Artist: Yes
Title: The Yes Album
Genre: Rock
Release Date: 1971/2013
Label: Rhino/Elektra
Duration: 41:30
Quality: FLAC 192kHz/24bit
Source: HDTracks

Sourced from Analog Flat Master.

Chart History/Awards
— On Q’s “100 Greatest British Albums of All Time.”

The Yes Album is the prog-rock legends’ Platinum classic. This monumental release finds the band discovering their trademark sound. Widely acclaimed, it received rave reviews from Rolling Stone, Pitchfork, Q and many other publications. It reached #4 in the U.K. and the Top Forty in the United States. The Yes Album is included on Q’s list of the “100 Greatest British Albums of All Time”.

The album that first gave shape to the established Yes sound, build around science-fiction concepts, folk melodies, and soaring organ, guitar, and vocal showpieces. “Your Move” actually made the U.S. charts as a single, and “Starship Trooper,” “Perpetual Change,” and “Yours Is No Disgrace” became much-loved parts of the band’s concert repertory for many tours to come.

Tracklist:
01 — Yours Is No Disgrace
02 — Clap
03 — Starship Trooper
04 — I’ve Seen All Good People
05 — A Venture
06 — Perpetual Change

Download:

https://file.al/xlw6bnm6h2qs/hires.link_YesTheYesAlbum19712013HDTracks24192.part1.rar.html
https://file.al/w3r32dtuuwez/hires.link_YesTheYesAlbum19712013HDTracks24192.part2.rar.html

Artist: Yes
Title: Tales From Topographic Oceans
Genre: Rock
Release Date: 1973/2013
Label: Rhino Atlantic
Duration: 01:21:32
Quality: FLAC 192kHz/24bit
Source: HDTracks

Chart History/Awards
— #1 on the UK Albums Chart for 1973.
— #6 on the US Billboard 200 Chart for 1974.
— Certified Gold by the RIAA (US) and BPI (UK) in 1974.

After several whirlwind tours to celebrate their amazing successful run with albums like Fragile, Close To The Edge and Yessongs, the legendary Yes got back to the studio and worked on an amazing and huge piece of music for their prog-rock masterwork, Tales From Topographic Oceans.

With an ever interesting line-up of world class musicianship featuring Jon Anderson (vocals), Chris Squire (bass/vocals), Steve Howe (guitars/vocals), Rick Wakeman (keyboards) and Alan White on drums, Tales From Topographic Oceans truly stands as absolutely one of the most important albums of their mega successful career.

Often considered one of the finest recordings in their amazing career, Yes fans continue to praise Tales Of Topographic Oceans as a truly inspiring masterwork. This important piece of music consists of four amazing Yes workouts such as the definitive side one opener “The Revealing Science of God,” the art-rock driven “The Remembering,” the percussive and acoustic favorite “The Ancient — Giants Under The Sun,” and of course, the definitive album closer “Ritual — Nous Sommes du Soleil”.

Four decades after its release, this is still the most controversial record in Yes’ output. Tales from Topographic Oceans was the place where Yes either fulfilled all of the promise shown on their previous five albums or slid off the rails in a fit of artistic hubris, especially on the part of lead singer Jon Anderson and guitarist Steve Howe, who dominated the composition credits here. Actually, the group probably did a bit of both here across 80 minutes of music on a fully packed double-LP set; the group’s musical ambitions were obvious on its face, as it consisted of four long songs (really suites) each taking up a side of an album, and each longer than the previous album’s side-long “Close to the Edge.” And Tales had a jumping-off point that was as far advanced in complexity and density as Close to the Edge had been out in front of its predecessor, Fragile, — and all of it made The Yes Album seem like basic rock & roll. Anderson, by virtue of his voice and lyrics, is the dominant personality on Tales, and his fascination with Eastern religion is fully manifest, as never before (or since). Confronted by song titles such as “The Revealing Science of God,” and a concept derived from the Buddhist Shastric scriptures, the casual listener might have felt in need of both a running start and a sheet of footnotes: Yes keyboard player Rick Wakeman clearly felt something along those lines, as it was while making this record that he decided to exit the group. And, yet, Tales contains some of the most sublimely beautiful musical passages ever to come from the group, and develops a major chunk of that music in depth and degrees in ways that one can only marvel at, though there’s a big leap from marvel to enjoy. If one can grab onto it, Tales is a long, sometimes glorious musical ride across landscapes strange and wonderful, thick with enticing musical textures; it offers the Yes fan the chance to be a true “astral traveler.” Apart from one percussion break by Alan White that doesn’t come off (if there had to be a Yes album with a percussion solo, why couldn’t it have come along when Bill Bruford was in the band?), the music never falls flat, and it’s a pity that Wakeman couldn’t appreciate the richness and vitality he brought to the album. And Anderson and Howe get to work in an extraordinarily wide range of musical voices. In another reality, perhaps the gorgeous, folk-like passages on Tales would have spawned songs of four or five minutes, but here they are, woven into these long-form pieces, and if one can take the plunge into these particular sonic oceans, and comfortably stay under long enough, it’s a journey that will reward. But it’s not a trip for everyone — or even every Yes fan — to take, especially not too soon after discovering the album.

Tracklist:
01 — The Revealing Science Of God / Dance Of The Dawn
02 — The Remembering / High The Memory
03 — The Ancient / Giants Under The Sun
04 — Ritual / Nous Sommes Du Soleil

Download:

https://file.al/bwghvkiya9f4/hires.link_YesTalesFrmTpgraphicceans19732013HDTracks24192.part1.rar.html
https://file.al/dsjbzrneb0ph/hires.link_YesTalesFrmTpgraphicceans19732013HDTracks24192.part2.rar.html
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https://file.al/0k7qf7x0mx94/hires.link_YesTalesFrmTpgraphicceans19732013HDTracks24192.part4.rar.html

Artist: Yes
Title: Relayer
Genre: Rock
Release Date: 1974/2013
Label: Rhino Atlantic
Duration: 40:20
Quality: FLAC 192kHz/24bit
Source: HDTracks

Chart History/Awards
— Reached #5 on the Billboard 200.
— Reached #4 in the U.K.

Relayer is the seventh studio classic by prog-rock greats, Yes. This conceptual work features sensational solos, compelling vocals, unbelievable choral sections and thrilling rock anthems. The album reached #4 in the U.K., where it spent eight weeks in the Top Forty and #5 in the United States, spending over sixteen weeks on the Billboard 200. It is the only Yes album to feature Patrick Moraz.

