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Rock - Verschenen op 1 maart 2019 | Tom Petty - Greatest Hits

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The title speaks for itself: The Best of Everything! It’s also a wink at the track recorded by Tom Petty and The Heartbreakers for their 1985 album Southern Accents… Tom Petty fans will know all that by heart, but even if this 38-track compilation is mostly aimed at newcomers, the album does include two rarities: an alternative version of the song The Best of Everything and the unpublished track For Real. As an ambassador of timeless rock’n’roll who left us in October 2017 at the age of 66, Tom Petty’s brilliance is perfectly encapsulated in this double album. Much like Bruce Springsteen, Petty was the flame bearer for a rock rebellion. While the topics of his lyrics were somewhat exhausted, he searched for the perfect song through his irresistible choruses and glorious melodies… Surrounded by the Heartbreakers, he was like a rock’n’roll mathematician who knew all the different theorems like the back of his hand, whether they were British (The Rolling Stones and The Beatles) or North American (Dylan and The Byrds), all the while adding his own unique sound. At the end of the 70's, Petty laid down his four aces: Tom Petty And The Heartbreakers (1976), You're Gonna Get It (1978), Damn The Torpedoes (1979) and Hard Promises (1981). They were classic, classy albums that were superbly written and performed, and we find many of the key tracks in this compilation. Punk, post-punk and new wave were big at the time and the styles fed into Petty’s music, proving that he could make something new out of something old. Or rather that he could take the rock he had grown up with (he was 15/20 years old in the 1965/1970 golden age) and give it a new energy... “What’s great, Tom Petty said in a 2006 interview, is when someone comes up to me on the street and more or less thanks me for all my work. They often call it the soundtrack to their lives. It's an incredible feeling. And that's all an artist asks for.” Perhaps The Best Of Everything - The Definitive Career Spanning Hits Collection 1976-2016 would be better off labelled under “film music”! © Marc Zisman/Qobuz
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Soul - Verschenen op 22 februari 2019 | Rhino

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Jazz - Verschenen op 15 maart 2019 | ACT Music

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Pop/Rock - Verschenen op 22 november 1968 | UMC (Universal Music Catalogue)

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After the amazing masterpieces of Revolver and Sergeant Pepper's, The Beatles dove back into the art of pure writing, bringing about a certain level of sobriety and leaving aside their recent psychadelic delusions, awesome as they were. Released in November 1968, this double White Album is a return to more refined pop and rock; the essence of their art. The title of the disc, The Beatles, does not manage to hide the growing dissension between the four musicians at the time, and their diverging personalities saw this album herald the beginning of the end for the Fab Four, and the budding of their future solo careers... Despite all of this, The Beatles managed to release a new and totally unique album here, which can be enjoyed step by step as a true emotional rollercoaster: The fantasy of Dear Prudence, the dark madness of Revolution 9, the legendary guitar solo in While My Guitar Gently Weeps, the labyrinth of Happiness Is A Warm Gun and Sexy Sadie, the emotion of Julia (which Lennon dedicated to his mother, who died when he was 17), the purity of Blackbird and the ultra-violent tsunami that is Helter Skelter… the White Album is a brilliant production, a new masterpiece from a group growing apart ... For its 50-year anniversary, this legendary double album makes a return in Deluxe Edition form, a well-deserved title. As well as the stereo remixed version by legendary producer George Martin's son, the original mono version (praised by purists for this format) and the famous Esher Demos there are 27 demo tracks of some famous hits recorded in Harrison’s home and three studio-session CDs. It’s a marvellous collection (107 tracks in total!) which let’s us further explore this glorious piece of work that still fascinates us 50 years after its creation… © Marc Zisman/Qobuz
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Vocale jazz - Verschenen op 22 februari 2019 | Mack Avenue Records

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Klassiek - Verschenen op 15 maart 2019 | Decca Music Group Ltd.

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Metal - Verschenen op 22 februari 2019 | InsideOutMusic

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Klassiek - Verschenen op 15 februari 2019 | Deutsche Grammophon

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Recorded in July 2018 at “Studio” - a new high-tech venue in the outskirts of Paris - this album (which was built entirely on Judith Fuchs' own idea) is dedicated to orphaned women in 19th century opera, between 1815 and 1850, who were struggling to escape the miserable conditions which they found themselves in. Following her huge success in 2018 in Rossini's Count Ory at the Opéra-Comique de Paris, Julie Fuchs was keen to further explore this repertoire. Conducted by Enrique Mazzola (a real “opera maestro”) the Orchestre National d'Île-de-France is dazzling in these operatic excerpts by Donizetti and Rossini, as well as - and most importantly – those by Pacini, Raimondi, Fioravanti, Berlioz, Barbieri and Meyerbeer. This album presents another opportunity for listeners to be won over by Fuchs’ sumptuous voice. The young French lyrical soprano first made a name for herself at the Festival d'Aix-en-Provence, before joining the opera ensemble at the Zurich Opera House in 2013. Further successes followed in Salzburg, Vienna and Paris as well as at the Teatro Real in Madrid. This incredibly versatile repertoire jumps from Mozart to Barbara, Cole Porter, George Crumb and Björk. Julie Fuchs knows no musical boundaries, performing with equal ease in opera as she does in concert next to the young pianist Alphonse Cemin. On Mademoiselle she sings in Italian, French and Spanish, journeying through romantic Bel Canto with a wonderfully original touch and revealing all aspects of her agile, sensual voice. © François Hudry/Qobuz
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Klassiek - Verschenen op 22 februari 2019 | Decca Music Group Ltd.

