Apr 27

Cocteau Twins – Tiny Dynamine; Echoes In A Shallow Bay (1985/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 32:43 minutes | 748 MB | Genre: Punk, New Wave
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Front cover | © 4AD

Tiny Dynamine and Echoes in a Shallow Bay are two EPs by Cocteau Twins that were released in November of 1985. The tracks were originally recorded in order to test a new recording studio the band was using.

Released in tandem with the Echoes in a Shallow Bay EP and each essentially a companion piece to the other – the cover art and design alone are virtually clones – Tiny Dynamine documents a more relaxed Cocteau Twins. The band steps away more from the intense drama often brought to earlier albums and singles, indirectly signaling the equally calm but striking work that would surface on Victorialand and The Moon and the Melodies. “Pink Orange Red” would turn into a longtime favorite of the group’s, played on later tours and remade for the Twinlights EP nearly a decade later. A heartbreakingly beautiful Guthrie guitar opens the track, echoing and liquid, with Fraser’s vocal coming in a few chords later. Raymonde’s bass and the drum machine kick in a full-band arrangement, while Guthrie’s descending guitar lines after each verse provide the icing on the cake. The instrumental “Ribbed and Veined” has some fine Guthrie chiming and a loping percussion beat to recommend it, while “Sultitan Itan” is fair but not quite as strong in comparison, nice multi-tracking of Fraser’s vocals on the chorus aside. “Plain Tiger” concludes the EP on a slightly playful note, an upbeat little rhythm groove on the verses alternating with a more strident tone on the chorus, Fraser’s voice being much more staccato at the latter points.
Appearing the same month as its companion release Tiny Dynamine, Echoes maintains the more relaxed-though-still-lush feeling of that EP; if its songs aren’t quite as memorable as some of those on Dynamine, they still provide that lovely, unique Cocteau feeling in their performances and arrangements. “Great Spangled Fritillary” adds a touch of dark psychedelia to the proceedings, gong-like chimes and buried feedback drones mixing with the more expected Fraser singing and drum machine loops. “Melonella” has a neat hook by matching the main piano line and Fraser’s voice exactly in the verse, one constantly accompanying the other. For the chorus, she steps away for a little more free-form singing against extra guitar. “Pale Clouded White,” the EP’s best track, reintroduces the slightly ominous, dramatic edge that often characterizes the band’s most memorable work. An insistent piano line matches with the bass/drum combination, while Guthrie incorporates both electric and acoustic guitar lines as Fraser sings with understated but strong passion. “Eggs and Their Shells” wraps Echoes up on a softer note, a sweet Fraser vocal and guitar/piano arrangement leading the way.

Tracklist:
01 – Pink Orange Red
02 – Ribbed and Veined
03 – Plain Tiger
04 – Sultitan Itan
05 – Great Spangled Fritillary
06 – Melonella
07 – Pale Clouded White
08 – Eggs and Their Shells

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Apr 27

Cocteau Twins – Heaven Or Las Vegas (1990/2014)
FLAC (tracks) 24-bit/96 kHz | Time – 00:37:52 minutes | 791 MB | Genre: Alternative
Studio Master, Official Digital Download | Source: Qobuz | Label: 4AD

Heaven or Las Vegas was released in 1990 and is recognized as their most commercially successful release, reaching number seven in the UK album charts. Numerous publications have since declared it one of the best albums of the 90s, Pitchfork calling it “a core of ungodly gorgeous songs that is every bit as moving and relevant today as it ever was.” Label founder Ivo Watts-Russell goes further, candidly revealing in the recent 4AD biography, Facing The Other Way, that this album wasn’t just his favorite Cocteau’s album, but also his favorite all-time 4AD album, and “by a long shot”, calling it “the perfect record.”