Yes had fallen out of critical favor with Tales from Topographic Oceans, a two-record set of four songs that reviewers found indulgent. But they had not fallen out of the Top Ten, and so they had little incentive to curb their musical ambitiousness. Relayer, released 11 months after Tales, was a single-disc, three-song album, its music organized into suites that alternated abrasive, rhythmically dense instrumental sections featuring solos for the various instruments with delicate vocal and choral sections featuring poetic lyrics devoted to spiritual imagery. Such compositions seemed intended to provide an interesting musical landscape over which the listener might travel, and enough Yes fans did that to make Relayer a Top Ten, gold-selling hit, though critics continued to complain about the lack of concise, coherent song structures.

Tracklist:
01 — The Gates of Delirium
02 — Sound Chaser
03 — To Be Over

Download:

https://file.al/pv20r1n2cj9g/hires.link_YesRelayer19742013HDTracks24192.part1.rar.html
https://file.al/y4rx5w58umja/hires.link_YesRelayer19742013HDTracks24192.part2.rar.html

Artist: Yes
Title: Going For The One
Genre: Rock
Release Date: 1977/2013
Label: Rhino/Elektra
Duration: 38:53
Quality: FLAC 192kHz/24bit
Source: HDTracks

Chart History/Awards
— Reached #8 on the Billboard 200.

Going For The One is Yes’ 1977 masterwork. It saw the return of Rick Wakeman and found the band incorporating shorter form songs. Similar to Fragile, Going For The One features stunning vocal harmonies balanced by thrilling guitar playing. It topped the U.K. charts and reached #8 on the Billboard 200. It includes the hit singles “Wonderous Stories” and “Going For The One.” Absolutely essential.

Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman’s return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman’s keyboards, and the solid rhythms of Alan White and Chris Squire. The title track features Howe on steel guitar (he’s the only prog rocker who bothers with the instrument). “Turn of the Century” and the album’s single, “Wonderous Stories,” are lovely ballads the way only Yes can do them. “Parallels” is the album’s big, pompous song, so well done that in later years the band opened concerts with it. Wakeman’s stately church organ, recorded at St. Martin’s Church, Vevey, Switzerland, sets the tone for this “Roundabout”-ish track. The concluding “Awaken” is the album’s nod to the extended suite. Again, the lyrics are spacy in the extreme, but Jon Anderson and Squire are dead-on vocally, and the addition of Anderson’s harp and White’s tuned percussion round out this evocative track.

Tracklist:
01 — Going For The One
02 — Turn Of The Century
03 — Parallels
04 — Wonderous Stories
05 — Awaken

Download:

https://file.al/cna93yfjxuw7/hires.link_YesGingFrThene19772013HDTracks24192.part1.rar.html
https://file.al/5h0wagmiculo/hires.link_YesGingFrThene19772013HDTracks24192.part2.rar.html

Artist: Yes
Title: Close To The Edge
Genre: Rock
Release Date: 1972/2013
Label: Rhino/Elektra
Duration: 37:50
Quality: FLAC 192kHz/24bit
Source: HDTracks

Sourced from Analog Flat Master.

Chart History/Awards
— Reached #3 on the Billboard 200.
— Reached #4 on the U.K. Album charts.
— On Guitar World’s “100 Greatest Guitar Albums of All Time.”
— One of the 1001 Albums You Must Hear Before You Die.

Close To The Edge is widely regarded as one of the greatest progressive rock albums ever recorded. The Gold-certified work remains a crowning achievement in the band’s illustrious career. It reached the Top Ten in both the U.K. and in the U.S., where it spent thirty-two weeks on the charts. Close To The Edge includes the epic standout “And You And I.” Guitar World named it one of their “100 Greatest Guitar Albums of All Time.” This flawless classic is also included in the book, 1001 Albums You Must Hear Before You Die.

With 1971s Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band’s achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson’s increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating. For it was vast. Close to the Edge comprised just three tracks, the epic “And You and I” and “Siberian Khatru,” plus a side-long title track that represented the musical, lyrical, and sonic culmination of all that Yes had worked toward over the past five years. Close to the Edge would make the Top Five on both sides of the Atlantic, dispatch Yes on the longest tour of its career so far and, if hindsight be the guide, launch the band on a downward swing that only disintegration, rebuilding, and a savage change of direction would cure. The latter, however, was still to come. In 1972, Close to the Edge was a flawless masterpiece.

Tracklist:
01 — Close To The Edge
02 — And You And I
03 — Siberian Khatru

Download:

https://file.al/ggrfk0r8lc30/hires.link_YesClseTTheEdge19722013HDTracks24192.part1.rar.html
https://file.al/vpvbxl1vnh80/hires.link_YesClseTTheEdge19722013HDTracks24192.part2.rar.html

Artist: Yes
Title: Big Generator
Genre: Rock
Release Date: 1987/2013
Label: Rhino Atlantic
Duration: 43:40
Quality: FLAC 192kHz/24bit
Source: HDTracks

Yes’ 1987 classic is the follow-up to their comeback album 90125, featuring Trevor Rabin. The album reached the Billboard Top Twenty and includes the rock anthems “Love Will Find A Way,” “Rhythm Of Love,” “Shoot High, Aim Low” and more. This Platinum-selling hit is another masterpiece in their illustrious career. Must-have!

The four-years-in-the-making follow-up to Yes’ comeback album, 90125, Big Generator was also a million-selling hit, although not as successful as its predecessor, probably because the singles “Love Will Find a Way” (number 30) and “Rhythm of Love” (number 40) couldn’t match “Owner of a Lonely Heart” from the previous LP, even if they were favorites on AOR radio at the time. Actually, it was the title track that was a carbon copy of “Owner,” so maybe that was the problem. More likely, though, “Owner” was a one-shot (courtesy of producer Trevor Horn), and as Yes asserted itself more here, the band reverted more to its old style, making for some confusion. Nevertheless, this album was Yes’ last major hit.

