May 16

柯莉恩琳細緻的分析力、嫵媚的感情詮譯、琴音柔韌纖細,配合科寧水準一流的鋼琴伴奏,因而被喻為「絕不能錯過的小提琴錄音」。
「心碎」浪漫小提琴之聲(「Heartbreak」Romantic Encores For Violin)—叱咤發燒界及古典樂壇接近20年,被推崇為測試高級音響必備的鑑聽專輯之一,入選<音響論壇>總編「劉漢盛CD榜單」之一,專業高級音樂界一致認同。1999年由美國古典品牌<多里亞(Dorian)>為全美當時得令、擁有高崇的音樂知識、才藝非凡、有「小提琴美女」之稱的女小提琴演奏家伊莉莎.李.柯莉恩琳(Elissa Lee Koljonen)所灌錄的首張個人專輯。她曾於“卡爾.費雪小提琴大賽(Carl Flesch International)”獲得銀獎、“謝霖基金會(Henryk Szeryng Foundation)”獲得小提琴演奏大獎等,《巴爾的摩太陽報(The Baltimore Sun)》以「她是近年來我聽過最具天份的小提琴家,未來成就無可限量…」來給予好評,絕對是90年代未最耀眼的小提琴之星。而柯莉恩琳於「心碎」浪漫小提琴之聲中以一把於1787年由意大利格里製琴大史托里昂尼(Lorenzo Storioni)所製、價值連城的名琴演奏,配合鋼琴家羅勃.科寧(Robert Koenig)的伴奏,完美示範了以下的古典美樂作品選:

Tracklist:
1. 肖邦:升C小調夜曲(密爾斯坦改編) Frédéric Chopin: Nocturne in C-sharp Minor, Op. posth. (arr. N. Milstein)
2. 艾爾加:愛的禮讚,作品12 (Edward Elgar: Salut d’amour, Op. 12)
3. 拉赫曼尼諾夫:練聲曲,作品34之14 (Sergei Rachmaninoff: Vocalise, Op. 34, No. 14) (arr. M. Press)
4. 克萊斯勒:愛之悲(Fritz Kreisler: Liebeslied “Love’s Sorrow”)
5. 克萊斯勒:古調”維也納通俗歌”(Fritz Kreisler: The Old Refrain“Viennese Popular Song”)
6. 李斯特:降D大調第3慰藉曲(密爾斯坦改編)(Franz List: Consolation No. 3 in D-flat Major: Lento placido)(arr. N. Milstein)
7. 英格爾:海螺(Carl Engel: Sea-Shell)(arr. E. Zimbalist)
8. 馬斯奈:泰綺思暝思曲(Jules Massenet: Thais, Act II: Meditation)(arr. M. P. Marsick)
9. 柴可夫斯基:憂傷小夜曲(Pyotr Il’yich Tchaikovsky: 6 Morceaux, Op. 51: No. 6. Valse sentimentale)(arr. M. Press)
10. 蕭邦:降D大調第8夜曲,作品27—2(威海姆改編)(Fryderyk Chopin: Nocturne No. 8 in D flat major, Op. 27, No. 2) (arr. A. Wilhelmj)
11. 拉威爾:死公主的孔雀舞曲(Maurice Ravel: Pavane pour une infante defunte)(arr. P. Kochanski)
12. 德布西:美麗的夜(Claude Debussy: Beau soir)(arr. J. Heifetz)
13. 華格納:浪漫曲(威海姆改編)(Richard Wagner: Albumblatt)(arr. A. Wilhelmj)
14. 普契尼:我親愛的父親(Giacomo Puccini: Gianni Schicchi: O mio babbino caro )(arr. E.L. Koljonen)
15. 洪男伯:愛”韓國傳統歌謠”(Nan-pa Hong: Love“Korean Traditional Song”)
16. 薩拉薩蒂:流浪者之歌,作品20—1(Pablo de Sarasate: Zigeunerweisen, Op. 20: I. Moderato – Lento)
17. 布拉姆斯:沉思曲(海飛茲改編)(Johannes Brahms: Contemplation)(arr. Heifetz)

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May 16

Alfred Schnittke – Twelve Penitential Psalms, Three Sacred Hymns – RIAS Kammerchor, Hans-Christoph Rademann (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 54:35 minutes |  514 MB | Genre: Classical
Studio Master, Official Digital Download  | Source: eClassical | Digital Booklet | © Harmonia Mundi

