Artist:
Title: Takes A Trip
Year Of Release: 1969/2010
Label: Flawed Gems
Genre: Prog Rock, Jazz-Rock
Quality: Mp3 320 / Flac (image, .cue)
Total Time: 45:08
Total Size: 125/316 Mb (scans)
WebSite:

Don Shinn - Takes A Trip (Reissue) (1969/2010)

Tracklist:

1. Pits Of Darkness – 17:59
2. Temples With Prophets – 5:45
3. A Minor Explosion – 4:07
4. Jolly Dance – 3:35
5. Hearts Of Gladness – 10:18
6. A-Minor Explosion (Bonus) – 3:09

Line-up::
Don Shinn – Organ, Piano
Paul Hodgson – Electric Guitar
Peter Wolf – Drums
Eric Ford – Bass

Don Shinn (born Donald Shinn, 15 December 1945, Southampton, Hampshire) is an English keyboard player, multi-instrumentalist, composer, and vocalist. He is known primarily as an organist and pianist, and also plays vibraphone. In the early-mid 1960’s he recorded and performed with British Beat groups The MeddyEVILS, The Echoes (backing Dusty Springfield), and The Soul Agents (featuring Rod Stewart). In 1967 he formed his own band The Shinn, which also featured future Uriah Heep bassist Paul Newton, future drummer for The Nice, Brian Davison, and vocalist Eddie Lamb. In 1969 he released two instrumental albums, ‘Departures’, and ‘Temples With Prophets’ (aka ‘Don Shinn Takes A Trip’). He was a member of the English band Dada (featuring Elkie Brooks) and appears on their eponymous album released in 1970. He has also worked with Kiki Dee, James Taylor, Engelbert Humperdinck, Stan Tracey, Persian vocalist Parvaneh Farid, Iguana, and Renaissance. He is cited as a pioneer within the progressive rock movement of the late 1960s and early 1970s, and has been acknowledged by British keyboardist/composer Keith Emerson as a major influence. Uriah Heep bassist Paul Newton has also credited Shinn as a mentor and teacher. As of January 2012, unconfirmed reports indicate that Shinn is still musically active and based in the Southampton area of the UK.

Elizeth Cardoso & Moacyr Silva – Sax Voz (Remastered) (2019) [Hi-Res]

Elizeth Cardoso & Moacyr Silva - Sax Voz (Remastered) (2019) [Hi-Res]

Artist:
Title: Sax Voz (Remastered)
Year Of Release: 1960; 2019
Label: RevOla
Genre: MPB, Samba, Bolero, Latin Jazz
Quality: 24-bit/44.1kHz FLAC
Total Time: 39:45 min
Total Size: 389 MB
WebSite:


Elizete Cardoso, the singer whose album Chega de Saudade launched the bossa nova, was also the first popular singer to interpret Villa-Lobos at the Municipal Theaters of São Paulo and Rio de Janeiro, and was considered by Almirante the best interpreter of Noel Rosa. Adored by Edith Piaf (“C’est merveilleuse! C’est merveilleuse!”), paid homage by Cartola (who wrote especially for her his famous samba-canção “Acontece”), and a most cherished artist by the Brazilian audiences, she was also known as “the Divina” (an alias given to her by Haroldo Costa and popularized by Vinicius de Moraes in his liner notes to Chega de Saudade).

Her ample tessitura, capable of exploring faithfully both low and high registers, and her highly personal interpretation, full of a melancholy that witnessed the essence of an artist who experienced deep sadness in her life (along with all the rewards that success can bring), conveyed an unforgettable poetic density. In her almost 70 years of artistic activities, she performed a wide palette of genres, but her preference was for the samba.

Born to a musical family, her father was a seresteiro (serenader) and her mother an amateur singer. At five, Cardoso debuted as a singer, performing at the rancho Kananga do Japão (a historical Carnival rancho founded in 1911). Having to work since very young, she had several small jobs until she was discovered by Jacob do Bandolim at the party for her 16th birthday, where he was brought to by her cousin Pedro, a popular figure among the musicians of the time. Enthusiastic about the young singer, Jacob do Bandolim took her to Rádio Guanabara, where she opened, on August 18, 1936, at the Programa Suburbano, with such artists as Noel Rosa, Vicente Celestino, Aracy de Almeida, and Marília Batista. Approved as a member of the cast, she started to perform there regularly at Tuesdays. Cardoso worked at several other radio stations, but she supplemented her earnings with performances in circuses, clubs, and cinemas. With Grande Otelo, she kept a duo for over ten years whose pièce de résistance was “Boneca de Piche” (Ary Barroso/Luís Iglésias). Always in financial difficulties, Cardoso got a job as a taxi-girl at the Dancing Avenida, where she also became a crooner in 1941. In 1945, she was hired by Júlio Simões to work in his dancing ballroom Casa Verde in São Paulo, where her fan club was expanded and came to include Adoniran Barbosa, the producers Vicente Leporace and Egas Moniz, and Blota Júnior, the A&R director of Rádio Cruzeiro do Sul. Cardoso worked there for one year and returned to her job at the Dancing Avenida, in Rio, as the crooner of the Orquestra de Dedé. Soon, she started to work at other dance ballrooms, like the Brasil, the Samba Danças, the Eldorado, and the Belas Artes. She was also, in that period, the crooner for the Orquestra de Guilherme Pereira.

In 1948, Cardoso met Evaldo Rui, who would be instrumental in her artistic career (having also been her lover). Rui counseled her in terms of her performance and took her to Rádio Mauá, where she worked with her discoverer, Jacob do Bandolim. But, soon, she was hired by Rádio Guanabara, which reopened big time and decided to compete with the major radios, Nacional, Tupi, and Mayrink Veiga.

In 1950, Ataulfo Alves got Cardoso an invitation to record for the first time, at Star. The first record though, with the sambas “Braços Vazios” (Acir Alves/Edgard G. Alves) and “Mensageiro da Saudade” (Ataulfo Alves), was withdrawn from circulation by the company due to alleged technical problems. But she was spotted at the Dancing Avenida by the composer Erasmo Silva, who was working for the Todamérica recording company, which would be opened in a few days. On July 25, 1950, she recorded through the new company “Complexo” (Wilson Batista), on the A-side, and “Canção de Amor” (Chocolate/Elano de Paula). The arrangements by the conductor Pachequinho for the latter song proved to be too complicated for the violinists; 12 of the 18 had to leave for their gig at Rádio Nacional, causing the song to go unrecorded. It was up to the outstanding saxophonist Zé Bodega to improvise the introduction and fill in the blanks.

