Jun 10

Tadd Dameron with John Coltrane – Mating Call (1957/2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 35:11 minutes | 355 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Prestige Records

Mating Call is an album by jazz musician Tadd Dameron, featuring John Coltrane, and was released in 1957 on Prestige Records. It was recorded at Rudy Van Gelder’s studio in Hackensack, New Jersey. All compositions are Tadd Dameron originals.

This fine set, recorded on November 30, 1956, has been reissued several times, often as a John Coltrane date, but make no mistake, this is a Tadd Dameron session, and his elegant compositions are its key component. Coltrane was fresh off playing with Miles Davis in 1956 and was still a year away from heading his own sessions and three years away from recording Giant Steps, so it might be said that he was in transition, but then when was Coltrane not in transition? Dameron wisely gives him plenty of space to fill, and the rhythm section of John Simmons on bass and the great Philly Joe Jones on drums (not to mention Dameron’s own characteristically bass-heavy piano style) give Trane a solid bottom to work with, and if the spiritual and edgy emotion of his later playing isn’t quite in place yet, you can feel it coming. But again, this is Dameron’s date, with each of the six selections an original Dameron composition. There’s so much to marvel at here, including the Bahamian rhythms of the title track, “Mating Call,” the gorgeous build of “Soultrane” (often the title when this set is issued as a Coltrane date) and the undeniable grace and elegance of “On a Misty Night” (based in part on the melody line to “September in the Rain”). The straight blues piece “Romas” is also a lot of fun, particularly for Coltrane. Mating Call, or whatever title it sports, whether under Dameron’s name or Coltrane’s, is a solid and frequently overlooked gem. Don’t hesitate to pick it up. ~~AllMusic Review by Steve Leggett

1. Mating Call 05:34
2. Gnid 05:07
3. Soultrane 05:23
4. On A Misty Night 06:21
5. Romas 06:52
6. Super Jet 05:54

Tadd Dameron, piano
John Coltrane, tenor saxophone
John Simmons, bass
Philly Joe Jones, drums

Recorded: November 30, 1956 at Van Gelder Studio, Hackensack, NJ
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Continue reading »

Jun 10

Terje Rypdal – Odyssey: In Studio & In Concert (2012)
FLAC (tracks) 24-bit/96 kHz | Time – 02:35:12 minutes | 2,91 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital booklet | © ECM
Recorded: Odyssey recorded August 1975 at Arne Bendiksen Studio, Oslo; Unfinished Highballs recorded June 1976, Swedish Radio Estrad, Södertälje

Terje Rypdal‘s Odyssey: In Studio & In Concert is a very special release. It includes not only the complete Odyssey album (recorded 1975) in high-resolution audio (Studio Master) for the first time (restoring the long track Rolling Stone to its rightful place), but also a full disc of previously unreleased material on which Terje Rypdal s Odyssey band is augmented by the Swedish Radio Jazz Group in a 1976 live performance of Rypdal s suite Unfinished Highballs.

In the liner notes, Rypdal tells John Kelman, Odyssey was my first major band, and the music was different too because, more and more, I was writing music in two layers one thing going on with the bass and drums, and rubato playing layered over the top. It was the first time I d to connect with a band, more about writing together with improvisation. It was a challenge; I was trying to bring together the composer and the player. Rypdal s ideas of form and freedom are beautifully sculpted and registered in Manfred Eicher s widescreen production.

John Kelman:
The release of Odyssey in its entirety, along with the significant revelations of Unfinished Highballs , comes when Rypdal is in a period of renewed creativity and activity, making it especially relevant as a more complete document of how confluence, at an early stage in his career, ultimately led to the further multidisciplinary junctions that keep his music as fresh and relevant as he approaches 65.

I‘m very happy this is coming out , Rypdal says, because I ve been asked, before Crime Scene was released, if I d written anything for big band. I think this is a very important part of my career: I m very glad Rolling Stone is finally coming out; and Unfinished Highballs will be a surprise to a lot of people. That s what I really like about this box that it can accomplish both at the same time.

Rypdal was one of Manfred Eicher’s first major finds, brought to inter national attention alongside other influential Norwegians including saxo phonist Jan Garbarek, bassist Arild Andersen and drummer Jon Christensen. As early as his eponymous 1971 ECM debut, Rypdal was already demonstrat ing a desire to find new means of expression based on the seamless merging of touchstones that included jazz, rock and classical music. That album’s hypnotic opener, “Keep It Like That – Tight” was named after a whispered utterance by Miles Davis during the recording of his seminal 1970 classic, Bitches Brew, and if it reflected an allegiance to the American trumpeter’s own cross_pollinating predilections, it also demonstrated even greater atten tion to space and nuance, while “Rainbow” reflected Rypdal’s affection for the music of composer György Ligeti, albeit with the unpredictable wildcard of an improvisational context.