Alfred Schnittke’s Penitential Psalms are not settings of biblical psalms, but of a set of Old Russian texts published not long before Schnittke wrote these a cappella pieces in 1988. They are less eclectic in style than many of this composer’s other works, drawing on the tradition of Russian Orthodox church music, with its dense harmonies, that matches the text. The work was composed for an event marking the 1,000th anniversary of the advent of Christianity in Russia, and it has a nifty double structure. Its central text is that of the sixth psalm (sample track 6), describing the martyrdom of Boris and Gleb, the sons of the baptized founder Grand Prince Vladimir during the Kievan Rus. The other texts are gloomy meditations circling around this event, but also gaining in inner intensity. The second trajectory emerges at the end in mostly hummed Pslam No. 12, as if the spiritual experience involved has transcended language. The performances by the RIAS Kammerchor under Hans-Christoph Rademann are wonderful throughout, but in this demanding piece, with high notes sustained at very low volumes, they’re sublime. The simpler Three Spiritual Songs at the end of the album bring down the considerable tension effectively, and Harmonia Mundi’s engineering at Berlin’s Jesus-Christus-Kirche is impressive indeed. Schnittke fans have an added attraction here: Rademann contributes a note explaining how the performers have revised the commonly used score in favor of dynamics they believe more closely match Schnittke’s own intentions. But this is a worthwhile Schnittke album for anyone interested in the composer or in contemporary choral music in general. ~~ AllMusic Review by James Manheim

Tracklist:
Alfred Schnittke (1934-1998)
Zwölf Bußverse für gemischten Chor a capella
Twelve Penitential Psalms / Douze Psaumes de pénitence
1 Nr.1. Adam saß vor dem Paradies und weinte 3:05
2 Nr.2. Es nimmt mich die Wüste auf wie die Mutter ihr Kind 4:09
3 Nr.3. Weshalb lebe ich in Armut 3:21
4 Nr.4. Meine Seele, warum befindest du dich in Sünden 2:16
5 Nr.5. O Mensch – verdammt und armselig 3:02
6 Nr.6. Als sie sahen das Schiff 2:18
7 Nr.7. O meine Seele, warum hast du keine Angst 5:26
8 Nr.8. Wenn du die Zeitlosigkeit der Trauer überwinden willst 2:02
9 Nr.9. Über mein Leben als das eines Geistlichen habe ich nachgedacht 7:20
10 Nr.10. Sammelt euch, ihr christlichen Menschen! 3:27
11 Nr.11. Ich bin in dieses elende Leben gekommen 3:57
12 Nr.12. (mit geschlossenem Mund) 7:35
Drei geistliche Gesänge für achtstimmigen gemischten Chor
Three Sacred Hymns / Trois Hymnes sacrés
13 I. Gegrüßet seist du, Jungfrau, Mutter Gottes 1:35
14 II. Herr Jesus, Sohn Gottes 1:34
15 III. Vater unser 3:21

Personnel:
RIAS Kammerchor – Vocal ensemble
Hans-Christoph Rademann – Conductor

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May 16

Arne Domnerus with Gustaf Sjokvist – Antiphone Blues (1974/2015)
DSF Stereo DSD64/2.82MHz | Time – 38:02 minutes | 1,5 GB | Genre: Jazz, Classical
Official Digital Download – Source: AcousticSounds | Digital Booklet | © 2xHD
Recorded: 26 August 1974 in Spånga church, Sweden.

DSD file created from analog master.
Maestros Arne Domnerus (saxophone) & Gustaf Sjokvist (organ) play Classical and jazz/spiritual duets (several associated with Maestro Duke Ellington). Considered to be one of the best recordings of saxophone performance in decades. Arne Domnerus, a living legend, is at the height of his mastery of the instrument. The sonic excellence brings heartfelt emotion to a listener, regarded by some as ‘A record for life!’

