May 03

Astor Piazzolla – Cierra tus ojos – Daniel Mille (2014)
FLAC (tracks) 24-bit/88,2 kHz | Time – 00:55:30 minutes | 990 MB | Genre: Jazz
Studio Master, Official Digital Download  – Source: Qobuz | @ Après la pluie/Sony Music

Avec “Cierra tus ojos”, Daniel Mille présente un projet à la lisière du Jazz, de la world et du classique. Très loin des clichés du tango, Daniel Mille, son génial arrangeur-réalisateur Samuel Strouk, et ses musiciens nous offrent un traitement unique de l’univers de Piazzolla, tout en intimité, pour accordéon, 3 violoncelles et contrebasse. Mille, dans le costume du maestro, est à la fois si Mille, et si Piazzolla. Si magistral et si modeste. Il manie les éléments mêmes légués par Piazzolla : une diversification tentaculaire des chemins des possibles, l’invention d’un territoire. Sculptant silences et voix subliminales. Le mot est galvaudé mais il faut l’oser ici… Un disque sublime!

Parmi les nombreux artistes que Pierre Barouh, fondateur du label Saravah, a aidé à percer, il y a Daniel Mille, l’accordéoniste qu’il a entendu un soir de 1993 jouer de son instrument attrape-cœurs dans les rues de Tulle.
Sur les quais, son premier album, sortira la même année, et le deuxième, Les Heures Tranquilles, deux ans plus tard, recevra le Django d’Or du meilleur espoir.
Grâces soient rendues à Pierre Barouh car, depuis, Daniel Mille n’a cessé de nous accompagner et nous est même devenu nécessaire à chaque fois que notre âme défaillante réclame un peu de consolation.
Car sa musique, si déchirante parfois, nostalgique, envoûtante, pleine de fantômes et de paysages, qui laisse leur place aux mots, qu’ils soient prononcés ou pas, nous permet de nous sentir un peu plus humains.
Cierra tus ojos est la reprise de onze titres d’Astor Piazzola, certains célébrissimes comme Libertango , mais la plupart sont des œuvres plus atmosphériques, plus jazz que tango, qui, ici, s’étirent avec sensualité, dans une sorte d’apesanteur irréelle. Aux côtés de Daniel Mille, trois violoncellistes magnifiques, Grégoire Korniluk, Paul Colomb et Frédéric Deville, et la contrebasse jazzy de Diego Imbert.

Tracklist:
Astor Piazzolla (1921-1992)
1 Melodía en La menor 4:12
2 Chiquilín de Bachín 5:26
3 Cierra tus ojos y escucha 4:26
4 Llueve sobre Santiago 3:42
5 Milonga del Angel 6:21
6 Libertango 3:31
7 Milonga para tres 6:21
8 Vuelvo al Sur 7:31
9 Oblivión 4:09
10 Los pájaros perdidos 3:54
11 Ave Maria 5:57

Personnel:
Daniel Mille, accordéon
Grégoire Korniluk, Paul Colomb, Frédéric Deville, cello
Diego Imbert, bass

Continue reading »

May 03

Darcy James Argue’s Secret Society – Real Enemies (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 1:23:19 minutes | 868 MB | Genre: Classical, Jazz
Studio Master, Official Digital Download – Source: Bandcamp | Front Cover | © New Amsterdam Records

Brooklyn-based composer-bandleader Darcy James Argue and his innovative 18-piece big band Secret Society will release their third album, Real Enemies, out September 30, 2016. Composed by Argue, Real Enemies is a 13-chapter exploration of America’s fascination with conspiracy theories; narratives behind the Red Scare, the Illuminati, Edward Snowden, and alien sightings are meticulously examined and interrogated through Argue’s dazzling score.

