis – Free, Frantic And Funky (1965/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 00:38:30 minutes | 843 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Q0buz | @ RCA Records
Recorded: September 22, 1964 – December 3, 1964, RCA Victor’s Studio B, New York City
With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and ’40s to the organ-driven R&B of the 1950s and early ’60s. Together with guitarist Floyd Smith and drummer Chris Columbus, Davis set the framework for the jazz organ combo sound. Initially a guitarist, Davis made his debut with Milt Larkin’s band in 1939. The group is remembered for the double-saxophone attack of Eddie “Cleanhead” Vinson and Arnett Cobb. Davis, who was inspired by the guitar playing of Freddie Green, remained with the band until 1942. Moving to the piano, Davis joined Louis Jordan & His Tympany 5 in 1945. By then, he had already attracted attention as a skilled writer and arranger. He later furnished original material and arrangements for both Duke Ellington and Count Basie. He was scheduled to record his arrangement of “April in Paris” with the Count Basie Orchestra in 1955, but was unable to make it to the recording sessions. Recorded without his participation, the tune went on to be a Top 30 pop hit. Intrigued by the organ playing of Fats Waller and Count Basie, Davis began to experiment with the Hammond B-3. He soon developed his unique approach. “I thought of (the organ) as a replacement in clubs for a big band,” he said during a late-’80s interview. Although he left Jordan’s band after five years to form his own trio, Davis periodically returned to play special engagements. Although eclipsed by succeeding jazz organists, including Jimmy Smith and Bill Doggett in the late ’50s, and Booker T. Jones in the ’60s, Davis remained active until his death from a heart attack in August 1995. His summer appearances in Atlantic City, New Jersey were an annual treat for almost three decades. A native of Moorestown, New Jersey, Davis studied music at Tuskegee University and Wiley College in Texas. –Artist Biography by Craig Harris
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The Monkees – Greatest Hits (1995/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 32:36 minutes | 691 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks.com | @ Rhino
This collection of The Monkees’ Greatest Hits includes all of the group’s Top 10 singles, their ’80s comeback singles and a few rare gems.
Assembled in Los Angeles in 1966 by Robert “Bob” Rafelson and Bert Schneider for the American television series The Monkees, which aired from 1966 to 1968, the musical acting quartet was composed of Americans Micky Dolenz, Michael Nesmith and Peter Tork, and Englishman Davy Jones.
The Monkees had many international hits which are still heard on pop and oldies stations. These include “I’m a Believer”, “(I’m Not Your) Steppin’ Stone”, “Daydream Believer”, “Last Train to Clarksville”, and “Pleasant Valley Sunday”. (more…)
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Yes – Fragile (1971/2015)
Blu-Ray: MPEG-4 AVC Video 1080p, 23,976, 16:9, High Profile 4.1 -> 37.41 Gb
LPCM Audio 2.0, 24/96, 4608 kbpst / LPCM Audio 5.1, 24/96, 13824 kbps
DTS-HD Master Audio 5.1, 24/96 (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
FLAC: 2.0 Stereo | Tracks 24bit/96kHz(192) – 2,49 GB
Progressive Rock
Fragile was Yes’ breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music (and more) that would define their success for more than a decade fell into place fully formed. The science-fiction and fantasy elements that had driven the more successful songs on their preceding record, The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album: the Roger Dean-designed cover was itself a fascinating creation that seemed to relate to the music and drew the purchaser’s attention in a manner that few records since the heyday of the psychedelic era could match. Having thrown original keyboard player Tony Kaye overboard early in the sessions – principally over his refusal to accept the need for the Moog synthesizer in lieu of his preferred Hammond organ – the band welcomed Rick Wakeman into its ranks. His use of the Moog, among other instruments, coupled with an overall bolder and more aggressive style of playing, opened the way for a harder, hotter sound by the group as a whole; bassist Chris Squire sounds like