Swedish-born saxophonist Arne Domnérus looms large in the annals of European jazz — his breakthrough performance at the Paris Jazz Fair of 1949 is widely cited as the tipping point of the Scandinavian bop movement. Born in Stockholm on December 20, 1924, Domnérus studied clarinet as a child and made his professional debut during the early ’40s, playing alto sax in popular dance bands led by Lulle Ellboj and Simon Brehm. By 1942 he led his own group and made his recorded debut in 1945, honing an urbane, sophisticated style that nevertheless possessed an urgency often absent from the cool, remote tone often associated with Swedish jazz. American icons Charlie Parker and Dizzy Gillespie were both in attendance for Domnérus 1949 Paris festival gig, a performance which served notice that players of European descent could offer their own authoritative interpretations of music largely considered an African-American phenomenon — Parker was so impressed that he signed Domnérus for the Scandinavian tour he mounted a year later. Throughout the ’50s Domnérus headlined the Stockholm jazz club Nalen, often appearing alongside trumpeter Rolf Ericson and baritone saxophonist Lars Gullin (who both turn up in the 1952 short film Arne Domnérus Spelar). Domnérus also joined Stockholm locals including pianist Bengt Hallberg for a landmark 1953 Swedish tour in support of American trumpeters Clifford Brown and Quincy Jones. From 1956 to 1965 Domnérus served as a member of Harry Arnold’s Swedish Radio Big Band, continuing on with its successor Radiojazzgruppen through 1978 — concurrently he wrote for television and films, most notably scoring 1966’s Nattlek, a film produced by Mai Zetterling and based on her own novel. Domnérus’ 1977 LP Jazz at the Pawnshop proved an unprecedented hit, selling more than half a million copies upon its original release — a year later, he returned with Duets for Duke, a collaboration with Hallberg that captures both men at the zenith of their artistry. While remaining true to his bop roots, Domnérus cited traditional Scandinavian folk music as a growing influence throughout the later chapters of his career, and from the ’70s on he regularly performed live in churches, inspired by Duke Ellington’s own sacred concerts. He also toured the U.S. and Japan, and recorded with American notables including Clark Terry, James Moody and Jimmy Rowles. After several years in poor health, Domnérus died in Stockholm on September 2, 2008 at the age of 83. –Artist Biography by Jason Ankeny

Tracklist:
1 Almighty God 03:11
2 Nobody Knows the Trouble I’ve Seen 03:12
3 Sometimes I Feel Like a Motherless Child 02:30
4 Antiphone Blues 03:23
5 Jag vet en dejlig rosa 02:44
6 Kinderszenen (Scenes of Childhood), Op. 15: No. 7. Traumerei (Dreaming) (arr. B. Hallberg for saxophone and organ) 04:36
7 Come Sunday (arr. B. Hallberg for saxophone and organ) 04:38
8 Heaven 03:14
9 Entonigt klingar den lilla klockan 03:38
10 Den signade dag 03:50
11 Concerto in C Major, RV 443: II. Largo (arr. for saxophone and organ) 03:05

Personnel:
Arne Domnérus, Clarinet, Sax (Alto)
Gustaf Sjökvist, Organ

For the 2xHD transfer of this recording, the original 1/4”, 15 ips CCIR master tape was played on a Nagra-T modified with high-end tube playback electronics, wired with OCC silver cable from the playback head direct to a Telefunken EF806 tube. The Nagra T has one of the best transports ever made with four direct drive motors, two pinch rollers and a tape tension head. We did an analog transfer for each high-res sampling and A & B comparisons were made with the original LP, using the KRONOS turntable with a BLACK BEAUTY tone arm. 192kHz was done using Ayre QA9pro, DSD was done using dCS 905 and dCS Vivaldi clock, DXD 352.8kHz was done using dCS 905 and dCS Vivaldi clock, DSD2 was done using Ayre QA9pro.

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May 16

Andy And The Bey Sisters – ‘Round Midnight (1965/2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 33:27 minutes | 342 MB | Genre: Jazz
Studio Master, Official Digital Download | Source: HDTracks | Digital Booklet | © Prestige Records

Andy Bey remains what he was back when this album first took shape—the most recognized, and perhaps the most recognizable, member of the Bey family. A fearsomely gifted singer, he boasts spectacular range all but disguised by the warmth and immediacy of his vocal instrument…Because of his prominence in the trio, Andy and the Bey Sisters often falls into the category of origin bands—the trio that launched Andy Bey’s career…But think of it primarily as a vocal group that, at its best, helped establish the intertwined heights conjoined voices might attain. —Neil Tesser [from new liner notes]