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Alternative en Indie - Verschenen op 15 maart 2019 | BMG Rights Management (US) LLC

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Klassiek - Verschenen op 8 maart 2019 | Deutsche Grammophon (DG)

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Jazz - Verschenen op 22 februari 2019 | Mack Avenue Records

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Klassiek - Verschenen op 22 februari 2019 | UMC - Decca Gold

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Jazz - Verschenen op 15 maart 2019 | Impulse!

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Saxophonist and clarinetist Shabaka Hutchings is a real connoisseur of sounds and fusions, and a true explorer. Each of his new musical expeditions pushes him further towards the top of today’s jazz scene… Born in London in 1984, he grew up under the Barbadian sun before moving back to England in 1999 where he joined the prestigious Guildhall School of Music and Drama. Here, he caught the attention of saxophonist Soweto Kinch and started hanging out with big names like Courtney Pine and Jerry Dammers from the Specials. In 2011, Shabaka launched Sons of Kemet, a surprising quartet featuring a tuba and two drums. A complete oddity, halfway between a marching band and a chamber orchestra, that blends jazz, Caribbean and African music, Egyptian influences, and flavours from New Orleans and Ethiopia. The aptly titled The Comet Is Coming – no relations to Sons Of Kemet – is another adaptation of jazz language. But does it still qualify as jazz? It doesn’t really matter. As a sort of electro-drip-fed Sun Ra of the third millennium, Shabaka Hutchings – who calls himself King Shabaka here – is supported by a duo composed of Danalogue on the keyboards and Betamax on drums and percussions. It’s a rather avant-garde programme set to overpowered percussive rhythmic and hypnotising brass improvisations. Sun Ra, as we said… It’s hard not to mention him who was idolised (or hated) for his lengthy compositions and mind-blowing, almost psychedelic performances as well as for the odd cosmic philosophy he preached. The Comet is Coming’s second album, Trust In The Lifeforce Of The Deep Mystery, remains profoundly attached to its time, in which Shabaka injects his philosophy with contemporary elements far removed from master Ra’s semantic like when he hands over the microphone to rapper/spoken-word performer Kate Tempest on Blood Of The Past. © Marc Zisman/Qobuz
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Jazz - Verschenen op 15 februari 2019 | ECM

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Solo double bass albums are few and far between. Those who have dared to venture into the barren territories are mostly adventurous jazzmen: Barre Phillips, Joëlle Léandre, Malachi Favors, Alan Silva, William Parker, Dave Holland, Michael Formanek, Miroslav Vitous, Ron Carter, Eberhard Weber, Henri Texier, Renaud Garcia-Fons, Jonas Hellborg and so on. The American musician Larry Grenadier has played with famous names such as Paul Motian or Pat Metheny, though most will know him for his work from the 25 years that he spent in Brad Mehldau’s Trio. Recorded at Avatar Studios in New York and produced by Manfred Eicher from ECM, The Gleaners is the result of introspection. "The process for making this record began with a look inward, an excavation into the core elements of who I am as a bass player", writes Grenadier in the cover notes. "It was a search for a center of sound and timbre, for the threads of harmony and rhythm that formulate the crux of a musical identity." He adds that it was originally Eicher’s idea, being a trained bassist himself. "Few people truly know how to treat the double bass sonically in the studio, but Manfred concentrates on bringing out its special qualities. In making The Gleaners, he was important in the editing and the mix, really helping me to shape the album." Larry Grenadier uses several techniques and tunings here to make the record come alive and offers up a vast sound palette. With seven original compositions (including one, Pettiford, which is dedicated to the double bassist Oscar Pettiford, his childhood idol), a cover of Gershwin's My Man's Gone Now and a medley of John Coltrane's Compassion and Paul Motian's The Owl of Cranston, The Gleaners displays a rather wide array of emotions and is beautifully unique. © Marc Zisman/Qobuz
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Jazz - Verschenen op 1 maart 2019 | Okeh - Sony Masterworks

