Jul 03

レーベル avex trax
配信開始日 2017.03.22
収録曲数 全2曲
販売データ ハイレゾ|FLAC|48.0kHz/24bit

http://mora.jp/package/43000002/ANTCD-21629_F/

“楽器を持たないパンクバンド”とも称されるアイドルグループ・BiSHのメジャーセカンド・シングル「プロミスザスター」が発売!

収録曲

1 – プロミスザスター 04:28
2 – Help!! 03:42

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Jul 03

Audio Format: 24bit/96kHz
Released at: 2015-09-02
Label :SUB TRAX
Catalog: DDCZ-2043

http://ototoy.jp/_/default/p/56211

BiSをもう一度始めるとして元BiSのマネージャー渡辺淳之介と元BiSサウンド・プロデューサーの松隈ケンタがスタートさせたアイドル・プロジェクト、BiSH初のシングル。二人の新メンバー、ハシヤスメ・アツコ、リンリンが加入してから初めてのリリースでもある。なお、シングル発売に伴い全国ツアーも決定しており、10月24日(土)の仙台 enn2ndに始まりツアーファイナルは2016年1月19日(火)のLIQUIDROOM公演が決定している。

収録曲

1. OTNK 04:04
2. NO THANK YOU 03:31
3. MAIN STREET ELECTRICAL PARADE 01:51

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Jul 03

Audio Format: 24bit/48kHz
Released at: 2016-10-05
Label :avex trax
Catalog: ANTCD-19185

http://ototoy.jp/_/default/p/66506

5月にavex traxからメジャーデビューを果たした”楽器を持たないパンクバンド”BiSHのメジャーファーストアルバム。 ツアーは全てSOLD OUT。3月27日にはステラボールに1800人を集め公演を大成功させ、10/8には日比谷野外音楽堂でのワンマンライヴを控えている。 デビューからありえないスピードで成長を続けるBiSHのメジャーファーストアルバム。 アイナ・ジ・エンド、モモコグミカンパニー、ハグ・ミィ、セントチヒロ・チッチ、ハシヤスメ・アツコ、リンリンの6人からなる楽器を持たないパンクバンド。ツアーは全公演即日完売。3月には品川ステラボールでのワンマンライブもSOLD OUT。メジャーデビューシングルはオリコンデイリーチャート3位を獲得するなど快進撃を続け、10月には日比谷野外音楽堂でのワンマンライブが決定している。

収録曲

1. DEADMAN(2nd) 01:37
2. ファーストキッチンライフ 02:55
3. オーケストラ 05:42
4. Stairway to me 06:24
5. IDOL is SHiT 03:55
6. 本当本気 04:44
7. KNAVE 04:54
8. Am I FRENZY?? 05:30
9. My distinction 04:12
10. summertime 03:05
11. Hey gate 04:07
12. Throw away 04:07
13. 生きててよかったというのなら 05:15

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Jul 03

Jaco Pastorius Big Band – The Word Is Out! (2006)
SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 67:20 minutes | Scans included | 4,38 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans | 1,41 GB
Features Stereo and Multichannel surround sound | Genre: Jazz, Fusion

Following the success of Word of Mouth Revisited, the critically acclaimed and award winning 2003 release on Heads Up International, the Jaco Pastorius Big Band has crafted a second chapter in their ongoing tribute to the brilliant legacy of the bassist/composer/arranger from whom they’ve taken their name. The Word Is Out!, an album that features an array of guest artists-not only on bass, but on a variety of other instruments.

