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.

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Blues - Released February 8, 2019 | Provogue Records

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Eric Gales spent a good portion of his career in the wilderness -- chalk it up to a combination of bad breaks and addiction -- but he came storming back in 2017 with Middle of the Road, his first album for Provogue/Mascot Records. Peaking at four on the Billboard Blues chart, Middle of the Road brought Gales back in a big way, giving him the confidence to push himself on its 2019 sequel Bookends. Working with producer Matt Wallace -- a stalwart of '90s alt-rock who worked with Maroon 5 after spending time with the Replacements and Faith No More -- Gales doesn't reinvent the wheel, but he does place a greater emphasis on singing and song than he has in the past. It's a subtle but notable difference, one that helps Bookends feel fuller and sharper than many of Gales' past albums and one that also accentuates the recovery undercurrents that flow through the album. By the time he teams up with guest vocalist Beth Hart for a slow-burning version of "With a Little Help from My Friends" -- the second notable cameo on the record, following Doyle Bramhall II's appearance on the neo-autobiographical epic "Southpaw Serenade" -- it's clear that Gales has managed to give not only familiar tunes but familiar blues-rock forms an identifiable stamp, born of both passion and precision. ~ Stephen Thomas Erlewine

Blues - Released March 1, 2019 | New West Records

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Blues - Released February 1, 2019 | iM Digital (EU)

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Blues - Released February 21, 2019 | AR Music

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Blues - Released February 27, 2019 | Ludub

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Blues - Released February 22, 2019 | ProdByMe

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Blues - Released March 1, 2019 | Galileo Music Communication

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Blues - Released May 5, 2017 | Concord Records, Inc. (UMG Account)

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If a decade separates Henry Saint Clair Fredericks alias Taj Mahal from Kevin Roosevelt Moore alias Keb' Mo', blues is the common thread that joins the lives of these two great musicians. But this blues is anything but monolithic, taking nourishment from soul as well as from rock'n'roll and world music. Taj Mahal and Keb' Mo' have united for the first time under the banner of TajMo to bring out this record. Mixing covers and original compositions and bringing in Bonnie Raitt, Joe Walsh, Sheila E. and Lizz Wright, the album offers two styles that mix together to give birth to a music striking the perfect balance between tradition and innovation. Here the soul is festive (That’s Who I Am), there the blues is pared-down (Diving Duck Blues) and a little further off there are Cajun flavours too (Squeeze Box). But it is the collaboration between the two men that makes TajMo really exhilarating. © CM/Qobuz
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Blues - Released November 30, 2018 | Provogue

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Beth Hart commands the stage with just one click of her fingers! The Californian tigress is still as feisty as ever without getting caught up in the clichés. In this live performance recorded on May 4th 2018 in London’s most prestigious setting, the Royal Albert Hall, she sets up her very own cabaret mixing blues, jazz and vintage soul. A woman who honours Nina Simone, Howlin’ Wolf, Dinah Washington, Buddy Guy and so many other key personalities of rhythm’n’blues, she shows us the full extent of her talent during this two-hour show. With a microphone to hand or sat behind her piano, what impresses us most is Beth Hart’s ability to mix all her musical influences and produce one very personal cocktail. Her secret? Her voice, of course. A kind of unstoppable magnet that pulls every word, every sentence, every chorus and which is made even more powerful by her contact with the audience. © Clotilde Maréchal/Qobuz
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Blues - Released March 30, 2018 | Anti - Epitaph

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Blues - Released January 17, 2017 | Epic - 550 Music - Okeh

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Keb' Mo''s self-titled first album, from its Robert Johnson covers to its appearance on a resuscitated Okeh Records, seemed to suggest the arrival of a Delta blues traditionalist, even though the former Kevin Moore was really a Los Angeles native who had kicked around the music business for years playing various styles of music. The follow-up, Just Like You, was therefore a disappointment to blues purists, since it clearly used folk-blues as a basis to create adult contemporary pop in the Bonnie Raitt mold. But to the music industry, that was just fine, since it fostered the hope that here was an artist (finally!) who could find a way to make the blues -- consistently revered but commercially dicey -- pay, and Keb' Mo' won a Best Contemporary Blues Album Grammy for his effort. Slow Down (1998) brought him a second Grammy and got even higher in the charts. The Door is more of the same. Keb' Mo''s slightly gritty voice and fingerpicking are the focus of the music, but he does not hesitate to add mainstream pop elements, beginning with writing partners who include Bobby McFerrin and Melissa Manchester, and continuing with a backup band that features such session aces as keyboard player Greg Phillinganes and drummer Jim Keltner. This is music that is folkish and bluesy rather than being actual folk-blues. Just in case anyone hasn't gotten the point yet, Keb' Mo' begins the album's sole cover, Elmore James' "It Hurts Me Too," in authentic folk-blues style, after which the arrangement lurches into a heavily percussive, anything but traditional direction. It's fair warning that the singer/guitarist is interested in tradition only as a jumping-off point. Maybe that's what "contemporary blues" is. ~ William Ruhlmann
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Blues - Released September 22, 2017 | Exile