Surprisingly, the radios preferred to play “Canção de Amor.” The result was immediate, with Cardoso being hired by Almirante to work at Rádio Tupi, the second most popular station in Rio. In the next year she debuted on TV, working on the first TV show of Rio de Janeiro (at TV Tupi), and in the cinema, in Coração Matrerno (Gilda de Abreu) and É Fogo na Roupa (Watson Macedo). Also in 1951, she was hired by Rádio Mayrink Veiga and by the Vogue club, recording in that year one of her biggest hits, “Barracão” (Luís Antônio/Oldemar Magalhães). In 1952, Cardoso worked on the film O Rei do Samba (Luís de Barros), and in the next year she had a signal of her rising prestige through an invitation to perform at the Golden Room of the Copacabana Palace, where just international artists were allowed (the only other Brazilians to perform there being Sílvio Caldas and Dorival Caymmi). But she preferred to perform at the Casablanca club, because the place was frequented by journalists. She opened there with the show Feitiço da Vila (dedicated to the songs by Noel Rosa and his partners) on June 8, 1953, and her strategy was successful, with enthusiastic reviews by renowned critics like Lúcio Rangel, Elsie Lessa, Vinícius de Moraes, Fernando Lobo, and others.

In November, Cardoso recorded one of her few Carnaval hits, the marcha “Ai, Ai, Janot” (Pedro Alves/Gerson Filho/Antônio Filho). The song played with the fiasco of engineer Janot Pacheco, who had claimed to have discovered a chemical process to produce rain.

The show Feitiço da Vila was opened in São Paulo with the same success of the Carioca season. But in September 1954, Evaldo Rui committed suicide, and the newspapers explored with sensationalism her role in the tragedy. Out of her suffering, she was invited to a 15-day tour of Uruguay, the first of a series of tours in that country.

Still in 1954, Cardoso opened a show with Sílvio Caldas at the Oasis nightclub in São Paulo. According to the newspapers of the city, it was the most successful spectacle until then in the history of São Paulo.

In 1956, Cardoso signed with the Copacabana recording company (in spite of the attempts of Odeon and Sinter), through which she would release most of her hits for the following 20 years. Already a famous artist, Cardoso hosted several exclusive shows on different radios, including Audições Elizete Cardoso (Rádio Mundial) and Canta Elizete (Mayrink Veiga).

Two years later, Cardoso was invited by Vinicius de Moraes to be the singer of an album of songs written by himself and Tom Jobim. Canção do Amor Demais became the first album of bossa nova, launching the new genre. The album was recorded for the label Festa, owned by Irineu Garcia. The label was specialized in recorded poetry, having produced albums in which authors read their poems, immortalizing the voices of such poets as Carlos Drummond de Andrade, Manuel Bandeira, Pablo Neruda, Nicollás Guillén, and others. Therefore, nothing was more natural for the label than to record another album with the poems by Vinicius de Moraes. Only it would be the first time that music would come into the picture. With the permission of Copacabana, Cardoso started to rehearse with Jobim and de Moraes. As the rehearsals were held at Jobim’s home in Ipanema, they were later immortalized by de Moraes in “Carta ao Tom” (“Letter to Tom”): “Rua Nascimento e Silva, 107/Você ensinando pra Elizete/As canções de Canção do Amor Demais” (“107 Nascimento e Silva Street/And you were teaching Elizete/The songs of Canção do Amor Demais”).

Immediately after the release, the most commented-upon track of the album was “Chega de Saudade,” the first recording in which appears the revolutionary syncopation of João Gilberto’s guitar (who also appeared on “Outra Vez”). In spite of Cardoso’s remarkable interpretations, though, she came to record the same songs later, and better. That can be explained in part because earlier in that same day she accepted an invitation to perform for an Army division in the middle of a forest where she had to walk under rain and through the mud.

In 1959, Cardoso recorded for the film Orfeu do Carnaval (Marcel Camus), also an important piece of the initial period of bossa nova (it derived from De Moraes’ play Orfeu da Conceição), the songs “Manhã de Carnaval” (Luís Bonfá/Antônio Maria) and “Samba de Orfeu.” The soundtrack, a top seller in several countries including the U.S. and France, unduly credits the actress Marpessa Dawn as the singer.

After performances in Buenos Aires (Argentina) and Portugal, Cardoso launched one of her top-selling albums, Meiga Elizete, in which she was accompanied by the groups of Moacir Silva and Walter Wanderley. Elizete Interpreta Vinícius, dedicated to compositions by De Moraes, was another success. Produced by him and arranged by Moacir Santos, the album also was enthusiastically saluted by the critics.

On October 12, 1964, invited by the conductor Diogo Pacheco, Cardoso interpreted Villa-Lobos’ “Bachianas Número 5” at the Municipal Theater of São Paulo. When she finished the piece, the 1,800 people present at the event stood up and applauded for 15 minutes, asking for an encore. She stared at the audience and simply cried; perhaps thinking about her long career full of obstacles, financial hardships, and prejudices against her dark skin. But in the end she did the awaited encore.

Praised by the whole press, her performance of a piece of the Brazilian icon of classical music was also heartily appreciated by Mindinha, the composer’s widow, who gave her the sheet music and asked her to interpret Villa-Lobos’ “Samba Clássico” in a future appointment. Cardoso’s touching interpretation was repeated at the Municipal Theater of Rio de Janeiro, and so was the response of the audience; again 15 minutes of standing ovation and the insistent asking of an encore.

In 1965, thrilled by the show Rosa de Ouro, idealized by Hermínio Bello de Carvalho, which launched Clementina de Jesus and brought again to the stage Araci Cortes, accompanied by Paulinho da Viola, Elton Medeiros, Jair do Cavaquinho, Anescar do Salgueiro, and Nelson Sargento, Cardoso communicated her intention to record all the songs of the show. Rehearsing each song with the instrumentalists, in June 1965 she recorded in just four days one of the masterpieces of the Brazilian popular music, Elizete Sobe o Morro. It represented the debut of Nelson Cavaquinho on record, both as a guitarist and singer. It was also the first time that Paulinho da Viola had one of his songs recorded.

In that same year, Cardoso performed at the Cassino Estoril, in Portugal, and, upon her return, she was invited to host the TV Record show Bossaudade, which lasted for 18 months. In 1966, she participated in the Festival of Black Arts, in Dakar, Senegal, and in the next year, her album A Enluarada Elizete had the participation of Pixinguinha, Cartola, Clementina de Jesus, and Codó. In February 1968, Cardoso participated in the historic show at the João Caetano theater, produced by Hermínio Bello de Carvalho for the Image and Sound Museum, with the Zimbo Trio, Jacob do Bandolim, and his group Época de Ouro. The show was recorded live and released on two LPs.

In the same year, Cardoso toured with the Zimbo Trio through Latin America. In 1969, she would be invited to participate, together with the Zimbo Trio, in the Inter-American Festival of Popular Music in Buenos Aires, Argentina. In 1970, she toured the U.S. with the trio. Five years later, Cardoso had enormous success in Paris, France, at the MIDEM. In 1977 and 1978, she toured Japan, and in 1979 she performed with the Camerata Carioca directed by Radamés Gnattali. The relationship with the Camerata would endure until her last recordings. In 1983, she performed again with the Camerata and Gnattali in the show Uma Rosa Para Pixinguinha, a tribute to Pixinguinha in the tenth anniversary of his passing, later released as a LP. In the next year, Cardoso opened the show Leva Meu Samba, a tribute to Ataulfo Alves in the 15th anniversary of his demise, which toured northeastern Brazil (Fortaleza, Recife, Maceió, Salvador, Feira de Santana, and Ilhéus) and was released as a LP in 1985. In 1986, she commemorated the 50th anniversary of her career with the show and LP Luz e Esplendor. In August of the next year, she toured Japan again with the Zimbo Trio, the Choro Carioca, and Altamiro Carrilho. In 1988, she was paid tribute at the ceremony of the I Sharp Prize Awards. In the next year, she performed with Raphael Rabello at the Seis e Meia project, in a show which brought the Divine again to the headlines.

