Classic Porsche From 16 June From 20 July 2016

Distortland, the ninth studio LP from Portland, Oregon quartet the Dandy Warhols, continues the band's post-Odditorium maturation, taming a bit of their edge. As singer Courtney Taylor-Taylor acknowledges on "The Grow Up Song," "I've got to admit, I'm too old for this shit." With less sleaze and more reflection, the Dandies retain their wit with a wink, but aren't as sneering as on prior releases. While their most popular hits tend to veer toward the infectious pop side of the spectrum, most of their albums contain a hefty amount of trippy dreamscapes. Distortland isn't as in-your-face as the more muscular tracks on This Machine, nor is it as shiny as Welcome to the Monkey House. Without any immediate hits like "We Used to Be Friends" or "Bohemian Like You," the band seems to have left behind that commercial urge on Distortland, instead focusing on vibes and sensations.

Here comes Rudie outlaw hero of Jamaican legend. And this is his album: rough, tough and full of the stuff that has rocked generations. They're all here: Monkey Man, Liquidator, Django, Long Shot Kick De Bucket… reggae's original boss sound, plus a selection of super-rare gems that will have you skanking and doing the rock steady for years. This is Rude Boy Ska! Includes detailed sleevenotes in an 8-page booklet.

In the late 1950s and early 1960s R&B stood for ‘rhythm and blues’ - a term associated with some of the most joyous and vibrant popular music ever made. More diverse than the blues, R&B was basically the forerunner of Soul music, and the black equivalent of rock ‘n’ roll: instrumentally energetic, with superb vocals delivered by heartfelt voices that had (mostly) learned to sing in gospel choirs. This 40-track compilation is a combination of well-known hits and real obscurities, but it’s all solidly good stuff. All in all, you’ll certainly find more than enough in this compilation to set those good times rolling again.

Orange Mountain Music presents this new limited edition 11 disc boxed set - The Symphonies by Philip Glass. This collection features conductor Dennis Russell Davies who has arranged the commission of nine of ten Glass symphonies, leading the orchestras over which he has presided during the past 15 years including the Bruckner Orchester Linz, Vienna Radio Symphony Orchestra, Sinfonieorchester Basel, and the Stuttgart Chamber Orchestra. This collection is the fruit of a 20 year collaboration between Glass and Davies and showcases a wide variety within this surprising body of work by Glass.

Versailles: its court, its atmosphere and its music… So many splendours emblematic of a monument with an incomparably rich history. The works associated with the palace have travelled down the centuries and today represent a precious part of our heritage. In this ten-CD set, Alpha retraces the musical life of the unique and luminous universe of Versailles. Le Poème Harmonique, Café Zimmermann, Capriccio Stravagante and many others invite themselves into the company of Jean-Baptiste Lully, Marc-Antoine Charpentier and Jean-Henry d’Anglebert and share with us for a few hours the sumptuous concerts that made Versailles a place like no other.

Carmen McRae - Black Magic Live (1995) {Jazz Hour ‎JHR73558 rec 1979-1981}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 302 Mb | MP3 @320 -> 148 Mb
Full Artwork @ 300 dpi (jpg) -> 10 Mb | 5% repair rar
© 1979-81, 1995 Jazz Hour ‎| JHR 73558
Jazz / Vocal Jazz / Bop / Standards / Soul Jazz

Carmen McRae always had a nice voice (if not on the impossible level of an Ella Fitzgerald or Sarah Vaughan) but it was her behind-the-beat phrasing and ironic interpretations of lyrics that made her most memorable. She studied piano early on and had her first important job singing with Benny Carter's big band (1944), but it would be another decade before her career had really gained much momentum. McRae married and divorced Kenny Clarke in the '40s, worked with Count Basie (briefly) and Mercer Ellington (1946-1947), and became the intermission singer and pianist at several New York clubs.

This live double album features Coco Montoya and his band on the Road, as part of a RUF records series of on The Road albums delivered from their catalogue of blues artists. The opening track I Got A Mind To Travel, is an apt starting point and introduces us to the full band of musicians Coco Montoya uses to augment his vocal and guitar skills the use of Hammond Organ delivered with panache by Brant Leeper who also adds to the vocals. Throughout the album there are glimpses of Coco Montoya’s exceptional musical career especially the influence he certainly gives the feel of movement and the guitar sound is an homage to his old boss Albert Collins while playing the guitar left-handed and upside down like the other Albert King! Coco’s playing is instinctive full of fluidity. The whole album is easy on your ear and an enjoyable listening experience BUT at times you want Coco to let loose and really show us what he is capable of. On Love Jail his guitar takes on the shape and form of Albert Collins and all the better for it, even his vocals strengthen as the beat picks up, this is a stylish ten minute track. This album has fourteen tracks where Coco and his band just want to please as they play for the length of time need ( Never less than 5 minutes and up to a mighty 15 minutes) to explore all the alleyways and nooks and crannies they feel the music is taking them on their journey of discovery with you, there is freedom of expression that only live music free from the constrains of a studio walls and mixing desk.

A new opportunity to hear the glorious virtuosity of Roberta Invernizzi comes with this Lamentationi, where the soprano is joined by Franco Pavan’s Laboratorio ’600 in an intimate and intense Passiontide score from mid seventeenth-century Siena: Alessandro Della Ciaia’s set of the Lamentations of Jeremiah. Convents throughout Siena at the time boasted nuns of considerable musical talents, both in singing and in playing instruments such as the organ, lute and theorbo, and it is undoubtedly for one such convent that the nobleman Della Ciaia wrote his music for the Holy Weeks matins services. His Lamentations are scored for a solo soprano possessed of a very wide range and capable of meeting his demanding technical effects.