he’s got his amp turned up to “12,” and Steve Howe’s electric guitars are not far behind, although the group also displayed subtlety where it was needed. The opening minute of “Roundabout,” the album opener – and the basis for the edited single that would reach number 13 on the Billboard charts and get the group onto AM radio in a way that most other prog rock outfits could only look upon with envy – was dominated by Howe’s acoustic guitar and Bill Bruford‘s drums, and only in the middle section did the band show some of what they could do with serious amperage. Elsewhere on the record, as on “South Side of the Sky,” they would sound as though they were ready to leave the ground (and the planet), between the volume and intensity of their playing. “Long Distance Runaround,” which also served as the B-side of the single, was probably the most accessible track here apart from “Roundabout,” but they were both ambitious enough to carry most listeners on to the heavier sides at the core of this long player. The solo tracks by the members were actually a necessity: they needed to get Fragile out in a hurry to cover the cost of the keyboards that Wakeman had added to the group’s sonic arsenal. But they ended up being more than filler. Each member, in effect, took a “bow” in mostly fairly serious settings, and Squire’s “The Fish” and Howe’s “Mood For a Day” pointed directly to future, more substantial projects as well as taking on a life of their own on-stage. If not exactly their peak, Fragile was as perfect a record as the group would ever make, and just as flawless in its timing as its content.
by Bruce Eder, AMG
Sister Sledge – The Studio Album Collection 1975-1985 (2014)
FLAC (tracks) 24 bit/192 kHz | Time – 05:27:15 minutes | 12,5 GB | Genre: R&B,Soul,Disco
Studio Masters, Official Digital Download – Source: HDTracks.com | @ Atlantic Records/Rhino
Sister Sledge released eight albums between 1975 and 1985.
Circle of Love (1975)
Together (1977)
We Are Family (1979)
Love Somebody Today (1980)
All American Girls (1981)
The Sisters (1982)
Bet Cha Say That to All the Girls (1983)
When the Boys Meet the Girls (1985)
Stefano Battaglia Trio – In The Morning: Music Of Alec Wilder (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:34 minutes | 1,22 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: Q0buz | @ ECM Records GmbH
Recorded: April 28, 2014 at Teatro Vittoria, Torino
On his sixth album for ECM the Italian pianist and his trio reflect on the work of American composer Alec Wilder (1907 – 1980). “I first came into a more direct contact with Alec Wilder’s music in the early 90s, when I was performing his Sonata for Oboe and Piano and his Sonata for Horn and Piano”, Battaglia remembers. “I had already known some of his popular songs like ‘While We’re Young’, Blackberry Winter’ and ‘Moon and Sand’ through the intense versions Keith Jarrett has recorded. But after working on Wilder’s chamber music I wanted to develop a deeper connection with his intriguing musical universe, and I’ve discovered an immense hidden treasure.”
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Sivan Magen – French Reflections (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:53 minutes | 1,17 GB | Genre: Classical
Studio Master, Official Digital Download – Source: LINN | @ LINN Records
Recorded: May 2014, Menuhin Hall, Yehudi Menuhin School, Stoke d’Abernon, Cobham, Surrey, United Kingdom
Since the 1900s French composers have advanced the harp to new levels of virtuosity and expression, with growing technical demands. Caplet’s Divertissements features some of the most unique and perfectly executed writing in the harp’s entire literature; great technical poise is required to deliver the bold pedal glissandi. Tournier and Debussy established the harp as a crucial exponent of the dreamy impressionist style; its colours and sonority are key. A century later Mantovani utilises a breath-taking spectrum of attacks and techniques: furious scalic motives, nail sounds, bisbigliandi, and sudden, shrill fortes which makes Tocar a testament to the harp’s more virile characteristics. Schoeller’s Esstal is in sharp contrast; its delicate figurations create a more peaceful mood and demonstrate another side to this versatile instrument. The programme closes with Fauré’s Impromptu which makes use of harmonics, glissandi, cross fingerings and rich arpeggios.
