MQS Albums Download Mastering Quality Sound,Hi-Res Audio Download, 高解析音樂, 高音質の音楽 Sat, 16 Jan 2021 05:50:52 +0000 en-US hourly 1 Leonard Bernstein, New York Philharmonic – Haydn: Mass In Time Of War & Symphony 96 (1973 & 1974) [Reissue 2017] MCH SACD ISO + FLAC 24bit/96kHz Sat, 16 Jan 2021 05:50:52 +0000 Read More]]>

Leonard Bernstein – Leonard Bernstein’s Concert For Peace / Bernstein Conducts Haydn (1973/1974) [Reissue 2017]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 67:12 minutess | Scans included | 2,87 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/96 kHz | Scans included | 1,41 GB
2 LP on 1 SACD | Features Stereo and Quadrophonic Surround Sound | Vocalion # CDLX 7346

Leonard Bernstein’s Concert for Peace, a protest at the Vietnam War, took place in Washington Cathedral during January 1973 and featured a spellbinding performance of Joseph Haydn’s Mass in Time of War. Here it’s coupled with Bernstein and the New York Philharmonic’s reading of Haydn’s Symphony No. 96, “Miracle”. Both were remastered from the original analogue tapes (stereo and quadraphonic).

In January 1973, Leonard Bernstein conducted a “Concert for Peace” for an estimated 15,000 people at Washington National Cathedral in Washington, DC, on the eve of the second term inauguration of President Richard Nixon. Bernstein led an orchestra that included many musicians from the National Symphony Orchestra, a chorus of 125 volunteers prepared by Norman Schribner, and soloists Patricia Wells, Gwendolyn Killebrew, Alan Titus, and Michael Devlin. A recording of the performance received a 1973 Grammy Award Nomination for Best Choral Recording, with Schribner and Bernstein as co-nominees.

The Symphony No. 96 in D major, Hoboken I/96, was completed by Joseph Haydn in 1791 as part of the set of symphonies composed on his first trip to London. It was first performed at the Hanover Square Rooms in London on 11 March 1791. Although it is the fourth of the twelve London symphonies (numbers 93–104) by number, it was actually the first one written and performed. It is popularly known as the Miracle Symphony.


01. Mass in Time of War: Kyrie > Kyrie eleison (Largo – Allegro moderato)
02. Mass in Time of War: Gloria > Gloria in excelsis Deo (Vivace)
03. Mass in Time of War: Gloria > Qui tollis peccata mundi (Adagio)
04. Mass in Time of War: Gloria > Quoniam tu solus sanctus (Allegro)
05. Mass in Time of War: Credo > In unum Deum (Allegro)
06. Mass in Time of War: Et incarnatus est (Adagio)
07. Mass in Time of War: Et resurrexit (Allego)
08. Mass in Time of War: Et vitam venturi (Vivace)
09. Mass in Time of War: Sanctus > Sanctus Dominus (Adagio) / Pleni Sunt Coeli Et Terra (Allegro Con Spirito)
10. Mass in Time of War: Benedictus > Qui venit (Andante)
11. Mass in Time of War: Agnus Dei > Qui tollis peccata mund (Adagio)
12. Mass in Time of War: Dona nobis pacem Allegro con spirito (Piu presto)
13. Symphony No. 96 in D major “Miracle”: 1st Movement – Adagio (Allegro)
14. Symphony No. 96 in D major “Miracle”: 2nd Movement – (Andante)
15. Symphony No. 96 in D major “Miracle”: 3rd Movement – (Menuetto Allegretto)
16. Symphony No. 96 in D major “Miracle”: 4th Movement – Finale (Vivace)

Tracks “01-12”:
Patricia Wells – soprano
Gwendolyn Killebrew – contralto
Alan Titus – baritone
Michael Devlin – bass-baritone
Undefinied Orchestra – conducted by Leonard Bernstein
The Norman Scribner Choir
Tracks “13-16”:
New York Philharmonic – conducted by Leonard Bernstein.

Tracks “01-12” is “Leonard Bernstein’s Concert For Peace” (LP ‘1973)
Tracks “13-16” is “Bernstein Conducts Haydn: Symphony No. 96” (LP ‘1974).
Remastered from the Original Master tapes by Michael J. Dutton.