Odyssey I
1. Darkness Falls 03:38
2. Midnite 16:40
3. Adagio 13:15
4. Better Off Without You 7:31

Odyssey II
5. Over Birkerot 04:53
6. Fare Well 11:25
7. Ballade 06:00
8. Rolling Stone 23:55

Unfinished Highballs
9. Unfinished Highballs 03:52
10. The Golden Eye 14:04
11. Scarlet Mistress 12:25
12. Dawn 12:29
13. Dine and Dance to the Music of the Waves 11:40
14. Talking Back 07:10
15. Bright Lights – Big City 06:15


Terje Rypdal, electric guitar, synthesizer, soprano saxophone
Torbjørn Sunde, trombone
Brynjulf Blix, organ
Sveinung Hovensjø, bass
Svein Christiansen, drums

Unfinished Highballs:
Terje Rypdal, electric and acoustic guitars, synthesizer, soprano saxophone
Brynjulf Blix, organ, synthesizer, electric piano
Sveinung Hovensjø, bass guitar
Svein Christiansen, drums
Swedish Radio Jazz Group:
Ulf Adåker trumpet, flugelhorn (soloist)
Bertil Lövgren, trumpet & flugelhorn
Americo Bellotto,  trumpet & flugelhorn (soloist)
Håkan Nyquist, french horn & trumpet
Ivar Olsen, french horn
Claes Rosendahl, alto saxophone, clarinet
Ulf Andersson, tenor saxophone, flute, alto flute, piccolo (soloist)
Lennart Åberg, soprano saxophone, flute (soloist)
Erik Nilsson, bass clarinet, flute
Sven Larson, bass trombone, tuba
Torgny Nilson, trombone (soloist)
Bengt Hallberg, celeste, harpsichord, mellotron
Georg Riedel, double bass
Stefan Brolund, double bass
Egil Johansen, drums & percussion

Continue reading »

Jun 10

Tchaikovsky & Bloch – Piano Trios – Osiris Trio (2007)
DSF 5.0 Surround DSD64/2.82MHz | Time – 00:53:42 minutes | 5,32 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet |  © Cobra Records

All his life Tchaikovsky struggled against what he himself called ‘the inability in gene- ral to maintain a good grip on form. I have fought this innate weakness and – some- thing I’m proud of – not without some decent results. Nonetheless I will go to my grave without having produced anything at all which has a perfect form.’ Dilettantism was anathema to him: ‘You really have to outdo yourself if you want to avoid lapsing into dilettantism, of which even someone as gifted as Glinka was not entirely free…’ Although Pyotr Illyich Tchaikovsky is generally seen as belonging to the Western-orientated Russian school, as indeed are most of his professional colleagues in Moscow, his musical art was not in fact very far removed from the ideals of the so-called ‘Mighty Five’ (or ‘Mighty Handful’.) In 1869 he met Balakirev, the actual founder of this national school in Petersburg. Balakirev recognized the young Tchaikovsky’s talent and would ideally have liked to include him in his group. But the greatest problem as he saw it was that Tchaikovsky had received a formal conservatoire education, and that clashed with his ideals of an uncultivated, original Russian music.
Ernest Bloch belongs to the large group of twentieth-century composers who, though not wishing to be associated with the avant-garde, equally did not distance themselves from the latest developments. He studied violin and composition in his native city Geneva, and later in Brussels and Frankfurt. His early compositions reveal a great curiosity about everything that was new and unknown at the time: Wagnerian chromaticism, the orchestral expansivity of Richard Strauss, and then the subtle timbres of Debussy and the block chords of Stravinsky.


Pyotr Ilyich Tchaikovsky (1840 – 1893)

Piano Trio in a opus 50
1. Pezzo Elegiaco (18:32)

Part A
2. Tema con Variazioni (1:12)
3. Variazione I (0:53)
4. Variazione II (0:41)
5. Variazione III (0:59)
6. Variazione IV (1:05)
7. Variazione V (0:44)
8. Variazione VI (2:33)
9. Variazione VII (1:28)
10. Variazione VIII (2:52)
11. Variazione IX (2:54)
12. Variazione X (1:47)
13. Variazione XI (2:31)

Part B
14. Variazione Finale e Coda (7:24)
Ernest Bloch (1880 – 1959)
Three Nocturnes
15. Andante (2:49)
16. Andante quieto (2:39)
17. Tempestoso (2:31)

Osiris Trio:
Ellen Corver, piano
Vesko Eschkenazy, violin
Larissa Groeneveld, cello

Continue reading »

Jun 10

Thomas Tallis – Ave, rosa sine spinis & other sacred music – The Cardinall’s Musick, Andrew Carwood (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:13:41 minutes | 667 MB | Genre: Classical
Studio Master, Official Digital Download – Source: hyperion-records | Digital Booklet | © Hyperion Records
Recorded: November 2013, Fitzalan Chapel, Arundel Castle, United Kingdom

The Cardinall’s Musick and their inspirational director Andrew Carwood present a further volume of their Gramophone-Award-winning series of Tallis’s sacred music.
This new album contains some of the most sublime music of the entire period, performed with The Cardinall’s Musick’s familiar committed, full-blooded and beautiful singing. In including both Tallis’s English and Latin settings, it demonstrates the composer’s mastery of the changing edicts imposed on him from above in this turbulent time.
Informative and scholarly booklet notes by Andrew Carwood place the music in its historical and liturgical context.