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Robert Schumann – Das Paradies und die Peri – London Symphony Orchestra, Simon Rattle (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:27:50 minutes | 1,63 GB | Genre: Classical
Official Digital Download – Source: hyperion-records.co.uk | Digital booklet | @ LSO Live
Recorded: January 2015, Barbican, London, United Kingdom
In his debut recording on LSO Live, Sir Simon Rattle conducts a stunning performance of Schumann’s rarely recorded Das Paradies und die Peri featuring a superb line-up of soloists.
Rattle is well-known for being a champion of this rarely-heard work, and yet this is the first audio recording he has made of it. Here it is brought to life by the LSO under his baton, and the starry line-up makes the best possible case for Schumann’s great oratorio.
Sir Simon says of the piece, ‘It’s the great masterpiece you’ve never heard, and there aren’t many of those now…. This is just something else, a complete anomaly if you think about it. In Schumann’s life it was the most popular piece he ever wrote, it was performed endlessly. Every composer loved it. Wagner wrote how jealous he was that Schumann had done it and he’d stolen this subject that he wanted to do and how extraordinary it was… It was a playground for composers and the piece was extraordinary.’
Based on an episode from Thomas Moore’s epic poem Lalla Rookh, itself inspired by exotic, colourful tales taken from Persian mythology, Das Paradies und die Peri reflects the 19th-century craze for all thing Oriental. Completed in 1843, Schumann’s ‘secular oratorio’ tells how the Peri, a legendary creature, was expelled from paradise and follows her quest to redeem herself by giving the gift that is most dear to heaven.
Writing about the work in a letter to a friend, Schumann said, ‘at the moment I’m involved in a large project, the largest I’ve yet undertaken – it’s not an opera – I believe it’s well-nigh a new genre for the concert hall.’ Conceived in three beautifully sequenced parts, it is unlike any oratorio of Schumann’s day. Sustained melodic invention is clear throughout, with Peri’s high C in the final forming a deftly timed climax.
Soprano Sally Matthews gives a soaring performance as the Peri, showcasing Schumann’s imaginative and emotive vocal writing, while there are also superb supporting performances from Mark Padmore, Kate Royal, Andrew Staples and Florian Boesch.
Jean-Fery Rebel – Ballets Sans Paroles – Pratum Integrum Orchestra (2006)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:00:00 minutes | 1,16 GB | Genre: Classical
Source: SACD ISO | @ Caro MitisItem Number: CM 0052005
Recorded: 5-7.11.2005 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia
In 1711 Jean-Féry Rebel published his orchestral Caprice. This piece immediately achieved great popularity among the Parisians and attracted attention of the celebrated Françoise Prévost who set her solo dance to the music of the Caprice. Her performances were so successful that soon after that each ballet dancer, making her debut, had to know Rebel’s Caprice. The transformation of an instrumental piece into a dance was not an extraordinary occurrence for the French Baroque theatre. In this domain it was common to sing a Chaconne or to dance an aria, court performances envisaged vocal numbers together with dances. For that reason, the appearance of Rebel’s Caprice merits special attention: apparently this piece was the first ballet without singing. A year after the Caprice, another piece by the composer, the Boutade (fancy, whim, joke in French), was turned into a dance.
