John Coltrane - Coltrane (Deluxe Edition 2cd) (1962) (eac-flac-cover)

John Coltrane - Coltrane (Deluxe Edition 2cd) (1962)

jazz |  2cd | eac-flac-cue-log-cover | 820MB

Impulse | rar +5% recovery

Amazon.com
In 1962, John Coltrane found himself at the center of a storm of controversy, his tumultuous, searching music branded "anti-jazz" by one virulent critic. While Coltrane would continue along that exploratory path for the remaining years of his career, part of his response to the critical venom was to record some of the most sweetly lyrical music in jazz history. The LP Ballads established him as one of the great lyric players and set the tone for his collaborations with Johnny Hartman and Duke Ellington. The first CD presents the original album in all its luminous glory, the burnished, silvery sound of Coltrane's tenor meticulously remastered by the original engineer, Rudy Van Gelder. The second CD presents supplementary material from the original sessions as well as material that has only recently come to light. The classic quartet's collective concentration shows in seven complete takes of "It's Easy to Remember," testing its melody again and again until every gesture--from the flute-like tenor sound to Jimmy Garrison's bowed bass and Elvin Jones's triumphant drum crescendo at the conclusion--is sculpted to perfection. There are also several takes of the airy "Greensleeves" and a limpidly beautiful version of "They Say It's Wonderful" with Coltrane in duet with pianist McCoy Tyner.

Track List:
01 - Out of This World
02 - Soul Eyes
03 - The Inch Worm
04 - Tunji
05 - Miles' Mode

Bonus Disc:
01 - Not Yet
02 - Miles' Mode
03 - Tunji
04 - Tunji
05 - Tunji
06 - Tunji
07 - Impressions
08 - Impressions
09 - Big Nick
10 - Up 'Gainst the Wall

Personnel
Recorded August 11, June 19-20, June 29 and September 18, 1962.
* John Coltrane — tenor saxophone/soprano saxophone
* McCoy Tyner — piano
* Jimmy Garrison — bass
* Elvin Jones — drums

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Roy Harper - Stormcock (1971) (eac-flac-cover)

Roy Harper - Stormcock (1971)

Rock | 1cd | eac-flac-cue-log-cover | 255MB

Science Friction  | rar +5% recovery

AMG
Roy Harper achieved some acclaim with releases like his debut, Sophisticated Beggar, and Flat Baroque and Berserk, but 1971's Stormcock was his first effort that was a fully realized success. Even though all four long songs on the record were arguably superior in subsequent live versions, this is one of only a handful of Harper's albums that has no weak cuts. "Hors d'Oeuvres" had been previewed two years earlier in a faster incarnation, but this version is pleasingly lethargic in a way much like Pink Floyd's "Fearless." "The Same Old Rock" is an extended musical poem about the narrow-mindedness of organized religion and features several movements, including one of Jimmy Page's best solos, even though the notes list Page as S. Flavius Mercurius. After the strangely melodic "One Man Rock and Roll Band," the album ends with the grand "Me and My Woman." This version, while slower than the definitive live take from Flashes From the Archives of Oblivion, features lush orchestration by David Bedford. All four lyrics could stand on their own, showing Harper's vision to be much more profound than the typical stoned poet. His musicianship on acoustic guitar is revelatory, at once thoughtful and hard-edged. Stormcock, in fact, epitomized a hybrid genre that had no exclusive purveyors save Harper -- epic progressive acoustic. In this style, Harper amalgamated the best elements of associates Pink Floyd, Led Zeppelin, and folk artists like Bert Jansch into a winning stew of thought-provoking acoustic music. Harper dabbled in this style with mostly good results for the rest of his career, but never again would one of his albums exclusively have these type of songs on it. Stormcock represents a truly original vision comprised of oft-heard parts rarely assembled and therefore is on par with other heavyweights from the class of 1971 such as Led Zeppelin IV or Meddle.

Track listing
1. "Hors d'Oeuvres" – 8:37
2. "The Same Old Rock" – 12:24
3. "One Man Rock and Roll Band" – 7:23
4. "Me and My Woman" – 13:01

Personnel
* Roy Harper – guitar and vocals
* S. Flavius Mercurius – guitar
* Peter Jenner – producer
* John Barrett – sound engineer
* Peter Bown – sound engineer
* John Leckie – sound engineer
* Phil McDonald – sound engineer
* Alan Parsons – sound engineer
* Nick Webb – sound engineer
* Richard Imrie – photography

sample & buy: Stormcock

Stan Getz - Dynasty 2cd (1971) (eac-flac-cover)

