Count Basie Orchestra – Basie Is Back (2006/2016) DSF DSD64 + Hi-Res FLAC

Count Basie Orchestra – Basie Is Back (2006/2016)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 60:27 minutes | 2,38 GB
FLAC (tracks) 24-bit/96 kHz | Time – 60:27 minutes | 1,39 GB
Genre: Jazz | Studio Masters, Official Digital Download – Source: e-Onkyo | Front Cover | © Sony Music

No, the Count isn’t literally back… in fact, he’s never really been away, as the Count Basie Orchestra has kept rolling along under a series of leaders since Basie’s death in April 1984. This latest incarnation, directed by the Count’s longtime bass trombonist Bill Hughes, was recorded in concert in October ’05 at Denryoku Hall in Sendai, Japan. Following in the footsteps of Basie’s Old Testament and New Testament bands, Aaron Woodward writes in his liner notes, “We are calling this the ‘Born Again’ era of the Count Basie Orchestra”.

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Michala Petri, Mahan Esfahani – Arcangelo Corelli – La Follia: Six Sonatas, Op. 5, No. 7-12 (2015) DSF DSD64

Michala Petri, Mahan Esfahani – Arcangelo Corelli – La Follia: Six Sonatas, Op. 5, No. 7-12 (2015)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 01:06:22 minutes | 2,59 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet | © OUR Recordings

Fate blessed the Italian violinist and composer Arcangelo Corelli with talent, modesty, wealthy patrons, faithful disciples and extraordinary riches.

Numerous original sources were consulted prior to the making of this disc during three inspired days of recording in Copenhagen’s Garnisons Kirke. But once the tape was rolling, Michala Petri and Mahan Esfahani let the excitement of superlative music making be their only guide, giving free rein to their boundless creativity and virtuosity and embracing the improvisational spirit that this music requires.

So widespread was Corelli’s appeal that copies of his works have been found as far afield as St. Petersburg, Stockholm, Constantinople, and even America (he was known to be a favourite composer of U.S.’s third president, Thomas Jefferson). It can be said without any exaggeration that Corelli was the first world-famous composer. Yet, for all his celebrity, only a handful of works have come down to us, with the Violin Sonatas op. 5 occupying pride of place. The sonatas presented here come from the second half of the op. 5 collection, referred to in the original 1700 publication as “Parte seconda: Preludii, Allemande, Correnti, Sarabande, Gavotte, e Follia.”

As the title suggests, the music was inspired by dance rhythms and their infectious melodiousness made them popular pieces with performers of all instruments; a couple of them even entered the English dance-tune repertory. The relatively simple nature of these movements provides scope for all sorts of ornamentation and improvisation.

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Coleman Hawkins – Wrapped Tight (1965/2012) SACD ISO + Hi-Res FLAC

Coleman Hawkins – Wrapped Tight (1965/2012)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 34:55 minutes | 1,37 GB
FLAC (tracks) 24-bit/88,2 kHz | Time – 34:55 minutes | 690 MB
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Digital Booklet
Genre: Jazz | © Analogue Productions (Impulse)

In the course of a long and illustrious career, Hawkins has subjected his style to continuous development. Intellectually and technically flexible, the style has always remained the man, distinctive and personal. This album reveals a new deployment of resources, a new viewpoint arrived at after a period of reflection.

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Coleman Hawkins – Today And Now (1963/2012) DSF DSD64 + Hi-Res FLAC

Coleman Hawkins – Today And Now (1963/2012)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 40:34 minutes | 1,59 GB
FLAC (tracks) 24-bit/88,2 kHz | Time – 40:34 minutes | 816 MB
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Front Cover
Genre: Jazz | © Analogue Productions

Coleman Hawkins recorded three sessions for Impulse Records in the early to mid ’60s. Of the three, Today And Now is the most compelling. The unusual choice of repertoire is what sets this album apart. Versions of the traditional song “Go Li’s Liza” and the fairly obscure Quincy Jones ballad “Quintessence” are creatively rendered. Indeed, Hawk seems inspired throughout; he plays with an abandon that is altogether effortless.

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Coleman Hawkins, Ben Webster – Coleman Hawkins Encounters Ben Webster (1959/2014) DSF DSD64 + Hi-Res FLAC

Coleman Hawkins, Ben Webster – Coleman Hawkins Encounters Ben Webster (1959/2014)
DSF DSD64 | Time – 00:36:33 minutes | 1,49 GB | Source: SACD ISO
FLAC (tracks) 24 bit/192kHz  | Time – 00:36:33 minutes | 1,51 GB | Source: acousticsounds.com
Genre: Jazz | The Verve Music Group

Ben Webster emulated the big, breathy saxophone style of his influence, Coleman Hawkins. When the two legendary tenor sax players joined forces on this historic 1957 recording, the results were magical. The two players show off how they can swing and yet display sensitivity playing the beautiful melodies of the mid-tempo ballads, backed by an incredible rhythm section starring Oscar Peterson on piano along with Herb Ellis on guitar, Ray Brown on double bass and drummer Alvin Stoller. Coleman Hawkins Encounters Ben Webster combines standards by Cole Porter, Johnny Mercer and Rodgers and Hart with a raunchy Hawkins original tune, Blues For Yolande that turns into a tenor sax duel between Hawkins and Webster. This album has been released in some countries under the title Blue Saxophones.

