24 Bit Hi Res Flac

Former Dire Straits leader Mark Knopfler's second proper solo album (he's remained preoccupied with soundtrack work through the years) is a stirring and considered set of transatlantic blues. The collection is bolstered by contributions from Van Morrison ("The Last Laugh") and James Taylor (the title track), while Knopfler's guitar playing remains fresh and alive as he merges country and folk picking with electric blues. But it's as a writer that he really impresses: "Baloney Again" is a sensitive portrayal of a black gospel outfit in Jim Crow America; the title track is an intriguing distillation of Thomas Pynchon's doorstopper novel, Mason & Dixon; and "Silvertown Blues" is a stirring appreciation of blue-collar endeavor. A lovingly and honestly crafted collection, Sailing to Philadelphia shows Knopfler's talent and commitment remain as strong as ever.

1976's THOROUGHBRED was Carole King's last album for Lou Adler's Ode Records imprint, and it's clearly a transitional release. Change was afoot in the musical air in 1976, and while there's no hints of punk or disco on THOROUGHBRED–which is a good thing–King is definitely moving away from the solo piano sound of her earlier solo albums. King's thumping, percussive piano playing is still all over the album, but guitars play a more prominent role than ever before. At times, the instrumental interplay resembles that of Fleetwood Mac, particularly Waddy Wachtel's Lindsey Buckingham-like solo on "Only Love Is Real." The songs themselves are in the eclectic style of 1973's all-over-the-map FANTASY, with the country-tinged "We All Have To Be Alone" and "Ambrosia" sitting comfortably between the slinky pop of "I'd Like To Know You Better" and the soulful "Still Here Thinking of You."

Fleetwood Mac had existed for more than a dozen years before they issued their first authorized concert recording – sort of astonishing given their reputation as a fine live act going all the way back to 1967.

As Blackfield, the duo of Aviv Geffen and Steven Wilson has worked together intermittently across 22 years, going back to 2000. The entirety of the project's output through to 2017 is captured on An Accident of Stars: 2004-2017.

Released in 1962 on the Contemporary Records label, “The Cry!” Is a free jazz album by saxophonists Prince Lasha and Sonny Simmons. Also featured are Gary Peacock and Mark Proctor (bass), and Gene Stone (drums). This new edition features remastered hi-res audio from the original tapes.

Drawing on historical texts, Fabrice Bollon’s opera The Folly focuses on Erasmus of Rotterdam, the influential Renaissance reformer, cosmopolitan humanist and intellectual, who, in old age, reflects on the events of his life. Past and present converge as fictional figures from his books or real-life antagonists appear in much the same way as Bollon merges periods through his creative use of several 16th-century compositions. Set in an age of polarised extremism that reflects our own times, Erasmus’s humanism requires vigilance, defence and reinvention.

The Ukrainian born pianist Alena Cherny found her own way to music. As a passionate pianist, she studied at the Tchaikovsky Conservatory in Kiev and then pursued solo studies at the Staatliche Hochschule für Musik in Freiburg im Breisgau, graduating in each case with flying colours. Extensive recital tours in the USA, in England, Israel, Germany, Italy, Austria and Japan made her name known in the leading music centres of the Western world.

This is the most important Tim Buckley release since Dream Letter, featuring a singular performance with a jazz-rock lineup that calls to mind Van Morrison’s Astral Weeks. Buckley, father of Jeff Buckley, made his mark with his Southern California folk-rock sound and four-octave vocal range.

The third volume of Bare Bones collects 16 alternate duo arrangements of songs that were released on Garcia/Grisman, Not For Kids Only, Shady Grove, Been All Around This World and even Volume II of this series. The program includes many of the very first performances of the classic tunes the duo recorded. This project is available in the sonically superior Hi-Definition (24-bit, 96 kHz) format.

This unique project features previously unissued bluegrass studio performances by David “Dawg” Grisman with legendary friends, colleagues and heroes — Vassar Clements, Red Allen, Del McCoury, John Hartford, Herb Pedersen and the Nashville Bluegrass Band, to name a few. Highlights of this collection from the Dawg Archives are several tracks featuring Tony Rice singing with Earl Scruggs picking his iconic banjo and Jerry Garcia and Ralph Stanley rendering the classic “Man of Constant Sorrow.” Mastered in the sonically superior Hi-Definition (24-bit, 96kHz), this is a must have collection for every serious lover of traditional bluegrass music.