Tracklist:

01-Cherry-Coloured Funk
02-Pitch The Baby
03-Iceblink Luck
04-Fifty-Fifty Clown
05-Heaven Or Las Vegas
06-I Wear Your Ring
07-Fotzepolitic
08-Wolf In The Breast
09-Road, River And Rail
10-Frou-Frou Foxes In Midsummer Fires

Personnel:
Elizabeth Fraser – vocals
Robin Guthrie – guitar
Simon Raymonde – bass

Production:
Producers: Cocteau Twins

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Apr 27

Murray Perahia – Brahms: Handel Variations (2010)
FLAC (tracks) 24-bit/96 kHz | Time – 1:17:52 minutes | 0,99 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet | © Sony Classical

This release sees Murray Perahia returning to Brahms after a significant series of excellent Bach recordings for Sony Classical. His 1991 Sony recording of the Sonata No.3 has an assortment of Intermezzos and Rhapsodies as a filler, but this new disc sees Perahia taking the later opus numbers head-on, working up to them chronologically via the Handel Variations and Rhapsodies Op.79 which, as Katrin Eich says in her booklet notes, each represent an ‘end point’ at certain stages in Brahms’ compositional output.

Tracklist
01. Händel Variations, Op. 24 (26:03)
02. Two Rhapsodies, Op. 79: Rhapsodie in B Minor, Op. 79, No. 1 (9:02)
03. Two Rhapsodies, Op. 79: Rhapsodie in G Minor, Op. 79, No. 2 (6:15)
04. Six Piano Pieces, Op. 118: Intermezzo in A Minor, Op. 118, No. 1 (1:51)
05. Six Piano Pieces, Op. 118: Intermezzo in A Major, Op. 118, No. 2 (5:09)
06. Six Piano Pieces, Op. 118: Ballade in G Minor, Op. 118, No. 3 (3:30)
07. Six Piano Pieces, Op. 118: Intermezzo in F Minor, Op. 118, No. 4 (2:28)
08. Six Piano Pieces, Op. 118: Romance in F Major, Op. 118, No. 5 (3:55)
09. Six Piano Pieces, Op. 118: Intermezzo in E-flat Minor, Op. 118, No. 6 (5:01)
10. Four Piano Pieces, Op. 119: Intermezzo in B Minor, Op. 119, No. 1 (3:31)
11. Four Piano Pieces, Op. 119: Intermezzo in E Minor, Op. 119, No. 2 (4:15)
12. Four Piano Pieces, Op. 119: Intermezzo in C Major, Op. 119, No. 3 (1:41)
13. Four Piano Pieces, Op. 119: Rhapsodie in E-flat Major, Op. 119, No. 4 (5:10)

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Apr 27

Caecilie Norby – Arabesque (2010)
FLAC (tracks) 24 bit/96 kHz | Time – 61:23 minutes | 1,23 GB | Genre: Jazz
Official Digital Download – Source: GubeMusic.com | Digital Booklet | © ACT

Stunning Album from Danish Cæcilie Norby, Queen of Jazz-vocalists in Scandinavia.

Musical pigeonholes have never interested Danish singer Cæcilie Norby: “I have always been in search of catchy melodies – if you want to have a hit in the pop world, you need a strong melody. In jazz the central subject is that which opens a piece and, in classical music, even the grandest orchestral arrangements may become boring and flat if they aren’t carried by a natural melody.” For Norby it is the melody that is the essence of music, and the decisive criteria according to which she evaluates and chooses music which is free of any genre boundaries. It is an approach which mirrors her extraordinary career and is probably also the secret of her success.

Tracklist:
01 – The Dead Princess
02 – Wholly Earth
03 – No Air
04 – No Phrase
05 – Bei Mir Bist Du Schoen
06 – The Tears of Billie Blue
07 – Women Of Santiago
08 – Pavane Opus
09 – Scheherazade
10 – I Will Say Goodbye
11 – Simple Theme
12 – Hvirvelvinden / The Windmills Of Your Mind
13 – Forever You
14 – Nocturne
15 – How Oft [Bonus Track – In Memory Of Erik Norby]

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Apr 27

Vincenzo Bellini – Norma – Cecilia Bartoli, Sumi Jo, John Osborn, Michele Pertusi, Orchestra La Scintilla, Giovanni Antonini (2013)
FLAC (tracks) 24-bit/96 kHz | Time – 02:22:45 minutes | 2,59 GB | Genre: Classical, Opera
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Decca

In collaboration with Giovanni Antonini, Riccardo Minasi and Maurizio Biondi, Cecilia Bartoli restores the sound and spirit of Norma in a landmark Decca recording based on the opera’s original sources. Cecilia Bartoli leads a fabulous cast in Decca’s groundbreaking new recording, which presents Vincenzo Bellini’s Norma in a form that is complete with the exquisite mix of vocal and instrumental colours that Bellini intended for his ‘tragic opera’.