FLAC 24bit/96kHz


Leon Botstein, London Symphony Orchestra – Popov: Symphony No.1 & Shostakovich: Theme and Variations (2004) MCH SACD ISO + FLAC 24bit/96kHz Sat, 16 Jan 2021 05:47:46 +0000 Read More]]>

Leon Botstein, London Symphony Orchestra – Popov: Symphony No. 1 / Shostakovich: Theme and Variations (2004)
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 65:05 minutes | Scans NOT included | 3,33 GB
or FLAC 2.0 Stereo(converted with foobar2000 to tracks) 24bit/96 kHz | Front, Scans NOT included | 1,24 GB
Features Stereo and Multichannel Surround Sound | Telarc # SACD-60642

Dmitry Shostakovich had a kind of protean musical genius that could take the shape of any container it was poured into. But what would have happened if his genius had been less adaptable? He might have ended up like Gavriil Popov: virtually unknown 100 years after his birth and 32 years since his death. These two composers had remarkably similar backgrounds. Both were daring young stars ascending in the Soviet firmament until the state intervened and censured them in the 1930’s. Shostakovich adapted and recovered artistically; Popov did not. With this excellent new recording of Popov’s early 1st Symphony, Leon Botstein and the London Symphony show us just how big Popov might have been. There are echoes of Shostakovich’s tart writing, but there is also much that is original.

On the 70th anniversary of the completion of Popov’s Symphony No. 1, Botstein and the London Symphony Orchestra bring the work to life on a new Telarc recording that also includes Shostakovich’s Theme and Variations, Op. 3. Popov’s Symphony No. 1 “fits into the category of great music in the orchestral repertory that requires advocacy,” says Leon Botstein. “This symphony is a case in which a totalitarian state forced a work into obscurity and ultimately undermined the great talent that Gavriil Popov was”.

Admired by Prokofiev and Shostakovich but suppressed in Russia as “formalist,” Gavriel Popov’s Symphony No. 1, Op. 7 (1934), is the most daring of his six symphonies, a work of brutal violence and brooding mystery which, quite clearly, had the wherewithal to offend the Soviet authorities. Only gradually has it entered the repertoire in the West, largely through the efforts of conductor Leon Botstein and a few others. This turbulent work evokes memories of Stravinsky’s Le Sacre du printemps and Prokofiev’s Scythian Suite, and also bears some comparison to Shostakovich’s Symphony No. 4 – similarly banned for its modernism – so strong are its dissonances and restless, frequently atonal counterpoint. The London Symphony Orchestra, directed by Botstein, gives a charged reading, filling the first movement with nervous energy, the lyrical second movement with foreboding, and the Scherzo finale with savage sarcasm; the performance is a convincing argument for this rugged work’s revival. The Theme and Variations, Op. 3 (1922), by Shostakovich is an early work of modest proportions. This charming but derivative student work seems an odd choice as filler, since it dispels the impact of Popov’s Symphony and closes the disc on a weak note. Telarc’s DSD recording is fine, though the sound is a little distant in soft passages.

01. Popov: Symphony No. 1 – I. Allegro energico
02. Popov: Symphony No. 1 – Largo con moto e molto cantabile
03. Popov: Synphony No. 1 – Scherzo e Coda. Prestissimo
04. Shostakovich: Theme and Variations – Tema. Andantino
05. Shostakovich: Theme and Variations – Variation I: Andantino
06. Shostakovich: Theme and Variations – Variation II: Più mosso (Vivace)
07. Shostakovich: Theme and Variations – Variation III: Andante
08. Shostakovich: Theme and Variations – Variation IV: Allegretto
09. Shostakovich: Theme and Variations – Variation V: Andante
10. Shostakovich: Theme and Variations – Variation VI: Allegro
11. Shostakovich: Theme and Variations – Variation VII: Moderato
12. Shostakovich: Theme and Variations – Variation VIII: Largo
13. Shostakovich: Theme and Variations – Variation IX: Allegro
14. Shostakovich: Theme and Variations – Variation X: Allegro molto
15. Shostakovich: Theme and Variations – Variation XI
16. Shostakovich: Theme and Variations – Finale: Allegro
17. Shostakovich: Theme and Variations – Finale: Adagio
18. Shostakovich: Theme and Variations – Coda: Presto



