24bit Rar

Marta Gómez - Entre Cada Palabra (Chesky Records JD301) (96kHz/24bit) (2006)

Marta Gómez - Entre Cada Palabra (Chesky Records JD301) (96kHz/24bit) (2006)
FLAC (14 Tracks) - No CUE - No LOG | Covers (PDF file) | TT 54:10 | 1.05 GB
MP3 CBR 320 Kbps (resampled to 44.1kHz/16bit) | 135 MB
Latin / Colombian | Label: Chesky Records | Hi-Res Download | 96kHz/24bit | RAR 3% Rec. | RS.com

Colombian jazz-folk singer-composer Gomez has achieved a charming synthesis of old and new, past and present. Her compositions are a travelogue of South and Central American, Caribbean and European influences. She moves fluidly between Peruvian lando, Argentinean chamame and Cuban son, weaving African-derived rhythms and percussions over the plaintive melodies of indigenous peoples or descended from Spanish conquistadores, whose own songs incorporated Sephardic Jewish and Moorish sounds. Recorded at New York’s Saint Peter’s Church, which is equally famous for its jazz ministry and warm acoustics, her clear, crooning mezzo-soprano is supported by an intimate combo of strings, woodwinds and percussion, plus an occasional accordion. In such a setting and in the hands of such talented performers, the special timbre of each instrument is appreciated anew and even handclaps take on an almost orchestral importance. One delightful stand-out is a Mexican ranchera-infused treatment of "Cielito Lindo." A chestnut if there ever was one, Gomez’ tender interpretation reflects love for her mother (whose name is Cielo – "Cielito" is the diminutive) and a sense that even familiar things may harbor unexpected surprises. –Christina Roden

Loopmasters - Deep Tech and Minimal House 24bit  Software

Posted by obloy333 at March 19, 2009
Loopmasters - Deep Tech and Minimal House 24bit

Loopmasters - Deep Tech and Minimal House 24bit | 760 MB

Deep, Tech and Minimal House is a vast collection of supremely recorded 24 bit samples for cutting edge producers looking for a quality selection of Underground Minimal Sounds, recorded and produced by legendary house producer Andy Lee.
Sonny Stitt - Stitt Plays Bird (1963) {Atlantic Japan WPCR-25116 Mini LP 24bit remastered rel 2006}

Sonny Stitt - Stitt Plays Bird (1963) {Atlantic Japan WPCR-25116 Mini LP 24bit remastered rel 2006}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 316 Mb | MP3 @320 -> 113 Mb
Full Artwork @ 600 dpi (png) -> 41 Mb | 5% repair rar | 24bit remastered | Mini LP
© 1963, 2006 Atlantic / Warner Music Japan | WPCR-25116
Jazz / Bebop / Bop / Saxophone

Special Feature / Bonus Track: 2 bonus tracks. After years of staying free of comparisons with Charlie Parker, Sonny Stitt steps confidently into a set of compositions by the late, great one – sounding really wonderful in his own interpretations of these classics! The album's got the same simple and focused still as Stitt's best work on Roost – and although the compositions are all by Bird, the overall sound is still very much Sonny's own – especially given the wonderful sense of space and timing brought to some of the performances! The group's an unusual one, especially for Stitt – and features John Lewis on piano, Jim Hall on guitar, Richard Davis on bass, and Connie Kay on drums – all offering a slightly more modern take on Bird than might be expected – especially through the angular lines on Hall's guitar.
The Duke Pearson Nonet - Honeybuns (1965) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27121}

The Duke Pearson Nonet - Honeybuns (1965) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27121}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 191 Mb | MP3 @320 -> 72 Mb
Full Artwork @ 300 dpi (jpg) -> 18 Mb | 5% repair rar | 24bit remaster
© 1965, 2012 Warner Japan / Atlantic / Rhino | WPCR-27121 | Jazz Best Collection 1000 Series
Jazz / Hard Bop / Post Bop / Piano

Features 24 bit digital remastering. Comes with a description. Other than "Our Love" (a familiar classical theme adapted to American pop music by Larry Clinton), all six selections are originals by the pianist. Utilizing a nonet that includes trumpeter Johnny Coles (who does his best to be soulful on "Honeybuns"), trombonist Garnett Brown, flutist Les Spann, altoist James Spaulding, tenor saxophonist George Coleman, baritonist Pepper Adams, bassist Bob Cranshaw, and drummer Mickey Roker, Pearson performs music in a style that would have fit in quite well on Blue Note. Most memorable among his originals is "Is That So." This is not an essential date, but it is nice to have this rarity back in print again.
Charles Lloyd - Forest Flower: Charles Lloyd At Monterey (1966) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27053}