Criminally unsung pianist and singer Andy Bey had the most visible career after he and his sisters Salome and Geraldine Bey broke up their performing trio after an 11-year run in 1967, but this family singing ensemble was far more than just the act that launched Andy, and he wasn’t really the focus of the group. All three siblings were highlighted equally in the trio, and their harmonies together were the ethereal kind that can only happen in a family where all involved have grown up hearing each other’s voices and phrasing every single day. The Bey trio recorded very little together, unfortunately, just a single album for RCA in 1961 and two albums for Prestige, Now! Hear!, released in 1964, and this one, ‘Round Midnight, from 1965. Part gospel, part muted R&B, part stylized blues, the Bey trio was also very much a jazz outfit, due in no small part to Andy’s underappreciated piano playing and the presence of bop veterans like Milt Hinton on bass, Osie Johnson on drums, and Kenny Burrell (who appears on about half of the tracks here) on guitar. In essence, the Bey trio sounded like a thinned-out and more jazzy, gauzy version of the Staple Singers. Highlights from this set are a wonderfully balanced version of Ray Charles’ “Hallelujah, I Love Her So,” a stirring take on Billie Holiday’s “God Bless the Child,” the ever expanding and ascending “Feeling Good,” and a fine rendition of the title track, Thelonious Monk’s “‘Round Midnight,” which has never been the easiest song in the world to sing effectively, but the trio nails it here in what might have been deemed a definitive version if it had actually been heard by more than a handful of people. ~~AllMusic Review by Steve Leggett

Tracklist:
1. Love Medley: Love Is Just Around The Corner / I Love You / Love You Madly 06:21
2. God Bless The Child 03:39
3. Squeeze Me 03:42
4. Tammy 02:16
5. Hallelujah, I Love Her So 02:26
6. Everybody Loves My Baby 02:42
7. ‘Round Midnight 03:30
8. Solitude 02:50
9. Feeling Good 02:59
10. Ev’ry Time We Say Goodbye 03:02

Personnel:
Salome Bey, vocals
Geraldine Bey, vocals
Andy Bey, vocals, piano
Kenny Burrell, guitar (#4-7,9)
Milt Hinton, bass
Osie Johnson, drums

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May 16

Leopold Stokowski – Symphony of the Air / Rhapsodies
SACD ISO (2.0/MCH): 3,07 GB | 24B/88,2kHz Stereo FLAC: 1,36 GB | NO Artwork
Label/Cat#: RCA Red Seal “Living Stereo” # 82876-67903-2 | Country/Year: US 2005
Genre: Classical | Style: Romantic, Early 20th Century

“This sacd is truly wonderful. Under the leadmanship of Stokowsky all music becomes something extraordinary. Start with the majestic notes of Liszt’s Hungarian rhapsody & end with Wagner. And don’t forget smetana’s moldau! Then I switched to the 3-channel mix on the SACD. The orchestra became much wider & deeper on the soundstage, with the flute solo in the Moldau front & center with greatest clarity & presence…” ~audaud.com

“Leopold Stokowski’s collection of Rhapsodies are painted broadly but with his characteristic fine control, & in sound that is larger than life.” ~Kalman Rubinson

Tracklist:

01. Franz Listz – Hungarian Rhapsody No. 2 in C-Sharp Minor 08:46
02. Georges Enesco – Roumanian Rhapsody No. 1 in A, Op. 11 11:38
03. Bedrich Smetana – The Moldau (Vltava) 12:27
04. Bedrich Smetana – The Bartered Bride – Overture 07:12
05. Richard Wagner – Tristan und Isolde – Prelude to Act III 10:19
06. Richard Wagner – Tannhaeuser – Overture and Venusberg Music 25:09

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May 16

Loggins And Messina – Full Sail (1973) [Audio Fidelity 2016] PS3 Rip | SACD ISO | DST64 2.0 & DST64 5.0 > 1-bit/2.8224 MHz | Full Scans 300dpi | 1.96 GB
FLAC 2.0 Stereo (converted with foobar2000) 24bit/88,2 kHz | Full Scans 300dpi | 828 MB
Genre: Rock

Full Sail is the third album by singer/songwriter duo Loggins and Messina, released in 1973. It showed the versatility of the duo, with everything from 1950s retro to island-style to soft ballads. The single “My Music” charted at #16, and the follow-up, “Watching the River Run”, made it to #71. The album as a whole did better, reaching #10 on the Pop Charts.

