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Thanks to the hard work carried out in cooperation with recording studios as well as an increasing number of music labels (Plus Loin Music, Bee Jazz, Ambronay Editions, Zig Zag Territoires, ECM, Mirare, Aeolus, Ondine, Winter & Winter, Laborie, etc.), Qobuz now offers a rapidly-growing selection of new releases and back catalogue records in 24-bit HD quality. These albums reproduce exactly the sound from the studio recording, and offer a more comfortable listening experience that exceeds the sound quality of a CD (typically \"reduced\" for mastering at 44.1kHz/16-bit). \"Qobuz HD\" files are DRM-free and are 100% compatible with both Mac and PC. Moving away from the MP3-focused approach that has evolved over recent years at the expense of sound quality, Qobuz provides the sound calibre expected by all music lovers, allowing them to enjoy both the convenience and quality of online music.

Opmerking 24-bit HD albums sold by Qobuz are created by our labels directly. They are not re-encoded using SACD and we guarantee their direct source. In order to continue on this path, we prohibit any tampering with the product.

10245 albums gesorteerd op Best verkocht en gefilterd op Soul/Funk/R&B
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Soul - Verschenen op 1 november 2019 | Polydor Records

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His third album is entitled Kiwanuka… does that mean that Michael Kiwanuka has finally come to peace with himself? Since starting out in 2012, the Londoner has not stopped questioning his place in the arts, his relationship to his musical influences, his own identity and his role in a society still plagued by racism… Following the release of his brilliant debut album Home Again, Kiwanuka was inaugurated as the next big thing for contemporary soul. His thought-provoking soul was blended with Terry Callier-style folk and scents of the seventies. Some even compared him to Bill Withers, Otis Redding and Marvin Gaye! On his second album, Love & Hate, released in 2016, the songwriter explored his rock side without forgetting his gospel and soul roots, and was joined by Danger Mouse in the production studio.Kiwanuka walks in the footsteps of the artist’s previous records: the lyrics are still politically engaged and the instrumentals just as rich, though he seems more relaxed on this album. Danger Mouse is once again behind the production console, this time adding a new dimension and strength to the sound: we find cinematic soul, larger-than-life gospel, funky wah-wah guitars, sensual strings, big bass, long instrumentals… we could go on! It’s all there right from the opening track You Ain’t The Problem, a real masterpiece of soul. Michael Kiwanuka has never tried to hide his love for Marvin Gaye and What’s Going On (his favourite album of all time) and Trouble Man often come to mind, even if the two men’s voices are fundamentally different. This third work from the 32-year-old Brit reveals an unprecedented density. And each time you listen you notice something new, be it a subtle arrangement, a thoughtful lyric or a thinly disguised instrument. A magnificent album. © Marc Zisman/Qobuz
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Soul - Verschenen op 1 januari 2014 | Motown

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R&B - Verschenen op 20 maart 2020 | Republic Records

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Abel Tesfaye, aka The Weeknd, is back with his anticipated fourth album After Hours, an intoxicating R&B record that feels like a natural progression from its predecessors. After 2016’s Starboy and the EP My Dear Melancholy 2 years later, the chart-topping singer made his acting debut in the Netflix thriller Uncut Gems alongside Adam Sandler. This may have been behind the inspiration for this new character the singer portrays with a broken nose, leather gloves and deep red tux in the album cover and the music video for lead single Blinding Lights, reminiscent of A-Ha’s Take On Me, the new wave from the 1980s and its synthwave revival. “I don’t like to leave my house too much. It’s a gift and a curse but it helps me give undivided attention to my work… It distracts from the loneliness, I guess”, confesses the Canadian. Unlike Starboy, there are no features on this album, The Weeknd choosing instead to invite a range of top tier producers to refine the music: Metro Boomin on the epilogue Until I Bleed Out, Tame Impala’s Kevin Parker on Repeat After Me (Interlude), the loyal Illangelo, vaporwave pioneer Oneohtrix Point Never for Scared to Live and even hitmaker Max Martin (Taylor Swift, Katy Perry, Britney Spears) for the pop-sounding Save Your Tears, resulting in 14 tracks that blend soul, R&B and new wave nuances. ©️ Charlotte Saintoin/Qobuz
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Soul/Funk/R&B - Verschenen op 31 januari 2020 | Wagram Music - 3ème Bureau

