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.

Note 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.

Blues - Released January 26, 2018 | Jazz Village

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Album after album, Raphaël Imbert is writing a long and peerless musical novel. With Music Is My Hope, the saxophonist tackles jazz by different routes. Including by way of spirituality, and the spirit of the blues. With different voices hailing from far-flung places, Imbert is building bridges between the genres, the better to underline the deep cross-pollination that exists within the south of the USA. This time, Imbert invites Marion Rampal, Aurore Imbert, Manu Barthélémy and Big Ron Hunter to sing reflections and revolts, the holy and the political alike. Above all, this celebration of a history and a heritage never comes off as saccharine. Everything here is alive! Even when Raphaël Imbert and his accomplices cover Joni Mitchell's The Circle Game or a spiritual as famous as Didn’t My Lord Deliver Daniel. A straight-shooting offering which even takes in an Occitan rendition of Vaqui lo polit mes de mai… All this lively, highly-symbolic material is magnified by the saxophonist's grand design, which he worked up with his virtuoso musical wingmen: Pierre-François Blanchard on keyboards, Jean-Luc Di Fraya on drums, Pierre Durand and Thomas Weirich on guitars. There can be some chaotic moments here or there, like in a fight; and other moments have the solemnity of a confession. But however they play it, it is always spirited. Magnificent. © MD/Qobuz

Blues - Released June 29, 2015 | Jazz Village

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS

Blues - Released May 18, 2015 | Jazz Village

Hi-Res Booklet

Blues - Released June 16, 2014 | Jazz Village

Hi-Res Booklet + Video Distinctions Indispensable JAZZ NEWS
Lucky Peterson's father was blues guitarist and singer James Peterson, a well-known regional musician who also owned the Governor's Inn, a premier blues nightclub in Buffalo, New York, which means Peterson grew up around his father's friends, who just happened to be touring and recording musicians like Jimmy Reed, Muddy Waters, and Bill Doggett, and he learned from all of them. He became fascinated with the Hammond B-3 organ as a young child, and by the time he was five, he'd proved to be a prodigy on it. Mentored by another of his father's friends, the great songwriter, bassist, arranger, and producer Willie Dixon, Peterson was still only five when he scored an R&B hit with the Dixon-produced "1-2-3-4," the novelty of it all landing him appearances on The Tonight Show, The Ed Sullivan Show, and others, and his debut album appeared in 1969. But Peterson had an exploratory nature, and while he could have had quite a career as a keyboard player, he picked up the guitar at the age of eight, and by the time he was a teen, he had developed an emotionally searing guitar style. He could have relaunched his career then, but instead he attended the Buffalo Academy of Performing Arts, and went out on the road as part of the touring bands of Etta James and Otis Rush, spent three years as Little Milton's keyboardist, another three years in Bobby "Blue" Bland's band, and backed jazz stars like Hank Crawford and Abbey Lincoln. He learned blues, jazz, soul, R&B, funk, and gospel, and by the time he made his re-debut as a bandleader with the Bob Greenlee-produced Lucky Strikes! in 1989, Peterson was a triple-threat multi-instrumentalist who managed to fuse R&B, jazz, gospel, funk, and rock with the blues. All of this leads up to this very personal and semi-autobiographical set, and his 18th album as a bandleader. The Son of a Bluesman, aside from being another fine set of Peterson's joyous fusion blues, is also the first of his albums that he has produced himself, and it has a warm, career-summing kind of feel to it. The title track, "The Son of a Bluesman," and the two different versions of the gospel-themed "I'm Still Here," give this album a personal and retrospective feel, as does the striking, and even silly "Joy," a straight-up family home recording featuring a rap interlude. But perhaps the best and most poignant track on an album full of standouts is the lovely instrumental "Nana Jarnell," dedicated to both Peterson's mother and his wife's mother, musician, singer, and songwriter Tamara Stovall-Peterson. Peterson's guitar lead on the track is a marvel of crying, elegantly balanced phrasing, almost horn-like or vocal-like, and it speaks and sings like the marvel it is. This is perhaps Peterson's most well-rounded and personal album yet, and it coheres in a wonderful arc, capturing the blues as an ever-flowing, joyous, and ultimately uplifting thing. ~ Steve Leggett