Tracklist:

01. Sinfonia
02. Act 1, Scene 1: Introduzione – “Ite sul colle, o Druidi”
03. Act 1, Scene 2: “Svanir le voci!”
04. Act 1, Scene 2: “Meco all’altar di Venere “
05. Act 1, Scene 2: “Me protegge, me difende “
06. Act 1, Scene 3: “Norma viene”
07. Act 1, Scene 4: “Sediziose voci, voci di guerra”
08. Act 1, Scene 4: “Casta Diva”
09. Act 1, Scene 4: “Fine al rito”
10. Act 1, Scene 4: “Ah! bello a me ritorna”
11. Act 1, Scene 5: “Sgombra è la sacra selva, compiuto il rito”
12. Act 1, Scene 5: “Deh! proteggimi, o Dio!”
13. Act 1, Scene 6: “Eccola! va, mi lascia, ragion non odo”
14. Act 1, Scene 6: “Va, crudele, al Dio spietato”
15. Act 1, Scene 7: “Vanne, e li cela entrambi”
16. Act 1, Scene 8: “Adalgisa!”
17. Act 1, Scene 8: “Oh! rimembranza!”
18. Act 1, Scene 8: “Ah! sì, fa core, e abbracciami”
19. Act 1, Scene 8: “Ma di’… l’amato giovane quale fra noi si noma?”…”Oh non tremare “
20. Act 1, Scene 9: “Oh! di qual sei tu vittima “..”Oh! qual traspare orribile”..”Norma! de’ tuoi rimproveri”
21. Act 1, Scene 9: “Perfido! – Or basti…Vanne, sì: mi lascia, indegno “
22. Act 2, Scene 1: Scena – Introduzione – “Dormono entrambi”
23. Act 2, Scene 3: “Mi chiami, o Norma!”
24. Act 2, Scene 3: “Deh! con te, con te li prendi”
25. Act 2, Scene 3: “Mira, o Norma”
26. Act 2, Scene 3: “Si, fino all’ore estreme”
27. Act 2, Scene 4: “Non parti?”
28. Act 2, Scene 5: “Guerrieri! a voi venirne”
29. Act 2, Scene 5: “Ah! del Tebro al giogo indegno fremo io pure”
30. Act 2, Scene 6: “Ei tornerà”
31. Act 2, Scene 6: “Squilla il bronzo del Dio!”
32. Act 2, Scene 7: “Guerra, guerra!”
33. Act 2, Scene 7: “Né compi il rito, o Norma?”
34. Act 2, Scene 10: “In mia man alfin tu sei”..”Già mi pasco ne’ tuoi sguardi”
35. Act 2, Scene 10: “Dammi quel ferro”
36. Act 2, Scene 11: “Qual cor tradisti, qual cor perdesti”
37. Act 2, Scene 11: “Norma! deh! Norma, scolpati!”
38. Act 2, Scene 11: “Deh non volerli vittime”

Musicians
Cecilia Bartoli – Norma
Sumi Jo – Adalgisa
John Osborn – Pollione
Michele Pertusi – Oroveso
Liliana Nikiteanu – Clotilde
Reinaldo Macias – Flavio
Orchestra La Scintilla
International Chamber Vocalists
Giovanni Antonini, conductor

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Apr 27

Chat Noir – Nine Thoughts For One Word (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 48:14 minutes | 957 MB | Genre: Electronic, Jazz
Studio Master, Official Digital Download – Source: RareNoise | Artwork: Front cover | © Rare Noise Records

The adventurous trio Chat Noir has for the past 12 years defied easy categorization with its organic mix of ambient music, electronic textures as well as chamber music and jazz. Their singular approach to the piano trio, cinematic in scope and startlingly beautiful, has garnered critical raves throughout Europe. On Nine Thoughts for One Word, their sixth recording overall and second for London-based RareNoise Records, the two founding members, pianist Michele Cavallari and bassist Luca Fogagnolo, are joined in their further explorations by electronic/ambient music composer and producer Jan Peter Schwalm (Brian Eno, Eivind Aarset). Together they make a conceptual leap on what a piano trio can be, with the invaluable input of Schwalm’s studio magic.

