![King Crimson - Larks’ Tongues in Aspic (40th Anniversary Edition) (1973/2023) [High Fidelity Pure Audio Blu-Ray Disc]](https://imghd.xyz/images/2024/05/12/138741_front.md.jpg)
Taylor Acorn – Put It in a Song (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 17:17 minutes | 209 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © Taylor Acorn
Need a catchy, upbeat jam that will have you skipping on your way to work? That’s what I found when I started listening to Taylor Acorn‘s “Put It In A Song,” the first single off her debut EP of the same title. The singer-songwriter left college after 2 years to pursue her dream of becoming a singer in Nashville, and has been working toward this moment since 2013. “This is everything that I’ve worked so hard on for the past 2 years. Before I even started recording anything, I was writing everything on my own in my bedroom,” Taylor shared with HollywoodLife.com. “These five songs I wrote myself. I’m just excited to see what people say and how they react. I mean, I put, really my whole heart into it.” From her hit love song “Put It In A Song,” to her sassy “Guys Like You,” Taylor shows off her buttery, emotive voice that will be impossible not to love. Not only that, but Taylor’s own lyrics are on par with Taylor Swift‘s raw honesty and relatability.
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Tax The Heat – Change Your Position (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 41:13 minutes | 513 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Nuclear Blast Entertainment
The Bristol band’s brilliantly received debut album, 2016’s Fed To The Lions, established them as one of the most electrifying new bands in the country. Change Your Position does more than just build what they achieved with that record. It pushes the Tax The Heat sound to the next level, adding a razor-sharp modern edge to their rock ’n’ roll approach. The influences they have drawn on – from groundbreaking modern icons QOTSA and White Denim to such eternal visionaries as Bowie and Prince – were uniformly contemporary, though the end result is uniquely Tax The Heat.
If an album is about capturing a band or artist at a certain point, Change Your Position might have happened at the perfect time. As a band we toured, found our sound, found our place and took inspiration from a world in utter chaos. With Change Your Position we pushed ourselves creatively as hard as we could and it took us further into ourselves than we expected – we hope it’s apparent to the listener.
Read moreTasto Solo – Early Modern English Music: 1500 -1550 (2017) [Official Digital Download 24bit/88,2kHz]
Tasto Solo – Early Modern English Music: 1500 -1550 (2017)
FLAC (tracks) 24 bit/88,2 kHz | Time – 57:58 minutes | 1,03 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
“The history of the organetto, the iconic small medieval organ, was lost during the course of the 16th century, leaving only few and scattered witnesses to its use. In just a few decades, the instrument fell into a deep slumber and disappeared from all musical activity for nearly five hundred years. When and why did this interminable period of lethargy begin? This question was discussed time and time again by the musicians of Tasto Solo, intrigued as they were by the transformation of the family of gothic keyboard instruments – including the organetto, but also the clavisimbalum or eschiquier – which underwent major changes of form and aesthetics in the early Renaissance, inexorably leading to their disappearance. Inspired by these matters, Tasto Solo started a research project in 2013, with the added ambition of making it a performance-laboratory capable of creating a concert programme that brought together the English repertoire of the first half of the 16th century and the organological and technical features of early keyboard instruments: a programme that searched for boundaries and, perhaps, outlined some of the answers. Early Modern English Music is the outcome of this exploration in time and the first volume of a series of Tasto Solo’s projects devoted to Early Modern music.” Works by R. Cooper, Henry VIII, H. Aston, T. Preston and anonymous early 16th century English composers.