Already consumed by the cancer that would kill her, Cardoso still wanted to realize one of her old dreams, which was to record an album dedicated to the compositions by Ary Barroso. In spite of the interest of Hermínio Bello de Carvalho, there was no budget. Ary Amoroso was only produced through the sponsoring of a furniture factory. One cannot imagine that she was suffering pains during the recording sessions, as her voice was, as always, impeccable. The very Ary Barroso would probably repeat his own words describing her interpretation if he was alive, the reason why Bello de Carvalho remembered them in the liner notes: “Artista de raça. Voz suavíssima e convincente. Interpretação magnífica.” (“A race artist. A sweetest and convincing voice. Magnificent interpretation.”) ~ Alvaro Neder

Tracklist:
01. Elizeth Cardoso & Moacyr Silva – Quem Sou Eu (Remastered)
02. Elizeth Cardoso & Moacyr Silva – La Barca (Remastered)
03. Elizeth Cardoso & Moacyr Silva – Achados e Perdidos (Remastered)
04. Elizeth Cardoso & Moacyr Silva – Dizem por Ai (Remastered)
05. Elizeth Cardoso & Moacyr Silva – O Amor e a Rosa (Remastered)
06. Elizeth Cardoso & Moacyr Silva – I Surrender Dear (Remastered)
07. Elizeth Cardoso & Moacyr Silva – A Cancao dos Seus Olhos (Remastered)
08. Elizeth Cardoso & Moacyr Silva – Meditacao (Remastered)
09. Elizeth Cardoso & Moacyr Silva – Mulata Assanhada (Remastered)
10. Elizeth Cardoso & Moacyr Silva – Esperame (Remastered)
11. Elizeth Cardoso & Moacyr Silva – E Facil Dizer Adeus (Remastered)
12. Elizeth Cardoso & Moacyr Silva – Can’t I? (Remastered)
13. Elizeth Cardoso & Moacyr Silva – Onde Andara Minha Saudade (Remastered)
14. Elizeth Cardoso & Moacyr Silva – Pretty Blues Eyes (Remastered)

Dorival Caymmi And Ary Barroso – Um Interpreta O Outro (Remastered) (2019) [Hi-Res]

Dorival Caymmi And Ary Barroso - Um Interpreta O Outro (Remastered) (2019) [Hi-Res]

Artist:
Title: Um Interpreta O Outro (Remastered)
Year Of Release: 1958; 2019
Label: RevOla
Genre: Samba, MPB
Quality: 16-bit/44.1kHz FLAC / 24-bit/44.1kHz FLAC
Total Time: 31:47 min
Total Size: 156; 302 MB
WebSite:


Ary Caymmi / Dorival Barroso: Um Interpreta o Outro é o quinto álbum do cantor e compositor brasileiro Dorival Caymmi, elaborado em parceria com Ary Barroso. Como o nome indica, consiste em composições de um interpretadas pelo outro. Lançado em 1958, foi gravado pela Odeon tal como os seus antecessores.

Tracklist:
01. Dorival Caymmi And Ary Barroso – Lá Vem a Baiana (Remastered)
02. Dorival Caymmi And Ary Barroso – Risque (Remastered)
03. Dorival Caymmi And Ary Barroso – Maracangalha (Remastered)
04. Dorival Caymmi And Ary Barroso – Por Causa Desta Cabocla (Remastered)
05. Dorival Caymmi And Ary Barroso – João Valentão (Remastered)
06. Dorival Caymmi And Ary Barroso – Inquietacão (Remastered)
07. Dorival Caymmi And Ary Barroso – Na Baixa do Sapateiro (Remastered)
08. Dorival Caymmi And Ary Barroso – Marina (Remastered)
09. Dorival Caymmi And Ary Barroso – Maria (Remastered)
10. Dorival Caymmi And Ary Barroso – Dora (Remastered)
11. Dorival Caymmi And Ary Barroso – Tu (Remastered)
12. Dorival Caymmi And Ary Barroso – Nem eu (Remastered)

The Pretty Things – The Rhythm & Blues Years (Reissue) (2001)

The Pretty Things - The Rhythm & Blues Years (Reissue) (2001)

Artist:
Title: The Rhythm & Blues Years
Year Of Release: 2001
Label: Recall 2cd
Genre: Garage Rock, Psychedelic Rock, Rhythm & Blues, Beat, Pop Rock
Quality: Mp3 320 / Flac (tracks, .cue, log)
Total Time: 49:29 + 46:55
Total Size: 379/520 Mb (scans)
WebSite:

The Pretty Things - The Rhythm & Blues Years (Reissue) (2001)

Tracklist:

CD 1:
1. Judgement Day
2. Moon Is Rising, The
3. I’m Gonna Find Me Substitute
4. 13 Chester Street
5. Oh Baby Doll
6. Get a Buzz
7. Don’t Bring Me Down
8. Sittin’ All Alone
9. You’ll Never Do It Baby
10. Come See Me
11. Rosalyn
12. She’s Fine, She’s Mine
13. I Can Never Say
14. Get Yourself Home
15. I Had a Dream
16. Me Needing You
17. It’s Been So Long

CD 2:
1. Mama Keep Your Big Mouth Shut
2. Rainin’ in My Heart
3. Big Boss Man
4. Unknown Blues
5. We’ll Play House
6. Don’t Lie to Me
7. I Want Your Love
8. Roadrunner
9. We’ll Be Together
10. Honey I Need
11. Cry to Me
12. Buzz the Jerk
13. Big City
14. London Town
15. Out in the Night
16. Vivian Prince
17. Pretty Things

Line-up::
Bass Guitar – John Stax
Bass Guitar, Backing Vocals – Wally Waller (tracks: 2-16)
Blues Harp – John Povey
Drums – Viv Prince
Drums, Percussion – Alan Skipper (tracks: 2-16)
Guitar – Frank Holland (3)
Lead Guitar – Dick Taylor (2)
Lead Vocals, Blues Harp – Phil May
Rhythm Guitar – Brian Pendleton

The Pretty Things are an English rock band, formed in 1963 in London. They took their name from Willie Dixon’s 1955 song “Pretty Thing”. A pure rhythm and blues band in their early years, with several singles charting in the United Kingdom, they later embraced other genres such as psychedelic rock in the late 1960s (with 1968 S.F. Sorrow being one of the first rock operas), hard rock in the early 1970s and new wave in the early 1980s. Despite this, they never managed to recapture the same level of commercial success of their very first releases.

