Montsalvatge & Surinach - Piano Concertos - Alicia De Larrocha (DECCA Eloquence)
EAC 099pb4 Rip | APE+CUE, LOGs | 1 CD | 75:35 min | 325 MB | 300 dpi PDF Complete Scans
Genre: Classical - 20th Century | Label: Decca Australian Eloquence

This is not going to be an "objective" review, because I specifically asked that Australian Eloquence issue this compilation for the express purpose of bringing back into the catalog the Surinach Piano Concerto, a dazzling, hell-for-leather contemporary Spanish romp that would bring the house down in a live setting, and that has never been released on CD until now. The truth is, I heard it on my car radio in 1984 and sat transfixed in a parking lot, engine running, late for work, until it was done. Then I ran to my local Tower Records to buy it, only to find that it was out of print (it was recorded in 1977). I couldn't find it used, and never heard it again. I was extremely annoyed that Decca Legends released the equally gorgeous and little-known Montsalvatge Concerto Breve (which isn't so "breve" after all, lasting about 25 minutes) in tandem with a miscellany of solo works, when the Surinach would have made the perfect coupling. All of the material included here is vintage Larrocha. The Albéniz and Turina performances are famous and highly regarded anyway, making this CD the ultimate 20th-century Spanish piano concerto collection that does not include the ubiquitous Nights in the Gardens of Spain. So aside from saying that the performances are spectacular, the sonics are terrific, and coming clean about my complicity in this enterprise, I'm just going to limit myself to a heartfelt "Thank you!" I hope that you agree.

Miles Davis - Bitches Brew [180g Columbia Legacy Vinyl reissue] 24bit/96kHz LP Rip
Vinyl rip in 24-bit/96kHz | FLAC (TRACKS) , m3u | Stereo | 1,8 Go | RAR Recovery | 1969
Styles: Jazz | RapidShare Download

The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. John F. Szwed

En 1969, en plein mois d'août, Miles Davis convoque ses musiciens en studio. Encore au début de sa période électrique, il a en tête un double album, rien de précis, juste quelques idées, quelques accords et de vagues lignes mélodiques.Il compte sur Wayne Shorter et Joseph Zawinul pour lui fournir des thèmes que lui-même arrangera. Les autres compositions, ils les créeront sur place, tous ensemble. Miles ordonne à Teo Macero, son producteur, de tout enregistrer. Sur ses indications, ses petits gars peuvent improviser des heures, inventer un jazz d'une richesse inouïe. Canaliser leurs discours, Miles sait le faire. Depuis In A Silent Way sa formation s'est encore étoffée. Il possède une douzaine d'hommes en charge des couleurs, du tissu sonore autour duquel il organisera leurs échanges. Depuis quelques mois, sa musique est radicalement nouvelle. Avec Bitches Brew elle l'est plus encore. Miles le visionnaire emprunte partout mais sa fusion, très personnelle, est à l'image de son génie. –Pierre de Chocqueuse