Tracklist:
01 — Rhythm Of Love
02 — Big Generator
03 — Shoot High, Aim Low
04 — Almost Like Love
05 — Love Will Find A Way
06 — Final Eyes
07 — I’m Running
08 — Holy Lamb

Download:

https://file.al/ixbrla4130i0/hires.link_YesBigGeneratr19872013HDTracks24192.part1.rar.html
https://file.al/y7aqijpxpxjx/hires.link_YesBigGeneratr19872013HDTracks24192.part2.rar.html

Artist: Yes
Title: 90125
Genre: Rock
Release Date: 1983/2013
Label: Rhino Atlantic
Duration: 44:41
Quality: FLAC 96kHz/24bit
Source: HDTracks

Chart History/Awards
— Reached #5 on the Billboard 200.
— “Cinema” won the GRAMMY for Best Rock Instrumental Performance.
— “Owner Of A Lonely Heart,” “It Can Happen,” “Leave It” and “Changes” reached the Top Ten on the Billboard Hot 100.

90125 is the eleventh studio classic by the prog-rock band. It marks the return of Trevor Rabin, Jon Anderson and Tony Kaye. The record reached the Top Five on the Billboard 200 and includes the Top Ten singles, “Owner Of A Lonely Heart,” “It Can Happen,” “Leave It” and “Changes.” In addition, “Cinema” won the GRAMMY for Best Rock Instrumental Performance. Absolutely essential.

A stunning self-reinvention by a band that many had given up for dead, 90125 is the album that introduced a whole new generation of listeners to Yes. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly ’80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on “Changes” marked the band’s definitive break with its art rock roots. “Owner of a Lonely Heart” was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of “Leave It” and the beautifully sprawling “Hearts” are additional high points, but there’s nary a duff track on the album.

Tracklist:
01 — Owner Of A Lonely Heart
02 — Hold On
03 — It Can Happen
04 — Changes
05 — Cinema
06 — Leave It
07 — Our Song
08 — City Of Love
09 — Hearts

Note
# This original recording used digital multi-track along with 2″ analog 16 and 24 tracks. Then transferred from 2-track analog EQ copies.

Download:

https://file.al/pbgd5pzr927a/hires.link_Yes9012519832013HDTracks2496.rar.html

Artist: Earl Hines
Title: Up To Date With Earl Hines
Genre: Jazz
Release Date: 1965/2015
Label: RCA Victor
Duration: 38:26
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: 1964, RCA Victor Studios, New York

Louis Armstrong’s counterpart at the piano was Earl Hines (1903), one of the few early heroes of jazz who was not born in Louisiana (he was born in Pennsylvania and in 1924 moved to Chicago). His technique augmented delicate virtuoso Armstrong-style moves with a rhythmic exuberance that set him apart from the tradition of Jelly Roll Morton. He was basically trying to play the piano like a trumpet or even a trombone.

Earl Kenneth Hines, universally known as Earl “Fatha” Hines (December 28, 1903 — April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one major source, is “one of a small number of pianists whose playing shaped the history of jazz”.

Trumpeter Dizzy Gillespie, a member of the Earl Hines big-band along with Charlie Parker, wrote, “The piano is the basis of modern harmony. This little guy came out of Chicago, Earl Hines. He changed the style of the piano. You can find the roots of Bud Powell, Herbie Hancock, all the guys who came after that. If it hadn’t been for Earl Hines blazing the path for the next generation to come, it’s no telling where or how they would be playing now. There were individual variations but the style of … the modern piano came from Earl Hines.”

Pianist Lennie Tristano said, “Earl Hines is the only one of us capable of creating real jazz and real swing when playing all alone.” Horace Silver said, “He has a completely unique style. No one can get that sound, no other pianist”. Erroll Garner said, “When you talk about greatness, you talk about Art Tatum and Earl Hines”. Count Basie said that Hines was, “The greatest piano player in the world”.

Tracklist:
1. Linger Awhile 02:07
2. Wrap Your Troubles In Dreams 02:20
3. It’s a Pity to Say Goodnight 02:45
4. I’ve Got the World On a String 03:23
5. Sunday 02:01
6. It Had to Be You 06:52
7. A Cottage for Sale 03:22
8. Father’s Freeway 02:52
9. The Man with the Horn 03:38
10. But Not for Me 02:22
11. Everything Depends On You 02:15
12. The Hour of Parting 03:52

Pesrsonal
Earl Hines, piano
Budd Johnson, tenor saxophone
Ray Nance, violin, cornet
Aaron Bell, bass
Jimmy Crawford, drums

Download:

https://file.al/w5l4ntaj6qiy/hires.link_EarlHinesUpToDateWithEarlHines19659624.rar.html

Artist: Enrico Rava
Title: New York Days
Genre: Jazz
Release Date: 2009
Label: ECM Records GmbH
Duration: 01:17:05
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: February 2008 at Avatar Studios, New York

A new transatlantic quintet headed by Italian trumpeter Rava, recorded in New York in 2008 and a first ECM appearance for US tenorist Mark Turner, whose distilled, lean sound references Coltrane, Warne Marsh, Wayne Shorter and others. Turner’s searching, analytical tone is in marked contrast to Enrico’s lyrical flourishes, but the two make a fascinating pairing — especially with the resolutely musical pianist Stefano Bollani finding points of contact, and making his own statements. Add in the gifted bassist Larry Grenadier (last heard on ECM with Charles Lloyd) and that most unpredictable of all drummers, Paul Motian, and you have here a truly remarkable band.

The neo-noir textures of Italian trumpeter Enrico Rava’s fine ECM release, NEW YORK DAYS, recall evocative, jazz-based film scores such as Gato Barbieri’s LAST TANGO IN PARIS or Miles Davis’s ELEVATOR TO THE GALLOWS. Joined by a stellar cast, including the fine pianist Stefano Bollani, contemporary tenor saxophonist Mark Turner, and the apparently ageless Paul Motian on drums, Rava conjures a rain-soaked, black-and-white urban fantasia on a finely produced, 77-minute set of moody originals. Rava, Turner, and Bollani are all strong stylists, however, so there is little danger of their being fully submerged in the impressionistic dark waters. At times, the sound resembles the post-bop chamber jazz of Miles’s celebrated ’60s quintet, at others, the upscale European strains of film composer Nino Rota or tango master Astor Piazzolla. Either way, NEW YORK DAYS is one of the outstanding jazz releases of 2009. — AllMusic Review by Richard Mortifoglio