VA – Tchaikovsky: Complete Operas, Fragments & Incidental Music [22 CD] (2018)

VA - Tchaikovsky: Complete Operas, Fragments & Incidental Music [22 CD] (2018)

Artist:
Title: Tchaikovsky: Complete Operas, Fragments & Incidental Music
Year Of Release: 2018
Label: Profil
Genre: Classical, Opera
Quality: flac lossless +Booklet
Total Time: 24:17:56
Total Size: 6 gb
WebSite:


Tracklist
———
CD1
01. Voyevoda, Op. 3, TH 1, Act I: Overture. Moderato quasi allegro
02. Voyevoda, Op. 3, TH 1, Act I: Bastryukov’s Recitative. Adagio-Aria. Andantino
03. Voyevoda, Op. 3, TH 1, Act I: Scene. Allegro agitato
04. Voyevoda, Op. 3, TH 1, Act I: Duet of Marya Vlasyevna & Bastryukov. Andante non troppo
05. Voyevoda, Op. 3, TH 1, Act I: Matchmaking Scene. Allegretto comodo
06. Voyevoda, Op. 3, TH 1, Act II: Quartet. Adagio
07. Voyevoda, Op. 3, TH 1, Act II: Entr’acte & Dances of the Chambermaids. Andante comodo assai
08. Voyevoda, Op. 3, TH 1, Act II: Scene. Allegro vivo (1)
09. Voyevoda, Op. 3, TH 1, Act II: Duet of Marya Vlasyevna & Olyona. Allegro moderato
10. Voyevoda, Op. 3, TH 1, Act II: Scene. Allegro vivo (2)
11. Voyevoda, Op. 3, TH 1, Act II: Chorus. Allegro comodo
12. Voyevoda, Op. 3, TH 1, Act III: Scene. Andante non troppo
13. Voyevoda, Op. 3, TH 1, Act III: Dubrovin’s Aria. Andante
14. Voyevoda, Op. 3, TH 1, Act III: Scene. Allegro vivo
15. Voyevoda, Op. 3, TH 1, Act III: Quintet. Moderato assai
16. Voyevoda, Op. 3, TH 1, Act III: Quintet with Chorus. Moderato
17. Voyevoda, Op. 3, TH 1, Act III: Scene. Allegro moderato
18. Voyevoda, Op. 3, TH 1, Act III: Scene. Moderato
19. Voyevoda, Op. 3, TH 1, Act III: Finale. Allegro non troppo e maestoso

CD2
01. Undina, TH 2: Introduction. Moderato assai
02. Undina, TH 2: Undina’s Song. Moderato
03. Undina, TH 2: Chorus, Duet & Finale. Allegro
04. Undina, TH 2: Duet of Undina & Huldbrandt. Andante non troppo
05. Mandragora, TH 207: Chorus of Flowers & Insects. Andante non tanto
06. Oprichnik, TH 3, Act I: Introduction. Allegro giusto
07. Oprichnik, TH 3, Act I: Entertainment Scene. Allegretto comodo
08. Oprichnik, TH 3, Act I: Chorus of Maidens. Andantino
09. Oprichnik, TH 3, Act I: Natalya’s Song
10. Oprichnik, TH 3, Act I: Scene & Chorus. Moderato
11. Oprichnik, TH 3, Act I: Scene & Chorus of Oprichniks. Allegro molto e misterioso
12. Oprichnik, TH 3, Act I: Recitatives & Basmanov’s Arioso. Moderato assai quasi andante
13. Oprichnik, TH 3, Act I: Natalya’s Arioso. Moderato assai
14. Oprichnik, TH 3, Act I: Round Dance & Chorus. Allegro con moto

CD3
01. Oprichnik, TH 3, Act II: Entr’acte. Andante sostenuto
02. Oprichnik, TH 3, Act II: Scene. Moderato assai
03. Oprichnik, TH 3, Act II: Morozova’s Aria
04. Oprichnik, TH 3, Act II: Scene
05. Oprichnik, TH 3, Act II: Duet of Andrey & Morozova. Andante non tanto
06. Oprichnik, TH 3, Act II: Prelude. Andante sostenuto-Allegro giusto
07. Oprichnik, TH 3, Act II: Scene. Moderato
08. Oprichnik, TH 3, Act II: Andrey’s Arioso. Andante
09. Oprichnik, TH 3, Act II: Oath Scene. Allegro non troppo
10. Oprichnik, TH 3, Act II: Finale. Allegro moderato

CD4
01. Oprichnik, TH 3, Act III: Entr’acte. Andante non troppo
02. Oprichnik, TH 3, Act III: Chorus of People. Allegro moderato
03. Oprichnik, TH 3, Act III: Recitative. Moderato
04. Oprichnik, TH 3, Act III: Duet for Natalya & Morozova. Allegro giusto
05. Oprichnik, TH 3, Act III: Scene. Allegro
06. Oprichnik, TH 3, Act III: Natalya’s Arioso. Allegro tranquillo
07. Oprichnik, TH 3, Act III: Finale. Allegro giusto
08. Oprichnik, TH 3, Act III: Quartet. Andante non tanto
09. Oprichnik, TH 3, Act III: Finale. Chorus. Allegro vivo
10. Oprichnik, TH 3, Act IV: Wedding Chorus. Allegro moderato e maestoso
11. Oprichnik, TH 3, Act IV: Dances of Oprichniks & Women. Allegro giusto-Allegro molto
12. Oprichnik, TH 3, Act IV: Recitatives. Andante-Moderato assai
13. Oprichnik, TH 3, Act IV: Chorus. Andante
14. Oprichnik, TH 3, Act IV: Duet for Andrey & Natalya. Allegro giusto
15. Oprichnik, TH 3, Act IV: Scene. Allegro vivo
16. Oprichnik, TH 3, Act IV: Scene. Allegro vivo-Moderato
17. Oprichnik, TH 3, Act IV: Quartet with Chorus. Andante
18. Oprichnik, TH 3, Act IV: Closing Scene. Allegro

CD5
01. Cherevichki, TH 8, Act I: Overture. Andante con moto-Allegro giusto
02. Cherevichki, TH 8, Act I: Scene & Duet. Allegro moderato
03. Cherevichki, TH 8, Act I: Snowstorm. Allegro vivo-Moderato
04. Cherevichki, TH 8, Act I: Aria. Moderato assai-Andante
05. Cherevichki, TH 8, Act I: Scene & Arioso. Moderato
06. Cherevichki, TH 8, Act I: Scene. Allegro
07. Cherevichki, TH 8, Act I: Scene & Duet. Allegro molto
08. Cherevichki, TH 8, Act I: Final Scene. Allegro moderato
09. Cherevichki, TH 8, Act II: Entr’acte. Allegro moderato
10. Cherevichki, TH 8, Act II: Scene. L’istesso tempo
11. Cherevichki, TH 8, Act II: Scene. Moderato assai
12. Cherevichki, TH 8, Act II: Scene & Schoolmaster’s Song. Moderato
13. Cherevichki, TH 8, Act II: Scene & Quintet. Moderato
14. Cherevichki, TH 8, Act II: Arioso. Andante