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Coleman Hawkins – Coleman Hawkins and Confreres (1958/2014) DSF DSD64 + Hi-Res FLAC

Coleman Hawkins – Coleman Hawkins and Confreres (1958/2014)
DSF Stereo DSD64/2.82 MHz | Time – 34:55 minutes | 1,37 GB | Genre: Jazz
FLAC (tracks) 24 bit/192 kHz | Time – 34:58 minutes | 1,45 GB
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Analogue Productions (Verve)

This unique 1958 recording is a collaboration between Coleman Hawkins and the Oscar Peterson Trio. Hawkins’s voluminous, supple tenor sax sound, which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard on Honey Flower. The album features Ben Webster on tenor sax, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, Roy Eldridge on trumpet, Hank Jones on piano, George Duvivier on double bass and drummers Alvin Stoller and Mickey Sheen.

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Cootie Williams And His Orchestra – Cootie Williams In Stereo (1958/2015) DSF DSD256 + Hi-Res FLAC

Cootie Williams And His Orchestra – Cootie Williams In Stereo (1958/2015)
DSF Stereo DSD256, 1 bit/11,2 MHz | Time – 21:07 minutes | 3,33 GB
FLAC (tracks) 24-bit/96 kHz | Time – 21:07 minutes | 473 MB
Studio Masters, Official Digital Download – Source: HDTT | Booklet, Front Cover | Genre: Jazz | © High Definition Tape Transfers

With the possible exception of cornball trumpeter Clyde McCoy, nobody could impart humanistic sounds to a plunger mute like Cootie Williams. Certainly nobody could make a trumpet growl like he did, full of feral shrieks and blasts and vocal tones galore. As a member of the Duke Ellington Orchestra during its heyday, Williams was big enough potatoes that when he left Ellington to join up with Benny Goodman in the early ’40s, it prompted a tune titled “When Cootie Left the Duke.” No two ways about it, the man could blow. As part of the 100th birthday celebration of all things Ellington, RCA is reissuing all the solo projects done by his famous sidemen. This 12-song album from 1958 — appended with 11 more that appeared as singles from the year before — shows that Williams’ broad style was still mightily intact some 30 years after joining the Ellington fold. Unlike the other Ellington sidemen projects in this series, Williams performs on Cootie Williams in Hi-Fi with a full-blown big band, turning in swinging readings of such chestnuts as “Just in Time,” “Summit Ridge Drive,” and “My Old Flame.” Oddly, these big-band sides don’t honor the Duke musically except when Cootie and the band tackle old favorites like “Caravan.” The non-album tracks are a varied lot. “Rinky Dink” sounds like a Bill Doggett outtake (and features some uncharacteristically bluesy rock & roll guitar from Kenny Burrell!); other tracks skirt the place where blues and R&B meet jazz, at the end of a dark alley. But just listen to that closing blast from Williams on “New Concerto for Cootie,” which officially closed the original LP, and you’ll know that Cootie Williams remained a Duke man to the end. –AllMusic Review by Cub Koda

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Creedence Clearwater Revival – Mardi Gras (1972) [SACD 2003] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – Mardi Gras (1972) [SACD 2003]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,14 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 28:27 min | Scans included | 560 MB
Analogue Productions # CAPJ 9404 SA

Mardi Gras is the final album by Creedence Clearwater Revival. Recorded in the spring of 1971 and January of 1972, the album was released on April 11, 1972. The group disbanded after the album was released. By the time the album was recorded, Tom Fogerty had left the group due to disputes over his desire to play a more creative role in writing material. Mardi Gras featured songs written and performed by the remaining three members of CCR; Doug Clifford and Stu Cook each wrote and sang the lead vocals on three songs. This was a departure from CCR’s previous albums, for which John Fogerty had written and sung lead vocals on almost all songs.

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Creedence Clearwater Revival – The Concert (1970) [SACD 2003] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – The Concert (1970) [SACD 2003]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,99 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 48:52 min | Scans included | 987 MB
Fantasy Inc. / Concord Records Group # FSA-4501-6

The Concert is the second live album by American rock band Creedence Clearwater Revival, released by Fantasy Records in October 1980. The album was recorded at the Oakland Coliseum in Oakland, California on January 31, 1970.

Originally the album was mistakenly titled The Royal Albert Hall Concert. Only later was it discovered that it was not recorded at the Royal Albert Hall, it was duly renamed for later reissues.

The album reached #62 on the Billboard 200 in 1981. The album achieved gold status (500,000 units sold) by the Recording Industry Association of America on February 27, 1986 and made platinum status (1,000,000 units sold) on September 30, 1996.