The Cardinall’s Musick is vastly experienced in English repertory of the sixteenth century, and this is its fourth disc devoted entirely to Thomas Tallis. With the inclusion of his Mass for four voices they have also completed their survey of his surviving masses. Other delights on the disc include his setting of Why Fum’th in Fight from Archbishop Parker’s Psalter of 1567—perhaps better known as the tune used in Vaughan Williams’s Fantasia on a Theme of Thomas Tallis—and the wonderful Ave, rosa sine spinis with its missing sections in the cantus part admirably reconstructed here by Nick Sandon.
This last piece really brings out the best in the choir, which shows an intelligent sense of direction and a liveliness of execution. The duets in this work are managed very nicely, too, though the bass part at some points (eg the beginning of verse five) lacks pliability. Elsewhere there is some quite spectacular singing: for example in the cantus line of Euge caeli porta, and in the touching, quiet solemnity of the close of Miserere Nostri. However, the generally rather brisk approach tends to neutralise the potentially very expressive false relations in the harmony (for instance, in Wipe away my sins). As for the four-voiced Mass, this is an unassuming work that risks becoming firmly prosaic, and perhaps the recording by Jeremy Summerly and the Oxford Camerata (on Naxos) does most to overcome its dangers. Even so, this present disc is no mean advocate for Tallis’s musical imagination. —Anthony Pryer, BBC Music Magazine

Thomas Tallis (c1505-1585)
1 O salutaris hostia[3’11]
2 Wipe away my sins[5’48]
3 Why fum’th in fight  (No 3 of 9 Psalm Tunes)[3’54]
4 Ave, rosa sine spinis[10’49]
5 Blessed be thy name[2’30]
6 Te lucis ante terminum I[2’06]
7 In manus tuas, Domine[2’14]
8 Te lucis ante terminum II[1’44]
9 Salvator mundi II[2’55]
10 O come in one to praise the Lord  (No 4 of 9 Psalm Tunes)[4’15]
11 When Jesus went into Simon the Pharisee’s house[2’46]
12 Euge caeli porta[1’42]

Mass for four voices
13 Gloria[5’36]
14 Credo[6’13]
15 Sanctus[3’10]
16 Benedictus[3’24]
17 Agnus Dei[5’06]
18 Laudate Dominum[3’54]
19 Miserere nostri[2’24]

The Cardinall’s Musick
Andrew Carwood, conductor

Continue reading »

Jun 10

The Goo Goo Dolls – Dizzy Up the Girl (1998/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:45:12minutes | 1,74 GB | Genre: Rock, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Warner Bros. Records

Dizzy Up the Girl is the Goo Goo Dolls’ sixth studio album originally released in 1998. The record produced numerous hit singles, including “Slide”, “Black Balloon,” “Broadway,” “Dizzy,” and their most popular single “Iris” which made it to #1 on the U.S. Billboard Hot 100, Adult Top 40, Alternative Songs, and Pop Songs charts.

“Name” changed the game for the Goo Goo Dolls. Prior to that unexpected hit ballad, the Buffalo trio was pretty much content to turn out amiably sloppy rock & roll in the style of the Replacements. Like the latter-day ‘Mats, they weren’t adverse to cleaning up their sound a little bit, but once they had a hit, they were happy to jump headfirst into the mainstream, cleaning up their rockers until they shone and embracing acoustic power ballads instead of shunning them. In fact, “Iris” — their contribution to the City of Angels soundtrack and lead single for their sixth album, Dizzy Up the Girl — is a virtual rewrite of “Name.” The funny thing is, where most college rock bands of the Bush era sounded awkward as mainstream rockers, the Goo Goo Dolls actually sound better as a mainstream band, partially because they were hardly underground in the first place. Like a less mannered and conflicted Let Your Dim Light Shine-era Soul Asylum, the trio balances hard rockers with ballads. The difference is, they enjoy the mainstreaming of their music and respond with one of their catchiest sets of songs. There’s nothing new on the record apart from their willingness to polish their music so it reaches the widest audience. That will alienate whatever hardcore followers they have left, but that attitude will likely please anyone brought aboard with “Name” and “Iris.” –AllMusic Review by Stephen Thomas Erlewine