CD6
01. Cherevichki, TH 8, Act II: Choral Scene. Andante non troppo
02. Cherevichki, TH 8, Act II: Scene & Cherevichki Song. Allegro giusto
03. Cherevichki, TH 8, Act II: Finale
04. Cherevichki, TH 8, Act III: Entr’acte. Andante non tanto
05. Cherevichki, TH 8, Act III: Chorus of Rusalka’s. Allegro moderato
06. Cherevichki, TH 8, Act III: Scene & Vakula’s Song. Moderato-Andante
07. Cherevichki, TH 8, Act III: Scene. Allegro moderato
08. Cherevichki, TH 8, Act III: Polonaise. Tempo di polacca. Molto maestoso
09. Cherevichki, TH 8, Act III: Couplets. Andante-Allegro moderato
10. Cherevichki, TH 8, Act III: Minuet & Scene. Tempo di menuetto
11. Cherevichki, TH 8, Act III: Russian Dance & Cossack Dance. Allegro comodo-Andante
12. Cherevichki, TH 8, Act III: Scene. Andante non troppo
13. Cherevichki, TH 8, Act IV: Duet. Moderato
14. Cherevichki, TH 8, Act IV: Finale. Allegro moderato-Allegro non troppo e molto maestoso

CD7
01. Eugene Onegin, Op. 24, TH 5, Act I: Introduction. Duet & Quartet. Andante con moto
02. Eugene Onegin, Op. 24, TH 5, Act I: Choir Peasant’s Dance. Adagio
03. Eugene Onegin, Op. 24, TH 5, Act I: Scene. Olga’s Arioso. Andante
04. Eugene Onegin, Op. 24, TH 5, Act I: Larina’s Scene. Andante
05. Eugene Onegin, Op. 24, TH 5, Act I: Scene. Quartet. Moderato
06. Eugene Onegin, Op. 24, TH 5, Act I: Scene. Lensky’s Arioso. Moderato
07. Eugene Onegin, Op. 24, TH 5, Act I: Finale. Scene. Moderato
08. Eugene Onegin, Op. 24, TH 5, Act I: Introduction & Scene with Nurse. Andante mosso
09. Eugene Onegin, Op. 24, TH 5, Act I: Tatiana’s Letter Scene. Andante con moto
10. Eugene Onegin, Op. 24, TH 5, Act I: Duet. Allegro moderato
11. Eugene Onegin, Op. 24, TH 5, Act I: Chorus of Maidens. Allegro moderato
12. Eugene Onegin, Op. 24, TH 5, Act I: Onegin’s Aria. Andante non tanto

CD8
01. Eugene Onegin, Op. 24, TH 5, Act II: Entr’acte Waltz with Scene & Chorus. Andante non tanto
02. Eugene Onegin, Op. 24, TH 5, Act II: Scene & Couplets of Monsieur Trique. Andantino
03. Eugene Onegin, Op. 24, TH 5, Act II: Mazurka & Scene. Tempo di mazurka
04. Eugene Onegin, Op. 24, TH 5, Act II: Finale. Andante
05. Eugene Onegin, Op. 24, TH 5, Act II: Introduction & Lensky’s Aria. Andante quasi adagio
06. Eugene Onegin, Op. 24, TH 5, Act II: The Duel. Allegro moderato
07. Eugene Onegin, Op. 24, TH 5, Act III: Polonaise. Moderato. Tempo di polacca
08. Eugene Onegin, Op. 24, TH 5, Act III: Scene. Ecossaise & Prince Gremin’s Aria. L’istesso tempo
09. Eugene Onegin, Op. 24, TH 5, Act III: Onegin’s Arioso. Allegro moderato
10. Eugene Onegin, Op. 24, TH 5, Act III: Final Scene. Moderato

CD9
01. The Maid of Orleans, TH 6, Act I: Introduction. Andante con moto-Allegro vivo
02. The Maid of Orleans, TH 6, Act I: Chorus of Maidens. Moderato
03. The Maid of Orleans, TH 6, Act I: Scene. Trio. Moderato
04. The Maid of Orleans, TH 6, Act I: Scene. Moderato
05. The Maid of Orleans, TH 6, Act I: Chorus of People. Allegro vivo
06. The Maid of Orleans, TH 6, Act I: Scene. Moderato assai
07. The Maid of Orleans, TH 6, Act I: Hymn. Moderato assai quasi andantino
08. The Maid of Orleans, TH 6, Act I: Joan’s Recitative & Aria. Moderato assai-Andantino. Alla breve
09. The Maid of Orleans, TH 6, Act I: Finale. Chorus of Angels

CD10
01. The Maid of Orleans, TH 6, Act II: Entr’acte. Allegro molto vivace
02. The Maid of Orleans, TH 6, Act II: Chorus of Minstrels. Moderato
03. The Maid of Orleans, TH 6, Act II: L’istesso tempo (1)
04. The Maid of Orleans, TH 6, Act II: Gypsies’ Dance. Allegro vivace-Dance of the Pages & Dwarves. Allegro moderato-Dance of the Clowns & Tumblers. Allegro molto
05. The Maid of Orleans, TH 6, Act II: Scene. Moderato
06. The Maid of Orleans, TH 6, Act II: Duet. Andante
07. The Maid of Orleans, TH 6, Act II: Molto espressivo
08. The Maid of Orleans, TH 6, Act II: L’istesso tempo (2)
09. The Maid of Orleans, TH 6, Act II: Allegro
10. The Maid of Orleans, TH 6, Act II: Scene King. Andante
11. The Maid of Orleans, TH 6, Act II: Agnes’s Arioso
12. The Maid of Orleans, TH 6, Act II: Duettino. Allegro moderato-Lento assai
13. The Maid of Orleans, TH 6, Act II: Scene & Archbishop’s Narrative
14. The Maid of Orleans, TH 6, Act II: Joan’s Narrative. Moderato assai quasi andante-Moderato e semplice
15. The Maid of Orleans, TH 6, Act II: Finale

CD11
01. The Maid of Orleans, TH 6, Act III: Scene. Allegro vivo
02. The Maid of Orleans, TH 6, Act III: Duet. Allegro moderato
03. The Maid of Orleans, TH 6, Act III: Scene. March & Chorus
04. The Maid of Orleans, TH 6, Act III: Scene & Duettino. Molto meno mosso
05. The Maid of Orleans, TH 6, Act III: Finale
06. The Maid of Orleans, TH 6, Act IV: Scene Introduction. Andante non troppo quasi moderato
07. The Maid of Orleans, TH 6, Act IV: Scene. Andante non troppo quasi moderato
08. The Maid of Orleans, TH 6, Act IV: Duet
09. The Maid of Orleans, TH 6, Act IV: Scene. Moderato-Allegro vivace
10. The Maid of Orleans, TH 6, Act IV: Final Scene. Moderato assai. Tempo di marcia funebre
11. The Maid of Orleans, TH 6, Act IV: Joan