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Leon Botstein, London Symphony Orchestra – Liszt: Symphonie zu Dantes Divina commedia & Tasso, lamento e trionfo (2003) MCH SACD ISO + FLAC 24bit/96kHz Sat, 16 Jan 2021 05:46:09 +0000 Read More]]>

Leon Botstein, London Symphony Orchestra – Liszt: Symphonie zu Dantes Divina commedia (2003)
SACD Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 63:43 minutes | Scans NOT included | 3,08 GB
or FLAC 2.0 Stereo(converted with foobar2000 to tracks) 24bit/96 kHz | Front, Scans NOT included | 1,19 GB
Features Stereo and Multichannel Surround Sound | Telarc # SACD-60613

Telarc releases a compelling recording of Franz Liszt’s “Eine Symphonie zu Dantes Divina Commedia (Dante Symphony)” and “Tasso, lamento e trionfo” with the London Symphony Orchestra under the direction of Leon Botstein and featuring London Oratory School Schola. The symphony is a typical mixture of Lisztian rhetoric and inspiration. The secret to success is to churn through the rhetoric without apologies, and to savor the inspiration when it comes.

Botstein is too tasteful to indulge himself in the hellfire of “Inferno.” One can’t quite smell the brimstone and hear the gnashing of teeth. Botstein’s attempt to subdue the composer’s vulgarity (at least in this movement) is admirable, but one might argue that vulgarity is precisely the point – this is Hell, after all. In the “Purgatorio,” Botstein’s soft-grained approach works much better, and the entrance of the chorus is truly magical. Unlike most (or all?) of the competition, Botstein uses a boys’ choir in the “Magnificat.” I believe that Liszt specified women’s voices, yet it is hard to argue with the effect of disarming innocence that Botstein achieves here. In the closing moments of the Dante Symphony, Botstein’s reading definitely comes into its own as competition against Barenboim, Masur, Kojian, and the like.

There are eight questions you have to ask yourself about this 2003 recording of Liszt’s Dante Symphony by Leon Botstein and the London Symphony Orchestra on Telarc: is Dante really as bad a poet as this? No, of course not; as Italian poets go, he was in the same league as Virgil. Is Dante’s story of Paolo and Francesca really this sensual, sentimental, and self-dramatizing? No, not at all; it’s short, direct, and dreadful in its understatement. Is Liszt really this bad a composer? No, not always; sometimes he’s really great and sometimes he’s much, much worse. Is Liszt’s Dante Symphony really this bad a piece of music? Yes, absolutely; it’s trite, tawdry, banal, bathetic, bombastic, and in terribly bad taste. Imagine writing a symphony called The Old Testament and having it focus exclusively on the sex life of David and Bathsheba. Is Leon Botstein’s conducting of the Dante Symphony any good? It’s as good as it could be considering how aimless, formless, and meaningless the music is. Is the London Symphony Orchestra’s playing any good? It’s dim, dark, and dismal, but then, that suits the music. Is Telarc’s recording any good? It’s loud and brutal, but then that suits the music. Is their recording of Tasso, Lamento e Trionfo any good? It’s no worse than the Dante Symphony, but it’s no better, either.


01. Dante’s Symphony Symphony: I. Inferno
02. Dante’s Symphony: II. Purgatorio
03. Tasso, lamento e trionfo



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Lee Konitz & The Brazilian Band – Brazilian Rhapsody (1996) [Japan 2016] SACD ISO + FLAC 24bit/48kHz Sat, 16 Jan 2021 05:44:03 +0000 Read More]]>

Lee Konitz & The Brazilian Band – Brazilian Rhapsody (1996) [Japan 2016]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:11 minutes | Front/Rear Covers | 2,04 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/48 kHz | Front/Rear Covers | 661 MB

This release focuses primarily on Brazilian standards performed by the Konitz sextet, except for the Brazilian-flavored “Lunasea”, written by Peggy Stern, which features her high school choir. “Berimbau” is swinging and percussive, while the well-known “Insensatez” takes many unexpected turns. “Triste” is also a familiar theme played with relish. Vocalist Adela Dalto makes a strong impression with her guest spot on “A Felicidade”. Konitz’s duet with the phenomenal acoustic guitarist Romero Lubambo on “Manha De Carnaval” is breathtaking.