Charles Lloyd - Forest Flower: Charles Lloyd At Monterey (1966) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27053}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 262 Mb | MP3 @320 -> 92 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar | 24bit remaster
© 1966, 2012 Warner Japan / Atlantic / Rhino | WPCR-27053 | Jazz Best Collection 1000 Series
Jazz / Hard Bop / Modal Music / Saxophone

Features 24 bit digital remastering. Comes with a description. When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable – though young – Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is "Forest Flower-Sunrise," the other "Sunset"), showcased the already fully developed imagination of Jarrett as a pianist.
Charles Lloyd - Soundtrack (1968) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27158}

Charles Lloyd - Soundtrack (1968) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27158}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 187 Mb | MP3 @320 -> 94 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar | 24bit remaster
© 1968, 2012 Warner Japan / Atlantic / Rhino | WPCR-27158 | Jazz Best Collection 1000 Series
Jazz / Hard Bop / Modal Music / Saxophone

Features 24 bit digital remastering. Comes with a description. Late in 1967, bassist Cecil McBee left Charles Lloyd's band and was replaced by Ron McClure. The jazz critics and public alike all held their breaths, since Lloyd's band had taken the entire world by storm on the festival circuit; playing Town Hall would surely be an acid test not only of McClure's ability to fill such a big space, but the band's as well – to see if the fire would continue to burn as it had previously. They needn't have worried. The gig, which is presented here as Soundtrack, stomps with all the fury of a live gospel choir trying to claim Saturday night for God instead of the other guy.
The Charles Lloyd Quartet - Love-In (1967) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27029}

The Charles Lloyd Quartet - Love-In (1967) {2012 Japan Jazz Best Collection 1000 Series 24bit WPCR-27029}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 277 Mb | MP3 @320 -> 106 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar | 24bit remaster
© 1967, 2012 Warner Japan / Atlantic / Rhino | WPCR-27029 | Jazz Best Collection 1000 Series
Jazz / Hard Bop / Modal Music / Saxophone

Features 24 bit digital remastering. Comes with a description. Issued in 1966, Love-In was the follow-up to the amazing Dream Weaver, the debut of the Charles Lloyd Quartet. Love-In was recorded after the 1966 summer blowout and showed a temporary personnel change: Cecil McBee had left the group and was replaced by Ron McClure. McClure didn't possess the aggressiveness of McBee, but he more than compensated with his knowledge of the modal techniques used by Coltrane and Coleman in their bands, and possessed an even more intricate lyricism to make up for his more demure physicality. Of the seven selections here, four are by Lloyd, two by pianist Keith Jarrett, and one by Lennon/McCartney ("Here, There and Everywhere").
The Hollies – Another Night (1975) Polydor/2442-128 – 1st UK Pressing - LP/FLAC In 24bit/96kHz

The Hollies – Another Night
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 800mb & 200mb
Label: Polydor/2442-128 | Released: 1975 | Genre: Classic-Rock

Another Night was a wholly unexpected album at the time of its release in February of 1975.
The Hollies’ 15th official album, it also marked the return of Allan Clarke to the lineup for the first time since Distant Light in 1971 — and it was, apart from one number, comprised entirely of group originals, a feat of songwriting acumen that the Hollies had not achieved since 1969’s Hollies Sing Hollies (which was sort of a “ringer” in that regard); and just as much to the point, all of the songs and recordings were pretty much first-rate, ranging widely from lyrical pop/rock to harder, edgier, album-oriented sides, with a couple of classic performances among them.
Joe Farrell - Upon This Rock (1974/2016) [Official Digital Download 24bit/192kHz]

Joe Farrell - Upon This Rock (1974/2016)
FLAC (tracks) 24 bit/192 kHz | Time - 37:03 minutes | 1,62 GB
Studio Master, Official Digital Download | Artwork: Front cover

Joseph Carl Firrantello, known as Joe Farrell, was an American jazz saxophonist and flautist. He is best known for a series of albums under his own name on the CTI record label and for playing in the initial incarnation of Chick Corea's "Return to Forever". "Upon This Rock" is his album, released in 1974.
Jackie Cain & Roy Kral - A Wilder Alias (1974/2016) [Official Digital Download 24bit/192kHz]

Jackie Cain & Roy Kral - A Wilder Alias (1974/2016)
FLAC (tracks) 24 bit/192 kHz | Time - 32:49 minutes | 1,43 GB
Studio Master, Official Digital Download | Artwork: Front cover

"A Wilder Alias" is an album by American vocalists Jackie Cain and Roy Kral featuring performances recorded in 1973 and released on the CTI label. The Allmusic review states "A Wilder Alias features the brilliant vocal interplay and crisply harmonized lines the two were known for, albeit in a more modal and experimental setting befitting the aesthetic of the time period… These are ambitious, funky, and somewhat fusion-style cuts that fans of '70s jazz should certainly check out".