CD12
01. Mazeppa, TH 7, Act I: Introduction. Allegro non troppo
02. Mazeppa, TH 7, Act I: Chorus of Maidens & Scene
03. Mazeppa, TH 7, Act I: Scene & Mariya’s Arioso
04. Mazeppa, TH 7, Act I: Duet
05. Mazeppa, TH 7, Act I: Scene. Allegro moderato
06. Mazeppa, TH 7, Act I: Chorus & Dance. Moderato
07. Mazeppa, TH 7, Act I: Hopak. Vivace
08. Mazeppa, TH 7, Act I: Scene. Moderato
09. Mazeppa, TH 7, Act I: Mazeppa’s Arioso. Andante
10. Mazeppa, TH 7, Act I: Quarrel Scene. Allegro moderato
11. Mazeppa, TH 7, Act I: Chorus & Mother’s Lament. Meno mosso
12. Mazeppa, TH 7, Act I: Finale. Moderato assai
13. Mazeppa, TH 7, Act I: Finale. Moderato assai-Allegro moderato
14. Mazeppa, TH 7, Act II: Introduction
15. Mazeppa, TH 7, Act II: Dungeon Scene. Andante-Adagio
16. Mazeppa, TH 7, Act II: Kotchubey’s Arioso. Andante non troppo
17. Mazeppa, TH 7, Act II: Introduction. Andante
18. Mazeppa, TH 7, Act II: Mazeppa’s Monologue and Scene with Orlik

CD13
01. Mazeppa, TH 7, Act II: Mazeppa’s Arioso. Moderato
02. Mazeppa, TH 7, Act II: Mazeppa’s Scene with Mariya. Andante con moto
03. Mazeppa, TH 7, Act II: Mazeppa’s Scene with Mariya. Allegro moderato
04. Mazeppa, TH 7, Act II: Scene of the Mother’s Appearance. Andante
05. Mazeppa, TH 7, Act II: Folk Scenes. Allegro moderato
06. Mazeppa, TH 7, Act II: Song of Drunk Cossack
07. Mazeppa, TH 7, Act II: Finale. Chorus. Allegro
08. Mazeppa, TH 7, Act II: Finale. Execution of the Kochubei. Largo
09. Mazeppa, TH 7, Act III: Entr’acte. The Battle Of Poltava. Brillante, con fuoco
10. Mazeppa, TH 7, Act III: Scene & Andrei’s Aria. Allegro non troppo-Larghetto
11. Mazeppa, TH 7, Act III: Scene & Duet. Allegro giusto
12. Mazeppa, TH 7, Act III: Scene. Onset of Mariya’s Madness. Moderato assai quasi andante-Moderato assai
13. Mazeppa, TH 7, Act III: Finale. Andante con moto
14. Mazeppa, TH 7, Act III: Andre’s Death. Andante un poco rubato
15. Mazeppa, TH 7, Act III: Maria’s Lullaby. Andante non tanto

CD14
01. The Enchantress, TH 9, Act I: Introduction. Andante sostenuto
02. The Enchantress, TH 9, Act I: Folk Scene. Allegro giusto
03. The Enchantress, TH 9, Act I: Folk Scene. L’istesso tempo
04. The Enchantress, TH 9, Act I: Scene (1)
05. The Enchantress, TH 9, Act I: Chorus of Guests & Scene. Moderato-Allegro giusto
06. The Enchantress, TH 9, Act I: Scene. Allegro
07. The Enchantress, TH 9, Act I: Kuma’s Arioso. Andante sostenuto
08. The Enchantress, TH 9, Act I: Chorus & Scene. Moderato con moto-Allegro giusto
09. The Enchantress, TH 9, Act I: Scene. Maestoso in tempo moderato assai
10. The Enchantress, TH 9, Act I: Decimet with Chorus. Andante
11. The Enchantress, TH 9, Act I: Scene & Chorus. Allegro-più mosso, allegro vivo
12. The Enchantress, TH 9, Act I: Dance of the Tumblers. Allegro vivace assai-Adagio con moto
13. The Enchantress, TH 9, Act I: Scene (2)

CD15
01. The Enchantress, TH 9, Act II: Entr’acte. Andante molto sostenuto
02. The Enchantress, TH 9, Act II: Scene. Moderato
03. The Enchantress, TH 9, Act II: Princess’s Arioso. Allegro risoluto ma non troppo
04. The Enchantress, TH 9, Act II: Scene. Moderato assai quasi andante
05. The Enchantress, TH 9, Act II: Duet. Moderato con moto
06. The Enchantress, TH 9, Act II: Scene. Moderato con moto
07. The Enchantress, TH 9, Act II: Scene. Moderato assai
08. The Enchantress, TH 9, Act II: Prince’s Arioso. Andantino
09. The Enchantress, TH 9, Act II: Scene of the Prince with the Princess. Adagio
10. The Enchantress, TH 9, Act II: Folk Scene. Allegro giusto
11. The Enchantress, TH 9, Act II: Finale. Allegro non troppo
12. The Enchantress, TH 9, Act III: Scene & Duet. Allegro moderato
13. The Enchantress, TH 9, Act III: Scene. Moderato

CD16
01. The Enchantress, TH 9, Act III: Scene & Duet. Allegro giusto
02. The Enchantress, TH 9, Act IV: Entr’acte. Andante non tanto
03. The Enchantress, TH 9, Act IV: Scene with Chorus. L’istesso tempo
04. The Enchantress, TH 9, Act IV: Scene. Allegro giusto
05. The Enchantress, TH 9, Act IV: Duet. Allegretto
06. The Enchantress, TH 9, Act IV: Scene. Andante
07. The Enchantress, TH 9, Act IV: Kuma’s Arioso. Andante
08. The Enchantress, TH 9, Act IV: Scene & Duet. Allegro moderato
09. The Enchantress, TH 9, Act IV: Scene. Allegro vivo ed agitato
10. The Enchantress, TH 9, Act IV: Finale. Allegro non tanto
11. The Enchantress, TH 9, Act IV: Scene (1)
12. The Enchantress, TH 9, Act IV: Scene (2)

CD17
01. The Queen of Spades, Op. 68, TH 10, Act I: Introduction. Andante mosso
02. The Queen of Spades, Op. 68, TH 10, Act I: Scene. In the Summer Garden
03. The Queen of Spades, Op. 68, TH 10, Act I: Scene. Liza’s Room
04. The Queen of Spades, Op. 68, TH 10, Act II: Scene. Ballroom in Saint Petersburg

CD18
01. The Queen of Spades, Op. 68, TH 10, Act II: Scene. Intermezzo. Prilepa & Milovzor
02. The Queen of Spades, Op. 68, TH 10, Act II: Scene. The Countess’s Sleep Room
03. The Queen of Spades, Op. 68, TH 10, Act III: Scene. Herman’s Room in the Barracks
04. The Queen of Spades, Op. 68, TH 10, Act III: Scene. By the Winter Canal in Saint Petersburg
05. The Queen of Spades, Op. 68, TH 10, Act III: Scene. The Gaming House

CD19
01. Iolanta, Op. 69, TH 11: Introduction. Andante quasi adagio
02. Iolanta, Op. 69, TH 11: Scene & Iolanta’s Arioso. Andante semplice
03. Iolanta, Op. 69, TH 11: Scene & Chorus. Adagio con moto
04. Iolanta, Op. 69, TH 11: Scene & Lullaby Chorus. Moderato mosso
05. Iolanta, Op. 69, TH 11: Scene & King René’s Arioso. Allegro semplice
06. Iolanta, Op. 69, TH 11: Scene & Ebn-Hakia’s. Monologue. Allegro moderato
07. Iolanta, Op. 69, TH 11: Scene & Robert’s Aria. Allegro vivo
08. Iolanta, Op. 69, TH 11: Scene & Duet for Iolanta & Vaudemont. Allegro non troppo