Tracklist
01. You Are Here 08:06
02. The Enemy Within 04:37
03. Dark Alliance 07:04
04. Trust No One 05:20
05. Silent Weapons for Quiet Wars 06:47
06. Best Friends Forever 04:26
07. The Hidden Hand 06:15
08. Casus Belli 05:37
09. Crisis Control 07:02
10. Apocalypse is a Process 05:47
11. Never a Straight Answer 07:27
12. Who Do You Trust? 04:17
13. You Are Here 06:01
14. Best Friends Forever (single) 04:26

Musicians
Dave Pietro – piccolo, flute, alto flute, bass flute, soprano sax, alto sax
Rob Wilkerson – flute, clarinet, soprano sax, alto sax
Sam Sadigursky – E♭ clarinet, B♭ clarinet, A clarinet, tenor sax
John Ellis – clarinet, bass clarinet, tenor sax
Carl Maraghi – clarinet, bass clarinet, baritone saxophone

Seneca Black – trumpet, flugelhorn
Jonathan Powell – trumpet, flugelhorn
Matt Holman – trumpet, flugelhorn
Nadje Noordhuis – trumpet, flugelhorn
Ingrid Jensen – trumpet, flugelhorn

Mike Fahie – trombone
Ryan Keberle – trombone
Jacob Garchik – trombone, tuba
Jennifer Wharton – bass trombone, tuba

Sebastian Noelle – acoustic & electric guitar
Adam Birnbaum – acoustic & electric piano, FM synth
Matt Clohesy – contrabass & electric bass, bass synth
Jon Wikan – drum set, cajón, misc. percussion

James Urbaniak – narrator on “Who Do You Trust?” and “You Are Here” reprise
Darcy James Argue – composer, conductor

Continue reading »

May 03

Esther Phillips – Burnin ‘- Live At Freddie Jett’s Pied Piper Club, LA (1970/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 35:15 minutes | 1,2 GB | Genre:  Jazz
Official Digital Download – Source: HDTracks.com | Front cover | Label:  Rhino Atlantic

This exquisite live recording by the versatile Esther Phillips is infused with touches of R&B, jazz and soul. The vocal powerhouse showcases her unmatched interpretive skills during her performance recorded at Freddie Jett’s Pied Piper. The heart-wrenching set features a stellar line-up of pianist Jack Wilson, organist Richard Tee, guitarist Cornell Dupree and bassist Chuck Rainey. Included in the set was Phillips’ hit single “Release Me,” which topped the Billboard’s R&B singles chart. The recording remains one of Esther Phillips’ finest performances ever captured as a hi-res download.

Tracklist

1 – Don’t Let Me Lose This Dream (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 2:23
2 – And I Love Him (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 6:27
3 – Cry Me a River (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 5:26
4 – Release Me (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 4:43
5 – Makin’ Whoopee (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 3:55
6 – If It’s The Last Thing I Do (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 3:52
7 – Shangri-La (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 2:39
8 – Please Send Me Someone To Love (Live @ Freddie Jett’s Pied Piper Club, L.A., CA.) – 5:50

Continue reading »

May 03

Eugene Istomin – Mozart Piano concerto 21 & 24 (1996)
FLAC (tracks) 24 bit/88.2 kHz | Time – 59:40 minutes | 1,12 GB | Genre: Classical
Official Digital Download – Source: Reference Recordings.com | Digital booklet

Istomin and Schwarz have performed these immortal concertos many times, and insisted on recording them in long, complete takes in order to capture the live experience. “Prof.” Johnson’s HDCD wizardry pays large dividends in natural, high-resolution string textures and huge, three-dimensional soundstage. “RECORDING OF THE MONTH” –Stereophile, May 1996

Tracklist:
01 – Mozart: Piano Concerto No. 21 in C major K467, “Elvira Madigan”: I. Allegro maestoso
02 – Mozart: Piano Concerto No. 21 in C major K467, “Elvira Madigan”: II. Andante
03 – Mozart: Piano Concerto No. 21 in C major K467, “Elvira Madigan”: III. Allegro vivace assai
04 – Mozart: Piano Concerto No. 24 in C minor, K491: I. Allegro
05 – Mozart: Piano Concerto No. 24 in C minor, K491: II. Larghetto
06 – Mozart: Piano Concerto No. 24 in C minor, K491: III. Allegretto

Continue reading »

May 03

Denise Donatelli – Find a Heart (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time ~ 57:43 minutes | 659 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | Front Cover | © Savant Records
Recorded: 2015 , 2016 Grammy Nominees

Denise Donatelli is a mesmerizing jazz vocalist, in command of her expressive instrument while offering her heart and soul with each note. Joined by a company of Los Angeles jazz session players, Donatelli takes the forefront with style and panache, providing illuminating vocals that gently walk the line between energetic jazz-singing and luminous balladry. She accomplishes a warm balance with her singing, offering something for everyone. There is a thread of kind-heartedness and sincerity running throughout the diverse and unique set list, which allows a true sense of artistry to emerge at any tempo or dynamic level. Featuring the arranging talents of Geoffrey Keezer once again and the artistry of Brazilian guiartist Leonardo Amuedo, Jay Leno drummer Marvin “Smitty” Smith and others, Denise Donatelli delivers one elegantly beautiful jazz album.