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Sergey Rachmaninov – Piano Concerto No. 2; Paganini Rhapsody – Lang Lang, Orchestra Of The Mariinsky Theatre, Valery Gergiev (2005)
FLAC (tracks) 24 bit/96 kHz | Time – 01:00:34 minutes | 0,99 GB | Genre: Classical
Studio Master, Official Digital Download – Source: highresaudio.com | @ Deutsche Grammophon
Recorded: July 2004, Mikkeli, Martti Talvela Hall, Finland
Lang Lang at the keyboard with Valery Gergiev at the podium might seem like too combustible a combination. The young pianist, after all, has quickly become famous for his high-octane virtuosity, while the conductor’s take-no-prisoners approach has produced some truly incendiary orchestral recordings, especially in the Russian repertoire that he practically owns these days. What’s surprising, then, is how well mannered their collaboration seems in these live recordings of two of Rachmaninoff’s most popular works. The results are exciting, to be sure — technically brilliant and full of personality, with the Orchestra of the Mariinsky Theatre (a.k.a. Gergiev’s Kirov Orchestra, apparently reverting at long last to its pre-Soviet name) contributing a wonderfully Russian darkness of tone — but also deeply musical, never flashy just for the sake of bravura effect. Having devoted himself to Tchaikovsky’s First Concerto on an earlier CD, Lang Lang applies his mastery of grand Romantic gestures to another audience favorite here, Rachmaninoff’s Second. Gergiev seems happy to follow the pianist in the music’s ebb and flow, lingering along with each of the composer’s expansive tunes like a series of beautifully nostalgic memories. If the performance of Rachmaninoff’s Rhapsody on a Theme of Paganini is even more successful, it’s doubtless because this work gives Lang Lang more opportunity to revel in high-spirited capers at the keyboard; the lyrical 18th variation is as beguiling as it needs to be, but it’s the vigorous wit of the surrounding music that really brings out the pianist’s sheer joy in music making. There’s a crowded field of Rachmaninoff recordings on the market, both classic and recent (including, among the latter, Krystian Zimerman in the First and Second Concertos, and Stephen Hough in the complete works for piano and orchestra), but Lang Lang’s meeting with Gergiev earns a solidly satisfying place among them.
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KISS – Destroyer [Ressurected] (1976/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 37:46 minutes | 880 MB | Genre: Rock
Official Digital Download – Source: HDTracks.com | Digital booklet | @ Mercury Records
Chart History/Awards
– Reached #11 on the Billboard 200.
– “Beth” and “Detroit Rock City” reached #7 on Billboard‘s Hot 100.
– Listed on Guitar World’s “100 Greatest Heavy Metal Albums of All Time.”
– Listed on Rolling Stone’s “500 Greatest Albums of All Time.”
Destroyer is the 1976 multi-platinum recording from rock legend, KISS. The group is regarded as one of the most influential rock and roll bands of all time and holds the distinct honor as one of America’s top gold-record champions. This landmark album, Destroyer: Resurrected, has been newly remixed from its original master tapes by the album’s original producer, Bob Ezrin. Its enhanced sound presents the richly textured work with rejuvenated vibrancy. Destroyer is considered by many to be the band’s most ambitious endeavor. Their first platinum album reached #11 on the Billboard Top 200 and includes the hit singles, “Beth,” “Detroit Rock City,” “Flaming Youth” and “Shout It Out Loud.” This re-released gem includes rare and unreleased recordings rediscovered during the remixing process including the original guitar solo for “Sweet Pain.” An absolute accomplishment, the album can now be experienced the way KISS intended.
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Title: Roger Waters The Wall – Special Edition Bonus Disc
Release Date: 2015
Genre: Rock, Rockumentary, Art Rock, Prog Rock, Hard Rock
Director: Sean Evans, Roger Waters
Soundtrack Band: Roger Waters – Vocals, Guitar, Bass; Dave Kilminster – Guitars; Snowy White – Guitars; G.E. Smith – Guitars; Jon Carin – Keyboards; Harry Waters – Hammond, Piano; Graham Broad – Drums; Robbie Wyckoff – Vocals; Jon Joyce, Pat Lennon, Mark Lennon, Kipp Lennon – Background Vocals