Tracklist
1. Lahaina 02:35
2. Travelin’ Blues 03:47
3. My Music 03:06
4. A Love Song 03:13
5. You Need A Man – Coming To You 09:14
6. Watching the River Run 03:29
7. Pathway to Glory 08:41
8. Didn’t I Know You When 02:41
9. Sailin’ the Wind 06:10

Musicians
Kenny Loggins – vocals, rhythm guitar, acoustic guitar, harmonica
Jim Messina – vocals, lead guitar, acoustic guitar, mandolin
Jon Clarke – oboe, baritone saxophone, bass saxophone, soprano saxophone, flute, alto flute, bass flute, bass clarinet, tenor saxophone, English horn
Al Garth – violin, bass clarinet, recorder, alto saxophone, tenor saxophone
Larry Sims – bass, backing vocals
Merel Bregante – drums, timbales, backing vocals
Michael Omartian – piano, Wurlitzer electric piano, Hammond organ, tack piano, Lowrey organ, Moog synthesizer, Fender Rhodes electric piano
Vince Charles – steel drums
Milt Holland – percussion

Produced by Jim Messina

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May 16

Loggins And Messina – Loggins And Messina (1972) [2015 Audio Fidelity AFZ5 216] Sony PS3 SACD to ISO | DSD 1bit-2822,4kHz 2.0/4.0 | 2.8GB | 37:51/36:59 minutes
DSF Stereo DSD64/2.82MHz | 1.5 GB | 37:47 minutes
Genre: Rock | Label: AudioFidelity | Catalog Number: AFZ 216 | Recorded: Columbia Studios, Los Angeles

While Loggins and Messina created many fine albums this one stands out as most representative of their impact. In the early ’70s the duo pioneered true country/rock and showcased it with style and near-flawless performances.

The eponymously titled 1972 Loggins and Messina album built on the strengths of their debut outing, “Sittin’ In.” The same mix of short catchy country-folk-pop gems with longer intricately layered and meaningful ballads bordering on jazz and edgy rock powered its success.The album reached #16 on the Billboard charts and “Your Mama Don’t Dance” charted at #4. The epic “Angry Eyes” became an instant FM radio staple reaching the top of the college radio and AOR charts.

This Loggins and Messina album has many varied textures and arrangements. A little bit of country, a number of quality ballads and some good old rock ‘n’ roll. Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young.

The Loggins and Messina album became the true introduction of the band, Loggins and Messina, not as soloists playing together, but rather as a duo that offered pure genius in their music.

The first full-fledged L&M album found the duo in good form as songwriters, with Messina turning in the sparkling “Thinking Of You,” and the two collaborating on the hit single “Your Mama Don’t Dance” and “Angry Eyes.” Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young. –AllMusic Review by William Ruhlmann

Tracklist:
1 Good Friend 4:10
2 Whiskey 2:00
3 Your Mama Don’t Dance 2:52
4 Long Tail Cat 3:53
5 Golden Ribbons 6:15
6 Thinking Of You 2:27
7 Just Before The News 1:13
8 Till The Ends Meet 3:15
9 Holiday Hotel 2:05
10 Lady Of My Heart 1:47
11 Angry Eyes 7:47

Personnel:
Kenny Loggins – vocals, rhythm guitar, harmonica, acoustic guitar
Jim Messina – vocals, lead guitar, electric mandolin, acoustic guitar
Loggins & Messina band:
Merel Bregante – backing vocals, drums
Lester “Al” Garth – violin, recorder, alto and tenor saxophone
Jon Clarke – flute, oboe, recorder, baritone saxophone, soprano saxophone, tenor saxophone
Larry Sims – backing vocals, bass
Sidemen:
Michael Omartian – Hammond organ, piano, harmonium, clavinet, tack piano, Wurlitzer electric piano
Rusty Young – dobro on “Long Tail Cat”
Milt Holland – percussion
Stephen Stills – vocals

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May 16

Loggins and Messina – Sittin’ In (1971) [Audio Fidelity 2015] PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 45:26 minutes | Scans included | 1,38 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 935 MB
Mastered by Kevin Gray / Audio Fidelity # AFZ-228 | Genre: Rock

This debut album was credited to Kenny Loggins with Jim Messina because the project had begun as a solo record by Loggins being produced by Messina. By the time it was finished, however, Messina had written or co-written six of the 11 songs, contributed “first guitar,” and shared lead vocals on many tracks. Messina’s “Nobody but You” and “Vahevala,” co-written by Loggins’ second cousin, Dave Loggins, were the singles chart entries, but today everybody remembers the album for Loggins’ “House at Pooh Corner,” which had earned Loggins his record contract, and “Danny’s Song,” which Anne Murray took into the Top Ten the following year. The only thing wrong with this record is that it was too perfect – with their infectious blend of country, folk, rock and Caribbean music, L&M started out at the top of their game, and although they were able to match some of the material and performances on later records, the team never got any better than this.