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Creedence Clearwater Revival – Pendulum (1970) [SACD 2003] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – Pendulum (1970) [SACD 2003]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,68 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 41:30 min | Scans included | 806 MB
Analogue Productions # CAPP 8410 SA

During 1969 and 1970, CCR was dismissed by hipsters as a bubblegum pop band and the sniping had grown intolerable, at least to John Fogerty, who designed Pendulum as a rebuke to critics. He spent time polishing the production, bringing in keyboards, horns, even a vocal choir. His songs became self-consciously serious and tighter, working with the aesthetic of the rock underground — Pendulum was constructed as a proper album, contrasting dramatically with CCR’s previous records, all throwbacks to joyous early rock records where covers sat nicely next to hits and overlooked gems tucked away at the end of the second side. To some fans of classic CCR, this approach may feel a little odd since only “Have You Ever Seen the Rain” and maybe its B-side “Hey Tonight” sound undeniably like prime Creedence. But, given time, the album is a real grower, revealing many overlooked Fogerty gems. Yes, it isn’t transcendent like the albums they made from Bayou Country through Cosmo’s Factory, but most bands never even come close to that kind of hot streak. Instead, Pendulum finds a first-class songwriter and craftsman pushing himself and his band to try new sounds, styles, and textures. His ambition results in a stumble — “Rude Awakening 2″ portentously teeters on the verge of prog-rock, something CCR just can’t pull off — but the rest of the record is excellent, with such great numbers as the bluesy groove “Pagan Baby,” the soulful vamp “Chameleon,” the moody “It’s Just a Thought,” and the raver “Molina.” Most bands would kill for this to be their best stuff, and the fact that it’s tucked away on an album that even some fans forget illustrates what a tremendous band Creedence Clearwater Revival was.

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Creedence Clearwater Revival – Cosmo’s Factory (1970) [SACD 2002] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – Cosmo’s Factory (1970) [SACD 2002]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,73 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 42:53 min | Scans included | 857 MB
Analogue Productions # CAPJ 8402 SA

Cosmo’s Factory was the fourth, biggest, and best of the astonishing string of five Top Ten albums Creedence Clearwater Revival released in 1969 and 1970. It went on sale in August 1970, well after two of its tracks had stormed the radio—the No. 2 “Travelin’ Band”/”Who’ll Stop the Rain,” which began its parabola in January, and the No. 4 “Up Around the Bend,” released in April. But as Fantasy most certainly knew, there was a third hit in its grooves, the transcendent “Lookin’ Out My Back Door”—the fifth and last No. 2 lead single for the preeminent pop phenomenon of its brief era, which never had a No. 1—and the album rode all four beloved songs to nine weeks atop Billboard’s album chart.

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Creedence Clearwater Revival – Willy And The Poorboys (1969) [SACD 2002] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – Willy And The Poorboys (1969) [SACD 2002]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,41 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 34:56 min | Scans included | 702 MB
Analogue Productions # CAPJ 8397 SA

Creedence Clearwater Revival’s fourth album, shows a band in the full flush of success, following two albums that had spent over a year on the charts (as this one would do), and powered by two hit singles, one of which would become an anthem for its times. The album came out when Creedence, surely the most anomalouss band in the “San Francisco” explosion of the late Sixties, was also proving to be the most commercial and most reliable seller of them all.

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Creedence Clearwater Revival – Green River (1969) [SACD 2002] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – Green River (1969) [SACD 2002]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,19 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 28:58 min | Scans included | 588 MB
Analogue Productions # CAPJ 8393 SA

Released in August 1969, a month before Woodstock, Green River is utterly of its time, a throwback to early rock’n’roll, and a visionary work that imagines the world yet to come. The album has to be of its time, because with a string of remarkable hits, Creedence Clearwater Revival helped shape its era. The singles here “Green River,” “Bad Moon Rising,” “Lodi,” and “Commotion” define the everyday quality of the band’s music, the melodies and rhythms you seem to have known forever before you’ve heard them all the way through once.

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Creedence Clearwater Revival – Bayou Country (1969) [SACD 2002] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – Bayou Country (1969) [SACD 2002]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,37 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 33:51 min | Scans included | 654 MB
Analogue Productions # CAPJ 8387 SA

Bayou Country is not hte only album that defined the sound of Creedence, it was the band’s first masterpiece. In a single, bold stroke, it announced Creedence Clearwater as a bright, vital force in rock and staked a place for what was yet to come.

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Creedence Clearwater Revival – Creedence Clearwater Revival (1968) [SACD 2002] SACD ISO + Hi-Res FLAC

Creedence Clearwater Revival – Creedence Clearwater Revival (1968) [SACD 2002]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,38 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 33:33 min | Scans included | 653 MB
Analogue Productions # CAPJ 8382 SA

Credence Clearwater Revival was the eponymous debut album by the American rock band Creedence Clearwater Revival and was originally released on July 5, 1968. The album featured a number of covers, including “Susie Q”, which became a hit. Although the band initially struggled to achieve recognition by critics, they would eventually go on to become one of the most well-known and beloved American rock bands of the 1960s and ’70s.

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