Tracklist:
1. Lul 09:28
2. Improvisation I 04:24
3. Outsider 06:17
4. Certi Angoli Segreti 10:55
5. Interiors 10:42
6. Thank You, Come Again 07:06
7. Count Dracula 03:20
8. Luna Urbana 07:39
9. Improvisation II 07:52
10. Lady Orlando 05:32
11. Blancasnow 04:23

Pesrsonal
Enrico Rava, trumpet
Stefano Bollani, piano
Mark Turner, tenor saxophone
Larry Grenadier, double bass
Paul Motian, drums

Download:

https://file.al/njupozgtzhm5/hires.link_EnricoRavaNewYorkDays20099624.part1.rar.html
https://file.al/9m2rr7by90lo/hires.link_EnricoRavaNewYorkDays20099624.part2.rar.html

Artist: Enrico Rava Quartet with Gianluca Petrella
Title: Wild Dance
Genre: Jazz
Release Date: 2015
Label: ECM Records GmbH
Duration: 01:06:40
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: January 2015, Artesuono Recording Studios, Udine

A cross-generational project by the grand master of Italian Jazz. Energized by joyous experiences on the road the ever youthful Enrico Rava took his new working quartet of the last two years into Arte Suono Studio in Udine. Here they were joined by trombonist Gianluca Petrella, an internationally noted player through his contributions to Rava’s three acclaimed post-millennium quintet albums Tribe (2011), The Words & The Days (2005) and Easy Living (2003). With Manfred Eicher producing, the five Italians recorded a program of Rava originals which cover a broad range of moods — from brooding ballad playing to fiery uptempo post-bop. Once again Rava’s playing makes it clear that lightness and intensity, elegant cool and emotional warmth are no opposites. Rava and Petrella form a peerless two-horn frontline, whether playing in unison, engaging in dialogue or taking their turns in extensive soloing. The rhythm section of Gabriele Evangelista, Enrico Morello, (“in my opinion the number one drummer in Italy today”, says Rava) and guitarist Francesco Diodati give them both space and assured support.

The senior statesman, and easily the most recognizable name in Italian jazz, trumpeter Enrico Rava returns with a revised quintet line up on Wild Dance. Rava, who early in his career worked with saxophonist Steve Lacy, pianist Mal Waldron and trombonist Roswell Rudd, later went on to team with drummer Tony Oxley and sit in with the Global Unity Orchestra. His free jazz pedigree belies the fact that Rava has more often leaned toward the lyrical while incorporating his own liberal style of invention.
Two of the three most recent Rava releases, Rava on the Dance Floor (ECM, 2012) and The Monash Sessions (Jazzhead 2013) have featured the trumpeter in the company of rather large ensembles. Not since the alternating quintet/sextet of Tribe (ECM, 2011), has Rava recorded in the relatively smaller combo setting. Trombonist Gianluca Petrella and bassist Gabriele Evangelista return from the aforementioned outing, joined by new arrivals, Francesco Diodati on guitar and drummer Enrico Morello.
Rava has an understandable fondness for the trumpet-trombone interaction; the trombone being his first instrument before teaching himself the trumpet. He and Petrella engage in harmonies or counter each other in discourse and generally make for an unsurpassed brass frontline in addition to their many solo opportunities. Morello shows a deft touch in directing the music through Rava’s many complex shifts. It is Diodati however, that is a major find here. The guitarist plays in a crystal clear, straight-forward style when he is up front and churns out airy harmonies when directly supporting Rava.
“Diva,” the first of fourteen original compositions, and the subsequent “Space Girl” are airy but with dark undertones and both showcase the dynamics between Diodati and Rava. The latter features some fine playing from Evangelista as well. The bassist also sets the stage for the looser “Don’t,” opening the program to the wild part of Wild Dance. That sense of abandon is more fully realized with “Infant” where structures are fleeting and improvisation is more antagonistic. Rava wisely disseminates styles throughout the collection, allowing breathing time as on the gentle “Sola,” then slowly rebuilding the fire on “Not Funny.” The title track lives up to its name as it veers from lyrical to near experimental.
Rava peppers the album with an array of sounds from the mysterious—but lively—“F. Express” to fragmented inventiveness of “Cornette” and the collectively written “Improvisation.” A small number of tracks are refreshed versions of older Rava compositions and they are comfortably at home with the newer material. Rather than settling down, the trumpeter continues to explore new ways of expressing himself in a variety of settings. While Rava maintains his method of using the middle and upper registers in a specific and functional manner, there is little about his work that does not completely engage. Wild Dance is the most satisfying of his albums in this decade. –Karl Ackermann, All About Jazz

Tracklist:
1. Diva 07:38
2. Space Girl 07:20
3. Don’t 04:45
4. Infant 03:07
5. Sola 04:44
6. Not Funny 02:55
7. Wild Dance 02:59
8. F. Express 04:41
9. Cornette 03:11
10. Overboard 05:21
11. Happy Shades 02:53
12. Monkitos 03:41
13. Improvisation 05:21
14. Frogs 08:04

Pesrsonal
Enrico Rava: trumpet
Francesco Diodati: guitar
Gabriele Evangelista: double bass
Enrico Morello: drums
with
Gianluca Petrella: trombone

Download:

https://file.al/s2l3h5kapng3/hires.link_EnricoRavaQuartetWildDance20159624.part1.rar.html
https://file.al/6gnedfrl67u9/hires.link_EnricoRavaQuartetWildDance20159624.part2.rar.html

Artist: Fabienne Ambuhl Trio
Title: Glitterwoods
Genre: Jazz
Release Date: 2015
Label: Traumton Records
Duration: 54:51
Quality: FLAC 88.2kHz/24bit
Source: Qobuz

Tracklist:
1. Glitterwoods Part 1 1:45
2. Glitterwoods Part 2 3:42
3. Glitterwoods Part 3 1:29
4. Hang on 3:58
5. Was 5:43
6. Oasis 5:02
7. Black Horses Suite 5:18
8. No Memories 3:35
9. Paths 3:57
10. Sea Son 6:09
11. Inchworms 6:03
12. While we were gone 5:02
13. Between Your Eyes 3:36

Pesrsonal
Fabienne Ambhl: piano, vocals
Yuri Goloubev: double bass
Asaf Sirkis : drums, hang

Download:

https://file.al/85di2so95hfs/hires.link_FabienneAmbhlTrioGlitterwoods201588.224.part1.rar.html
https://file.al/36fh2m0tviie/hires.link_FabienneAmbhlTrioGlitterwoods201588.224.part2.rar.html

Artist: Faithless
Title: Faithless 2.0
Genre: Electronic
Release Date: 2015
Label: Sony Music
Duration: 03:59:58
Quality: FLAC 48kHz/24bit
Source: Qobuz

2015 marks the 20-year milestone in their illustrious career and to celebrate the band have curated a special remix album ‘Faithless 2.0.’ A package comprised of 28 tracks split across two CDs joining dots between past, present and future. While CD1 firmly brings their catalog back to life, CD2 celebrates 14 of Faithless’ career-defining records, with originals ‘Insomnia’, ‘Mass Destruction’, ‘We Come 1’ and ‘Salva Mea’ reminding us quite how timeless their music really is.

