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Alexei Utkin, Hermitage Chamber Orchestra – Mozart: Oboenspitze, vol.2 (2008)
DSF 5.0 Surround DSD64/2.82MHz | Time – 54:18 minutes | 5,37 GB
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 54:18 minutes | 2,15GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Essential Music/Caro Mitis
In the mid-18th century a composition bearing the name Sinfonia concertante captivated audiences at large public concerts in Paris, London and Mannheim. In many ways akin to a solo concerto, symphonies with the participation of a group of solo instruments were seen primarily as an alternative to the usual orchestral symphony – somewhat lighter in content, but far more virtuoso and showy by nature. The powerful, stirring sound of the orchestra (in which an important role was played by developed parts for wind instruments) was combined with sections that allowed the best European performers to demonstrate their mastery.
As things turned out, the wider public is familiar with only a few examples among many hundreds of 18th-century concertante symphonies. By a certain irony of fate, sometimes even the names of composers who were famous in their day for writing dozens of such symphonies have been practically forgotten, whereas Mozart’s sole surviving opus in this genre, the Sinfonia concertante in E flat major for violin and viola (KV 364), is traditionally an integral part of the classical repertoire. It sufficed for Mozart to make just one episodic application of the sinfonia concertante genre in order to eclipse his colleagues’ legacy for several centuries, although admittedly this work occupies an important place among his compositions.
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Alexei Utkin, Hermitage Chamber Orchestra – Mozart: Oboenspitze, vol.1 (2004)
DSF Stereo DSD64/2.82MHz | Time – 01:04:25 minutes | 2,55 GB | Genre: Classical
Source: ISO SACD | © Caro Mitis/Essential Music | Booklet, Front Cover
Little is known about Giuseppe Ferlendis who was appointed oboist at the court of Archbishop of Salzburg Prince Hieronymus Colloredo on April 1, 1777. But irrespective of whether Ferlendis was a profound or average musician, his appearance in Salzburg orchestra inspired young Wolfgang Amadeus Mozart to create one of his rare compositions with solo oboe: Concerto in C major KV 314. Did the successful composer create this work out of boredom, having to spend months and years of his youth in the Austrian province he felt aversion for?
Whatever it might be but when at the end of September of same year (1777) Wolfgang set out for an important musical tour of Europe in search of the worthy application of his talent (for the first time without his father, accompanied only by his mother), he took the manuscript of the new Concerto with him – as a kind of business card, one of spectacular samples of his composing accomplishment.
Mary Wells – Bye Bye Baby I Don’t Want to Take a Chance (1961/2020)
FLAC (tracks) 24 bit/96 kHz | Time – 25:56 minutes | 536 MB | Genre: Soul
Studio Masters, Official Digital Download | Front Cover | © UNI – MOTOWN
Digitally remastered edition of this classic Soul album. Originally released in 1961, this was the R&B vocalist’s debut album and included the two hits mentioned in the album’s title: ‘Bye Bye Baby’ and ‘I Don’t Want to Take a Chance’.
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Maryla Jonas – The Maryla Jonas Story – Her Complete Piano Recordings (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 03:12:56 minutes | 2,03 GB | Genre: Classical, Piano
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
Maryla Jonas, a Polish-born concert pianist, made her U.S. debut at Carnegie Hall in February, 1946. As a newcomer, she received favorable reviews, but the next month Olin Downes, reviewing a recital before a crowded house in the same hall, wrote in The New York Times that “she has few equals as an interpreter among the leading pianists of today”. As a child prodigy, Jonas made her debut in Warsaw at the age of 9 and became a pupil of Ignacy Jan Paderewski. She won an International Chopin Prize in 1922 and the Beethoven Prize of Vienna the next year. She was in bombed-out Warsaw when it was captured by the Nazis, but escaped in 1940, a feat that was described later as “miraculous”. Walking day and night, she traveled 325 miles to the Brazilian Embassy in Berlin. From there, Jonas went to Rio de Janeiro, where her married sister, Mrs. Bertha Holin, then lived, and entered a sanitarium. Later she heard that her first husband, a noted criminologist, her parents and a brother had been killed in Poland. In Rio, Miss Jonas gave up playing for months. It has been said that her fellow countryman, Arthur Rubinstein, induced her to return to the piano. She toured South America to obtain funds to come to New York.
Almost five years after her debut at Carnegie Hall, Miss Jonas fainted in the wings of the same hall after leaving the stage part way through her performance of Schumann’s Carnaval. She recovered quickly and completed her program. Her illness forced her temporary retirement, but in December, 1956, she gave what was to be her last recital at Carnegie Hall. Maryla Jonas died on the 3rd of July, 1959 at her home of a rare blood disease that had hindered her career in recent years. Her age was 48.