Tracklist:
01. Nobody But You
02. Danny’s Song
03. Vahevala
04. Trilogy: Lovin’ Me / To Make A Woman Feel Wanted Peace Of Mind
05. Back To Georgia
06. House At Pooh Corner
07. Listen To A Country Song
08. Same Old Wine
09. Rock ‘N Roll Mood

Mastered by Kevin Gray at Cohearent Audio.

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May 16

Adam Agee & Jon Sousa – Suantrai: Traditional Irish Music (2014) 
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 50:01 minutes | 2,00 GB | Genre: Folk, Celtic, Irish
Official Digital Download – Source: AcousticSounds | Digital Booklet | © Adam Agee & Jon Sousa

Suantraí (pronounced “SOON-Tree”) is an Irish word that means “lullabies,” and can also mean a feeling of gentleness and comfort. Adam Agee and Jon Sousa are very excited to announce the release of thier debut duo album, Suantraí. Recorded in DSD Pure at Boulder’s own Immersive Studios with the help of Jonathan Skinas, immense care was taken in the crafting of this album, from the arrangement and selection of tunes to the sonic quality in the studio.

This album was recorded DSD PURE to a Sonoma workstation through an 8 channel Grace preamp and Meitner MKIII A to D positioned close to the artists for the best sonic integrity. It is the first in a series of DSD PURE “Corner Recordings” from Super Audio Center and Immersive Studios in Boulder Colorado. Jon’s guitar and banjo were recorded with a Shure KSM 32 and a Royer R-121 ribbon microphone. Adam’s fiddle was recorded with a Shure KSM 32 and an AEA R-92 ribbon microphone. In addition, two Shure KSM 32’s were used to record the room.

Adam Agee and Jon Sousa are two of Colorado’s most sought-after traditional Irish musicians. Since 2004, they have been journeying together through the Irish idiom on fiddle, guitar, and tenor banjo, enchanting listeners on both sides of the Atlantic Ocean. Adam and Jon have put down musical roots in County Clare, where they lived together, and now make frequent visits. Their connection to their instruments and the transcendent energy in their music is guaranteed to captivate and uplift audiences of all ages.

In recent years, they have appeared at Colorado’s Spanish Peaks International Celtic Music Festival, where they performed on stage with Martin Hayes, Dennis Cahill, John Doyle, Robbie O’Connell, and others. They were also honored to headline at the first annual Durango Celtic Festival in March of 2013.

Adam Agee’s fiddle music is alive, dynamically fluid, and colorful. Raised in the mountains of Santa Cruz, California and Boulder, Colorado, Adam came first to Ireland in 2004, basing himself in Ennis, County Clare, where he discovered a new home. Through opportunities in America and Ireland, he has had the chance to study with many of today’s living tradition-bearers. His exposure to diverse influences makes Adam’s music deeply American, while his pursuit of sound has led him to focused expression through the Irish tradition. Within the rapidly developing culture of traditional music, suffused and enriched by a global exchange of ideas, Adam’s fiddle playing is grounded in a personal, aesthetic quest. He has been teaching and performing for 15 years.

Jon Sousa fell in love with music at an early age, listening to the 70’s folk albums in his mother’s record collection. He journeyed on to rock music, passed through the realm of electronic dance music, then made his way on to West African percussion, and finally landed in the world of traditional Irish music. Jon’s passion for music has taken him all over the world, from the beautiful countryside of France to study with master fingerstyle guitar player Pierre Bensusan, to Senegal, West Africa, to study Sabar Drumming, and eventually to reside in Ireland in 2008. There he refined his skills in interpreting Irish music while earning his Master of Arts degree in Traditional Irish Music Performance at the University of Limerick. Jon also has a Bachelor of Arts in Music from Naropa University in Boulder, Colorado.

