24 Bit Hi Res

Albums Hi-Res Masters in lossless formats, a selection of 100 Alternative Hits (2024) titles in Hi-Res.

Une sélection de 40 titres Glam Rock & Neo-Glam en Hi-Res, avec David Bowie, Alice Cooper, Iggy Pop & The Stooges, New York Dolls, Lou Reed, Kiss, Bryan Ferry, Ace Frehley, Elton John, The Tubes, Japan, Rod Stewart, Sparks, Heart, Suede, The Lemon Twiggs, Art d'Ecco..

The evolution of Congolese popular music in the 1960s and 70s is generally classified into two major schools: African Jazz & OK Jazz. The main representatives of those schools are Joseph Kabasele alias Grand Kallé, founder of African Jazz, and Franco Luambo, co-founder of O.K. Jazz. Two temperaments and ambiances, one commonly referred to as ‘fiesta’, the other as ‘odemba’, both seeking their own sublimity or ideal. For the very first time, a compilation brings together explicitly the main protagonists of the two bands on the same album, with a collection of their songs recorded in the early sixties for the Surboum African Jazz label, in addition to three tracks made by Kallé’s bands in the late sixties.- The heirs of Joseph Kabasele and Franco Luambo kindly gave permission in Kinshasa to release this original selection on Planet Ilunga about these virtuosi of Congolese Rumba on Planet Ilunga.

This second volume of the collected original compositions of David “Dawg” Grisman is comprised of works written between 1963 and 1975, compiled chronologically in the order in which they were written. These performances were selected by the composer and include 10 previously unissued tracks featuring David with Hal Blaine, Ray Brown, Jethro Burns, Tommy Emmanuel, Stephane Grappelli, Tony Rice, John Sebastian, Martin Taylor, Frank Vignola, Denny Zeitlin, and many others.

he songs on Touch, the first new Tortoise music in nine years, are dramas without words. They’re elaborately appointed and carefully mixed to enhance a familiar feeling — a distinctly cinematic uneasiness. Close your eyes and you might see cars swerving around unlit rural roads, or cityscapes at night with bells clanging in the distance, or some abandoned warehouse where spies chase each other between towering stacks of boxes. The making of Touch is an entirely different kind of film — a heartwarming story of musicians adapting to life circumstances. Tortoise operates as a collective; the five multi-instrumentalists make records by committee, seeking input on creative decisions large and small. All ideas are considered, and for most of the band’s influential three-decade run, the process has been straightforward: Each musician brings in songs or sketches, and as the group absorbs them, the players exchange ideas about the structure, instrumentation, different grooves or (more frequently, because they’re Tortoise) odd metric divisions that might stretch the initial conception of the song.

The 8-Bit Big Band’s fifth studio release expands its “Great Video Game Songbook” with a widescreen, 70-minute voyage through large-ensemble jazz. Conductor/arranger Charlie Rosen marshals a New York-based 30-piece orchestra—plus special guests Matthew Whitaker, Martina DaSilva, Michael Rodriguez and others—to transform twelve iconic game themes (from Wii Sports, Metroid, Super Mario, Persona 5, Sonic 2, Undertale and more) into horn-driven extravaganzas. Earth, Wind & Fire-style funk fanfares, Afro-Cuban grooves, bossa-nova balladry, hard-swinging big-band charts, gospel praise breaks and even Rage-Against-the-Machine–tinged brass rock all collide in a jubilant affirmation that game music belongs on the same pedestal as the American jazz canon.

Lilian Terry (1930–2023) was born in Cairo and raised in Rome. A pioneering jazz singer on Italian television in the 1950s, she recorded actively between 1957 and 1963 with top Italian musicians —Romano Mussolini, Oscar Valdambrini, Gianni Basso, Enrico Intra, Dino Piana, Sergio Fanni— and international artists like George Gruntz, George Joyner, and Buster Smith. She sang jazz standards in English and Italian, always with elegance and emotional depth. “Lilian Terry sounds the most American of the handful of European singers who have made it in jazz, yet she has the most international background of them all,” said producer George Avakian. Her voice was pretty and expressive, marked by beat, feeling, good intonation, and a flexible, intimate quality that made her unlike anyone else. A tireless jazz promoter, she gradually shifted her focus to organizing events and educational projects aimed at promoting jazz awareness. For all these qualities—and her enduring contributions as a jazz artist—she is rightfully considered Italy’s First Lady of Jazz.