Stan Getz - Dynasty 2cd (1971)

jazz | 2cd | eac-flac-cue-log-cover | 500MB

Verve | rar +5% recovery

AMG
When Stan Getz visited Paris to witness the French Open tennis matches, he would hang out at the Blue Note nightclub to hear how the locals did it, being told their jazz scene was not up to snuff. In London, he would pick up the European band he heard in Paris for an engagement at Ronnie Scott's. Because of his stature, Getz was able to grab the very best musicians the continent could provide, in this case the brilliant Belgian guitarist René Thomas, organist Eddy Louiss from Martinique, and French classical and jazz drummer Bernard Lubat. Bringing no charts of his own, Getz was happy to play the music of his bandmates, choosing virtually no standards, and fitting in beautifully with nary a hint of brandishing his famed ego to the proceedings. This original two-fer LP has been reissued on a double CD, a whopping 88 minutes of highlights over a three day span during an unprecedented three week engagement from this club date at the legendary venue owned the British fellow tenor saxophonist Scott. Perhaps there are some recordings with this combo featuring Scott sitting in with Getz, but that will have to wait for another recording. This one is excellently documented by Beatles producer George Martin, as every instrument is cleanly articulated and heard in pure, balanced form. Getz sounds comfortable and relaxed from the outset on one of five compositions brought by Louiss on "Dum! Dum," a light and breezy but mysterious tune with an implied bossa nova beat, while the title track is a blues shuffle road song, slightly funky, and a good test in regards to the dynamism of the quartet. Louiss, as gifted a jazz organist as any, digs in with splendid two fisted chords on his popping, fairly bluesy "Song for Martine," a tune just for fun that slips back into bossa. While Thomas is most outstanding on his incredible solos, he has room to contribute his "Ballad for Leo," not at all a ballad as the stabbing tones of the organist fire up everybody in a 6/8 framework. "Theme for Emmanuel" is as pretty a song as it gets, with the pristine, classical type free time repeat lines of Thomas opening up, then deferring to the swelling organ of Louiss as a foundation before busting out into the only hard bop swinger of the performance. The lone standard "Invitation" exploits another no time motif that only slightly builds in volume with the small organ of Louiss backing the consistently great guitar lines of Thomas. A truly sweet ballad, "Mona" is written by Albert Mangelsdorff in a manner that refutes the unabashed persona of the author/trombonist, as the silver lined threads of the organ weave through the extremely difficult, molasses slow rhythm. Getz himself is somewhat sublimated, playing his familiar melodically liquid and spare lines as heads and tails, likely in awe of the incredible band he stands alongside, and clearly reveres. He does a nice duet with Thomas on "Ballad for My Dad" waxing poetically over the repeat choruses of the masterful Thomas. Long out of print, Dynasty represents an interesting period in the artistic life of Getz, well out of pure bop, in between his commercial successes with Brazilian music, and on the verge of another phase of his life with fusion pioneers like Chick Corea. This is highly recommended, a solid effort from top to bottom. One quibble -- the name Eddy Louiss is constantly misspelled as Louise in credits, though it is correct in the liner notes.

Tracks
Disc 1
01 - Dum! Dum! Dum!
02 - Ballad For Leo
03 - Our Kind Of Sabi
04 - Mona
Disc 2
01 - Theme For Emmanuel
02 - Invitation
03 - Ballad For My Dad
04 - Song For Martine
05 - Dynasty

Personnel
Stan Getz (tenor saxophone);
René Thomas (guitar);
Eddy Louise (organ);
Bernard Lubat (drums)

sample & buy: Dynasty

Tchaikovsky (Svetlanov) - Symphonies_live Tokyo 6cd (HDCD) (1990) (eac-wv-cover)

Tchaikovsky (Svetlanov) - Symphonies_live Tokyo 6cd (1990) (HDCD)

classical | 6cd | eac-wv-cue-log-cover | 1260MB

Canyon | HDCD | rar +5% recovery

Recording date: 21 May 1990
Recording Location: Orchard-Hall, Tokyo (live)

canyon 24bit remastering 2002

USSR State Symphony Orchestra
Evgeny Svetlanov (conductor)

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Last Voices from Heaven (A Copping) - Siva Pacifica (2004) (eac-flac-cover)

Last Voices from Heaven (A Copping) - Siva Pacifica (2004)

world, soundtrack | 1cd | eac-flac-cue-log-cover | 325MB

Columbia | rar +5% recovery

wikipedia
The Last Voices From Heaven was a documentary series that was screened on the Australian Subscription Television National Geographic Channel carried by Foxtel, Optus Television and Austar, on Wednesday nights at 7:30 p.m. during 2004.
The series showed English music producer Anthony Copping and a single cameraman setting out on the adventure of his life to record an album of traditional Melanesian songs which he calls "the last voices from heaven". Travelling up the Mamberamo River in a dugout canoe, Anthony encountered much more than traditional music; he was threatened with spears and dragged into a heart-breaking medical emergency.
The series was nominated as the Most Outstanding Documentary Series at the 47th Annual TV Week Logie Awards on 1 May 2005.
A music CD was released in 2004 entitled "Siva Pacifica - Last Voices from Heaven." It is composed of mixes of the field recordings and of the music of Anthony Copping and Pascal Oritaimae.