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One cannot say that Van Morrison’s recordings of the last twenty years have left as much of an impression as his early 70s masterpieces such as Astral Weeks, Moondance or Veedon Fleece. But in 2012 Born To Sing: No Plan B was a nice come back, proving the Irish bard still had a lot left in the tank. Four years later Keep Me Singing confirmed this intuition with new songs on which Van The Man not only adapted to the constraint of age – he doesn’t sing like in 1969 anymore – but in fact masterfully tamed these limitations, giving each track a lived-in and warm atmosphere. Less passion and exuberance, more finesse and heart, all in his usual wonderful combination of soul, jazz and blues, his true trademark. This spirit remains on Roll With The Punches even if the repertoire is mostly made up of blues and soul covers (Bo Diddley, T-Bone Walker, Count Basie, Sam Cooke, Sister Rosetta Tharpe, Lightnin' Hopkins, Mose Allison, Little Walter, Bo Diddley), along with five original songs. A 37th album produced by Van Morrison himself and on which he collaborated with Jeff Beck, Paul Jones, Jason Rebello, Chris Farlowe and Georgie Fame. © CM/Qobuz
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Blues - Released January 12, 2018 | Sanctuary Records

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Blues - Released November 10, 2017 | Mojo Hand Records

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Blues - Released October 5, 2018 | Provogue

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It took Doyle Bramhall II 15 years to deliver Rich Man, the sequel to 2001's Welcome, but only two to follow that 2016 record with Shades. Appropriately, Shades feels looser than its predecessor and more direct, too. Where Rich Man was dotted with epics, Bramhall keeps things generally concise on Shades, and he also firmly grounds the album in soul. The first sounds on Shades may recall the thick, heavy blues grooves of the Black Keys but by the time Bramhall gets to the chorus of "Love and Pain," he spins the song into classic '60s R&B. He's too restless a musician to stay there -- with the Greyhounds, he kicks up some noise on "Live Forever," the Tedeschi Trucks Band pulls out some deep blues on a cover of Bob Dylan's "Going Going Gone," and he indulges in psychedelia on "Parvanah" -- but he keeps circling back to sounds steeped in Southern soul. It results in a more cohesive album than its predecessor, but it's the lack of fussiness that makes Shades a better record: now that he's just knocking out songs and records, his music feels bracing and immediate. ~ Stephen Thomas Erlewine
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Blues - Released June 16, 2014 | Jazz Village

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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
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Blues - Released November 10, 2014 | MUSIC DEVELOPMENT COMPANY

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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
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Blues - Released May 20, 2016 | Justin Time Records

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Blues - Released July 20, 2018 | Provogue Records

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The Apocalypse Blues Revue is coming back strong with this second album released by Provogue, The Shape Of Blues To Come. A rather dangerous music! Did the Florida-based American band sell their soul to the devil in exchange for such mastery of electric blues? The question can be raised. Made up of Shannon Larkin (drums), Brian Carpenter (bass), Ray Cerbone (vocals) and Tony Rombola (guitar), the quartet respects the essence of blues while still imposing their own style. Right from the first track, Open Spaces, the suspense is at its peak. A gong, followed by whispers, then a deep, wearisome singing, almost voodoo-esque. In 2016, the band had already taken this path down to the purgatory with their first eponymous album. Two years later, they venture towards hell itself, for a diabolical concert. Between metal and roots music, the Apocalypse Blues Revue is capable of composing around blues as well as moving away from it. With them, boredom is forbidden. Incendiary riffs, an energetic voice swinging on the chorus of Have You Heard?! and carried by Larkin’s rhythmic force… There’s nothing to envy to heaven! There is a Morrison vibe to To Hell With You, but in this case Jim would be dressed in a rather Goth style to announce the apocalypse and the quartet’s takeover. © Anna Coluthe/Qobuz