One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis’ Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano’s innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh’s tenor (their unisons on “Wow” are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early ’50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.


01. Samba Triste
02. Berimbau
03. Menina Moca
04. Triste
05. A Felicidade
06. Lunasea
07. Manha De Carnaval
08. Insensatez

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Bob Katz.
Recorded on January 28-31, 1995 at Sound On Sound in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-130.

Lee Konitz – alto & soprano sax
Romero Lumbambo – acousic guitar
Peggy Stern – piano
Dave Finck – bass
Duduka Dafonesca – drums
Waltinho Anastacio – percussions
Aldela Dalto – vocals
The Masters School – vocals



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Lee Konitz – Parallels (2001) [Reissue 2002] MCH SACD ISO + FLAC 24bit/96kHz Sat, 16 Jan 2021 05:42:25 +0000 Read More]]>

Lee Konitz – Parallels (2001) [Reissue 2002]
SACD Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 58:28 minutes | Scans included | 3,19 GB
or FLAC 2.0 Stereo(converted with foobar2000 to tracks) 24bit/96 kHz | Full Scans included | 1,31 GB
Features Stereo and Quadrophonic Surround Sound | Chesky Records # SACD 240

Lee Konitz’s Chesky Records debut, now available in this Multi-Channel SACD format, demonstrates in full surround sound that Konitz continues to maintain his role as a true icon and legend of innovation within the Jazz community. Lee proves once again his unique improvisational ability by infusing his alto sax lines into the solid framework constructed by his quintet. This recording marks the manifestation of Lee’s desire to represent the “possibilities to be creative” in the organic, improvisational nature of Jazz by combining it with the parallel basis of Chesky’s recording philosophy – recreating a live, spontaneous event with the greatest accuracy possible, now dramatically improved via the SACD format.

The veteran alto saxman isn’t doing gospel music anymore, but the staff at Chesky set Konitz and the other members of his quartet up in the perfect acoustic environment of St. Peter’s Church in the Chelsea area of New York City. Sonics aside, this is a solid, though fairly laid-back date which displays the formidable ensemble and solo talents of each member. Drummer Bill Goodwin and acoustic bassist Steve Gilmore provide an increasingly swinging rhythm line for Konitz to dance over on an inventive arrangement of “How Deep Is the Ocean.” Guitarist Peter Bernstein adds some subtle Wes Montgomery style harmony lines, but the band plays it close to the vest for most of the tune. Bernstein’s crisp improvisational solo section is the highlight. With the exception of that tune, a smoky rendition of “Skylark,” and Lenny Tristano’s “317 East 32nd Street,” the collection offers a glimpse of Konitz’s strong composing skills. One of the most remarkable aspects of this date is the joyful give and take interaction between Konitz’s alto and guest tenor saxman Mark Turner on the bouncy “317 East 32nd” and the ballad “Eyes,” which the two co-wrote. On the latter, Konitz and Turner sometimes engage in a witty repartee, and sometimes they fuse for a cool horn section effect. In his liner notes, Konitz says that the nature of this music is filled with possibilities to be creative. Working with cohorts like this, there’s no possibility of anything else.


01. How Deep Is The Ocean
02. For Hans
03. Skylark
04. LT
05. 317 East 32nd
06. Palo Alto
07. Eyes
08. Subconscious Lee

Lee Konitz – alto saxophone
Mark Terner – tenor saxophone
Peter Bernstein – guitar
Steve Gilmore – acoustic bass
Bill Goodwin – drums

Produced by Bill Goodwin & David Chesky. Engineered by Barry Wolifson.
Recorded on December 5-7, 2000 at St. Peter’s Episcopal Church, New York.
Edited & Mastered by Nicholas Prout.