Multi Grammy nominee vocalist Denise Donatelli, unveils another gem of an album with the much-anticipated Find A Heart, collaborating once again with producer/arranger, pianist Geoffrey Keezer documenting a surprisingly new direction for the singer as she ventures into the non-standards area. The Great American Songbook will always be with us, here to stay forever as new re-interpretations of classics emerge every day. This project finds the vocalist and pianist exploring new territory as they take the music of modern pop and jazz masters like Sting, David Crosby and Russell Ferrante among others, and ask the question, Isn’t it time for new standards?

One thing clearly evident on this album is, the superb cast of players that make the instrumentation such a pleasure to hear which features an all-star personnel listing that includes Brazilian guitarist Leonardo Amuedo, Cuban bassist Carlitos del Puerto, drummer Marvin “Smitty” Smith and Canadian saxophonist Christine Jensen among them. The evolution of The Great American Songbook begins with the Donald Fagen composition “Big Noise, New York” featuring an opening blast from saxophonist great Bob Sheppard before the sparkling vocals of the leader take over on what is a burning beginning to a heck of an album.

The singer finds her softer side on Ferrante’s beautiful love ballad, “Love and Paris Rain” with a little help from guitarist Amuedo then jumps into a lively tempo on Keezer’s own “Spaced Out (En Babia)” before returning to a gentler mood on the absolutely gorgeous “Practical Arrangement” accompanied by the magic horn of Chris Botti and the soft guitar work from Amuedo. Keezer’s arrangement of the Crosby title track, turns this pop tune into a true jazz number with a touch of the Latin flavor.

Keezer and Donatelli draw on a small string section of cello and violas to convey the trials and tribulations of a “Troubled Child” and call on bassist del Puerto and percussionist Walter Rodriguez to weigh in with brisk haunting solos as the singer’s crisp voice reaches and beckons the child with a little help of background vocalists Yutaka Yokokura, and Julia Dollison.

Interestingly enough, while the mission of this venture is still, to offer different songs from more recent times as possible new standards for the future, Donatelli closes the album with heartfelt emotion paying humble respect to current standards with superior renditions of “Midnight Sun,” and Billy Strayhorn’s “Day Dream.” Find A Heart is simply put, an outstanding vocal recording that takes Denise Donatelli’s performance to another level. –Edward Blanco, All About Jazz

Tracklist:
1 Big Noise New York 06:16
2 Love and Paris Rain 05:24
3 Spaced Out (En Babia) 04:21
4 Practical Arrangement 03:55
5 Find a Heart 05:30
6 Not Like This 04:09
7 Eyes That Say I Love You 05:09
8 In This Moment 05:36
9 Troubled Child 05:29
10 Midnight Sun 06:19
11 Day Dream 05:35

Personnel:
Denise Donatelli: vocals
Geoffrey Keezer: piano, arranger
Leonardo Amuedo: guitar
Carlito Del Puerto: bass
Marvin “Smitty” Smith: drums
Walter Rodriquez: percussion
Chris Botti: trumpet
Bob Sheppard: tenor saxophone
Christine Jensen: soprano saxophone
Michael Thompson; guitar
Giovanna Clayton; cello
Alma Fernandez, Matt Funes, Darrin McCann: viola
Yutaka Yokokura, Sy Smith, Julia Dollison: background vocals

Continue reading »

May 03

Dave’s True Story – Unauthorized (2000/2002)
FLAC (tracks) 24 bit/96 kHz | Time – 49:06 minutes | 1,04 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital Booklet | © Chesky Records

Unauthorized features thirteen hip, witty tracks with Dave’s True Story’s trademark toe-tapping swing. Recorded in the signature 96kHz/24bit Chesky sound, Unauthorized is sure to become one of the favorites in your player as you soak in the tight accompaniment and wit-doused lyrics of this duo. Dave’s True Story performs frequently in and around New York City.

