George Friedman

George Friedman - The Next 100 Years: A Forecast for the 21st Century  eBooks & eLearning

Posted by Vedart at Sept. 21, 2009
George Friedman - The Next 100 Years: A Forecast for the 21st Century

George Friedman, «The Next 100 Years: A Forecast for the 21st Century»
Audiobook | ISBN-10: 038551705X | English | MP3 (80 kb/s) | 141 Mb

Friedman is the founder of Stratfor, an independent geopolitical forecasting company, and his authoritative-sounding predictions are based on such factors as natural resources and population cycles. While these concrete measures lend his short-term forecasts credence, the later years of Friedmans 100-year cycle will provoke some serious eyebrow raising. The armed border clashes between Mexico and the United States in the 2080s seem relatively plausible, but the space war pitting Japan and Turkey against the United States and allies, prognosticated to begin precisely on Thanksgiving Day 2050, reads as fantastic (and terrifying) science fiction. Whether all of the visions in Friedmans crystal ball actually materialize, they certainly make for engrossing entertainment.
Don Friedman Trio - Flashback (1963) {Riverside OJCCD-1903-2 rel 1997}

Don Friedman Trio - Flashback (1963) {Riverside OJCCD-1903-2 rel 1997}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 227 Mb | MP3 @320 -> 96 Mb
Full Artwork @ 300 dpi (png) -> 17 Mb | 5% repair rar
© 1963, 1997 Riverside / Fantasy | OJCCD-1903-2
Jazz / Hard Bop / Post Bebop / Piano Trio

Pianist Don Friedman's debt to Bill Evans was obvious in the early '60s, particularly on standards, but he also had his own creative spirit to offer. This 1997 CD reissue brings out Friedman's third of four Riverside dates, teaming him with the obscure bassist Dick Kniss and drummer Dick Berk. The pianist shows that he was developing an original voice and was familiar with the avant-garde of the period on such originals as "Ohcre" and "Flashback." In contrast, he swings conventionally but with subtle creativity on "Alone Together," "News Blues" and "How Deep Is the Ocean." A fine, well-rounded set from the underrated pianist.
Don Friedman & Klaus Flenter Quartet - Togetherness (1989) {2015 Japan Timeless Jazz Master Collection Complete Series}

Don Friedman & Klaus Flenter Quartet - Togetherness (1989) {2015 Japan Timeless Jazz Master Collection Complete Series}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 311 Mb | MP3 @320 -> 134 Mb
Full Artwork @ 600 dpi (png) -> 230 Mb | 5% repair rar
© 1989, 2015 Timeless Records / Solid Records Japan / Ultra-Vibe | CDSOL-6403
Jazz / Post Bop / Modern Post Bebop / Piano Trio / Guitar

Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. The togetherness here comes from great interplay between the piano of Don Friedman and guitar of Klaus Flenter – two players who work surprisingly well on the record, and each seem to bring out the best in each other! Freidman's tones on the piano have this extra-chromatic approach, which is really echoed in the guitar at times – often in the album's more dynamic moments, which have a vibe that's quite different than Don's regular trio outings. The rest of the group features Henk Haverhoek on bass and Eric Ineke on drums – and titles include "Vieux Roue", "Minor Ballad", "Autumn In Summer", "Lonely Evening", "Elba", "New Dawn", and "Mohonk Blues".
Mel Tormé & George Shearing - The Complete Concord Recordings (2002)

Mel Tormé & George Shearing - The Complete Concord Recordings (2002)
EAC Rip | FLAC (tracks+log+.cue) - 1,54 Gb | Digital booklet - 18 Mb | 05:50:14
Vocal Jazz, Swing | Label: Concord Records

Beside Marty Paich, none of Mel Tormé's collaborators exerted such a large influence on the singer's career as George Shearing, the pianist whose understated, expressive accompaniment contributed to Tormé's resurgence during the early '80s. Their six excellent albums together – two of which, An Evening With… and Top Drawer, earned Grammy awards – proved that classic vocal music had outlasted the long night that was the '70s, and emerged to become a timeless American genre. The pair's work for Concord was usually recorded live in a trio or quartet setting; leaving much space for Shearing solos, Tormé occasionally reprised his big standards ("A Nightingale Sang in Berkeley Square," "Lullaby of Birdland," "The Folks Who Live on the Hill"), but often searched for more obscure material he could make his own, and often succeeded. Tormé and Shearing were restless innovators, taking on a full album of World War II standards, medleys devoted to songs about New York and by Duke Ellington, and a stunningly broad range of material: "Oleo," "Lili Marlene," "How Do You Say Auf Wiedersehen?," and "Dat Dere."
John Lindberg Trio With George Lewis And Barry Altschul - Give And Take (1982)

John Lindberg Trio With George Lewis And Barry Altschul - Give And Take (1982)
EAC Rip | FLAC (tracks+.cue, log) ~ 226.72 Mb | 41:42 | Scans included
Free Jazz, Contemporary Jazz | Country: USA | Label: Black Saint ‎– 1200722

Give and Take is an album by American jazz double-bassist John Lindberg with George Lewis and Barry Altschul recorded in 1982 for the Italian Black Saint label. The Allmusic review awarded the album four stars. The Penguin Guide to Jazz awarded it three and a half out of four stars, calling it "the one to go for" out of Lindberg's discography.
George Thorogood And The Destroyers - The Dirty Dozen (2009) Repost / New Rip