CD20
01. Iolanta, Op. 69, TH 11: Scene. Allegro vivo-Allegro agitato
02. Iolanta, Op. 69, TH 11: Finale. Allegro non troppo-Moderato assai
03. Iolanta, Op. 69, TH 11: King René’s Arioso (Bonus)
04. Romeo & Juliet, TH 215
05. Romeo & Juliet, TH 215 (Bonus)
06. The Queen of Spades, Op. 68, TH 10: Herman’s Arioso
07. The Queen of Spades, Op. 68, TH 10: Herman’s Aria

CD21
01. The Snow Maiden, Op. 12, TH 19, Prologue: No. 1, Introduction
02. The Snow Maiden, Op. 12, TH 19, Prologue: No. 2, Dance & Chorus of Birds
03. The Snow Maiden, Op. 12, TH 19, Prologue: No. 3, Monologue of Frost
04. The Snow Maiden, Op. 12, TH 19, Prologue: No. 4, Shrovetide Procession Chorus
05. The Snow Maiden, Op. 12, TH 19, Prologue: No. 5a, Melodrama
06. The Snow Maiden, Op. 12, TH 19, Act I: No. 5b, Entr’acte
07. The Snow Maiden, Op. 12, TH 19, Act I: No. 6, Lel’s First Song
08. The Snow Maiden, Op. 12, TH 19, Act I: No. 7, Lel’s Second Song
09. The Snow Maiden, Op. 12, TH 19, Act II: No. 8, Entr’acte
10. The Snow Maiden, Op. 12, TH 19, Act II: No. 9, Chorus of Blind Gusli-Players
11. The Snow Maiden, Op. 12, TH 19, Act II: No. 10, Melodrama
12. The Snow Maiden, Op. 12, TH 19, Act II: No. 11, Chorus of People & Courtiers
13. The Snow Maiden, Op. 12, TH 19, Act III: No. 12, Girls’ Round Dance
14. The Snow Maiden, Op. 12, TH 19, Act III: No. 13, Dance of the Tumblers
15. The Snow Maiden, Op. 12, TH 19, Act III: No. 14, Lel’s Third Song
16. The Snow Maiden, Op. 12, TH 19, Act III: No. 15, Brussilo’s Song
17. The Snow Maiden, Op. 12, TH 19, Act III: No. 16, Appearance of the Forest-Spirit & Apparition of the False Snow Maiden

CD22
01. The Snow Maiden, Op. 12, TH 19, Act IV: No. 17a, Entr’acte
02. The Snow Maiden, Op. 12, TH 19, Act IV: No. 17b, Declamation of the Fairy of Spring
03. The Snow Maiden, Op. 12, TH 19, Act IV: No. 18, Tsar Berendey’s March & Chorus
04. The Snow Maiden, Op. 12, TH 19, Act IV: No. 19, Finale
05. Hamlet, Op. 67a, TH 23, Act I: Overture. Lento lugubre
06. Hamlet, Op. 67a, TH 23, Act I: No. 1, Mélodrame. Moderato assai
07. Hamlet, Op. 67a, TH 23, Act I: No. 2, Fanfare. Allegro vivo
08. Hamlet, Op. 67a, TH 23, Act I: No. 3, Mélodrame. Moderato assai
09. Hamlet, Op. 67a, TH 23, Act I: No. 4, Mélodrame. Allegro giusto ed agitato
10. Hamlet, Op. 67a, TH 23, Act II: No. 5, Entr’acte. Allegro semplice
11. Hamlet, Op. 67a, TH 23, Act II: No. 6, Fanfare. Allegro
12. Hamlet, Op. 67a, TH 23, Act III: No. 7, Entr’acte. Andante quasi allegretto
13. Hamlet, Op. 67a, TH 23, Act III: No. 8, Mélodrame. Allegro giusto ed agitato
14. Hamlet, Op. 67a, TH 23, Act IV: No. 9, Entr’acte. Elégie. Andante non troppo
15. Hamlet, Op. 67a, TH 23, Act IV: No. 10, Scène d’Ophélie. Andantino
16. Hamlet, Op. 67a, TH 23, Act V: No. 12, Entr’acte. Marcia. Moderato assai
17. Hamlet, Op. 67a, TH 23, Act V: No. 13, Chant du fossoyeur. Andantino
18. Hamlet, Op. 67a, TH 23, Act V: No. 14, Marche funèbre. Moderato assai
19. Hamlet, Op. 67a, TH 23, Act V: No. 15, Fanfare. Allegro giusto
20. Hamlet, Op. 67a, TH 23, Act V: No. 16, Marche finale. Allegro risoluto ma non troppo

This extensive release features all of Pyotr Ilyich Tchaikovsky’s opera recordings live from the Bolshoi Theater. Made between 1936 and 1963, these recordings showcase not only one of the finest venues in the world, but one of the world’s finest composers. Tchaikovsky wrote his first opera, The Voyevoda, in 1867. After a disastrous premiere, the self-critical composer burnt the entire manuscript of the work. Luckily, most of the score has been reconstructed from the individual parts. It is included in the first portion of this release for modern listeners to make up their own minds about the music. Luckily, his feelings about his first opera didn’t stop him from pursuing more within the genre. As a composer of opera, Tchaikovsky could seek inspiration in centuries of operatic tradition in Western Europe, but the history of the opera in Russia had only just begun a few years before he was born. While Tchaikovsky welcomed the ideas of Western Europe, he faced rivalry from “The Mighty Handful” of nationalist Russian composers. Despite a rocky first few operas, Tchaikovsky went on to find later success as he walked a middle-road between operatic tradition and Russian nationalism. While his operas never found the success that his ballets did, this release proves that they are the works of a brilliant mind.


– ALL MY ALBUMS –

Kaori Muraji – Lumières (2016) [Hi-Res]

Kaori Muraji - Lumières (2016) [Hi-Res]

Artist:
Title: Lumières
Year Of Release: 2005/2016
Label: Decca Music Group Ltd.
Genre: Classical Guitar
Quality: flac lossless / flac 24bits – 48.0kHz
Total Time: 01:08:49
Total Size: 238 / 592 mb
WebSite:


Tracklist
———
01. Satie: Gymnopédie No.1 (Arr. Kleynjans)
02. Satie: Gymnopédie No.3 (Arr. Parkening)
03. Debussy: Préludes / Book 1, L.117-8. La Fille aux Cheveux de Lin (Arr. Marshall)
04. Ravel: Pavane pour une infante défunte, M. 19 (Arr. Dyens)
05. Dyens: Trois Saudades / Saudade No.3-1. Rituel
06. Dyens: Trois Saudades / Saudade No.3-2. Danse
07. Dyens: Trois Saudades / Saudade No.3-3. Fête et Final
08. Kleynjans: Two Barcarolles, Op.60-1. Lent, calme, dans une quietude expressive
09. Kleynjans: Two Barcarolles, Op.60-2. Allegro
10. Fauré: Dolly, Op.56-Arr. Muraji & Sato-Berceuse
11. Fauré: Dolly, Op.56-Arr. Muraji-Tendresse
12. de Bréville: Fantasie pour Guitare-1. Résolu
13. de Bréville: Fantasie pour Guitare-2. Lent
14. de Bréville: Fantasie pour Guitare-3. Très vite
15. Satie: Gnossienne No.1 (Arr. Kleynjans)
16. Yoshimatsu: Water Color Scalor-1. Prelude
17. Yoshimatsu: Water Color Scalor-2. Intermezzo-A
18. Yoshimatsu: Water Color Scalor-3. Dance
19. Yoshimatsu: Water Color Scalor-4. Intermezzo-B
20. Yoshimatsu: Water Color Scalor-5. Rondo
21. Debussy: Suite bergamasque, L.75-3. Clair de lune (Arr. Sainz de la Maza)
22. Legrand: The Summer Knows (Theme from “The Summer of ’42’)