This delicate balance of electronic experimentalism with acoustic piano and acoustic bass has been evolving gradually from the group’s initial release in 2006, Adoption, and continued on 2007’s Decoupage through 2008’s Difficult to See You. 2011’s Weather Forecasting Stone and 2014’s Elec3Cities. Their collective experimentation continues on the evocative Nine Thoughts for One Word. “Experimentation has always been a fundamental part of our work,” says bassist Fogagnolo. “We would describe our journey as a ship adrift. If jazz was our starting point we’ve always felt free to explore different languages.”
From the dramatic peaks of “Eternally Tranquil Light,” grounded by the resonant, woody tones of Fogagnolo’s upright bass, to the lyrical delicacy of Cavallari’s piano on “Fundamental Mind,” from the throbbing techno vibe of “Blinking Neon” to the Indonesian gamelan flavored introspection of “Detuning Leaves” and the mesmerizing trip-hop of “Uneven” and “Soft Ground,” Chat Noir explores myriad musical languages on Nine Thoughts for One Word. They also offer a very pleasing vocal number, “Momentarily Continual,” which is underscored by the pure, resonant tones of Fogagnolo’s upright bass, and they close out the program on a gentle note with Cavallari’s sparse piano work on the hymn-like “Crystallized Flow.”
“This album has more spatial sound and compositions, which in turn may sound (paradoxically) more ‘acoustic’,” Cavallari explains. “‘Crystallized Flow’ is pointing towards this different, more spacious dimension, which is also linked to the new lineup and to the role that J. Peter in particular had in our project.”
Though Schwalm trained as a drummer, he is now playing mainly electronic instruments and music. “We met him at a festival in Norway (Punkt 2008) and immediately fell in love with his style,” Cavallari recalls. “As we rearranged our lineup about one year ago, we decided to ask him for collaboration. For Luca and I, it was a natural choice to abandon the classic piano-bass-drums format and try something different, but in line with the evolution of our style, which incorporated more and more electronic textures over the years. Peter brought in his experience with sound processing and treatments, as well as his personal taste as co-producer of the album. Given his strong background in ambient music, his participation in the project sound-wise contributed to the very spacious dimension of the album, in line with the already ethereal vibe of the compositions.”
As for his longstanding musical relationship with Fogagnolo, Cavallari says, “Luca and I are good old pals. Our friendship and music collaboration informs one another. On the one hand, music made our friendship even stronger. On the other hand, we can rely on shared ideas about music, and even more generally about life, when playing together. It’s a constant dialog of spoken as well as unspoken words.
“We often have similar taste for music,” he continues. “But more importantly, when coming from different musical references and preferences, Luca and I have contributed even more to each other’s musical ideas and ways to perform.”
Cavallari adds that his method of playing and recording together with Fogagnolo changed radically four years ago when the two Italians relocated to different countries – Michele to the United States and Luca to Germany. “Our rehearsal room changed from being a shared space, where we used to physically meet quite often, to a virtual place. Nine Thoughts for One Word is our second album recorded through cloud-based sharing of music ideas and sessions. This wouldn’t have been possible without a long-term relationship. But somehow the distance helped to develop even more our personal taste, before sharing ideas for new tunes as we’ve always done. In the process of developing new tunes, we can count on a strong shared basis, established throughout our long collaboration, as well as on a naïve attitude and openness towards different ideas, and potentially surprises.”
He further describes the group’s modus operandi on Nine Thoughts for One Word: “Our approach is to try to understand where the composition is pointing to and to give meaningful contribution to it, by either contrasting or corroborating the original idea. Basically, the process we follow to compose and play together is grounded in the root of two essential and mutually reinforcing aspects: friendship and freedom.” Cavallari also explains that he and Fogagnolo have joint experience working on soundtrack recordings, which may explain why so much of their music has such a cinematic quality. “We did work on movie soundtracks in the past. Some of our tunes were featured in Cristina Comencini’s films – Don’t Tell (nominated for best foreign language film category at the 78th Academy Awards) and Black and White – as well as Francesca Comencini’s documentary In Fabrica. Our music has often been associated with cinematic features. Rather than thinking visually when composing, I guess we approach compositions in away that has similarities with film direction. We try to develop ‘stories’ and ‘plots’ through melodic lines and sometimes more abstract parts that overall follow a dynamically organized flow.
“As to the our way to approach compositions, either one of us usually ‘plants the seed’ of a new tune on his own. Then, from the original basic idea, we let the other totally express himself without limitations. Sometimes we go through multiple iterations of sending music ideas back and forth between us, as additional contributions can inspire new direction of the tune. It never happens that we don’t like what the other brought in terms of contribution to the song. In this sense we are totally connected.”
It is easy to see how such kindred spirits continue to collaborate and thrive, even when living on separate continents. And together with ambient mixmaster Schwalm, they travel to some wholly new musical territory on Nine Thoughts for One Word, the most transcendent Chat Noir release to date.