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Lee Konitz – Dig Dug Dog (1997) [Japan 1999] SACD ISO + FLAC 24bit/96kHz Sat, 16 Jan 2021 05:40:51 +0000 Read More]]>

Lee Konitz – Dig Dug Dog (1997) [Japan 1999]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:08 minutes | Artwork | 2,44 GB
or FLAC (converted with foobar2000 to tracks) 24bit/96 kHz | Complete Artwork | 1,06 GB
Genre: Jazz

Lee Konitz had been on tour in Japan when he went into the studio with the Laurent de Wilde trio and recorded this album. He’s joined on three numbers by Keiko Lee, a smokey Japanese vocalist. The result is somewhat out of the ordinary. There are three Konitz compositions including a reworking of “Thingin’”. The rest are standards with an excellent version of Miles Davis “Solar” and Theolonius Monk’s “Ruby my dear”. On both these tracks his tone is excellent, and across the album as a whole the trio are an excellent foil for his playing. Keiko Lee provides an excellent set of vocals, and thankfully Konitz only gets to scat on one of the tracks.Two final thoughts. One, the recording level is ridiculously quiet,you have to turn up at least a couple of notches to hear the album at its best. Secondly, if you like this album you should make every effort to get hold of the Sony France album by the de Wilde trio called “Spoon-a- rhythm”. A refreshing attempt to do something new from Konitz.


01. Solar
02. Ruby, My Dear
03. Thingin’
04. Gee Baby Ain’t I Good to You
05. Sister Cheryl
06. You Don’t Know What Love Is
07. Body And Soul
08. I Love You
09. I Got It Bad and That Ain’t Good
10. Mr. 88
11. Dug

Lee Konitz – alto saxophone, scat on “11”
Laurent de Wilde – piano
Ira Coleman – bass
Dion Parson – drums
Keiko Lee – vocals on “4, 7 & 9”

Arranged by Lee Konitz. Produced by Kozo Watanabe. Engineered by Yoshihiro Suzuki.
Recorded on March 18-19, 1997 at Sony Music Shinanomachi Studio, Tokyo, Japan.
Mastered by Koji “C-chan” Suzuki. Sony Music Japan # SRGS 4515



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Ivan Repusic, Munich Radio Orchestra, Stanko Madic – Peteris Vasks: Viatore, Violin Concerto “Distant Light” & Symphony No. 1 “Voices” (2020) [FLAC 24bit/48kHz] Fri, 15 Jan 2021 07:00:37 +0000 Read More]]>

Ivan Repusic, Munich Radio Orchestra, Stanko Madić – Pēteris Vasks: Viatore, Violin Concerto “Distant Light” & Symphony No. 1 “Voices” (2020)
FLAC (tracks) 24-bit/48 kHz | Time – 01:11:23 minutes | 767 MB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

“The works on this album are for chamber-music string ensembles: his first symphony “”Balsis – Voices”” (1991), the haunting violin concerto “”Tālā gaisma – Distant Light”” (1996/97), and the piece “”Viatore” (the traveller; 2001), dedicated to Arvo Pärt, here in a version for eleven solo strings by the conductor, church musician and arranger Stefan Vanselow. The Münchner Rundfunkorchester plays under its chief conductor Ivan Repušić, and the concerto soloist is Stanko Madić, first concertmaster of the MRO. During the critical phase that accompanied the emancipation of the Baltic states from the Soviet Union, Vasks’ symphony “”Balsis”” was commissioned by the Ostrobothnian Chamber Orchestra, and it premiered on September 8, 1991 in Kokkola, Finland. Its three sections are dedicated to the voices of silence, the voices of life and the voice of conscience. – The Concerto for Violin and String Orchestra “”Tala gaisma””, commissioned by the Salzburg Festival, is dedicated to Gidon Kremer, who premiered it with the Kremerata Baltica on August 10, 1997 in Salzburg. It is a sound epic rich in contrasts, with three great virtuoso solo cadenzas, tonal carpets of chords, elements of folklore, and full of dramatic gestures. – Viatore, the tribute to Arvo Pärt that Vasks composed in 2001, describes man in the loneliness of his existence as a restless wanderer – from his arrival in this world to his adolescence, his first love, and his eventual disappearance.”

Latvian composer Pēteris Vasks is becoming more and more popular with the new generation of musicians. His music is often gripping, soaring, meditative and luminous. His Violin Concerto “Distant Light” has now entered many violinists’ repertoires – Renaud Capuçon, for example, recorded it for Erato and his magnificent Viola Concerto was recorded for BIS by Maxim Rysanov, who also completed his recording with the masterpiece Symphony No. 1 “Voices”.