Calling on those they’ve inspired and been inspired by throughout their remarkable career, the album sees heavy hitters Avicii, Tiesto, Above & Beyond, Eric Prydz, Armin Van Buuren; alongside underground connoisseurs Booka Shade, Claptone, High Contrast and Purple Disco Machine all provide their own takes on their seminal classic material.

Tracklist:
1 Faithless 2.0 (DJ Mix) 01:17:14
2 Insomnia 2.0 (Avicii Extended Remix) 00:06:13
3 We Come 1 2.0 (Armin Van Buuren Remix) 00:05:26
4 God Is a DJ 2.0 (Tisto Remix) 00:04:27
5 Muhammad Ali 2.0 (High Contrast Remix) 00:04:43
6 Salva Mea 2.0 (Above & Beyond Remix) 00:07:02
7 Not Going Home 2.0 (Eric Prydz Remix [Remastered]) 00:08:56
8 Music Matters 2.0 (Axwell Remix [Remastered]) 00:08:23
9 I Was There 00:06:42
10 Miss U Less, See U More 2.0 (Purple Disco Machine Remix) 00:06:40
11 Tarantula 2.0 (Booka Shade Remix) 00:07:40
12 Bombs 2.0 (Claptone Remix) 00:06:58
13 Drifting Away 2.0 (Autograf Remix) 00:05:50
14 Don’t Leave 2.0 (Until the Ribbon Breaks Remix) 00:03:33
15 Insomnia 2.0 (Avicii Remix [Radio Edit]) 00:03:04
16 Insomnia (Monster Mix) 00:08:38
17 Mass Destruction (Single Version) 00:03:31
18 God Is a DJ 00:07:55
19 Don’t Leave 00:03:59
20 Muhammad Ali (Radio Edit) 00:03:29
21 We Come 1 (Radio Edit) 00:03:42
22 Reverence 00:07:37
23 Salva Mea 00:10:40
24 One Step Too Far (Radio Edit) 00:03:23
25 Bring My Family Back 00:06:15
26 Tarantula 00:06:38
27 Bombs 00:04:55
28 Feelin Good 00:03:13
29 Not Going Home (Radio Edit) 00:03:12

Pesrsonal
Maxi Jazz
Sister Bliss
Rollo

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Artist: Glen Hansard
Title: Didnt He Ramble
Genre: Rock
Release Date: 2015
Label: Anti-/Epitaph
Duration: 39:22
Quality: FLAC 96kHz/24bit
Source: HighResAudio

The new album is his first in over three years and follows 2012’s solo debut Rhythm & Repose, which Billboard hailed as “Hansard at his most engaging,” while The Wall Street Journal furthered, “Hansard’s distinguishing trait as a songwriter is a heavy-handed earnestness.”

Didn’t He Ramble was produced by Thomas Bartlett (The National, Sufjan Stevens), a frequent collaborator of Hansard’s, and Grammy winner and former Frames band-mate David Odlum (Paloma Faith, Tinariwen). The album, which was recorded in New York, Dublin, Chicago and France, is Hansard’s most intimate and elegant record since his work in Once and features guest appearances by John Sheahan (Dubliners), Sam Beam (Iron and Wine) and Sam Amidon.

Glen Hansard is an artist who is not afraid to lay bare his soul for his audience to see, but few artists as passionate as Hansard can modulate themselves quite so well; his music is deeply and openly emotional without Hansard sounding as if he’s melting into a puddle of melodrama. Hansard’s emotional high-wire act is once again the centerpiece of his third full-length solo effort, 2015’s Didn’t He Ramble, and the album’s polished yet rustic modern-folkie sensibility is a splendid backdrop for Hansard’s compositions, ten songs that find rays of hope in bad situations while also never missing the bits of rust in his own emotional armor. Didn’t He Ramble was cut during sessions in Ireland, England, and the United States, but the set has a warm and unified feel, suggesting the glory days of the ’70s singer/songwriter era but with a cleaner and less indulgent sensibility. Hansard’s singing is at the top of his game on Didn’t He Ramble, unaffected but strong as the soulful edges of his instrument wrap themselves around his songs like a more restrained version of Van Morrison (especially on the gospel-tinged “Her Mercy”). Hansard’s accompanists make the most of his lean but evocative melodies, and the string arrangements by Rob Moose and Thomas Bartlett are excellent, adding to the air of mystery in these tunes without giving the performances an unwelcome level of gloss. Didn’t He Ramble shows that as a performer and a songwriter, Hansard can create powerful and satisfying work that’s up to the standard he set with the Frames, and this is a step up from 2012’s impressive but uneven Rhythm and Repose. –AllMusic Review by Mark Deming

Tracklist:
1. Grace Beneath the Pines 03:31
2. Wedding Ring 04:47
3. Winning Streak 03:21
4. Her Mercy 04:46
5. McCormack’s Wall 04:39
6. Lowly Deserter 03:02
7. Paying My Way 03:34
8. My Little Ruin 04:26
9. Just to be the One 03:13
10. Stay the Road 04:01

Pesrsonal
Glen Hansard — Composer, Guitar, Layout, Mandolin, Piano, Vocals
Brad Albetta — Bass
Sam Amidon — Violin, Vocals
Thomas Bartlett — Celeste, Keyboards, Percussion, Piano, String Arrangements, Synthesizer
Sam Beam — Vocals
Rob Bochnik — Guitar
Michael Buckley — Flute, Horn Arrangements, Saxophone
Justin Carroll — Keyboards
Ronan Dooney — Trumpet
Joseph Doyle — Bass
Curtis Fowlkes — Trombone
Earl Harvin, Graham Hopkins — Drums
Rob Moose — Mandolin, String Arrangements, Strings, Viola
David Odlum — Guitar, Mixing, Percussion
Ray Rizzo — Drums
John Sheahan — String Arrangements, Violin
Kenny Wollesen — Drums

