Hattler – Velocity (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 54:04 minutes | 606 MB | Genre: Jazz, Future Jazz, Downtempo
Studio Masters, Official Digital Download | Front Cover | © 36Music
Hardly a German musician has distinguished himself so consistently as an instrumentalist and songwriter by such an unmistakable musical language and has constantly evolved as well as ECHO award winner and exceptional bassist Hellmut Hattler, who has been with Kraan, Tab Two or his for nearly five decades Formation Hattler – always innovative and confidently indicating groove and sound.
One year after his last album »Bassball II« and meanwhile recovering from his severe illness, Hellmut Hattler presents »Velocity«, a highly vital and equally inspired work. The musician, who has an unmistakable sound-technical and compositional handwriting, plays his musical preferences on the now seventh studio album of the form named after him – with well-proven top-class companions such as Joo Kraus, Peter Musebrink or Fola Dada.
“Velocity” is much more than just a musical statement, but also a very personal sign of life of the groove guarantor. So the exciting musical journey of funk-clocked soul-pop (»teaser«) with a sensitive Fola Dada on the mic and the instrumental number »Anthem For Approaching Starships« set in the best Kraan tradition about the dream sequential (electronically infected ) Title track to exotic seductive world sounds (“Delhi Mail”).
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Gebhard Ullmann & Philipp Gerschlauer – Twelve + 1 Murals (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 43:29 minutes | 397 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Between the Lines
“Intermediate tones are only cramps in class struggle,” the folksinger/songwriter with left-wing politics Franz-Josef Degenhardt once criticized.
The two saxophonists Philipp Gerschlauer and Gebhard Ullmann see this very differently. They even deal in detail with the realm of microtones on “Twelve 1 Murals”. Gerschlauer entered the cosmos of microtones in 2017 on the album “Mikrojazz” with David Fiuczynski, Jack DeJohnette, Giorgi Mikadze and Matt Garrison, and Gebhard Ullmann plays in the band Mikropuls with Hans Lüdemann, Oliver Potratz and Eric Schaefer; the album under the same name was released in 2019. The common musical interests of Gerschlauer and Ullmann led to a collaboration that began a few years ago, however was slightly slowed down by Corona. “For me, Philipp is one of the best alto saxophonists in Berlin,” Ullmann states enthusiastically about his co-musician. “During the first Covid year we tried out microphones and positions to achieve an optimal recording result for a saxophone duo.” Thus an album was produced, and when mastering the sound engineer said: ‘This is one of the best recordings I ever heard’.
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Charles Aznavour – La Bohème (1966/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 28:54 minutes | 1,17 GB | Genre: Chanson, French Pop
Studio Masters, Official Digital Download | Front Cover | © Universal Music Division Barclay
Charles Aznavour, also known as La bohème is an album by French-Armenian singer Charles Aznavour, released in 1966. It included such international hits as “La Bohème” and “Jezebel”. The album includes songs by Charles Aznavour, Georges Garvarentz, Gilbert Bécaud and others. In 1966 it was originally released by Barclay Records in France and Canada, then by Reprise Records in the US (as Aznavour).
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Wyly Bigger – Broken Telephone (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 32:08 minutes | 368 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Madjack Records
Growing up along the edge of the murky waters of the Mississippi River, it is no surprise Wyly Bigger chose the path of blues and rock and roll music. Hailing from Marion, Arkansas, just across the water from Memphis, Tennessee, Wyly started his journey on the piano at only four years old, teaching himself songs by ear and following in the footsteps of those from all over the southern delta. Spending a lot of his time between Memphis and Clarksdale, Mississippi, Wyly learned the blues from several mentors, including Pinetop Perkins and Bob Margolin. At age 26, he’s now been taking over the Memphis music scene, keeping the spirit of rock n’ roll alive through the walls of Earnestine and Hazel’s, Beale Street clubs, Cooper-Young hot-spots, and many other local dives.
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Sweet Megg – Bluer Than Blue (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 41:51 minutes | 803 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Turtle Bay Records
On her newest album, “Bluer Than Blue,” Sweet Megg combines Nashville musicians with early jazz players from the roster of Turtle Bay Records artists. The band’s style is relaxed and convivial, using elements of both styles, and the solos flow together without any stylistic conflict. The repertoire was pulled equally from jazz and country standards, with one new song co-composed by Megg and Justin Poindexter. While the general mood of the album is joyous and upbeat, most of the lyrics are about heartaches, which explain the album’s title.
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Olivier Collette – The Bridge (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 51:43 minutes | 1,02 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Cypres
The repertoire consists entirely of classical music arranged in jazz (Schumann, Chopin, Bach, Mozart, Piazzolla, etc.).
This album is a continuation of the critically acclaimed Classical Tribute project. “The Bridge’ is a bridge between classical music and jazz, between past and present.
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Michael Schiefel & David Friedman – Hiptoe (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:10:48 minutes | 680 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Traumton
I made up a definition, solely for myself, a highly subjective description of the result of a truly spontaneous musical interaction. I call it “pure music”. It’s not some term that musicologists might use to analyze musical phenomena. It’s personal. It describes a feeling I get in an ideal improvisational setting. It defines what happens to me when I feel that certain spark of creative excitement beyond the material, structure, form, harmony, etc.
It’s special, selective, the opposite of “the norm”, the “every day” experience.