Tracklist:
1 Sporting Paddy / Siobhán O’Donnell’s 3:58
2 John Naughton’s / Tommy Coen’s 2:28
3 The Clare Reel / The Green Gowned Lass 3:49
4 Fead an Iolar (The Eagle’s Whistle) 6:09
5 Farewell to Glasgow / Maud Millar / The Long Drop / John Naughton’s / The Laccaroe / The Easy Club 8:20
6 Runs in the Family / Angry Birds 2:22
7 Maids of the Mourne Shore / Niel Gow’s Lament for the Death of His Second Wife 7:46
8 Hardiman’s Fancy / Apples in Winter / The Starry Lane to Monaghan 5:13
9 Paddy Fahey’s / Gan Ainm / Star of Munster / Paddy On the Landfill / The Glen Road to Carrick 6:15
10 Amhrán an Bhá (Song of the Drowning) 3:34

Personnel:
Adam Agee, fiddle
Jon Sousa, guitar, tenor banjo

Recorded in DSD Pure at Immersive Studios in Boulder Colorado; Produced, Engineered, Mixed and Mastered in DSD Pure by Jonathan Skinas

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May 16

Art Farmer – Farmer’s Market (1956/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 36:39 minutes | 381 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital Booklet | © Prestige Records
Recorded: Van Gelder Studio, Hackensack, NJ, November 23, 1956
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

By 1956, when this album was recorded, Art Farmer had come into his own as a trumpet soloist. His combination of earthiness, drive, respect for melody, harmonic sophistication, and a wistful sound on ballads produced a distinctive and immediately recognizable style. The catchy “Farmer’s Market” had resulted in a semi-hit for Annie Ross after she was inspired by Farmer’s 1951 version with Wardell Gray. Here, Farmer’s remake has one of his best solos of the 1950s. His bassist twin brother Addison is in the rhythm section, along with pianist Kenny Drew and drummer Elvin Jones, new to New York from Detroit. The underrated Hank Mobley is on tenor saxophone.

In 1956, trumpeter Art Farmer was teamed with tenor saxophonist Hank Mobley and pianist Horace Silver in one of the most vital and important modern jazz groups of the seminal hard bop era. But it was Farmer here who was emerging as a leader, with Mobley tagging along on this excellent date. Not to say that Mobley was a slouch, and indeed far from it as a peer of Sonny Rollins and John Coltrane. Fact is, Mobley led the band with Farmer and Silver, but achieved his greatest acclaim alongside trumpeters Lee Morgan, and eventually Miles Davis. For Farmer, this recording was a coming out party, establishing him not only as a fine player, but a composer who lyricists were attracted to. “Farmer’s Market” with its by now immortal swift hard bop melody and harmony courtesy of the Farmer/Mobley tandem, and the languid ballad “Reminiscing” with Mobley out but pianist Kenny Drew adding reinforcement a hundredfold, were covered vocally later on by Annie Ross and Earl Coleman respectively. Twin brother Addison Farmer stokes the coals on bass for the hard swinging “Wailin’ with Hank,” goes for a cool blues groove as the horns play a unison line on “Ad-Dis-Un,” and strokes a bluesy swing during “By Myself” as another feature for the trumpeter, in this case with mute, and Mobley sitting out. Drummer Elvin Jones, who sounds like a more sensitive rhythm pilot instead of the powerhouse he would become with John Coltrane, plays his role as an intent listener and firm contributor without pushing the envelope. His style on the recording deserves a close inspection, vis à vis what he would become a decade later. Considering this is early period Farmer, and that his work after leaving the U.S. for Europe led him to playing the softer toned flugelhorn and trumpet exclusively, it is an important document in his legacy, comparing favorably alongside peers Clifford Brown, Miles Davis, and an also emerging Donald Byrd or Lee Morgan. ~~ AllMusic Review by Michael G. Nastos

Tracklist:
1. With Prestige 05:12
2. Ad-Dis-Un 06:22
3. Farmer’s Market 05:51
4. Reminiscing 04:58
5. By Myself 07:03
6. Wailin’ With Hank 07:13

Personnel:
Art Farmer – trumpet
Hank Mobley – tenor saxophone (tracks 1–3 & 6)
Kenny Drew – piano
Addison Farmer – bass
Elvin Jones – drums

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