Remastered from the original analogue discs and tapes using 24 bit / 192 kHz technology.
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Maryam Chemirani, Sylvain Barou, Bijan Chemirani, Keyvan Chemirani – Hâl. Ballades amoureuses (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 47:28 minutes | 569 MB | Genre: World
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
The talented Chemirani family – Keyvan, Bijan and Maryam – have recorded an album called H^al (pronounced “Hol”), which explores the intersection of Iranian, Indian and Irish music. Subtitled “Love ballads”, it features love poems with texts sung in English or Persian. The “h^al” corresponds to the moment when one lets oneself go, that ecstatic state between awakening and self-forgetfulness… Keyvan, a zarb and percussion virtuoso, and Bijan, an expert on the saz lute and also a percussionist, are known from the highly regarded Trio Chemirani, formed with their father. This album introduces their sister Maryam, a singer but also a nurse, who followed in the footsteps of Mother Teresa in India, then worked in the Alpes de Haute Provence. Keyvan devised this programme especially for her, inspired both by her voice which is “warm and deeply generous” and her compassionate spirit which imbues her performance with added emotion. The incredible flute player Sylvain Barou, their brother in music, completes the ensemble.
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Mary Wells – Two Sides Of Mary Wells (1966/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 33:27 minutes | 744 MB | Genre: R&B, Soul
Studio Masters, Official Digital Download | Front Cover | © Rhino Atlantic
A rare recording from the 60s – one that showcases two different sides of singer Mary Wells, in a mode that’s different than her work for other labels! The “two sides” in the title are Mary’s soul side and her more sophisticated one – the former served up in a batch of great 60s soul covers that echo with an Atlantic sound that’s even harder than Mary’s earlier work – the latter by a host of groovy 60s pop numbers, done with fuller arrangements, and a vocal range that really surprised us! Sonny Sanders handles the soul sides, Joe Mazzu handles the sophisticated ones – and titles include “Love Make The World Go Round”, “My World Is Empty Without You Babe”, “Good Lovin”, “Dear Lover”, “In The Midnight Hour”, “Where Am I Going”, “The Boy From Ipanema”, and “The Shadow of Your Smile”.
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Mary Wells – Something New: Motown Lost & Found (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 02:09:55 minutes | 2,68 GB | Genre: R&B, Soul
Studio Masters, Official Digital Download | Front Cover | © Motown
This revealing double album from Motown’s first crossover star, Mary Wells, contains 47 tracks, 23 of them never before heard. Something New: Motown Lost & Found is an overview of Wells working with nearly every producer at the label, from Smokey Robinson to Holland-Dozier-Holland to Berry Gordy. Among the unreleased songs are newly discovered duets with Marvin Gaye and the young Supremes, as well as sessions for an unfinished standards album with the Four Tops. The collection also includes 24 songs issued after Wells left Motown and three more rare duets with Gaye, all in stereo mixes for the first time.
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Mary Wells – Mary Wells Sings My Guy (1964/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 32:21 minutes | 1,34 GB | Genre: R&B, Soul
Studio Masters, Official Digital Download | Front Cover | © Motown
“Mary Wells Sings My Guy” is the fourth studio album and fifth overall album released by Motown vocalist Mary Wells. The album features her signature hit of the same name (which had already appeared on Greatest Hits earlier in the year) and the proposed singles “Whisper You Love Me Boy” and “He’s the One I Love”, the latter later re-recorded by Tammi Terrell during her own brief Motown tenure. It turned out to be the last studio effort Wells released for Motown as she left the label that year for 20th Century Fox Records.
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Mary Wells – Bye Bye Baby I Don’t Want to Take a Chance (1961/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 25:56 minutes | 982 MB | Genre: R&B, Soul
Studio Masters, Official Digital Download | Front Cover | © Motown
The debut album from Mary Wells, released in 1961, draws its title from the two top 10 R&B songs it contains, Bye Bye Baby and I Don’t Want to Take A Chance. Recorded when she was only 17 years old, the single Bye Bye Baby preceded the album by almost a year, introducing Wells and becoming one of Motown’s first hits. I Don’t Want to Take A Chance, among the label’s earliest 45s to crack the mainstream top 40, peaked at number 33.