Unlike most contractually obligated recordings, this was released contrary to the band’s objections. The music is quaintly derived, charming and wittily sung by Kelly Flint, who has a sweet innocence in her voice, not at all affected or warbling, but open, honest and pure. The “Dave” is guitarist Dave Cantor, who leads groups of different-sized complement, from big band to small and mid-sized combos, all with swing on their mind. This may be a neo-revivalist band, but the lyrics are so fresh and the playing so authentic that they cannot be linked with Squirrel Nut Zippers and their more posed ilk. Flint’s stories, all penned by Cantor, are at times jaundiced with the uncertainty of love and the fickleness of trusted partners. “Dear Miss Lucy” is a letter of warning that “he” is still “mine” over an old-timey swing, “Kathmandu” is a query-laden, slowly ticking time bomb of doubt, and “Baby Who Are You?” combines the two themes as if she’s caught him red-handed. All are typical of this lot/genre of old-fashioned rhythm and emotionalism. Observing others’ travails, Flint dotes on a lady friend’s complex life during “Misery,” bluesily concludes another is “Far Worse Off Than I,” and laments of lost passion during the most typical straight love ballad, “Still I Adore You.” There’s the tale of the oriental playboy “Won Gon Du,” flavored with whimsical clarinet from Greg Wall, and the prison reference on the slooooow ballad “Florida Time,” with trumpeter Steve Gluzband ensuring the sentence will agonizingly pass with his “I told you so” lead and solo. Also added are the light calypso with hidden-meaning lyrics “Lilly-110-140,” the spy/stealth bossa “Voletta’s,” and the noir ballad of remorse and regret “When Kafka Was the Rage.” Cantor takes the vocal chair on the male talking blues about “Chicks,” while Flint and Dave’s guitar alone tell of a journey with “Slow Boat” references on “China Tour.” This is a quite delightful and entertaining recording, nothing to be ashamed of, and far less derivative than other, much kitschier bands hovering on the perimeter of swing or jump blues these days. We’d recommend it, despite the group’s misgivings.

Tracklist:
01 – Dear Miss Lucy
02 – Misery
03 – Lilly-110-140
04 – When Kafka Was The Rage
05 – Won Gon Ju
06 – Florida Time
07 – Far Worse Off
08 – Baby Who Are You?
09 – Chicks
10 – Voletta’s
11 – Still I Adore You
12 – Kathmandu
13 – China Tour

Continue reading »

May 03

Dave’s True Story – Sex Without Bodies (1998/2002)
FLAC (tracks) 24 bit/96 kHz | Time – 47:41 minutes | 984 MB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital Booklet | © Chesky Records

Chesky Records takes pleasure in presenting a record that’s as sweet as a peach and dry as a martini. Sex Without Bodies is reminiscent of the post-swing, cafe society sound that belonged to stars like Peggy Lee and Chet Baker. Singer Kelly Flint uses her smoky, sultry vocal to explore a world of love, lust and venetian blinds. Composer/guitarist David Cantor writes his songs with the heart of a continental rogue’combining wit, insight and late-night cool. Together they are masters of fallen innocence. For Sex Without Bodies, they bring to Chesky a diverting ensemble including vibes, accordion, horns and a deliciously grinding stand-up acoustic bass.

A potent combination is the intelligent and earthy songwriting of David Cantor and the sultry and stylizing jazz vocals of Kelly Flint. The timbre of Kelly’s voice melds magically with the main instrumentation of stand-up bass, vibes and thoughtful drums. Individual musicians dress up several tracks on guitar, baritone sax and tenor sax. Each track stands alone strongly due to the resilient Cantor construction and Flint’s intoxicating delivery. Excepting the elevating treatment of Lou Reed’s “Walk on the Wild Side,” every track is an original deserving to stand alone as a standard. As a testament to the proficiency to the dozen-and-a-half musicians involved, the entire album was recorded live and no overdubs were used. The quirky but worthy music here bears comparison to Cole Porter. The content and approach are ideally suited to today’s music fan looking back on a long cabaret jazz history and looking forward with expectation. This pairing of a wordmeister and a mistress of hip lounge is a rare and wonderful thing, so enjoy it.