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Her label originally suggested an album of covers, but Ayo has too many personal things to express to accept such an offer. Perhaps relics of this original idea, three pre-existing songs are nevertheless present on the track list of this fifth album from the German-Nigerian singer: Né quelque part by Maxime Le Forestier, Throw It Away by Abbey Lincoln and Fool’s Gold by the late Lhasa. The artist who made a name for herself in 2007 with her hit Down On My Knees casts aside the folk guitar that she seemed so inseparable from previously, in order to focus on her voice, which is lit up by Freddy Koella’s stripped back arrangements. Ayo transports her clear vocals and warm interpretations to the core these infinitely delicate songs (Rest Assured, with its hesitant piano), tender and sensitive (Fix Me Up and its bluesy guitars), but also sometimes groovy (Afro Blue, which only features a cymbal and a pizzicato double bass). Among some other gems of the album are some slower retro tracks (Just Like I Can’t) and a surprising piece which blends rhythmic reggae and nostalgic jazz (I’m in Love). At the crossroads between soul and folk, Ayo’s graceful, sensitive and intimate melodies make you glad she chose to offer up some original tracks. © Nicolas Magenham/Qobuz
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Soul/Funk/R&B - Verschenen op 30 november 1982 | Epic

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Exceptional Sound Recording - Hi-Res Audio
Thriller was misschien wel berekend om het grootst mogelijke publiek aan te spreken, maar de schaamteloze brutaliteit van die berekeningen (wie anders had eraan gedacht om metal-virtuoos Eddie Van Halen te vragen om mee te spelen in een disco-nummer?) verdwijnt in het niets door het succes ervan. Enkel op dit album kan een lieftallig nummer als "Human Nature" zomaar naast het stoere "Beat It,", de sentimentaliteit van het duet met Paul McCartney "The Girl Is Mine," en het bruisende "P.Y.T.." staan. Hoewel dit inderdaad leuk is, voel je de paranoia van "Billie Jean" en zorgt het uitzinnige "Wanna Be Startin' Something," voor een emotioneel houvast op Thriller. © Stephen Thomas Erlewine /TiVo
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R&B - Verschenen op 27 oktober 2006 | Universal-Island Records Ltd.

Hi-Res Onderscheidingen The Qobuz Ideal Discography
With her tragic early death (though hardly surprising given Amy Winehouse's lifestyle) a truly unique voice of contemporary soul stopped singing on July 23, 2011. She has a voice that should never be overshadowed either by her chaotic life covering the pages of British tabloids, or by her struggles with alcohol and drugs, or even the hundreds of videos of failed concerts on YouTube... When the Winehouse phenomenon exploded with this second album, the sublime Back To Black being far superior to her first record Frank, soul music was going through a slump with hollow, syrupy R&B singers and sanitized productions flooding the scene. Few people tried to develop the path established by Aretha Franklin, Ann Peebles, Nina Simone, Tina Turner, Dinah Washington and Marlena Shaw. But then along came Amy Winehouse, with her incredible timbre, her genuine songs (which she wrote herself, unlike 90% of her peers), her vintage-tinged productions (which were never passé) and brass-filled instrumentation. To top it all off, even her image was distinctive: 50’s beehive, biker tattoos and a cheeky attitude. Back To Black topped the charts for months all over the world, and it's still a real masterpiece of soul music and R&B. When critical opinion meets popular opinion – something relatively rare that’s worth underlining - the enjoyment is only tenfold. © Marc Zisman/Qobuz
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Soul - Verschenen op 1 januari 1973 | Motown