Jazz fusion bass freaks and fans of the late great Weather Report innovator first got the message that his richly textured compositions were ripe for spirited big-band arrangements on 2003’s critically acclaimed Word of Mouth, whose all-star band was led by Peter Graves (whose orchestra Pastorius launched his career with) and included sharp melodic and rhythmic contributions by bassmen who have proudly carried on the tradition – Victor Wooten, Gerald Veasley, Richard Bona, Victor Bailey, Marcus Miller, and Jimmy Haslip. On the funky, energetic, yet frequently poignant follow-up – which reminds listeners even more of the bass legend’s genius for composition – these monsters return, complemented by band newcomers like Israel “Cachao” Lopez, Jr., Mark Egan, Oteil Burbridge, and Will Lee. What’s exciting is that even though the set is joyfully plastered with grand solos by these rhythm masters as well as Randy Brecker, Hiram Bullock, Ed Calle, Bob Mintzer, Arturo Sandoval, Peter Erskine, and Mike Stern, everyone’s truly dedicated to making this a buoyant team effort. So while Mintzer and Brecker blaze amidst the madness on “Dania,” there’s an eager sense of anticipation waiting for the sizzle of the whole ensemble to re-emerge. That same vibe extends to the midtempo cool yet simmering Latin arrangement of “Las Olas,” which was arranged by Randy Bernsen and features a lush harmonica solo by Toots Thielemans. Pastorius’ own compositions dominate, but classics from his famous collaborators Pat Metheny (“Sirabhorn”) and Joe Zawinul (the low-key, soulful, and whimsical “Cannonball”) are equally engaging. Another extra-Jaco treat is a speedy reading of the Beatles’ “Blackbird,” featuring a percussive soprano melody line by Calle over a subtle Bona-Erskine groove. J aco Pastorius fans will flip with ecstasy, but even lovers of less progressive contemporary jazz will enjoy it for its spirit and lyrical melodies.

Tracklist:
01. Dania
02. Las Olas
03. Sirabhorn
04. Beaver Patrol
05. Cannonball
06. Kuru/Speak Like A Child
07. Three Views Of A Secret
08. Blackbird/Word Of Mouth
09. Good Morning Anya
10. River People
11. Reza

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Jul 03

Jaco Pastorius Big Band – Word Of Mouth Revisited (2003)
SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 71:35 minutes | Scans included | 4,38 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans | 1,47 GB
Features Stereo and Multichannel surround sound | Genre: Jazz

It’s a grand gathering of the Lords of the Lower Frequencies: bassists Marcus Miller, Victor Bailey, Victor Wooten, Jimmy Haslip, Christian McBride, Gerald Veasley, and Richard Bona are united under a groove to celebrate their hero, Jaco Pastorius. Jaco’s homeboy Peter Graves (who employed the bassist in his south Florida big band before he hit it big with Weather Report in 1975) was the mastermind behind this awesome assembly. Under Graves’s direction these Jaco gems, mostly from his Weather Report days and his first solo recording, highlight Pastorius’ powerful influence.

Back before he turned everyone’s idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star’s departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague’s name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius’ legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument’s role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn’t subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself. So why does a vague disenchantment haunt these performances? Perhaps it’s because these players, great as they are, are still emulating more than discovering. Some imitate even the nuances of the Pastorius tone and phrasing, as does Richard Bona on “Punk Jazz” – which, of course, may be a form of tribute in this context. On an opposite extreme, the light-speed, staccato hailstorm unleashed by Victor Wooten on “Teen Town” is fundamentally unmusical, focusing on the player more than the material being played – which is, come to think of it, the real revelation here. Pastorius’ tunes reflect a compositional maturity that wasn’t always evident in the more improvisational context of Weather Report, and his arrangements – notably an idiosyncratic treatment of “Killing Me Softly” and the marimba-flavored exotica of “Opus Pocus” – suggest that had he had more time, he would have written history with his pen as much as his performance. One complaint: the samples of Pastorius’ voice, chopped into microbits that carry no meaningful content and seem intended to function as objects of postmodern reflection, if not reverence. All these interruptions accomplish is to remind you that some artists speak most eloquently without words.

Tracklist:
01. Jaco Speaks
02. Havona
03. Teen Town
04. Jaco Speaks
05. Punk Jazz
06. Jaco Speaks
07. Barbary Coast
08. Killing Me Softly
09. Jaco Speaks
10. (Used To Be A) Cha Cha
11. Wiggle Wiggle
12. Jaco Speaks
13. Continuum
14. Jaco Speaks
15. Elegant People
16. Opus Pocus
17. Peter And Jaco Speak
18. Domingo
19. Forgotten Love
20. Jaco Speaks
21. Punk Jazz Revisited [Bonus Track]

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Jul 02

JD Allen – Graffiti (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 45:56 minutes | 537 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | Front cover | Label: Savant Records
Recorded January 8, 2015 at Tedesco Studios in Paramus, NJ.

Tenor saxophonist JD Allen’s latest release featuring Gregg August and Rudy Royston consisting of nine original tracks.