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Mary Stallings – Songs Were Made to Sing (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:26 minutes | 1,23 GB | Genre: Vocal Jazz, Jazz
Studio Masters, Official Digital Download | Front Cover | © Smoke Sessions
Not a single lyric on Songs Were Made To Sing was written by Mary Stallings, but each one represents a chapter in her life and a piece of her soul. On her latest album, due out May 17 from Smoke Sessions Records, the incomparable vocalist has crafted an exquisite collection of classic songs to reflect on a life well and passionately lived. With Songs Were Made To Sing, Stallings puts her distinctive stamp on a diverse set of 13 songs, using her gift for interpreting a lyric to transform familiar melodies into profoundly personal and captivating stories.
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Mary Nelson – Moon River and Me (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 50:06 minutes | 539 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Do Music Records
“Moon River And Me” are the four last words of the lyrics to film composer Henry Mancini’s possibly best known hit song Moon River, sung and immortalized on celluloid by a ravishing Audrey Hepburn in Blake Edwards’ celebrated 60s comedy Breakfast At Tiffany’s. Over a prolific career spanning 60 years, Henry ”Hank” Mancini made a name in Hollywood and worldwide by crafting iconic film and TV scores for productions such as The Pink Panther films, Peter Gunn, 10 and The Thorn Birds, music that gallantly fused strong harmonic and melodic content with jazz and Latin American rhythms. For her third full-length album, Swedish-American jazz vocalist and composer Mary Nelson has chosen Henry Mancini as her object of study, and aptly names it Moon River And Me. Together with multi-faceted Swedish pianist, composer and arranger Daniel Lantz, who has a soft spot for film music, not least evidenced by his previously released jazzy takes on Bond music, she has dug deep into Mancini’s musical gold mine, presenting not only imaginative renditions of his worldwide hits, but also exploring his obscure and peripheral background themes that still possess remarkable melodic content, for which Nelson has penned her own lyrics, transforming them into brand new stage-ready jazz songs. Masterfully recorded by engineers Otto Wellton and David Darlington, with a classy jazz piano trio arranged and helmed by pianist Daniel Lantz with sidemen Swedish bassist Pal Johnson and Finnish drummer Kari Paavola, Nelson treats Mancini’s unforgettable music with an expressive and sensitive personal touch, embraced by the light-swinging interplay of the acoustic jazz trio. The inclusion of acclaimed New York jazz-, vocal- and trumpet star Benny Benack III provides the icing on the cake for Miss Nelson’s delicious Mancini jazz cocktail!
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Mary Lou Williams – I Made You Love Paris (1954/2021)
FLAC (tracks) 24 bit/96 kHz | Time – 56:39 minutes | 1004 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © RevOla
In late 1953 Mary Lou Williams moved to Paris, where she found steady work playing for artists and expatriates in the bohemian nightclubs of the Left Bank. While there she recorded two sessions, both in early 1954, which were issued on a series of 10-inch records on Blue Star and Club Francais du Disque. This volume of the Jazz in Paris series collects those sessions, offering an idea of what you might have heard had you stumbled into the Perdido Club or the Ringside on a night when Williams was at the keys. Even though she was only working with a small combo of Parisian pickup musicians and a few African-American expatriates, Williams could easily revive the smoothly rollicking big-band R&B that she honed during her early years in Kansas City. There are also several sophisticated blues pieces, including “Freight Train Blues,” which features the British jazz vocalist Beryl Bryden. While the small group recordings highlight Williams’ fundamental values (subtlety, elegance, ingenuity), these values are never stronger than when she’s playing solo, as on “I Made You Love Paris” and “Club Francais Blues.”
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Mary Lattimore – Silver Ladders (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 40:18 minutes | 360 MB | Genre: Electronic, Ambient
Studio Masters, Official Digital Download | Front Cover | © Ghostly International
Slowdive’s Neil Halstead supplies gauzy production for LA-based Harpist, Mary Lattimore’s latest suite of fairytale music for adults in suspended animation, casting her third album for Ghostly on a warm Gulf Stream of narrative melodies.
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– Hundreds of Days (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 48:01 minutes | 551 MB | Genre: Ambient
Studio Masters, Official Digital Download | Front Cover | © Ghostly International
Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore’s evocative craft. Inside her music, wordless narratives, indefinite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco’s Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It’s an expansive new chapter in Lattimore’s story, and an expression of mystified gratitude. A study in how ordinary components helix together to create an extraordinary world.
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Mary Lattimore – Collected Pieces: 2015-2020 (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:08:09 minutes | 604 MB | Genre: New Age, Ambient, Modern Classical
Studio Masters, Official Digital Download | Front Cover | © Ghostly International
In the afterglow of her acclaimed 2020 album *Silver Ladders* (a year-end favorite of NPR, Pitchfork, The New Yorker, and others), Los Angeles-based harpist and composer Mary Lattimore returns with a culminating counterpart release, *Collected Pieces: 2015-2020.
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