1 Dizzy 2:40
2 Slide 3:32
3 Broadway 3:58
4 January Friend 2:44
5 Black Balloon 4:09
6 Bullet Proof 4:37
7 Amigone 3:15
8 All Eyes On Me 3:57
9 Full Foever 2:51
10 Acoustic #3 1:56
11 Iris 4:51
12 Extra Pale 2:10
13 Hate This Place 4:23

Mike Malinin – drums
Johnny Rzeznik – lead and rhythm guitar, lead vocals
Robby Takac – bass guitar, lead vocals

Continue reading »

Jun 10

Stan Getz, Joao Gilberto feat. Antonio Carlos Jobim – Getz/Gilberto (1964/2011)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 00:33:50 minutes | 1,34 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Verve Music
Recorded: March 18–19, 1963 at A&R Recording Studios, New York City

Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you’ll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you’ve heard up until now – definitely still breathy, warm and rich – were made from something less than the master. Prepare to hear the veil removed
Astrud Gilberto says that her husband, Joao, informed Stan Getz that she “could sing at the recording.” Creed Taylor recalls that it took Getz’s wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud’s presence over the others’ objections. So who’s right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known – each one who hears it goes “Ahhh!”

One of the biggest-selling jazz albums of all time, not to mention bossa nova’s finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova’s greatest innovators — guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim — to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history — “The Girl From Ipanema,” a Jobim classic sung by João’s wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. Beyond that, most of the Jobim songs recorded here also became standards of the genre — “Corcovado” (which featured another vocal by Astrud), “So Danço Samba,” “O Grande Amor,” a new version of “Desafinado.” With such uniformly brilliant material, it’s no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that’s arguably the fullest expression of bossa nova’s dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it’s one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential. ~~ AllMusic Review by Steve Huey

1 The Girl From Ipanema 5:22
2 Doralice 2:43
3 Para Machuchar Meu Coração 5:04
4 Desafinado 4:11
5 Corcovado 4:13
6 Só Danço Samba 3:42
7 O Grande Amor 5:24
8 Vivo Sonhando 2:52

Stan Getz, tenor sax
João Gilberto, guitar, vocals
Antônio Carlos Jobim, piano
Sebastião Neto, bass
Milton Banana, drums
Astrud Gilberto, vocals

Continue reading »

Jun 10

Steve Kuhn, Steve Swallow, Joey Baron – Wisteria (2012)
FLAC (tracks) 24 bit/88,2 kHz | Time – 1:07:02 minutes | 1,15 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks.com | Digital Booklet | © ECM

Having collaborated in the past, jazz virtuosos Steve Kuhn, Joey Baron and Steve Swallow team up once again for the astounding jazz release, Wisteria. The trio exposes the emotional core of some familiar Kuhn classics including “Adagio,” “Morning Dew” and “Pastorale.” Complementing the yearning balladry is the exciting hard bop-track “A Likely Story” and the gospel-inspired “Permanent Wave.” This historic trio sails effortlessly creating a compelling set full of divine synergy.

Steve Kuhn has excelled in many settings in a career spanning over five decades, but he is at his best leading a trio. Like many top pianists, Kuhn interacts with his musicians rather than relegating them exclusively to the role of accompanists. By the time of this 2011 record date, he had worked with bassist Steve Swallow at various times for over a half-century and with drummer Joey Baron for over 20 years, but this marked their first recording together as a trio. Swallow’s sublime lyrical bass is always a welcome addition, while Baron has contributed to recordings by a diverse range of stylists. Kuhn contributed many of the songs, highlighted by his lyrical samba “Adagio” and the glistening, light-hearted “Morning Dew.” He also revisits several of his best compositions recorded for previous projects: the lush ballad “Romance,” the whispered “Pastorale” with Swallow playing lead in the introduction as Kuhn plays soft chords behind him and Baron’s light touch on brushes providing the perfect accent, along with the mellow yet hip “Promises Kept.” Swallow’s compositions are frequently used by leaders with whom he works. His “Dark Glasses” opens with a mysterious air but shifts quickly into a bright bossa nova. One can only imagine the inspiration for the title to “Good Lookin’ Rookie,” and this breezy number doesn’t disappoint, with Kuhn’s driving piano and Swallow’s intricate bass solo, along with Baron’s drum breaks. Highly recommended! ~~AllMusic Review by Ken Dryden

1. Chalet 06:27
2. Adagio 07:06
3. Morning Dew 06:37
4. Romance 04:29
5. Permanent Wave 06:37
6. A Likely Story 06:44
7. Pastorale 06:19
8. Wisteria 05:50
9. Dark Glasses 05:53
10. Promises Kept 05:33
11. Good Lookin’ Rookie 05:54

Steve Kuhn, piano
Steve Swallow, bass
Joey Baron, drums

Continue reading »

Page 1 of 11