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Tasmin Little – The Best of Tasmin (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 02:39:39 minutes | 2,67 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Chandos
Following the announcement by Tasmin Little of her intended retirement from the concert platform, we wanted to create an album that would stand as both a tribute to, and celebration of, her outstanding career as a performer. What better way to do so than ask her to select her own, personal favourites from her recorded career? An exclusive Chandos artist since 2010, Tasmin has made a series of recordings that have proved a cornerstone of the Chandos schedules for a decade, and feature a range of composers and styles of quite breath-taking variety. The first disc concentrates on concerti, and features both Walton’s and Britten’s concertos with Edward Gardner, along with the slow movement of her award-winning Elgar recording with Sir Andrew Davis. The second disc features works from Vivaldi though to Shostakovich via Brahms, and includes (among many other gems) her recording of Vaughan Williams’s iconic The Lark Ascending. It also celebrates Tasmin’s recital partnerships with three outstanding pianists: Piers Lane, Martin Roscoe, and John Lenehan. As she writes in her booklet note: ‘I am very happy that this final, double-CD set should reflect so many aspects of me as a musician; and I remain full of gratitude for the tremendous opportunities I have been given to play and record with the greatest musicians of today. I hope you all enjoy this final release.’
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Teedra Moses – Cognac & Conversation (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 47:24 minutes | 544 MB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © Shanachie
It probably wasn’t by design that Teedra Moses released her second proper album — this one — over a decade after Complex Simplicity. Unlike D’Angelo and Bilal, fellow beloved R&B artists whose first and second albums were released after similarly protracted gaps, Moses was able to placate her cult audience with scattered singles, mixtapes, and an EP. The singer, songwriter, and arranger also kept it guessing with ever-changing album plans and by aligning with Rick Ross’ Maybach Music Group. Revised titles and projected release dates ceased in August 2015, once R&B haven Shanachie issued Cognac & Conversation. As on the novel Complex Simplicity, Moses projects sweet vulnerability and streetwise swagger in a way, with minimal exertion, that recalls Teena Marie. Moses’ mix of classic and contemporary is correspondingly kept with help from a deep roster of producers. It should hit the spot for listeners who dig commercial R&B sounds and relate to some of the content but not the juvenile manner in which certain sentiments are expressed. Likewise, Moses’ hooks often sound nice on the first listen and brilliant by the tenth, and with the lightest of touches, she can switch from cutting a man down to size (as on “International Playboi”) to making him feel like royalty (“Skin Diver”). Apart from a handful of interludes Moses handled herself, not one of the collaborators — including Bink, Trackademics, Thaddeus Dixon, and Dwayne “DW” Wright — is connected to more than two tracks. Despite that, this set of songs does not seem hastily snapped together. Just as crucial, the guests don’t get in the way and just happen to appear on four of the high-quality cuts. Ross neither outshines nor weighs down two of them: the springy “All I Ever Wanted,” likely to bring Dynasty and/or Camp Lo to mind, and the title track, which enters like a slow-building club anthem but instead settles into a cunning slow jam. 3D Na’Tee strengthens the plush “Only U,” the album’s closest equivalent to the debut’s “Rescue Me,” while Anthony Hamilton is on the dazzling “That One,” a contender for duet of 2015. Here’s hoping Moses’ third album lands earlier than 2026. ~ Andy Kellman
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Title: Taylor Swift – Journey to Fearless
Release Date: 2010
Genre: Country, Pop
Production/Label: Shout Factory
Duration: 02:10:51
Quality: Blu-ray
Container: BDMV
Video codec: MPEG-4 AVC
Audio codec: DTS, PCM
Video: 1920x1080i, MPEG-4 AVC, 29.970 fps, ~33001 Kbps
Audio #1: English DTS-HD MA 5.1 (48 kHz / 4081 kbps / 24-bit)
Audio #2: English LPCM 2.0 (48 kHz / 2304 kbps / 24-bit)
Size: 38.4 GB
Originally premiering on October 22, 2010 as a three-part miniseries launching the kids network The Hub, Journey To Fearless combines riveting performances from Taylor Swift’s smash 2010 tour with revealing interviews and behind-the-scenes footage. Over the course of two-and-a-half hours, this special reaches all the way back to early home videos and blasts forward to Taylor’s gala performance. Journey To Fearless tells the story of a little girl who dared to dream big, and who fearlessly faced near-insurmountable obstacles to make those dreams come true.
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Tony Overwater – OP (2000)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 62:00 minutes | Scans included | 2,51 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,16 GB
His friends call him OP. He changed the way the double bass is heard and played. He made the bass a genuine solo instrument and was the first to incorporate the cello into jazz ensembles. He’s played with Thelonious Monk, Coleman Hawkins, Roy Eldridge, Errol Garner, Max Roach, Woody Herman and Duke Ellington. An outstanding album full of killer jazz and double bass.