AMG
Anthony Copping and Pascal Oritaimae are a pair who team electronic music and ethnic sounds. It's something plenty of others have done, with varying degrees of commercial and critical success (think Deep Forest, for example). Last Voices From Heaven is one of those that rates low on the critical success scale. Yes, they do use ethnic samples, made on their travels in the South Pacific, but largely as introductions to the pieces. And when they do use more, as in the final cut, which they claim is a possession ceremony from an island in Melanesia, the supposedly real event is augmented by bits of electronica (and the composition credit notably goes to Copping and Oritaimae). What the duo come up with here has precious little to do with any kind of ethnic music, beyond the luxurious color photos in the booklet. It's music for the lowest Western common denominator, as MOR as possible, with only the samples thrown in -- and then discarded -- to bring any measure of adventure and authenticity in a bid for real world music credibility. As it is, the pair might have had a nice vacation flitting around various Pacific islands. What they obviously didn't bring home with them was any sense of the people whose lives they saw, and whose music they took. Maybe their hearts are in the right places, but this comes across as crass commercialism and exploitation of the worst kind.

Tracks
01 - Mana Part 1
02 - Ma'a Mera
03 - Shadow of Life
04 - Spirit
05 - Mo're
06 - Mamberamo
07 - Wuroman
08 - Lullaby of the Dead
09 - Taria Waraku
10 - Lament
11 - Possessed

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John Coltrane - Love Supreme Live (1965) (eac-ape-cover)

 

John Coltrane - Love Supreme Live (1965)

jazz | 1cd | eac-ape-cue-log-cover | 360MB

Giants of Jazz (Immortal Concerts) | rar +5% recovery

amazon
If you know and love John Coltrane's quintessential "A love supreme", then you also need to hear the version included in this performance, recorded live in Antibes in 1965. Following on from the cathartic experiment that was "Ascension", this interpretation is much freer than the original as well as being fifteen minutes longer.
The group (Coltrane's "classic" quartet with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums) are all on excellent form and although they adhere to the same four-part structure of the studio recording, things start to get really interesting during the "Pursuance" section which culminates in a frenetic duet between Coltrane and Jones. Then, in an extended "Psalm", Trane breaks free from the self-imposed restrictions of the original to produce a blistering exploratory coda....
The recording quality isn't perfect, but the excellence of the playing more than makes up for that, and nearly half an hour of "Impressions" and "Naima" completes this wonderful set.

Immortal Concerts. Juan Les Pins Festival, Antibes, July 26-27,1965 (1965)
total 1:16:24
label Giants Of Jazz 53068

tracks
1. Love supreme
2. Impressions
3. Naima

personnel
John Coltrane
McCoy Tyner
Jimmy Garrison
Elvin Jones

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Neil Young - Everybody Knows This Is Nowhere (1969) (HDCD) (eac-log-cover)

 

Neil Young - Everybody Knows This Is Nowhere (1969)

rock | 1cd | eac-flac-cue-log-cover | 280MB

Reprise | HDCD 2009 | rar +5% recovery

wikipedia
Everybody Knows This Is Nowhere (1969) is Neil Young's second solo album and his first with backing band Crazy Horse. The album was produced by Neil Young and David Briggs and contains three of his most memorable songs: "Cinnamon Girl", "Down by the River", and "Cowgirl in the Sand", all of which were written when Young had a 103 °F (39.5 °C) fever. In 2003, the album was ranked number 208 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Tracks
1 "Cinnamon Girl" – 2:58
2 "Everybody Knows This Is Nowhere" – 2:26
3 "Round & Round (It Won't Be Long)" – 5:49
4 "Down by the River" – 9:13
5 "The Losing End (When You're On)" – 4:03
6 "Running Dry (Requiem for the Rockets)" – 5:30
7 "Cowgirl in the Sand" – 10:06

Personnel
* Neil Young – guitar, vocals
* Danny Whitten – guitar, vocals
* Billy Talbot – bass
* Ralph Molina – drums, backing vocal
* Robin Lane – guitar, vocal (Track 3)
* Bobby Notkoff – violin (Track 6)

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