It is undoubtedly the most “barren” work in this new release. Premiered in Finland in September 1991, it totally corresponds to the Ostrobothnian Chamber Orchestra’s sound (one of the most famous chamber orchestras in Sibelius’ country), conducted at that time by Juha Kangas. The work uses lots of tremolos and sustained notes which bring Sibelius to mind. Though time has passed and the work that Vasks portrays here is also reminiscent of some of Rautavaara’s figurative elements with its poetic imitations of sounds of nature and bird songs in the second movement, Voices of Life. It also depicts with surprising detail the hardships of living under Soviet rule. The Munich Radio Orchestra, conducted by the talented Ivan Repušić (go listen to Gotovac’s opera Ero, recorded by CPO) reveal a very intense and unforgettably accurate performance. It’s not to be missed.

Viatoire, played here in an arrangement for eleven strings, is just as brilliant. Distant Light is brought to life with rare finesse by the violinist Stanko Madić and the Croatian conductor. An ideal gateway into the music of the greatest Latvian composer of our time. – Pierre-Yves Lascar


1. Munich Radio Orchestra – Viatore (Arr. S. Vanselow)
2. Stanko Madić – I. Andante
3. Stanko Madić – Cadenza I
4. Stanko Madić – II. Cantabile
5. Stanko Madić – III. Mosso
6. Stanko Madić – Cadenza II
7. Stanko Madić – IV. Cantabile
8. Stanko Madić – Cadenza III
9. Stanko Madić – V. Andante
10. Munich Radio Orchestra – I. Voices of Silence
11. Munich Radio Orchestra – II. Voices of Life
12. Munich Radio Orchestra – III. Voice of Conscience



Muddy Manninen – River Flows (2020) [FLAC 24bit/44,1kHz] Fri, 15 Jan 2021 07:00:10 +0000 Read More]]>

Muddy Manninen – River Flows (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 48:07 minutes | 551 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Presence Records

Humble guitar hero and his coterie of kindred spirits go for the pulsing jugular and the stylistic estuary.

“Ice melting, rivers flow”: here’s a line from “Being One” – one of the songs Jyrki Manninen co-wrote for his last album with WISHBONE ASH – which best summarizes the shift from the Finnish artist’s solo debut to his sophomore effort, and the shift from plural impression of the veteran’s creative force to a singular stance, too. Yet while solitude may seem to be oozing out of Muddy’s second record’s title track, the instrumental not only serves as its gloriously dramatic finale but also emerges out of the exquisite “River” – so passionately voiced by Melanie Denard to stress that this album is all about the groove and the tone: hence another shift – from “Long Player”‘s monochrome cover to a new set’s colorful artwork. The shift reflecting the music inside.

The groove can be simple – that’s why Simon Kirke, who always plays for the song, is a perfect driver for opener “Make Believe” where riffs are infectious – but the tone feels rich throughout, in terms of both sound and sentiment, as Manninen marries bluesy vibe to rock ‘n’ roll uplift and just the right amount of fingers-wrought filigree. There’s no highbrow philosophy now, so “Hey You” doesn’t beat around the bush when Kev Moore’s sarcastic croak addresses social inertia and Muddy’s lap steel gets sprinkled with funky licks for enhanced grittiness of the tuneful drift, yet the wah-wah-washed strings become sparse once the same singer lays down the record’s primal lyrical cut, the velveteen “Daytona Beach” – a breezy and humid ballad which should set the mood for the more traditional moves.