George Thorogood And The Destroyers - The Dirty Dozen (2009)
EAC Rip | FLAC (Img) + Cue + Log ~ 376 Mb | MP3 CBR320 ~ 134 Mb
Scans Included (JPG, 600 dpi) | RAR 5% Recovery
Boogie Rock, Blues Rock, Rock & Roll | Capitol Records #509996 84082 20

The Dirty Dozen is the fourteenth studio album from blues rock artist George Thorogood and the Destroyers. The album was released on July 28, 2009. The Dirty Dozen reached #1 on the Billboard Top Blues Albums and was on the chart for 11 weeks. The album includes six new songs (1-6) and six classic favorites (7-12), including three tracks that were previously out-of-print in the U.S.
George Thorogood & The Destroyers - Half A Boy / Half A Man (1999)

George Thorogood & The Destroyers - Half A Boy / Half A Man (1999)
EAC Rip | FLAC (Img) + Cue + Log ~ 340 Mb | MP3 CBR320 ~ 112 Mb
Full Scans (JPG, 600 dpi) ~ 48 Mb | RAR 5% Recovery
Boogie Rock, Blues Rock, Rock & Roll | SPV Recordings #SPV 085-29552 CD

Half a Boy/Half a Man is the eleventh studio album by George Thorogood and the Destroyers. It was released on April 13, 1999 on the CMC International label. The album peaked at #24 on the Billboard Mainstream Rock chart. George Thorogood is an American musician, singer and songwriter from Wilmington, Delaware. His "high-energy boogie-blues" sound became a staple of 1980s rock radio, with hits like his original songs "Bad to the Bone" and "I Drink Alone". He has also helped popularize older songs by American icons, such as "Move It on Over", "Who Do You Love?", and "House Rent Boogie/One Bourbon, One Scotch, One Beer", which continue to get heavy airplay on classic rock radio…

George Petrou, Camerata Stuttgart - Handel: Oreste (2004)  Music

Posted by ArlegZ at Oct. 16, 2017
George Petrou, Camerata Stuttgart - Handel: Oreste (2004)

George Petrou, Camerata Stuttgart - Handel: Oreste (2004)
EAC | FLAC | Image (Cue & Log) ~ 627 Mb | Total time: 76:39+68:51 | Scans included
Classical | Label: MDG | # 609 1273-2 | Recorded: 2004

Ever the recycler, Handel cobbled together Oreste from parts of pre-existing scores for his 1734 season at Covent Garden. The work promptly disappeared from the repertory for the next 250 years – a fact that is both understandable, given that it's a less convincing result than his fully original operas, and a shame, since Handel's table scraps are still amongst the most entertaining morsels from the period. The present recording, by George Petrou, the Camerata Stuttgart, and a cast of mostly Greek singers, is its first complete performance on CD and an admirably realized production, characterized by polished, stylish singing and vivid orchestral playing. In style, sound, and dramatic pacing, Petrou's effort distinguishes itself as a fine entry in the Handelian opera catalog, and makes a compelling argument for the musical value of the piece itself.
George Petrou, Orchestra of Patras - Handel: Arianna in Creta (2005)

George Petrou, Orchestra of Patras - Handel: Arianna in Creta (2005)
EAC | FLAC | Image (Cue & Log) ~ 759 Mb | Total time: 54:25+67:56+41:33 | Scans included
Classical | Label: MDG | # 609 1375-2 | Recorded: 2005

In the winter of 1733-1734, the opera houses of London were abounding in Ariannas. In late December, Porpora's Arianna in Nasso was staged by the Opera of the Nobility. In late January, Handel's Arianna in Creta was staged by the composer's own opera company. Comparison, apparently, proved odious – and fatal: Porpora's Naxos Arianna has fallen from the repertoire while Handel's Cretan Arianna has barely hung on by her finger tips. This 2005 Greek performance with George Petrou leading the Orchestra of Patras is the work's first recording in decades – and, thankfully, it's quite fine. Most of the women soloists – and whether their characters are male or female, most of the parts here are sung by woman because most of the parts then were written for castratos – are terrific. Mata Katsuli is sweet but strong in the title role and Theodora Baka is especially effective and affecting as Alceste. The period instrument Orchestra of Patras is stylish, colorful, and lively, particularly the winds and brass playing in the finale. As captured in Musikproduktion Dabringhaus und Grimm characteristically crisp, deep, and detailed sound, this Arianna is well worth hearing by anyone who reveres the operas of the German-English composer.
(James Leonard)
George Benson - Body Talk (1973/2016) [Official Digital Download 24bit/192kHz]

George Benson - Body Talk (1973/2016)
FLAC (tracks) 24 bit/192 kHz | Time - 36:52 minutes | 1,46 GB
Studio Master, Official Digital Download | Artwork: Front cover

With a title like Body Talk, and a lead-off track called "Dance," George Benson—a guitar-god-on-the-rise when this album originally hit shelves in 1973—makes it clear that this music is all about feeling the groove. While a good number of Benson projects on CTI benefited from Don Sebesky's arrangements, the guitarist needed a funkier feeling for this album, and Pee Wee Ellis was just the man to provide it. Ellis helped to create the sound that defined the music of James Brown in the late '60s, becoming an important presence as an arranger on Creed Taylor's Kudu imprint, making him the perfect person to tap for horn arrangements here.