JD Allen’s career ascendence suggests that he’s making plenty of the right choices. The native of Detroit has been on the New York scene since 1993, when his youthful precociousness earned him a spot in “Jazz Ahead”, the singer Betty Carter’s acclaimed touring program for up-and-comers. TimeOut New York says he will “remind you of giants like Coltrane and Rollins but placing a special kind of premium on concision, directness and accessibility.” The Chicago Reader adds, “Allen has gravitated toward a more brooding, elliptical approach with a strong jolt of John Coltrane at his most probing.” Finally, JD is, in the words of Connecticut’s WNPR, “A man for all seasons,” who “plays ballads with warmth, beauty and truth, grooves hard in a post-bop mode or wails in a free jazz setting with passion saturated with the soulful spirituality, grace and inspired abandon recalling the power and the glory of John Coltrane.” One of the telltale symbols of his upward trajectory is the fact that his trio, bassist Gregg August (lead bass chair in the Brooklyn Philharmonic) and drummer Rudy Royston (a much sought-after rhythm power since relocating to New York from Denver), has remained solid throughout his rise.

Tracklist:
1 Naked 04:02
2 Jawn Henry 05:57
3 Third Eye 07:45
4 Graffiti 04:22
5 G-dspeed, B. Morris 04:12
6 Little Mack 02:25
7 Sonny Boy 06:08
8 Indigo (Blue Like) 04:13
9 Disambiguation 06:52

Personnel:
JD Allen – tenor saxophone
Gregg August – bass
Rudy Royston – drums

Production:
Producer: JD Allen
Recording engineer: Tom Tedesco
Mastering engineer: Katsuhiko Naito

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Jul 02

John Cage – Sonatas & Interludes – Cedric Pescia (2012)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:03:48 minutes | 867 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Aeon/Outhere Music France
Recorded: 7-8/10/2011, Saal 3, Funkhaus Berlin Nalepastrasse

With this new disc, æon is doing its part to celebrate the 100th anniversary of the birth of John Cage, born on 5 September 1912 in the United States. This recording of the Sonatas and Interludes for prepared piano, some of the most emblematic works in his catalogue, proposes discovering one of the great classics of 20th century music performed by the young Swiss pianist Cédric Pescia. The interpretation is luminous, featuring unrivalled sensitivity and perceptiveness.

Easily the best known and most popular of John Cage’s works for prepared piano, the Sonatas and Interludes (1946-1948) capture the imagination through their delicacy and exoticism. (The instrument, pioneered by Cage, is a piano that has been preset with various sound modifiers or “preparations” of different materials on its strings, hammers, and dampers.) Cédric Pescia’s 2012 release on Æon is a worthy addition to the growing list of first-rate recordings, and the care and subtlety he brings to his performance contribute to the music’s piquant charm and haunting ambience. Because much of this work is quite soft and sparse, and intended to be played with the lightest touch, listeners should pay close attention to follow Pescia’s controlled and extremely refined interpretation. But be careful not to boost the volume too high, because there are some boldly accented and strongly rhythmic passages that provide contrast and may startle the unsuspecting listener. Even so, the overall character of Sonatas and Interludes is strongly reminiscent of Asian music, and the bell-like tones and repeated patterns can induce a soothing or meditative state, not unlike the effect of Javanese gamelan music. Thanks to close microphone placement, the varied sounds of the prepared piano are clearly distinguished and fully audible, and the resonant studio space lends a pleasant aura to the performance.

Tracklist:
John Cage (1912-1992)
Sonatas & Interludes (1946-1948)
1 Sonata I 2’50
2 Sonata II 2’07
3 Sonata III 2’25
4 Sonata IV 2’16
5 First Interlude 3’05
6 Sonata V 1’18
7 Sonata VI 2’10
8 Sonata VII 2’01
9 Sonata VIII 2’52
10 Second Interlude 4’42
11 Third Interlude 2’46
12 Sonata IX 4’22
13 Sonata X 3’33
14 Sonata XI 3’11
15 Sonata XII 3’11
16 Fourth Interlude 3’16
17 Sonata XIII 4’29
18 Sonata XIV (Gemini) 3’14
19 Sonata XV (Gemini) 3’11
20 Sonata XVI 7’01

Personnel:
Cédric Pescia, piano

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Jul 02

Jon Balke – Warp (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 52:21 minutes | 927 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital booklet | © ECM

Warp situates the solo piano of Norway’s Jon Balke within a subtle architecture of composed soundscapes, in fluctuating dimensions of space. And what begins as gently exploratory solo piano gradually acquires an almost hallucinatory aspect. Balke’s solo piano, the sound images and the additional field recordings were integrated in the mix of the album at RSI Studio Lugano in September 2015. Warp was produced by Jon Balke and Manfred Eicher.