Tracklist:
01 – Eternally Tranquil Light
02 – Fundamental Mind
03 – Momentary Continual
04 – Blinking Neon
05 – Detuning Leaves
06 – Uneven
07 – Soft Ground
08 – Crystallized Flow

Musicians:
Michele Cavallari – keyboards, piano
Luca Fogagnolo – e-bass, upright bass, trombone
J. Peter Schwalm – electronics, beats, keyboards, acoustic guitar
with
Daniel Calvi – guitars on “3,4,7”
Alessandro Tomaselli – voice on “3”

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Apr 27

Chris Isaak – First Comes The Night (2015)
FLAC (tracks) 24 bit/44,1kHz | Time – 41:42 minutes | 490 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Concord Vanguard

Chris Isaak’s new album First Comes The Night, his first recording of all original songs in over six years.
First Comes The Night, produced by Paul Worley (Dixie Chicks, Lady Antebellum), Dave Cobb (Jason Isbell) and longtime Isaak collaborator Mark Needham, will be released on Vanguard Records. Recorded primarily in Nashville and Los Angeles, First Comes The Night with 12 new songs, is Isaak’s 13th studio album. First Comes The Night is the follow up release to Isaak’s critically acclaimed 2011 Beyond The Sun, his breathtaking tribute album to Sun Records, Sam Phillips, and the visionary artists who helped shape the early sounds of rock n’ roll.
“There was no mission for this album other than to follow the songs, and in terms of songwriting, the floodgates really opened this time,” Chris Isaak explains. “My last release was Beyond The Sun — my tribute to Sun Records with a lot of covers — so this time around I had a lot of new material that I was thrilled to record.”

Vintage-inspired singer/songwriter Chris Isaak has periodically attempted to update his ’50s and ’60s-influenced sound. Albums like 2002’s Always Got Tonight and 2009’s Mr. Lucky found the California native incorporating funk grooves, modern rock guitars, and the occasional synthesizer. Despite these moves toward contemporizing his pompadour-accented approach however, Isaak’s best work, even on those albums, is always on the tracks where he embraces his old-school aesthetics and delivers melodic, twangy songs in his signature goosebump-inducing croon. This is the approach Isaak takes on his 13th studio album, 2015’s First Comes the Night. Technically, the album is Isaak’s first collection of all original music since Mr. Lucky, but stylistically, this record has more in common with his 2011 tribute to Sun Records, Beyond the Sun. As with that album, First Comes the Night has a vintage rock & roll vibe with songs that will play just as well to longtime Isaak fans as to listeners who only know him from his 1990 hit “Wicked Game.” Recorded in Nashville, the album was produced by Paul Worley (Dixie Chicks, Lady Antebellum, Martina McBride), Dave Cobb (Jason Isbell, Sturgill Simpson, Shooter Jennings), and longtime Isaak associate Mark Needham. Despite its Nashville origin, First Comes the Night is not entirely a country album, though Isaak does touch on that sound here. Cuts like the yearning, piano-driven “The Way Things Really Are” and the bopping, darkly humorous “Down in Flames” sound like long lost Bob Luman hits. Primarily, however, the songs on this record are ’50s and ’60s-style pop tunes driven by Isaak’s smoky vocal and devil-eyed lyrics. The title track is one of the most archetypical Isaak-sounding tracks he’s recorded in years, recalling a mix of the Traveling Wilburys and the Righteous Brothers. Similarly, “Perfect Lover,” with its rollicking rhythm and mariachi-esque horn section, finds Isaak paying tribute once again to Roy Orbison and Willie Nelson. There are also some surprises on First Comes the Night, including the Gypsy jazz-style “Baby What You Want Me to Do” and the circusy “Don’t Break My Heart,” which brings to mind the kitschy soundtrack to an Elvis movie. While First Comes the Night doesn’t break any new stylistic ground for Isaak, it also doesn’t hurt his reputation, and deftly reinforces his image as a glamorous, charming torchbearer for traditional pop songcraft. ~~AllMusic Review by Matt Collar