Production/Label: Universal Music
Duration: 00:57:54
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio codec: PCM
Video: MPEG-4 AVC 28996 kbps / 1920*1080p / 23,976 fps / 16:9 / High Profile 4.1
Audio: English LPCM 2.0 / 48 kHz / 1536 kbps / 16-bit
Subtitles: Japanese, English, French, Spanish, Portuguese, French, Italian, German, Spanish, Dutch, Bulgarian, Czech, Greek, Hungarian, Korean, Polish, Russian, Chinese, Turkish, Arabic, Portuguese, Romanian, Thai
Size: 19.46 GB
Roger Waters, co-founder and principal songwriter of Pink Floyd, fuses the epic and the personal in Roger Waters The Wall, a concert film that goes well beyond the stage. Based on the groundbreaking concept album, Roger Waters The Wall could be called a concept film: it’s a state-of-the-art show that dazzles the senses, combined with an intensely personal road trip that deals with the loss Roger has felt throughout his life due to war. On stage and now on film, Waters has channeled his convictions into his art and his music. With Roger Waters The Wall, Waters – together with his fellow musicians and his creative collaborators – brings audiences an exultant ride of a rock and roll concert, and delivers an unforgettable, deeply emotional experience. (more…)
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Title: Roger Waters The Wall
Release Date: 2015
Genre: Rock, Rockumentary, Art Rock, Prog Rock, Hard Rock
Director: Sean Evans, Roger Waters
Soundtrack Band: Roger Waters – Vocals, Guitar, Bass; Dave Kilminster – Guitars; Snowy White – Guitars; G.E. Smith – Guitars; Jon Carin – Keyboards; Harry Waters – Hammond, Piano; Graham Broad – Drums; Robbie Wyckoff – Vocals; Jon Joyce, Pat Lennon, Mark Lennon, Kipp Lennon – Background Vocals
Production/Label: Universal Music
Duration: 02:12:35
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio codec: AC-3, PCM
Video: MPEG-4 AVC 29489 kbps / 1920*1080p / 23,976 fps / 16:9 / High Profile 4.1
Audio#1: English Dolby TrueHD 7.1 / 48 kHz / 5637 kbps / 24-bit (AC3 Embedded: 5.1-EX / 48 kHz / 640 kbps)
Audio#2: English LPCM 2.0 / 48 kHz / 1536 kbps / 16-bit
Subtitles: Portuguese, Bulgarian, Spanish, Czech, Danish, Dutch, Finnish, French, German, Greek, Hungarian, Italian, Japanese, Korean, Mandarin Chinese, Norwegian, Polish, Russian, Swedish, Turkish
Size: 41.28 GB
Roger Waters The Wall is a new film written and directed by Roger Waters and Sean Evans that combines the concert experience of Pink Floyd‘s The Wall album (as performed on Waters’ 2010-2013 The Wall Live tour) with off-stage ‘road movie’ footage of of the musician and songwriter reflecting on the impact of war on his own family.
The film was shot in 4k and mixed in Dolby ‘Atmos’ and throughout the presentation the concert film is interspersed with documentary scenes of Waters travelling to France to the site where his grandfather is buried, and Italy to a memorial for his father – both lost to war.
On stage and now on film, Waters has channelled his convictions into his art and his music. With Roger Waters The Wall, Waters – together with his fellow musicians and his creative collaborators – brings audiences an exultant ride of a rock and roll concert, and delivers an unforgettable, deeply emotional experience. (more…)
Album title: Stan Getz & Joao Gilberto: Getz / Gilberto
Genre: Jazz, Bossa nova
Label: Universal Music
Release date: 1964/2013
Quality: Blu-ray Audio
Duration: 00:33:40
Video: MPEG-4 AVC 2002 kbps / 1080p / 24 fps / 16:9 / High Profile 4.1
Audio#1: LPCM 2.0 (96 kHz / 4608 kbps / 24-bit)
Audio#2: DTS-HD MA 2.0 (96 kHz / 3674 kbps / 24-bit)
Audio#3: Dolby TrueHD 2.0 (96 kHz / 3040 kbps / 24-bit)
Size: 3.66 GB
Originally released in March of 1964, this legendary collaboration between saxophonist Stan Getz and guitarist Joao Gilberto came at the end of the bossa nova craze Getz had sparked in 1962 with Jazz Samba. In fact, Getz had to push for the release of Getz/Gilberto as his record company didn’t want to compete with their own hit. The album ended up spending 96 weeks on the charts and won four Grammy Awards. Getz/Gilberto remains one of those rare cases in popular music where commercial success matches the artistic merit.
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