Download:

https://file.al/vykh6q7606gl/hires.link_GlenHansardDidntHeRamble2015HRA2496.rar.html

Artist: Grateful Dead
Title: 30 Trips Around the Sun: The Definitive Story 1965-1995
Genre: Rock
Release Date: 2015
Label: Grateful Dead/Rhino
Duration: 04:37:06
Quality: FLAC 192kHz/24bit
Source: Pono

30 year spanning collection of essential live tracks + an early “pre-Dead” Emergency Crew track featuring Pig Pen! 30 Trips Around the Sun: The Definitive Story (1965-1995) serves as an introductory sampler to the Dead’s live canon, including 30 unreleased performances — one from each concert in the boxed set — along with the 1965 recording of “Caution”.

Initially released as a limited-edition box set so lavish it was on the verge of being absurd, 30 Trips Around the Sun is a deep exploration of a simple idea: tell the Grateful Dead’s story through unreleased live performances taken from every year of their life. This concept reaches its full fruition in its 80-CD incarnation, containing a full unreleased show for every year between 1966 and 1995, but the four-CD distillation operates in a similar fashion and may seem more attractive to Deadheads unwilling to immerse themselves in a monthlong listening session. The closest analogy to 30 Trips in their discography is 1999’s So Many Roads (1965-1995), a five-disc box heavy on unreleased live material, but that set wound up skipping over the fallow periods a chronological march inevitably hits. Aware of this pitfall, the archivists behind 30 Trips selected the finest unreleased shows from each of these 30 years and, for this set, chose to showcase songs that rarely appeared in the Dead’s repertoire. This turns out to be a fairly broad category, encompassing Pigpen singing Lightnin’ Hopkins “The Rub” in 1971 and Donna Jean Godchaux debuting with the band in 1972 via a duet with Jerry Garcia on Dolly Parton’s “Tomorrow Is Forever,” as well as Phil Lesh singing Robbie Robertson’s “Broken Arrow” in 1993 and a bittersweet “Visions of Johanna” from 1995 that closes out the set. As its considerably shorter than its parent, the four-disc 30 Trips Around the Sun never lingers upon the eras of the Dead that cause consternation among fans — here, Brent Mydland’s synths don’t seem quite so prominent and Vince Welnick’s penchant for sambas is hidden — yet this shorter box still illustrates how these eras bled together or echoed throughout the Dead’s history. Most of all, 30 Trips illustrates how the Dead kept circling back to their folk and blues beginnings no matter who supplemented the core quintet of Jerry Garcia, Bob Weir, Phil Lesh, Bill Kreutzmann, and Mickey Hart. While the four or five main keyboardists brought their own signatures (particularly Pigpen, whose rough-hewn growl provided a gritty counterpart to the band’s spacy early explorations), come 1971, the year after the twin masterpieces of Workingman’s Dead and American Beauty, the Dead maintained a groove more psychedelic in spirit than sound. Although this truncation emphasizes this continuity, it’s still possible to hear how the band’s first 15 years were a rapid progression while the second 15 were about reliability, but perhaps the most affecting thing about 30 Trips is the simple passing of time. By the end, Jerry’s voice sounds rough and fragile, Weir’s confidence surges, Lesh’s lines are elastic, and the “Drums” showcase for Kreutzmann and Hart turns exploration into schtick — it’s a mix of emotion and show that’s endearing and even moving. If you take all 30 trips, the Dead’s journey feels long and sweet and unlike anything else in rock.

Tracklist:
CD1 #01 — The Emergency Crew — Caution (Do Not Stop On Tracks) [Live at Golden State Recorders, San Francisco, 11/3/65]CD1 #02 — Cream Puff War (Live at Fillmore Auditorium, San Francisco, CA 7/3/66)
CD1 #03 — Viola Lee Blues (Live at Shrine Exhibition Hall, Los Angeles, CA 11/10/67)
CD1 #04 — Dark Star (Live at Greek Theater, Berkeley, CA 10/20/68)
CD1 #05 — Doin’ That Rag (Live at Dream Bowl, Vallejo, CA 2/22/69)
CD1 #06 — Dancing In The Street (Live at Winterland, San Francisco, CA 4/15/70)
CD1 #07 — Ain’t It Crazy (The Rub) (Live at Fox Theater, St. Louis, MO 3/18/71)
CD1 #08 — Tomorrow Is Forever (Live at The Palace Theater, Waterbury, CT 9/24/72)
CD1 #09 — Here Comes Sunshine (Live from San Diego Sports Arena 11/14/73)

CD2 #01 — Uncle John’s Band (Live from Parc des Expositions, Dijon, France 9/18/74)
CD2 #02 — Franklin’s Tower (Live From Lindley Meadows, Golden Gate Park, San Francisco 9/28/75)
CD2 #03 — Scarlet Begonias (Live at Cobo Hall, Detroit, MI 10/3/76)
CD2 #04 — Estimated Prophet (Live at Capital Theatre, Passaic, NJ 4/25/77)
CD2 #05 — Samson And Delilah (Live at Providence Civic Center, Providence, RI 5/14/78)
CD2 #06 — Lost Sailor>Saint Of Circumstance (Live at Cape Cod Coliseum, South Yarmouth, MA 10/27/79)
CD2 #07 — Deep Elem Blues (Live at Lakeland Civic Center, Lakeland, FL 11/28/80)

CD3 #01 — Shakedown Street (Live at Cornell University, Ithaca, NY 5/16/81)
CD3 #02 — Bird Song (Live at Manor Downs, Austin, TX 7/31/82)
CD3 #03 — My Brother Esau (Live at The Centrum, Worchester, MA 10/21/83)
CD3 #04 — Feel Like A Stranger (Live at Agusta Civic Center, Agusta, ME 10/12/84)
CD3 #05 — Let It Grow (Live at River Bend Music Center, Cincinnati, OH 6/24/85)
CD3 #06 — Comes A Time (Live at Cal Expo Amphitheatre, Sacramento, CA 5/3/86)
CD3 #07 — Morning Dew (Live at Madison Square Garden, New York, NY 9/18/87)