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Tom Waits – Rain Dogs (1985) [Japanese SHM-SACD 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 53:58 minutes | Scans included | 2.18 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 993 MB
With its jarring rhythms and unusual instrumentation — marimba, accordion, various percussion — as well as its frequently surreal lyrics, Rain Dogs is very much a follow-up to Swordfishtrombones, which is to say that it sounds for the most part like The Threepenny Opera being sung by Howlin’ Wolf. The chief musical difference is the introduction of guitarist Marc Ribot, who adds his noisy leads to the general cacophony. But Rain Dogs is sprawling where its predecessor had been focused: Tom Waits’ lyrics here sometimes are imaginative to the point of obscurity, seemingly chosen to fit the rhythms rather than for sense. In the course of 19 tracks and 54 minutes, Waits sometimes goes back to the more conventional music of his earlier records, which seems like a retreat, though such tracks as the catchy “Hang Down Your Head,” “Time,” and especially “Downtown Train” (frequently covered and finally turned into a Top Ten hit by Rod Stewart five years later) provide some relief as well as variety. Rain Dogs can’t surprise as Swordfishtrombones had, and in his attempt to continue in the direction suggested by that album, Waits occasionally borders on the chaotic (which may only be to say that, like most of his records, this one is uneven). But much of the music matches the earlier album, and there is so much of it that that is enough to qualify Rain Dogs as one of Waits’ better albums.
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Tommy Turrentine – Tommy Turrentine plus The Max Roach Quintet (1960) [Audio Fidelity 2003]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 32:12 minutes | Scans included | 1,73 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 875 MB
Jazz | Audio Fidelity SACD #AFZ-007 | Remastered for SACD by Steve Hoffman
Thomas Walter Turrentine, Jr. was a swing and hard bop trumpeter of the 1940s to 1960s, the older brother of saxophonist Stanley Turrentine. He played in the bands of Benny Carter, Earl Bostic, Charles Mingus, Billy Eckstine, Dizzy Gillespie, and Count Basie. He later recorded with Sonny Clark, Lou Donaldson, and his brother’s bands. His working relationship with Max Roach was spawned in part when he joined the Max Roach Quintet in the late 1950s following the death of Clifford Brown.
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Tommy Smith – Blue Smith (1999)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 61:51 minutes | Scans included | 2,51 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,22 GB
Scottish jazz saxophonist emerged in the early 1980s, moved on to create challenging works with major players.
Guitarist John Scofield has never had a problem interacting with saxophonists in a piano-less environment; anyone who admires the strong rapport that him and saxman Joe Lovano have enjoyed when there is no pianist on board can attest to that. So it isn’t surprising that Scofield and Scottish saxophonist Tommy Smith prove to be a strong combination on 1999’s Blue Smith, which finds the two forming a piano-less quartet with upright bassist James Genus and drummer Clarence Penn. The only familiar song on this post-bop is “Amazing Grace”; all of the other selections were written by Smith, who keep things unpredictable and provides a variety of blues-influenced material for the quartet to work with. Scofield excels on everything that Smith throws his way, and that includes the funky “Rain Dance” and the angular “Dr. Sco,” as well as the Native American-influenced “Rain Dance” and the John Coltrane-minded “Touch Your Toes.” As the title indicates, Blue Smith is a Album with a lot of blues feeling; it isn’t an album in which Smith (who is heard on both tenor and soprano) plays 12-bar blues numbers exclusively, but it is an album in which Smith and Scofield never forget the importance of blues feeling. Blue Smith is among his strongest albums.