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Maria Bertel – Monophonic (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 34:44 minutes | 665 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Relative Pitch Records
Monophonic is the name of the new album by Maria Bertel. As the title hints the album is a study of music played with ‘one voice’. The amplification of the trombone mimics the effect of a magnifying glass, that let otherwise inaudible sounds be heard and brought forward. The compositions are long swathes of sound slowly developing, heavily inspired by drone and noise.
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Makenzie – A Really Pretty Fucking Cool EP (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 35:55 minutes | 515 MB | Genre: R&B, Soul
Studio Masters, Official Digital Download | Front Cover | © Warner Records
Hey y’all!!! Soooooooo, my new EP: A Pretty Fucking Cool EP is out this Friday, April 26.
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Various Artists – Lin-Ni Liao: Bagatelles (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 55:41 minutes | 497 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © NEOS Music
The exceptional artist LIAO Lin-Ni brings silence to life and gives us something previously unheard of.
“The luminosity, clarity, tenderness and humor of the poetry of Emily Dickinson, from which these compositions are inspired, are messages that allow me to go beyond the living silence of the earth and our inner world that never dies…
These works express the relationship between the morphology of sound and light, sound and physical gesture. The writing of light and shadow coexists with that of the instrumental in several pieces. Both are inseparable and live in each other. They unite in physical light and spatialized sound.”
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Junkie XL – Furiosa: A Mad Max Saga (Original Motion Picture Soundtrack) (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 01:10:38 minutes | 767 MB | Genre: Soundtrack
Studio Masters, Official Digital Download | Front Cover | © WaterTower Music
Furiosa: A Mad Max Saga is an exciting addition to the Mad Max universe! Directed by George Miller, this post-apocalyptic action adventure film serves as both a spin-off and prequel to the iconic Mad Max: Fury Road (2015). Set before the events of Fury Road, it delves into the origin story of renegade warrior Furiosa. The film stars Anya Taylor-Joy as Furiosa and Chris Hemsworth as Dr. Dementus, among others. Expect intense action, dystopian landscapes, and adrenaline-pumping sequences when it hits theaters!
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Josemi Garzón – ABLA (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 39:52 minutes | 460 MB | Genre: World, Latin, Latin Jazz, Flamenco, Vocal Jazz
Studio Masters, Official Digital Download | Front Cover | © Karonte
A flamenco jazz album led by a bassist. The simple piano trio and saxophone/flute lineup is joined by four flamenco singers, each of whom sings jazzy songs full of exotic moods.
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Free Ride – Hard Livin’ (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 37:52 minutes | 461 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © ATO Music Productions
Tornio-based Free Ride has released its fourth full-length “Hard Livin'”. The band has been forging ahead for nearly a quarter of a century. The band names the Finnish Havana black and Peer Günt as influencers, there is probably not too much material of this kind these days, so the narrow niche is clear.
The Kasari times are behind us and it is not possible to expect new works to create the same moods. Despite this, ”here I Am” leads the crowd with a strong riff and melodies. Growing into a near-power ballad,” Forever you ” has a curious hook. The mood is not really even the 1980s, but more of the decade before this, plus a more root-and-branch take on the 1990s as a little spice. This is what Warrant might have sounded like if, in a grunge crisis, face-washing had been done in style.
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Elvis Presley – 50,000,000 Elvis Fans Can’t Be Wrong: Elvis’ Gold Records, Vol. 2 (1959/2024)
FLAC (tracks) 24 bit/96 kHz | Time – 23:09 minutes | 252 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © RCA Victor
There has long been some confusion over the actual title of this album. The title is shown on the original record’s labels as “Elvis’ Gold Records, Vol. 2,” with a comma and an abbreviation of “Volume”, but on the jacket, it appears as “Elvis’ Gold Records – Volume 2”. The phrase “50,000,000 Elvis Fans Can’t Be Wrong” does not appear on the labels on any of the original records, and it is the title of the records on the labels—not the jacket—that is usually given preference when conflicting titles appear on albums. Therefore, the phrase was not part of the original title of the album. Beginning no later than 1962, RCA Victor added “50,000,000 Elvis Fans Can’t Be Wrong” to the labels of a few mono records and to the then newly released “electronically reprocessed stereo” records. The boasting on the label appears nearly exclusive to records manufactured at RCA Victor’s Hollywood pressing plant; copies pressed at the other plants tended to use the proper title only. The ‘50,000,000’ phrase remained there for several years, but by 1968, it was removed from the new orange RCA Victor labels and was not found on any record labels for years afterward. The phrase was added again to the first compact disc releases of this album in 1984, where it has remained.
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Denis Pascal, Aurélien Pascal and Alexandre Pascal – Schubert: Trios Op. 99 & Op. 100 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:23:32 minutes | 1,31 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © La Musica
As with many episodes in Franz Schubert’s life, uncertainty surrounds the origins of his two trios for piano, violin and cello. We know that they were played to a Viennese audience, one on 26 December 1827 and the other on 26 March 1828, but not in which order. Although it is more likely that the Trio no. 1 in B flat major op. 99 was performed before the Trio no. 2 in E flat major op. 100, musicologists remain divided on the subject. Documentary sources provide a certain amount of information about the Trio op. 100: the manuscript tells us it was composed in November 1827, while Schubert’s correspondence shows a composer desperate to have his work published, even to the extent of removing a number of development sections and a repeat from the final movement because some publishers found the work too long. The manuscript of the first trio has been lost. By comparing indirect evidence, however, including the different types of manuscript paper Schubert used, we may conjecture that the Trio op. 99 was also composed in the autumn of 1827.
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