Hi-Res Onderscheidingen The Qobuz Ideal Discography
At 23 years of age, Stevie Wonder’s music is in its innovative stages in Innervisions, released on August 3, 1973. Playing all kinds of instruments, featuring musicians such as Jeff Beck, Ray Parker Jr., David Sanborn and Buzz Feiten, and touching on a range of themes from drugs, ghetto, spirituality, politics, racism and of course love with a big L, Michigan’s musical genius manages to create the ultimate fusion of soul, rhythm’n’blues, funk and pop. The sound of his synthesisers was unprecedented at the time and works well with this spiritual soul music that is full of crazy melodies. Innervisions provides the perfect soundtrack for difficult times in America, like in Living for The City where Stevie recalls the trials and tribulations of a young black man from Mississippi who went to New York for a job he would never get, before ending up behind bars (to make his 7-minute composition even more realistic, he incorporates street recordings, siren sounds and arrest-dialogues). With He’s Misstra Know-It-All, Stevie takes a thinly-veiled dig against the incumbent president, Richard Nixon. This album is the perfect addition to Marvin Gaye’s What’s Going On released two years earlier as we leave the blues behind and embrace the broken American dream instead. It’s also very personal for Stevie Wonder, who has the original Innervisions cover engraved in braille, “This is my music. It’s all I have to say to you and all that I feel. Know that your love helps mine to stay strong”. © Marc Zisman/Qobuz
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Funk - Verschenen op 6 september 2019 | Rhino - Warner Records

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Previously unreleased albums from Miles Davis are few and far between. So this record, released by Warner Bros. and Rhino in September 2019, is exciting to say the least. Recorded in 1985, these pieces were not strictly written during the trumpeter’s heyday. That year, Miles shocked everybody by leaving Columbia, his record label for over 30 years, to join Warner. The move was all the more surprising given that over the preceding few years he had enjoyed commercial success thanks to The Man With the Horn (1981), Star People (1983), Decoy (1984) and the rather commercialised You're Under Arrest (1985). In October, at the age of 59, he began recording a new album entitled Rubberband in Los Angeles with producers Randy Hall and Zane Giles. During the sessions the trumpeter took his playing in a radically new direction, incorporating funk and soul grooves into his music. He even planned on recruiting Al Jarreau and Chaka Khan for the vocals. However, the album was never released and instead Miles Davis turned his attention to working on his famous Tutu with Marcus Miller, leaving Rubberband’s tracks unreleased for over three decades. But now, the treasure chest has been finally opened. The album was completed by its original producers - Hall and Giles – along with Vince Wilburn Jr., Miles Davis’ nephew who played the drums in the original sessions. The eighties synth-drenched sound features a funk/disco rhythm section. In fact, some tracks, on which Miles is rather discreet, do not sound jazzy at all (especially those featuring vocals by Ledisi and Lalah Hathaway). In any case, it is impossible to listen to Rubberband, which was conceived with keyboardists Adam Holzman, Neil Larsen and Wayne Linsey, percussionist Steve Reid, saxophonist Glen Burris and drummer Vince Wilburn, Jr., without thinking about that very distinct musical period. Nevertheless, on themes such as See I See, Miles’ distinctive phrases are still as impressive as ever. And throughout the album he unleashes a few soaring solos. More than enough to satisfy his fans anyway. © Max Dembo/Qobuz
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Disco - Verschenen op 27 oktober 2014 | Malligator Préférence

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Soul - Verschenen op 21 juni 2019 | ATO Records

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Some albums make you smile from the opening track. You might take another look at the title and the artist, to try and commit them to memory. Then, you might get a bit bored; maybe your attention will lapse. You listen to the next song but stop there. After a brief feeling of guilt, you’ve already moved on to another album and all memory of it fades. Black Pumas is quite the opposite. Rarely in 2019 can an album hold your attention for 39 minutes 41 seconds, as well as force you to immediately abandon what you are doing and listen like your life depends on it. From the opening lyrics of Black Moon Rising, you’re already sold. Eric Burton’s voice, a sumptuous blend of Stevie Wonder, Ray Charles and Gnarls Barkley, is a revelation, with each syllable and each inflection perfectly hitting the mark. But this is only one half of Black Pumas; the other half is guitarist, composer and arranger Adrian Quesada, who has performed with Grupo Fantasma, Brownout, Prince and Daniel Johnston. From the songwriting to his prominent rhythmic guitar that doesn’t overshadow Burton’s voice like others have done in the past, it is clear that Quesada played an important role in the creation of these 10 retro-soul songs, jumping between Motown instrumentals, hip-hop rhythms, tranquility and violence. Touch the Sky uses an ultra-groovy riff as the track’s introduction that merges into the mix and complements the vocal melodies. Having become very accustomed with his producing hat, Quesada knows that he is not the star of the show, which is exactly what makes this duo so magical. Burton says: “It’s like we’re musical brothers to some degree [...] It feels so easy to meld together that what’s most important for us now is to continue to look for new sounds.” Black Pumas may be a soul album, but this free approach can be heard on the last track Sweet Conversation in which an acoustic guitar arpeggio repeats itself like a psychedelic lullaby, while Burton sings “You know my heart’s on the pavement / but my soul’s steady grooving”. With this folk-esque sound, and the jerky rhythms of Know You Better that are marked by gospel choirs and unusual chord progressions, the duo make their intentions clear, adding “We didn’t want to just do throwback soul and pretend that hip-hop never happened”, an admirable approach in an era where retro pastiches are already abundant. The result is a brilliant album that promises a radiant future for the Burton-Quesada pair. We certainly haven’t heard the last of them. © Alexis Renaudat/Qobuz
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Soul - Verschenen op 1 januari 2014 | Motown