Tracklist:
01 – Spasm
02 – Baby Talk
03 – Sex Without Bodies
04 – I’ll Never Read Trollope Again
05 – Once Had a Woman
06 – I’m So Repentant
07 – Rue de Lappe
08 – Nirvana
09 – Ned’s Big Dutch Wife
10 – Crazy
11 – Daddy-O
12 – Walk on the Wild Side
13 – Stormy

Continue reading »

May 03

Daniel Hope – My Tribute to Yehudi Menuhin (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:40:56 minutes | 1,73 GB | Genre: Classical
Studio Master, Official Digital Download – Source: highresaudio.com | © Deutsche Grammophon
Recording: Müllheim, Martinskirche & Berlin, Teldex Studio, 9/2015

This year marks the 100th anniversary of violin legend Yehudi Menuhin, and Daniel Hope dedicates a complete album to his former mentor and close friend. After fleeing from the Apartheid regime in South Africa, and ending up in England,

Yehudi Menuhin is the reason I became a violinist. As he used to say, I fell into his lap as a baby of two.
For my parents, life in 1970s South Africa had become intolerable, marked as it was by that tragedy mingled with farce, so characteristic of the appalling apartheid regime. We lived in Durban, where my father co-founded the literary magazine Bolt, publishing poems by writers of many races. From that moment on, his phone was tapped and my parents were placed under permanent surveillance. They had no option but to leave the country, but my father was only offered a so-called exit permit. This meant you could leave but never return.
My parents settled in London, where very soon their money ran out. We had nowhere to go.

At the eleventh hour, facing a calamity, we had some incredible luck: an employment agency offered my mother a compelling choice of jobs: secretary to either the Archbishop of Canterbury or to the violinist, Yehudi Menuhin. She chose Menuhin, and their association lasted 24 years until his death.

Our life changed immediately and forever. For the next years, I grew up in Menuhin’s house in Highgate, London, where my mother would take me every day to play, while she worked. Menuhin was a wonderfully spontaneous man. He’d leave his Guarneri del Gesù in an open violin case on the table, he never put it away. He picked it up and played it, almost as if he were drinking a glass of water. He once told me: “One has to play every day. One is like a bird, and can you imagine a bird saying ‘I’m tired today, I don’t feel like flying’?” The violin was a part of him. To this day, his sound remains in my ear, so unique and so fascinatingly beautiful.
Where does one even begin to summarize a unique career spanning seventy-five years by one of the greatest musicians in history? Perhaps Menuhin’s debut in 1924 in San Francisco at the age of seven; or his debut in Berlin in 1929, after which Albert Einstein exclaimed “Now I know there is a God in heaven!” Or his performance and legendary recording of the Elgar concerto under the composer’s baton in 1932; perhaps his visit to the liberated concentration camp of Bergen-Belsen with the composer Benjamin Britten in 1945; or his highly controversial decision to return to Germany in 1947 and to perform with Wilhelm Furtwängler and the Berlin Philharmonic, the first Jewish artist after the war to do so. Only seven of Menuhin’s 82 years were not spent on the road.

Early on in my life, I had the chance to study and perform some of Bartok’s Duos with Menuhin. It was an incredible experience for me, and an introduction to Bartok’s extraordinary music. Many years later, with Menuhin in his role as conductor, we performed over 60 concerts around the world, including almost all of the standard violin concerti, as well as several contemporary works.

These included Mendelssohn’s early D minor Concerto, which he famously discovered in 1951, and also many works for two violins, such as the A minor Double Concerto by Vivaldi.

On 7th March 1999, I played Alfred Schnittke’s Concerto in Düsseldorf, conducted by Lord Menuhin. It was to be Yehudi’s final concert. After the Schnittke, Menuhin encouraged me to play an encore. I spontaneously chose Kaddish, Ravel’s musical version of the Jewish prayer for the dead. I had grown up on Menuhin’s interpretation of this work and wanted to dedicate it to him. Menuhin pushed me out onto the stage and sat amongst the orchestra listening to it. Perhaps it may have been in some way prophetic. Five days later, he passed away.
There’s hardly a passage in all of these great works where I don’t stop for a minute and think of Menuhin.
Yehudi called himself my “musical grandfather”. Now, in celebration of what would have been his centenary, my friends and I can finally pay our respects to this great man, in a manner I feel certain he would have loved. –Daniel Hope

Tracklist:

Felix Mendelssohn (1809-1847)
Violin Concerto in D minor
1. 1. Allegro 10:00
2. 2. Andante 08:33
3. 3. Allegro 04:08

Bechara El-Khoury (*1957)
4. Unfinished Journey 08:25

Steve Reich (*1936)
Duet for two Violins and Strings
5. Duet 04:56

Antonio Vivaldi (1678-1741)
Concerto For Two Violins And Strings In A Minor, RV 522
6. 1. Allegro 03:19
7. 2. Larghetto e spiritoso 03:51
8. 3. Allegro 02:52

John Tavener (1944-2013)
For Soprano, Violin and Strings
9. Song Of The Angel 04:11

Arvo Pärt (*1953)
For Violin, Tubular and Strings
10. Darf ich … 03:32

Toru Takemitsu (1930-1996)
For Violin and Stings
11. Nostalghia. In Memory Of Andrei Tarkovskij 16:18

Hans Werner Henze (1926-2012)
Serenade for Violin, Cello and Piano
12. Adagio adagio 04:20

Edward Elgar (1857-1934)
For Violin, Piano and Strings
13. Salut d’amour, Op. 12 03:11

Béla Bartók (1881-1945)
44 Duos for two Violins
14. No. 35: Rutén kolomejka 01:07
15. No. 28: Bánkódás 02:20
16. No. 15: Katonanóta 01:06
17. No. 14: Párnás Tánc 00:34
18. No. 32: Máramarosi Tánc 00:40
19. No. 36: Szól a duda 00:57

Georg Enescu (1881-1955)
For Violin and Piano
20. Hora Unirii 01:47

Jo Kunümann (1895-1952)
For Violin, Mandolin, Piano and Strings
21. Rumänisch 05:17

Edward Elgar (1857-1934)
For Violin and Piano
22. Chanson de nuit, Op. 15, No. 2 03:50

Maurice Ravel (1875-1937)
For Violin and Piano
23. 1. Kaddisch 05:42

Personnel:
Daniel Hope violin, direction
(Daniel Hope plays the “Ex-Lipiński” violin, an instrument made by Giuseppe Guarneri del Gesù in 1742 and made available to the violinist by a German family that wishes to remain anonymous.)
Daniel Lozakovitj violin (Bartók)
Simos Papanas violin (Reich, Vivaldi)
Christiane Starke cello (Henze)
Jacques Ammon piano (Henze, Elgar, Enescu, Ravel, Knümann)
Avi Avital mandolin (Knümann)
Chen Reiss soprano (Tavener)
Emanuele Forni Baroque guitar and lute (Vivaldi)
Naoki Kitaya harpsichord (Vivaldi)
Alex Wäber tubular bells (Pärt)
Kammerorchester Basel (Mendelssohn, El-Khoury, Reich, Vivaldi, Tavener, Pärt, Takemitsu)
Members of the Deutsches Kammerorchester Berlin (Elgar, Knümann):
Hannah Perowne, Roeland Gehlen, Barbara Weiche violin I
Chie Peters, Bettina Mros violin II
Sophia Reuter, Maria Jadziewicz viola
Christiane Starke cello · Christoph Anacker double bass

Continue reading »

May 03

David Fenn – Titan Souls: Original Soundtrack (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:00:09 minutes | 519 MB | Genre: Score / Orchestral, Epic, Instrumental, Metal
Studio Master, Official Digital Download – Source: Steam | Artwork: Front Cover

Titan Souls is a 2015 action-adventure developed by UK-based indie studio Acid Nerve and published by Devolver Digital. It was released on April 14, 2015 on Windows, OS X, Playstation 4 and Playstation Vita. The Tian Souls is the spiritual source and sum of all living things between earth and the world beyond. You play a lone archer that is on a quest to find the Titan Souls as it has been scattered across the ruins guarded by the idle titans. It’s a strategic, open world, 2D top down action game and the twist is that you only got one weapon, an arrow, and yes, only allowed to fire one at a time. It’s the only arrow you got, and it’s got a boomerang effect so you always get it back after it hits the target. The score is composed by David Fenn who is also credited for writing the story.