CD4 #01 — Not Fade Away (Live at Oxford Plains Speedway, Oxford, ME 7/3/88)
CD4 #02 — Blow Away (Live at Miami Arena, Miami, FL 10/26/89)
CD4 #03 — Ramble On Rose (Live at Zenith, Paris, France 10/27/90)
CD4 #04 — High Time (Live From Madison Square Garden, NY 9/10/91)
CD4 #05 — Althea (Live at Copps Coliseum, Ontario, Canada 3/20/92)
CD4 #06 — Broken Arrow (Live at Knickerbocker Arena, Albany, NY 3/27/1993)
CD4 #07 — So Many Roads (Live at Boston Garden, Boston, MA 10/1/94)
CD4 #08 — Visions Of Johanna (Delta Center, Salt Lake City, UT 2/21/95)

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Artist: B.B. King
Title: Live At The Regal
Genre: Blues
Release Date: 1965/2015
Label: Geffen Records
Duration: 35:06
Quality: FLAC 192kHz/24bit
Source: HDTracks

Live at the Regal is a live recording of legendary blues guitarist and vocalist B.B. King. The album was recorded November 21, 1964 and is considered one of the greatest blues albums ever recorded; reaching #141 on Rolling Stone Magazine’s list of 500 Greatest Albums of All Time. Live at the Regal was selected by the Library of Congress in 2005 for permanent preservation in the National Recording Registry.

B.B. King is not only a timeless singer and guitarist, he’s also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader’s cues with almost telepathic accuracy. King’s voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of “How Blue Can You Get,” where the Chicago venue threatens to explode at King’s prompting. Of course, the master’s guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King’s lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues.

Tracklist:
01 — Everyday I Have The Blues
02 — Sweet Little Angel
03 — It’s My Own Fault
04 — How Blue Can You Get?
05 — Please Love Me
06 — You Upset Me Baby
07 — Worry, Worry
08 — Woke Up This Mornin’
09 — You Done Lost Your Good Thing Now
10 — Help The Poor

Pesrsonal
B.B. King — guitar, vocals
Leo Lauchie — bass
Duke Jethro — piano
Bobby Forte, Johnny Board — tenor saxophone
Sonny Freeman — drums

Note
Produced by Johnny Pate.
Mastering Engineer: Kevin Reeves @ 4th Floor Studios.

Download:

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Artist: B.B. King
Title: To Know You Is To Love You
Genre: Blues
Release Date: 1973/2015
Label: Geffen Records
Duration: 40:01
Quality: FLAC 192kHz/24bit
Source: HDTracks

To Know You Is to Love You is the 22nd studio electric blues album by B. B. King, released in 1973. Produced by the musician and producer Dave Crawford in Philadelphia, it features the participation of Stevie Wonder and members of the famed MFSB session group, who formed the house band for Philadelphia International Records in the early and mid 1970s.

The combination of King and the well-oiled Philly rhythm section that powered hits by the O’Jays, Spinners, and Stylistics proved a surprisingly adroit one. Two huge hits came from this album, the Stevie Wonder/Syreeta Wright-penend title track and “I Like to Live the Love,” both of them intriguing updates of King’s tried-and-true style.

Tracklist:
01 — I Like To Live The Love
02 — Respect Yourself
03 — Who Are You
04 — Love
05 — I Can’t Leave
06 — To Know You Is To Love You
07 — Oh To Me
08 — Thank You For Loving The Blues

Note
Mastering Engineer: Kevin Reeves @ 4th Floor Studios.

Download:

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Artist: B.B. King and Eric Clapton
Title: Riding With the King
Genre: Blues
Release Date: 2000
Label: Reprise
Duration: 61:33
Quality: FLAC 88.2kHz/24bit
Source: HDTracks

The winner of the 2000 Grammy for Best Traditional Blues Album, Riding with the King brings together two of the greatest, most influential blues guitarists of all time in a heart-felt exploration of blues standards. A true blues classic, the album was as commercial successful as it was critically acclaimed—shooting to #1 on Billboard’s Top Blues Albums Chart and certified 2X Multi-Platinum.

The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton’s respect for his elder, it nearly works the other way around. The set list includes lots of King specialties — “Ten Long Years,” “Three O’Clock Blues,” “Days of Old,” “When My Heart Beats Like a Hammer” — as well as standards like “Hold on I’m Coming” and “Come Rain or Come Shine,” with some specially written and appropriate recent material thrown in, so King has reason to be comfortable without being complacent. The real danger is that Clapton will defer too much; though he can be inspired by a competing guitarist such as Duane Allman, he has sometimes tended to lean too heavily on accompanists such as Albert Lee and Mark Knopfler when working with them in concert. That danger is partially realized; as its title indicates, Riding With the King is more about King than it is about Clapton. But the two players turn out to have sufficiently complementary, if distinct, styles so that Clapton’s supportive role fills out and surrounds King’s stinging single-string playing. (It’s also worth noting that there are usually another two or three guitarists on each track.) The result is an effective, if never really stunning, work.

Tracklist:
01 — Riding With The King
02 — Ten Long Years
03 — Key To The Highway
04 — Marry You
05 — Three O’Clock Blues
06 — Help The Poor
07 — I Wanna Be
08 — Worried Life Blues
09 — Days Of Old
10 — When My Heart Beats Like A Hammer
11 — Hold On I’m Coming
12 — Come Rain Or Come Shine

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Artist: John Coltrane
Title: Africa / Brass
Genre: Jazz
Release Date: 1961/2007
Label: Impulse Records
Duration: 33:35
Quality: FLAC 96kHz/24bit
Source: HDTracks

One of the greatest jazz masterpieces of all time, AFRICA BRASS frames Coltrane’s lyrical improvisation in explosive horn arrangements that include legendary trumpeter Freddie Hubbard and free jazz innovator Eric Dolphy. Pianist McCoy Tyner, drummer Elvin Jones, and bassists Reggie Workman and Art Davis underpin the orchestrations with propulsive energy that makes for one of the most exhilarating listens in jazz history. AFRICA BRASS shows the legendary tenor player at one of his greatest artistic heights and is an absolutely essential addition to any jazz-lover’s library.