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Soul - Verschenen op 1 januari 2014 | Motown

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R&B - Verschenen op 1 november 2019 | Stones Throw

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More than 10,000 kilometres separate Khartoum and Cleveland. A distance erased in one fell swoop by Brittney Parks, aka Sudan Archives, on her magnificent first album, Athena. At 24 years old, the self-taught American who grew up in Ohio builds some unlikely yet strong bridges between the sounds of the continents. And her contemporary, languid and dreamy soul is unlike any other… The violin, prevalent in the Sudanese music which she admires so much, is her tool of preference. It’s a sound that she meshes together with electro and some light hip hop beats. In 2016, Sudan Archives even covered Kendrick Lamar’s King Kunta (re-baptised Queen Kunta) using just her voice, the violin and an effect pedal. Her unusual musical fusions were conceived from a revelation the Los Angeles-based artist had while listening to recordings by the Cameroonian Francis Bebey, an artist who himself blended African music with minimalist electro. On Athena, released on Stones Throw, the excellent Californian label started by Peanut Butter Wolf which specialises in underground rap and kooky funk, Sudan Archives certainly draws on the legacy of the queens of underground soul (Erykah Badu, Solange) all the while retaining her originality. And her futuristic afro-R&B, which has layers upon layers of different sounds, shows enough avant-garde talent to make her stand out from the crowd. A shock, but a sweet one. © Marc Zisman/Qobuz
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R&B - Verschenen op 2 februari 2018 | Ensoul Records

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Soul - Verschenen op 15 juli 2016 | Polydor Records

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
28-year-old Michael Kiwanuka's second album, Love & Hate, comes 4 years after his first, and with it, a more refined sound. The same soulful tones that gave Kiwanuka such a broad following remain the focal point of the new album, as do the lilting melodies and baleful lyrics, but thanks to producers Dangermouse and Inflo, as well as a huge supporting cast of musicians, this album manages to throw the punch we were promised by the first. Beginning with a 9 minute, Pink Floyd inspired 'opus', the album feels expansive and varied. It feels like a coming of age record, a musical maturation for this singer, who is already being hailed as one of the greatest voices around. Ranging from sweeping orchestral arrangements to melancholy introspections, this second effort seems more mature and measured, but remains a 'nearly' moment. Overdone and overloaded, this second album has lost some of the immediacy and realness that made the first stand out. Kiwanuka's voice is sometimes overwhelmed by the size and scale of the arrangements, rather than playing to his strengths. Nevertheless, the overall quality of the record will undoubtedly make it a big winner this year. RK/Qobuz
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Soul - Verschenen op 30 maart 2015 | Because Music

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Reason is het tweede studioalbum van de Belgische zangeres Selah Sue. Trokken op haar debuutalbum uit 2011 vooral haar rauwe (soul)vocalen de aandacht, op de opvolger klinkt de zangeres wat gepolijster. Datzelfde kan ook gezegd worden van de muziek op het nieuwe album. De plaat is geproduceerd door gerenommeerde producers Robin Hannibal (Rhye, Kendrick Lamar) en Ludwig Goransson (Childish Gambino, Haim) en biedt een crossover soul, pop en R&B, aangevuld met uitstapjes naar funk, triphop en hiphop. © TiVo
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Soul/Funk/R&B - Verschenen op 21 maart 2018 | Epic - Legacy

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Soul - Verschenen op 1 januari 2014 | Motown

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R&B - Verschenen op 15 mei 2020 | Because Music

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Soul - Verschenen op 1 mei 1971 | Columbia - Legacy

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