Tracklist:
1. First Comes The Night 04:17
2. Please Don’t Call 05:18
3. Perfect Lover 03:34
4. Down In Flames 02:55
5. Reverie 03:57
6. Baby What You Want Me To Do 03:00
7. Kiss Me Like A Stranger 03:23
8. Dry Your Eyes 04:33
9. Don’t Break My Heart 02:34
10. Running Down The Road 02:40
11. Insects 02:54
12. The Way Things Really Are 02:37

Personnel:
Chris Isaak, vocals, guitar
Scott Plunkett, piano, keyboards, organ
Hershel Yatovitz, guitar, vocals
Rowland Salley, bass, vocals
Kenney Dale Johnson, drums, vocals
Rafael Padilla, percussion

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Apr 27

Frederic Chopin – 24 Preludes, Barcarolle, Berceuse & Variations brillantes – Dong Hyek Lim (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:00:53 minutes | 980 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Warner Classics
Recorded: 27–29 March 2015, Henry Wood Hall, London

Dong Hyek Lim arrived on the scene at just 18 years old ‘in a blaze of pianistic glory’ (Gramophone) with a debut album championed by his mentor Martha Argerich. The South Korean virtuoso went on to take third prize in the 15th International Chopin Piano Competition. Ten years later, following studies with Emmanuel Ax at the Juilliard School in New York, his artistry has matured and deepened for this long-awaited recital of the 24 Preludes and other works by Chopin – a composer who remains especially close to his heart. His new recital of works by Chopin, centred on the set of 24 Preludes, continues a relationship with the label that goes back to 2002. Lim, then just 18 years old, was introduced to the world with a CD in the ‘Martha Argerich Presents’ series. Gramophone noted his arrival “in a blaze of pianistic glory”, while in France, the album was awarded the prestigious Diapason d’Or. It was followed in 2008 with an album of Bach’s Goldberg Variations coupled with the Bach-Busoni Chaconne. The French magazine Le Monde de la Musique awarded it a ‘Choc’, while Gramophone wrote that: “There’s no question that he’s a very impressive pianist … [who gives] the sense of profound pleasure in the music … And he’s not afraid to experiment with what he can do in this music … An artist to watch.”

Pianist Dong Hyek Lim, a bit older than the youthful face in the graphics might suggest, has gained a reputation as a Chopin specialist, with restrained, often exquisitely detailed performances made for the small recital hall rather than for the concert hall. This was, of course, the kind of venue for which Chopin wrote most of his music, and this is a very fine tour through the much-recorded 24 Preludes, Op. 28, which form the centerpiece of this album. Lim does well to introduce things with the flashier and rarely played Variations brillantes in B flat major, Op. 12, commanding the listener’s attention before delving into the Preludes, some of the most harmonically intricate music Chopin wrote. Sample any of the really famous Preludes, such as the Prelude in E minor, Op. 28, No. 4, for an idea of what Lim is up to here: he not only lingers over dissonances, but explores their potential directions with sensitivity and intelligence, all while keeping the top of the dynamic range not very high. Lim takes you back to the public world with the Berceuse in D flat major, Op. 57, and Barcarolle in F sharp major, Op. 60, which show him to be capable of a more brilliant style. London’s Henry Wood Hall fits these pieces well, but Warner’s engineers might have gone with even a more intense, intimate space for the preludes. In any event, the performance of those is one of the most absorbing to have come along in quite some time. ~~ AllMusic Review by James Manheim