Jon Balke’s musical life has been lived on the wide-open fringe of expression. He has utilized conventional Western European and Asian folk traditions, electronics, classical, jazz and avant-garde techniques, and various spoken, sung, and percussive languages. Given all of his previous experimentation, Warp is one of the most mysterious dates in his career. The vast majority of the 16 pieces here are miniatures, only one is over five minutes. Balke plays solo piano throughout, and accompanies himself by utilizing field recordings and other electronic sounds placed carefully in the backdrops and margins. It would seem this work is one piece initially – you have to look at the inside sleeve to see the individual titles; but instead, this is a work of carefully sequenced individual works that present a labyrinth. “Heliolatry” opens in the piano’s lower middle register with dark, brooding notes. A fluttery static and the scraping of strings inside the instrument lend a backdrop to a thematic flurry of notes and scales as they dialogue with one another. Static and what sounds like an organ pair with the wordless vocals of Wenche Losnegaard in “On and On,” which ends with an open-ended question. “Bolide” possesses a hymn-like, folk song quality, while sparse processional chordal statements make up its corpus on either side of middle C. The all-too-brief “Shibboleth” employs somewhat angular improvisation, with field-recorded percussive sounds lining the frame. Balke actually slips into Lennie Tristano-esque scalar runs and then moves off center in a more speculative – and dissonant – direction. The indecipherable “announcement reading” of Balke’s daughter Ellinor provides a sound sculpture for his plucked bass strings to bridge just the hint of a melody. It’s followed by the genuinely haunting “Slow Spin,” a jazz improvisation that is framed ever so faintly with droning electronic sounds. While “Kantor” asserts itself as a lithe, elliptical piano interlude, it is transformed by a mesh of field-recorded sounds and the voice of Mattis Myrland into a gorgeous art song. The album closes with a variation on “Heliolatry,” then forgoes the inner instrument scraping for a more assertive dialogue with a synth imitating an organ. Balke’s piano is assertive, creating a leitmotif from the more spectral dark notes in the first version. Warp is curious. Its quark strangeness may prove a tad unsettling early on, but settles into a quietly compelling invitation for the listener. The entire experience offers a different series of questions, answers, and conclusions each time it is encountered. The language Balke speaks is that of the piano as it encounters the inner resonances of its physical body, as well as those of the outer, indefinable tongues of sound itself.

Tracklist:
01 – Heliolatry
02 – This Is The Movie
03 – Bucolic
04 – On And On
05 – Bolide
06 – Amarinthine
07 – Shibboleth
08 – Mute
09 – Slow Spin
10 – Boodle
11 – Dragoman
12 – Kantor
13 – Geminate
14 – Telesthesia
15 – Geminate (Variation)
16 – Heliolatry (Variation)

Produced by Jon Balke and Manfred Eicher.
Recording Engineer: Jan Erik Kongshaug. Mix Engineer: Stefano Amerio (RSI-Lugano).
Recorded September 27-28, 2014 at Rainbow Studio, Oslo, Norway.
Sound images recorded and processed at Madstun by Audun Kleive and Jon Balke.

Musicians:
Jon Balke – piano, sound images
Mattis Myrland – vocals
Wenche Losnegaard – vocals
Ellinor Myskja Balke – announcement reading

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Jul 02

Jerry Lee Lewis – Jerry Lee’s Greatest! (1961)
FLAC (tracks) 24 bit/96 kHz | Time – 29:09 minutes | 378 MB | Genre: Rock
Official Digital Download – Source: HDTracks.com |  © Sun Records

Jerry Lee’s second album for Sun Records featured one of rock and roll’s all-time greatest recordings: “Great Balls Of Fire.” The single, charged with controversial sexual undertones, manic piano-playing, and Lewis’ quirky tenor, made the already famous wild-man of rock a superstar. Greatest also features a number of covers performed as only Lewis could pull them off, including Barrett Strong’s “Money,” and Ray Charles’ “What’d I Say.”