As a result, the slow folk song “Take These Blues From Me” and swampy mid-tempo stomper “(Don’t Let Them Put The) Hoochie On You” balance each other in quite an elegant manner, the former seeing Manninen whip up harmonies as a guitarist and a vocalist, before Gregg Sutton reclaims “Last One To Know” from Joe Cocker and lets Muddy pour twangy magic over this communal singalong. Still, it’s Jyrki that weaves the wordless eloquence into many layers of “The Wedge” to intersperse the piece’s mighty punch with a tender strum of a fusion stripe, and infuses the Denard-delivered “Money” with a tightly coiled humor. Such variety will disorient some listeners at first, but eventually the colors kick in and rivers start to flow and satisfy one’s soul on an album which has to lead to a lot of follow-ups. (Dmitry M. Epstein,


1. Muddy Manninen – Make Believe
2. Muddy Manninen – Hey You
3. Muddy Manninen – Daytona Beach
4. Muddy Manninen – (Don´t Let Them Put the) Hoochie on You
5. Muddy Manninen – Take These Blues from Me
6. Muddy Manninen – Last One to Know
7. Muddy Manninen – The Wedge
8. Muddy Manninen – Money
9. Muddy Manninen – The River
10. Muddy Manninen – River Flows



Mr. Bungle – The Raging Wrath of the Easter Bunny Demo (2020) [FLAC 24bit/48kHz] Fri, 15 Jan 2021 06:59:36 +0000 Read More]]>

Mr. Bungle – The Raging Wrath of the Easter Bunny Demo (2020)
FLAC (tracks) 24-bit/48 kHz | Time – 56:27 minutes | 731 MB | Genre: Metal
Studio Master, Official Digital Download | Front Cover | © Ipecac Recordings

The first release from Mr. Bungle since 1999. The Raging Wrath Of The Easter Bunny Demo is a re-recording of the band’s 1986 high school thrash metal demo along with songs written then, but never recorded. The record also features covers of classics by S.O.D. and Corrosion Of Conformity. This version of Mr. Bungle is original members Mike Patton, Trey Spruance and Trevor Dunn, joined by Scott Ian of Anthrax and Dave Lombardo of Slayer / Dead Cross.

1. Grizzly Adams (02:55)
2. Anarchy Up Your Anus (02:15)
3. Raping Your Mind (05:53)
4. Hypocrites / Habla Español O Muere (03:43)
5. Bungle Grind (06:30)
6. Methematics (08:45)
7. Eracist (03:52)
8. Spreading the Thighs of Death (05:59)
9. Loss for Words (04:16)
10. Glutton for Punishment (04:49)
11. Sudden Death (07:30)



Mireille Boily – Refuges mouvants (2020) [FLAC 24bit/96kHz] Fri, 15 Jan 2021 06:59:07 +0000 Read More]]>

Mireille Boily – Refuges mouvants (2020)
FLAC (tracks) 24-bit/96 kHz | Time – 38:48 minutes | 710 MB | Genre: Jazz
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Effendi Records

This record was pure joy to produce. Mireille wrote amazing music and sang so beautifully. And Luca, Logan and Anthony brought so much to the music. One of my favorite productions. (David Binney) Complete artist, entire musician, this is how one could describe Mireille Boily, who simultaneously wears the hats of singer, pianist, improviser, composer, lyricist and orchestrator. With a rich and vast professional experience, Mireille is a jazz musician respected both in Quebec and abroad. She has completed several international tours, including recently in China, as a soloist for the show Cavalia. We could hear it in jazz clubs from Beijing to Buenos Aires through Sao Paulo. Mireille is an integral part of the Montreal jazz scene, lending her voice to multiple composers (Jean-Nicolas Trottier, Philippe Côté, Joel Kerr, Rafael Zaldivar). The Orchester National de Jazz de Montréal commissioned her a work, Les chants du Phoenix, for which she was awarded by the Conseil des Arts et Lettres du Québec. After three independently produced albums, Mireille Boily signs her fourth opus. Directed by David Binney and recorded in Los Angeles with a group chosen to measure, Moving Refuges is a poetic fresco rooted in the four elements, honoring the path taken during a deep inner quest.

“This record was pure joy to produce. Mireille wrote amazing music and sang so beautifully. And Luca, Logan and Anthony brought so much to the music. One of my favorite productions.” (David Binney)


01. Mireille Boily – Nouvelle lune
02. Mireille Boily – Éclipse
03. Mireille Boily – Eau
04. Mireille Boily – Lune de miel
05. Mireille Boily – Terre
06. Mireille Boily – Sous-bois
07. Mireille Boily – Souffle
08. Mireille Boily – Crépuscule
09. Mireille Boily – Éclipse (Reprise)