– ALL MY ALBUMS –

Vance Gilbert – Here I'm Waiting (1985)

Vance Gilbert - Here I'm Waiting (1985)

Artist:
Title: Here I’m Waiting
Year Of Release: 2013
Label: Creole Stream Music
Genre: Soul-Jazz
Quality: FLAC (tracks+.cue, log, Artwork)
Total Time: 35:17
Total Size: 211 MB
WebSite:


Tracklist:

01. Saving It Up For My Baby (4:23)
02. Top Of The List (4:08)
03. Honored To Be In Your Arms (7:09)
04. Mama’s Rainbow (2:49)
05. Be Gone, Be Good, So Long (3:40)
06. Stay A Moment Longer (3:33)
07. Here I’m Waiting (2:59)
08. Drifter’s Love (2:30)
09. Take My Heart (4:05)

VA – Cover Story: Smooth Jazz Plays Your Favorite (2013)

VA - Cover Story: Smooth Jazz Plays Your Favorite (2013)

Artist:
Title: Cover Story: Smooth Jazz Plays Your Favorite
Year Of Release: 2013
Label: Shanchie Records
Genre: Jazz / Smooth Jazz
Quality: Mp3 / 320kbps
Total Time: 57:25
Total Size: 130 MB
WebSite:


Tracklist
————-
01 – William Robinson / Ronald White – My Girl
02 – Rod Temperton – Rock With You
03 – Darrell Crofts / Jimmy Seals – Summer Breeze
04 – Bill Withers – Lean On Me
05 – Vinnie Barrett / Bobby Eli – Love Won’t Let Me Wait
06 – Charles Stepney / Maurice White / Verdine White – That’s The Way Of The World
07 – Linda Creed / Michael Masser – Greatest Love Of All
08 – Barrett Strong / Norman Whitfield – Just My Imagination
09 – Henry Cosby / Sylvia Moy / Stevie Wonder – My Cherie Amour
10 – Tito Puente – Oye Como Va
11 – Bill Withers – Ain’t No Sunshine
12 – Stevie Wonder – Superstition

An all star cast including Fourplay s guitar Great Chuck Loeb, sax superstar Kim Waters, Grammy winner Nestor Torres, the original smooth jazz supergroup Fattburger, and Sony Innovator Award Winner Bob Baldwin interpret such classic hits as Whitney Houston s The Greatest Love Of All , Michael Jackson s Rock With You . Stevie Wonder s Superstition , Earth Wind and Fire s That s The Way of the World and many more. Also featured in this winning set are such classics as Oye Como Va , My Girl , My Cherie Amour , Summer Breeze , Lean On Me and Just My Imagination .

IsraCloud : Download

Buddy Tate & Harry Sweets Edison – I Cried for You (Remastered) (2019) [Hi-Res]

Buddy Tate & Harry Sweets Edison - I Cried for You (Remastered) (2019) [Hi-Res]

Artist:
Title: I Cried for You (Remastered)
Year Of Release: 2019
Label: 2xHD
Genre: Jazz, Cool
Quality: mp3 320 kbps / flac lossless / flac 24bits – 192.0kHz +Booklet
Total Time: 00:39:36
Total Size: 91 / 219 mb / 2.6 gb
WebSite:


Tracklist
———
01. Cotton Club Parade Cotton Club Parade I’ve Got the World on a String
02. Melody for Two Melody for Two September in the Rain
03. Stars Fell on Alabama
04. Garrick Gaieties Garrick Gaieties Manhattan
05. Stardust
06. Sweet and Lovely
07. Moonglow
08. Prisoner of Love
09. I Cried for You

Here is a beautiful partnership between one of the more individual tenors from the swing era the distinctive Buddy Tate, and the always swinging Harry “Sweets” Edison who got the most mileage out of a single note and is immediately recognizable within a note or two for his long-used repetition and simplicity.



– ALL MY ALBUMS –

Orville Peck – Pony (2019) [Hi-Res]

Orville Peck - Pony (2019) [Hi-Res]

Artist:
Title: Pony
Year Of Release: 2019
Label: Sub Pop Records
Genre: Indie Rock, Alternative Rock, Country Rock
Quality: flac lossless / flac 24bits – 96.0kHz
Total Time: 00:41:45
Total Size: 225 / 767 mb
WebSite:


Tracklist
———
01. Dead of Night
02. Winds Change
03. Turn to Hate
04. Buffalo Run
05. Queen of the Rodeo
06. Kansas (Remembers Me Now)
07. Old River
08. Big Sky
09. Roses Are Falling
10. Take You Back (The Iron Hoof Cattle Call)
11. Hope to Die
12. Nothing Fades Like the Light

L’emballage intrigue. Stetson sur la tête, masque sur les yeux et voile à franges sur la bouche, Orville Peck avance comme un énième vengeur masqué, camouflé, casqué, caché, prêt à rejoindre Daft Punk, Cascadeur, les Residents, MF Doom et autres SBTRKT. De plain-pied, le bonhomme a surtout l’allure d’un cow-boy échappé d’un rêve imaginé par David Lynch. Une sorte de version improbable du Lone Ranger, ce personnage de fiction apparu en 1933 dans un feuilleton radiophonique, puis dans une série télévisée quinze ans plus tard, véritable icône de la culture pop américaine… Lorsqu’il ouvre enfin la bouche, son chant est celui d’un crooner intemporel. Il y a du Elvis, du Roy Orbison, du Chris Isaak, du Lloyd Cole voire du Marlon Williams dans cette voix de lover invétéré dont Orville Peck n’abuse jamais des effets. Avec Pony, son premier album Qobuzissime qui paraît sur l’excellent label Sub Pop, ce mystérieux natif d’on ne sait où, âgé d’on ne sait combien d’années, enchaîne les ballades romantiques décalées et les complaintes oniriques. Des chansons grandioses qu’il drape dans une production où règnent la réverbération, les guitares twang, les batteries cotonneuses et la steel-guitar impressionniste. Comme si country et shoegaze pactisaient le temps d’une torride nuit d’amour. Cœurs brisés, motels désertés, autoroutes infinies et paysages de western délavés, voilà un beau disque qui laisse entrevoir toute une imagerie fascinante dont Orville Peck est le peintre doué. Reste à fermer les yeux et rêver avec lui.


– ALL MY ALBUMS –