Tracklist:
01. Money
02. As Long As I Live
03. Hillbilly Fever
04. Break Up
05. Hello Hello Baby
06. Home
07. Let’s Talk About Us
08. Great Balls Of Fire
09. Frankie And Johnny
10. Cold Cold Heart
11. What’d I Say
12. Hello Josephine

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Jul 02

Kavakos, Nagy, Chailly – Brahms: Violin Concerto, Hungarian Dances; Bartok (2013)
FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.37 GB
Genre: Classical | Official Digital Download – Source: Linn records

Leonidas Kavakos tackles a pillar of the violin repertoire in a disc that establishes him as a concerto soloist for Decca Classics. His first concerto disc for Decca features the Brahms Violin Concerto, for which he is joined by one of the world’s greatest orchestras and conductors, the Gewandhausorchester Leipzig and Riccardo Chailly. Leonidas is also accompanied by pianist Péter Nagy for Brahms’ timeless Hungarian Dances (No.s 1, 2 ,6 and 11) and Bartók’s energetic Rhapsodies and Romanian Folk Dances – two great composers hugely influenced by Hungarian folk music.

Richly charismatic music in superbly spirited performances by musicians who have this repertoire in their blood.

Composer: Johannes Brahms, Béla Bartók
Performer: Leonidas Kavakos, Péter Nagy
Conductor: Riccardo Chailly
Orchestra/Ensemble: Leipzig Gewandhaus Orchestra

Reviews:

To hear Leonidas Kavakos play the Brahms Violin Concerto is to be newly apprised of the work’s reputed difficulties. Not that Kavakos struggles with the solo part—far from it. But he presents the myriad double-stops, compound-chords, and wide leaps with such clarity and vividness that your ear is drawn to these effects more than usual. Yet for all this, Kavakos’ rendition is a thoroughly musical one, fully cognizant of Brahms’ structure and overall symphonic plan. Riccardo Chailly’s cleanly articulated, tersely-romantic accompaniment makes an apt foil for his soloist, as do the clear textures and lean string sound he evokes from the Leipzig Gewandhaus Orchestra.

That Kavakos would choose the warhorse Joachim cadenza at first seems at odds with his interpretive stance, but his fresh approach proves otherwise. By sculpting each phrase so inventively, Kavakos rivets your attention and at times gives the impression that he’s improvising. In the songful slow movement (which showcases beautiful playing by the Leipzig winds) Kavakos soothes without sounding saccharine, while the finale crackles with life, thanks in part to the violinist inserting a bit of gypsy flair into the famous “Hungarian” tune.

This Hungarian flavor, albeit of a more rustic variety, carries over to Bartók’s Rhapsodies for violin and piano, which Kavakos and pianist Péter Nagy dispatch with jaunty bravura and folksy style. These same characteristics lend the more cosmopolitan Brahms Hungarian Dances a certain authenticity that the orchestral versions lack. The recording places the orchestra slightly to the rear in the acoustic, but produces a satisfying full sound in louder passages (although the violin is oddly more prominent when playing with the orchestra than with just the piano). This is a fine modern Brahms Violin Concerto that can hold its own in a crowded catalog.

Tracklist:
1. I. Allegro non troppo
2. II. Adagio
3. III. Allegro
4. I. Moderato
5. II. Allegretto moderato
6. I. Lassù: Moderato
7. II. Friss: Allegro moderato
8. Hungarian Dance No.1 in G minor
9. Hungarian Dance No.2 in D minor
10. Hungarian Dance No.6 in Bb
11. Hungarian Dance No.11 in D minor
12. Roumanian Folk Dances, Sz. 56, BB 68 – I. Jocul cu Bata
13. Roumanian Folk Dances, Sz. 56, BB 68 – II. Braul
14. Roumanian Folk Dances, Sz. 56, BB 68 – III. Pe Loc
15. Roumanian Folk Dances, Sz. 56, BB 68 – IV. Buciumeana
16. Roumanian Folk Dances, Sz. 56, BB 68 – V. “Poarga” Romaneasca
17. Roumanian Folk Dances, Sz. 56, BB 68 – VI. Manuntelul 1, Manuntelul 2

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