The trailer used some epic music with choirs and everything and I wonder if that is reflected in the score. It opens with ‘Souls’ a nice laid back cue with flute, strings and guitar. Nothing epic about it, but really beautiful. It feels peaceful and part of a nice grassy world. The next cue ‘Titans’ is much more epic (but I wouldn’t call it that) with heavy percussion and horns, although it’s missing the choir. The motif itself is nice but forgettable. ‘Truth And Power’ is nicer with great percussion and mixing in a soft flute and hurried strings. The string motif is good too, and I really feel the action in conjunction with the percussion. ‘Between Our World & The World Beyond’ is a calmer cue and I feel like I enjoy the calmer cues the most. The action doesn’t feel epic enough to me, doesn’t have the right weight, although I think the percussion is great.

‘Legendary Titan Slayer’ is fun. It feels like I’m in the wild west the way the music is constructed with that trumpet coming in. The rhythm also has a western feel over it. I like it. In a way it’s like a wild west in dungeons. ‘Avarice’ is a shock, but in a great way. It’s a theme inspired by heavy metal with a couple of guitars. I totally didn’t expect that, but this is pretty good. ‘Forest Songs’ is a simple guitar and harp melody which I enjoy a lot. It has similar qualities as the opening cue ‘Souls’, but most of all, the melody is very catchy. ‘The Disgraced Guardian’ takes the heavy metal approach again, and it’s even better than before. Love it. It seems to continue with ‘Bomber’ and ‘Roller’ to some extent. Why isn’t the whole score like this? It’s awesome! Also, choir! In ‘The Forgotten Guardian’ they appear, although the rest of the music is so-so, the choir sure rocks. In ‘The Last Guardian’ the music takes a more epic for like I heard in the trailer with choir and stern militaristic scoring. The charm of ‘Souls’ reappear in ‘Epilogue’ with a perhaps more heroic element to the sound. This sound I love.

It’s a sort of unsatisfactory feeling I have as I play the last note of this score. I don’t know, I think my expectations didn’t match what I heard unfortunately. It could be epic, I love the heavy metal parts and also the lyrical softer parts, but in the middle of all this, there’s a bunch of cues I didn’t love or hate, just meh. I hope that this one can grow on me, and I plant to play the game so I would say that’s a big possibility.

Tracklist:

01. Souls (01:38)
02. Titans (02:29)
03. Truth and Power (03:18)
04. Between Our World & the World Beyond (02:29)
05. Sludgeheart (01:57)
06. Brainfreeze (02:06)
07. The First Guardian (02:58)
08. Legendary Titan Slayer (03:15)
09. Elhanan’s Melody (02:16)
10. Avarice (01:54)
11. Winterbound (03:04)
12. Titanic (02:35)
13. Yeti Butts (02:06)
14. Stratus (02:16)
15. Forest Songs (02:27)
16. Obello (02:09)
17. Depths (02:08)
18. The Disgraced Guardian (02:12)
19. Bomber (01:40)
20. Roller (02:54)
21. The Elder (01:49)
22. The Forgotten Guardian (02:33)
23. The Last Guardian (02:03)
24. Final Battle (02:00)
25. Epilogue (02:37)
26. Credits (01:16)

Continue reading »

May 03

Edwin Berg Trio – Volume 2 (2011)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:01:07 minutes | 1,11 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: | Digital Booklet | © Bee Jazz

Bee Jazz releases the second album from the Edwin Berg trio with the lyrical Eric Surménian playing double-bass and the subtle Fred Jeanne playing drums. The first album Perpetuum have seen the gifted Kenny Werner getting a franc success with the acknowledgement “of a perfectly completed record with rare lyricism and timeless charm” Jazz Magazine and also defined by Citizen Jazz “a gem of pure music”. Since, the trio has been performing in various places in the European scene, including the famous “Bimhuis Jazz Club” in Amsterdam for a concert worthy of attention.

Tracklist
01. Meditatie 2:42
02. Doe Maar 4:25
03. The Way You Look Tonight 8:17
04. Ma Dernière Volonté 6:47
05. Poussière D’ange 6:29
06. Who Can I Turn To? 5:28
07. Con Alma 6:55
08. Les Trois sœurs de Salamanca 6:54
09. Carroussel 4:48
10. Quatorze 5:17
11. Edelweiss 2:51

Musicians
Edwin Berg – piano
Eric Surmenian – double-bass
Fred Jeanne – drums

Continue reading »

Page 1 of 41234