Tracklist:
Frédéric Chopin (1810–1849)
Variations brillantes in B flat major on
‘Je vends des scapulaires’ from Hérold’s Ludovic, Op.12
1 I Introduction: Allegro maestoso 1.27
2 II Thème: Allegro moderato 1.51
3 III Scherzo — 0.56
4 IV Lento — 2.08
5 V Scherzo vivace 1.53
24 Preludes, Op.28
6 No.1 in C major: Agitato 0.39
7 No.2 in A minor: Lento 2.04
8 No.3 in G major: Vivace 0.53
9 No.4 in E minor: Largo 1.59
10 No.5 in D major: Allegro molto 0.34
11 No.6 in B minor: Lento assai 2.17
12 No.7 in A major: Andantino 0.50
13 No.8 in F sharp minor: Molto agitato 2.00
14 No.9 in E major: Largo 1.32
15 No.10 in C sharp minor: Allegro molto 0.27
16 No.11 in B major: Vivace 0.36
17 No.12 in G sharp minor: Presto 1.09
18 No.13 in F sharp major: Lento 3.27
19 No.14 in E flat minor: Allegro 0.29
20 No.15 in D flat major: Sostenuto 5.38
21 No.16 in B flat minor: Presto con fuoco 1.02
22 No.17 in A flat major: Allegretto 3.25
23 No.18 in F minor: Allegro molto 0.56
24 No.19 in E flat major: Vivace 1.24
25 No.20 in C minor: Largo 1.56
26 No.21 in B flat major: Cantabile 1.59
27 No.22 in G minor: Molto agitato 0.48
28 No.23 in F major: Moderato 0.59
29 No.24 in D minor: Allegro appassionato 2.19
30 Berceuse in D flat major, Op.57 4.20
31 Barcarolle in F sharp major, Op.60 8.34

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Apr 27

Carol Duboc – Open The Curtains (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 00:41:55 minutes | 514 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | © SGold Note Music, Inc.

The album features an all star cast of the best musicians on the planet including; Patrice Rushen on keyboards, Sheila E. on percussion, Mindi Abaire on sax, Bibi McGill, the music director for Beyonce and Pink on guitar, Rhonda Smith the bass player for Jeff Beck, Prince and more on upright and electric, Cora Coleman the drummer for Beyonce, Prince and more keeping the beats, Aubrey Logan on trombone and Jennifer Batten (Michael Jackson, Les Paul etc) on lead guitar!

Tracklist
01. In Pieces
02. Feeling Good
03. Open the Curtains
04. Forget Me Nots
05. Whisper
06. Faces
07. Fever
08. Miss You Missing Me
09. Precious
10. I’m Gone

Musicians
Carol Duboc – vocals
Patrice Rushen – keyboards
Mindi Adair – sax
Bibi McGill – guitar
Rhonda Smith – bass
Sheila E – percussion
Queen Cobra – drums
Jennifer Batten – guitar on 6, 10
Aubrey Logan – trombone on 7

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Apr 27

Baptiste Herbin – Interferences (2016)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:08:48 minutes | 1,42 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © Just Looking Productions

When a musician’s second record is released, one is tempted to say that this is the album of maturity and it’s often true. This time, we have to admit it’s not the case, Baptiste Herbin having passed that stage with his first opus. The young saxophonist from Chartres (France), who started with classical music and switched to jazz studying with Lourau Julien and Jean-Charles Richard, made his mark in 2012 with his first album “Brother Stoon” justifiably prompting a series of rave reviews that emphasized the virtuosity of the young man, fan of Charlie Parker and Cannonball Adderley.

Tracklist
01. Pour l’amie
02. Reflets
03. My Friends
04. Loulou
05. Il Moi Vicino
06. Parker 51
07. Appointment in Ghana
08. Ballad for Jackie
09. Bedex
10. J’ai envie d’te dire
11. Malala
12. Mafana Be
13. Ask Me Now
14. Interférences

Musicians
Baptiste Herbin – saxophones alto, tenor & soprano, valiha
Renaud Gensane – trumpet, flugelhorn
Maxime Fougères – guitar
Sylvain Romano – double bass
Benjamin Henocq – drums
guests:
Pierre de Bethmann – piano on 9, 10, 14
André Ceccarelli – drums on 3, 5, 10, 14
Dolly Ratefinjanahary – voicals on 14

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