Tracklist:
01. Africa (00:16:21)
02. Greensleeves (00:09:52)
03. Blues Minor (00:07:21)

Download:

https://file.al/smlxvwwts3xc/hires.link_JohnColtraneAfricaBrass20072496.rar.html

Artist: John Coltrane
Title: Afro Blue Impressions
Genre: Jazz
Release Date: 1973/2013
Label: Verve
Duration: 02:05:51
Quality: FLAC 192kHz/24bit
Source: HDTracks

Concord Music Group will reissue a remastered and expanded edition of John Coltrane’s Afro Blue Impressions album on August 20, 2013. Enhanced by 24-bit remastering by Joe Tarantino, three bonus tracks, and new liner notes, the new reissue celebrates the 40th anniversary of Pablo Records, the jazz label founded by Norman Granz in 1973.

Afro Blue Impressions represents an anniversary within an anniversary. By the time Granz launched Pablo in 1973, he’d already stockpiled several years worth of previously-recorded tour performances in his vaults, including these sets from Stockholm and Berlin in late 1963 (October and November, respectively). This new two-disc reissue of the classic Coltrane Pablo album — originally released as a double LP in 1977 — arrives just a few weeks ahead of the 50th anniversary of the original concerts.

Coltrane fronts a stellar quartet on both European dates that includes McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. In addition to the nine tracks that appeared in the original Afro Blue Impressions double album, the reissue also includes three bonus tracks from the Stockholm date: “Naima,” “I Want To Talk About You,” and “My Favorite Things.”

“When you compare and contrast the performance of a composition that was released on the original album to a different performance of the same composition from among the bonus tracks,” says Afro Blue Impressions reissue producer Nick Phillips, “it perfectly illustrates just how restlessly creative Coltrane and his band were. Each song was a springboard for unpredictable improvisation and boundless creativity.”

“These tracks brim with the wonder and the power of discovery,” says Neil Tesser, author of the new liner notes accompanying the reissue. “At this juncture, the Coltrane Quartet existed in a state analogous to quantum mechanics . . . Each new performance yielded new insights. As the musicians gathered this data and sifted through it, they would arrive at the polished theories underlying the eventual masterworks to come, such as the album Crescent and the monumental suite A Love Supreme — achievements that would then launch a new age of chaotic discovery, on such albums as Om, Sun Ship, and Meditations. How much those recordings will resonate on their 50th anniversaries will likely engender some controversy; Coltrane didn’t live long enough to complete the journey that began with them, and the jury remains out, even decades later, regarding the impact of that work. But history long ago weighed the import of his work in 1963, when his music stretched and struggled its way toward becoming Coltrane’s iconic stylistic statement”.

The recordings that make up Afro Blue Impressions were acquired by jazz impresario/auteur Norman Granz during the tours he produced for many jazz artists during the 1960s, though they weren’t issued until 1973. Recorded at shows in Berlin and Stockholm, the John Coltrane Quartet — with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones — is in tremendous form here, using a familiar repertoire in order to expand upon the group’s own building blocks in creating the new post-harmonic system that the saxophonist was developing. This is evident almost immediately in the first few minutes of opening number “Lonnie’s Lament,” where Coltrane begins reaching with his arpeggios to notes that aren’t even on the horn in his frenetic solo and his duet with Jones. That said, there is enough of the quartet’s own engagement with the tune’s original architecture to satisfy all but the most conservative of Coltrane listeners. The brilliant razor-sharp focus on restraint and lyricism applied in “Naima” reveals Tyner utilizing numerous subtly shaded chord voicings to prod Coltrane’s tender lyric exploration of the melody. Of course, the 21-minute version of “My Favorite Things” points directly at the territories the quartet would explore on the forthcoming albums Crescent and A Love Supreme and, in its most adventurous moments, somewhere beyond them. Tyner’s arpeggios and ostinatos are sharp and fleet here, responding to Jones’ driving snare and cymbals. Coltrane’s soprano moves between blues, Dorian modes, and even Eastern scalar articulations in his solo. “Afro Blue” is a rhythm collision, where mode gives way to some of Trane’s most angular soprano playing, pushing the limits of the instrument and his own dexterity to near breaking points. As the two long set-closers — “Spiritual” and “Impressions” — reveal, the group was not yet finished with more formal structures. They push at them, but still engage conventional ideas of harmony even as modes and meta scales dominate. Ample evidence can be found in the moaning gospel overtones of the former, which bring out the deep blues in Tyner’s solo, and in Coltrane’s knotty bop head, which commences the latter in advance of his manic, wildly imaginative solo. Afro Blue Impressions is the sound of one of the greatest — albeit short-lived — quartets in jazz history completely coming into its own in concert.

Tracklist:
CD1 #01 — Lonnie’s Lament
CD1 #02 — Naima
CD1 #03 — Chasin’ The Trane
CD1 #04 — My Favorite Things
CD1 #05 — Afro Blue
CD1 #06 — Cousin Mary

CD2 #01 — I Want To Talk About You
CD2 #02 — Spiritual
CD2 #03 — Impressions
CD2 #04 — Naima [Stockholm 10/22/63]
CD2 #05 — I Want To Talk About You [Stockholm 10/22/63]
CD2 #06 — My Favorite Things [Stockholm 10/22/63]

Pesrsonal
John Coltrane — tenor sax, soprano sax
McCoy Tyner — piano
Jimmy Garrison — double bass
Elvin Jones — drums

Download:

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Artist: John Coltrane
Title: A Love Supreme
Genre: Jazz
Release Date: 2008
Label: Verve
Duration: 32:45
Quality: FLAC 96kHz/24bit
Source: HDTracks

A Love Supreme is a studio album recorded by John Coltrane’s quartet in December 1964 and released by Impulse! Records in February 1965.

In 1972, A Love Supreme was certified gold by the RIAA for exceeding 500,000 units in Japan. The John Coltrane Quartet created some of the most innovative and expressive music in Jazz history including the hit album A Love Supreme, which attests to the power, glory, love, and greatness of God.

Tracklist:
1 A Love Supreme Part I: Acknowledgement 7:42
2 A Love Supreme Part II: Resolution 7:19
3 A Love Supreme Part III: Pursuance 10:42
4 A Love Supreme Part IV: Psalm 7:02

Pesrsonal
John Coltrane — Saxophone
McCoy Tyner — Piano
Jimmy Garrison — Bass
Elvin Jones — Drums

Download:

https://file.al/daq8ptxak1ya/hires.link_JohnColtraneALoveSupreme24bitWEB.rar.html