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Last century, in the mid-eighties to be precise, Branford Marsalis and his brother Wynton were at the forefront of a new wave of post-bebop virtuosos. Dressed in Armani suits, their music was hugely successful. Some of the top performers in the jazz world criticised these youngsters for their approach, viewing it as regressive, backward-looking and even conservative. Back then, Wynton was the more orthodox player while Branford was the “cool guy”, largely thanks to Buckshot LeFonque, his 1994 project that mixed jazz, rap and R&B, and his work with DJ Premier from Gang Starr... Since then, this Battle of Hernani has been long forgotten and each of the Marsalis brothers has been left to develop their musical style in peace. Branford has even dared to be... daring! In 2014, for instance, he performed solo in Grace Cathedral in San Francisco, playing compositions by Carl Philipp Emanuel Bach and Steve Lacy. Two years later, he collaborated with the singer Kurt Elling on the album Upward Spiral. And here on this record, we find those same artists who supported him in 2016: pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner. The Secret Between the Shadow and the Soul reveals a 58-year-old musician who’s completely free. An artist who plays for himself and those who accompany him. No matter the style or the mood... Rarely has Branford's playing seemed so inspired, so adventurous, so... beautiful? Throughout the hard bop themes (Snake Hips Waltz by Andrew Hill), the atypical compositions (The Windup by Keith Jarrett) and his own compositions, he releases improvisations that are as breathtaking as they are accurate, with phrases that illustrate his lifelong commitment to music. © Marc Zisman/Qobuz
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Klassiek - Verschenen op 8 februari 2019 | Deutsche Grammophon

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The first great asset of this second album from Simon Graichy for the Yellow Label is the clarity of its recording which captures the exquisite sound of this Franco-Lebanese Mexican pianist and the intense energy with which he plays, especially in Schumann’s Humoreske. Its second great asset is that it includes Schumann’s very rare Etudes in Variation Form on a Theme by Beethoven based on the second movement of Ludwig van Beethoven’s symphony No.7, which many people may not be familiar with. The very first version was developed in the years 1831-32 and was scarcely recorded, but it is a true masterpiece from Schumann’s youth. To summarise, Simon Graichy takes us on a unique journey through his imagination on this album, where the possibilities are endless. It is not often that Schumann’s Humoreske is combined with “minimalist” pieces like Chilly Gonzales’ amazing Robert on the bridge and Pawel Szymanski’s poetic Etudes pour piano. An intriguing voyage that makes for a mesmerising experience. © Pierre-Yves Lascar/Qobuz
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Jazz - Verschenen op 25 januari 2019 | ACT Music

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
Album after album, Emile Parisien refines his self-portrait. He adds some shades. Erases others. And whatever the formation, context or repertoire, the saxophonist maintains his song, his voice and his own immediately identifiable style... Throughout his wide repertoire, the pieces that he has conceived with his quartet (for more than a decade) have always occupied a special place. With pianist Julien Touéry, double bassist Ivan Gélugne and, as a new recruit, drummer Julien Loutelier, Parisien leads this improvisation that touches on the sublime and is ever surprising. With his virtuosity he could have simply stuck to what is conventional. But that word doesn’t resonate with him. Every second of Double Screening explores new territories. He is one of the few saxophonists of his generation to alternate between lyricism and libertarianism in the snap of the finger. Going from laughter to tears is not a paradox in the universe of Emile Parisien's quartet. It is simply its raison d'être. And, in the end, a way to offer a type of jazz that is more organic than cerebral. © Marc Zisman/Qobuz
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Klassiek - Verschenen op 8 februari 2019 | Sony Classical

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Competition between composers was fierce and ruthless in the princely courts of 18th century Europe, and Mozart was just one of many. This new album from Russian soprano Olga Peretyatko serves as the perfect reminder of this, dedicated to Mozart’s famous arias (The Abduction from the Seraglio, The Marriage of Figaro, Don Giovanni and The Clemency of Titus) but also including works by Traetta, Martín y Soler and Paisiello, which are equally as masterful. The three excerpts from Tommaso Traetta’s Antigone which derived from Neapolitan opera and was composed for the court of Catherine II of Russia, are a testament to the passion that motivated composers from this period. His melodic phrases are full of tenderness and affliction and they certainly did not go unnoticed by the young Mozart. Paisiello and Martín y Soler were also both very successful in their time and completely eclipsed Mozart’s opera The Marriage of Figaro, which only really gained popularity in Prague and was the reason why he was asked by the Czech capital to compose Don Giovanni. Even if Mozart’s contemporaries were tough on him, his unique genius has been recognised overtime and his extraordinary legacy has overshadowed all those of other great composers from his time. This album provides an enthralling replica of his music, featuring top-class performer Olga Peretyatko alongside the Basel Symphony Orchestra conducted by Ivor Bolton. © François Hudry/Qobuz
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Rap - Verschenen op 1 maart 2019 | Gamebread, LLC - Def Jam Recordings

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