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Tommy Flanagan – Overseas (1957) [Analogue Productions Remaster 2013]
PS3 Rip | SACD ISO | DSD64 Stereo > 1-bit/2.8224 MHz | 40:20 minutes | Scans included | 1,72 GB
or DSD64 2.0 Mono (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Scans included | 1,68 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 833 MB
This studio session represents one of Tommy Flanagan’s earliest dates as a leader, recorded while he was in Stockholm, Sweden. Bassist Wilbur Little and a young Elvin Jones on drums provide strong support, but the focus is on Flanagan’s brilliant piano. The brilliant opener is a potent brisk run through Charlie Parker’s “Relaxin’ at Camarillo,” followed by a faster than typical “Chelsea Bridge,” which the leader playfully detours into another Billy Strayhorn composition (“Raincheck”) for a moment, while also featuring Jones’ brushwork in a pair of breaks. Flanagan’s approach to the venerable standard “Willow Weep for Me” is steeped in blues, backed by Little’s imaginative accompaniment. The bulk of this date is devoted to Flanagan’s compositions, though only one, “Eclypso,” remained in his repertoire for long. This engaging piece alternates between calypso and bop, with Jones switching between sticks and brushes. “Beat’s Up” has the obvious influence of Bud Powell, while the extended blues “Little Rock” opens with a sauntering bass solo. This album has been released under various titles on several labels.
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Robin Blaze, Estonian Philharmonic Chamber Choir, Paul Hillier – Tiovo Tulev: Songs (2008)
SACD ISO (2.0/MCH): 3,31 GB | 24B/88,2kHz Stereo FLAC: 1,07 GB | Full Artwork
Label/Cat#: Hamronia Mundi USA # HMU 807452 | Country/Year: Europe 2008 | 3% Recovery Info
Genre: Classical, Sacred | Style: Present 21th Century, Vocal
For me, one of the highlights of the 2008 Edinburgh Festival was a concert given by the Esthonian Philharmonic Chamber Choir, directed by Paul Hillier in their core repertoire of Baltic music. Many will be familiar with the choir from their series of Baltic Voices discs, and their reputation for precision, virtuosity and a uniquely vibrant timbre was amply displayed at that concert – as it is on this recording.
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Todd Rundgren – Something-Anything (1972) [Reissue 2018]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 89:40 minutes | Scans included | 3,61 GB
or FLAC (converted with foobar2000 to tracks) 24bit/96 kHz | Full Scans included | 1,95 GB
This 1972 release, from Bearsville Records, was engineered by Todd Rundgren with a little help from his friends Rick Derringer, Billy Mundi, Moogy Klingman, Amos Garrett, Bugsy Maugh and Gene Didwiddie (both from the Butterfield Blues Band), the Hunt Brothers, Rick Vito, Jim Horn and the Brecker Brothers. This 45th Anniversary Reissue, never before available on SACD, have been mastered from the original stereo tapes by Kevin Gray at Cohearent Audio.
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Tardo Hammer Trio – Swinging On A Star (2017)
FLAC (tracks) 24 bit/88,2 kHz | Time – 46:50 minutes | 909 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Cellar Live
To play bebop, one needs to deal with two competing impulses: master the instrument – amass the fluency required to float at heightened tempi, navigate harmonic complexities and execute ornamented lines that are part of this music’s tradition – and utilize a relaxed phraseology that is anything but frenetic and that comes across as “not trying too hard.” No doubt, to play with the sort of authenticity that stellar musicians Tardo Hammer, Lee Hudson and Steve Williams bring to Hammer’s Swinging On A Star is difficult. But to listeners, the effort is hidden, the inventive spirit of musical collaboration and taste displayed.
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Sufjan Stevens – Javelin (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 42:04 minutes | 826 MB | Genre: Indie Rock
Studio Masters, Official Digital Download | Front Cover | © Asthmatic Kitty
Each track on Javelin starts intimately: the trickle of an acoustic guitar, the patter of a lidded piano, and the cascade of a coruscant arpeggio. And then, of course, there is that disarming voice, the throughline in one of the most eclectic catalogs of any songwriter this century—soft but strong, as if the very scenes of hurt and hope it is about to share have only galvanized it through the decades. Javelin pairs musical sweep with emotional breadth, an entire lifetime of feeling woven into 42-minutes. On Javelin, Sufjan, as you may know him best, returns: offering gorgeous if pained glimpses of himself, so that we may see ourselves more fully.
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