SACD / DSD – HDMusic.icu

Beoga – Live At Stockfisch Studio
SACD ISO (stereo only): 2,22 GB | 24B/88,2kHz Stereo FLAC: 950 MB | Full Artwork
Label/Cat#: Stockfisch Records # SFR 357.4053.2 | Country/Year: Germany 2010 | 3% Recovery Info
Genre: Rock, Folk, Jazz | Style: Irish Folk, Contemporary Acoustic

Beoga – Live At Stockfisch Studio – Stockfisch Records stereo-only SACD SFR 357.4053.2, 49:56 *****:

(Liam Bradley – piano, keys; Niamh Dunne – Lead Vocal, fiddle; Eamon Murray – bodhran; Damian McKee – button accordion; Sean Og Graham – button accordion, guitar, backing vocals)

When Beoga (Irish word for lively) formed their ensemble in 2002, traditional Irish music was rocked onto its heels. Combining Celtic based contexts with furious infusions of jazz, folk and vigorous swing, the band assimilated into the world music culture with bravado. The release of their debut album, A Lovely Place, garnered both critical and popular acclaim. The core group of Liam Bradley, Eammon Murray, Damian McKee and Sean Og Graham, was expanded in 2005 with the addition of Niamh Dunne. A second album, Mischief, catapulted the group to stardom. Television and radio concerts globalized their fame. Their youthful exuberance and incendiary nature of their music have created a devoted fan base and worldwide respect.

Live At Stockfish Studio is a riveting, eloquent, thirteen song performance. While steeped in traditional music, this group shatters any preconceived notions. The set opens with “Trolleyed”, as a fast paced accordion opening leads into a jazzy swing romp. Piano (Liam Bradley), guitar and fiddle join in unison with tempo accents and stops. The utilization of dual button accordions (Damian McKee, Sean Og Graham) is scintillating on “Boxy Set”, unleashing a rhythmic tempest against the steady bodhran percussion. The band is extremely cohesive. On “The Prelude Polkas” they soar through an assortment of tempos and jazzy nuances. A change of pace like “The Solid Man” shows a layered, acoustic resonance, highlighted by lyrical entwinement of guitar and violin.

The aesthetics are enhanced by the ethereal vocals of Niamh Dunne. “Factory Girl”, a traditional American piece, is set in motion with a nimble introduction by Graham’s guitar, seamlessly meshing with Eamon Murray’s bodhran. The poignant voice of Dunne is emotive, reflecting the despair of industrial labor. Graham backing vocals complement the lead voice. Sentimental narrative underscores “A Delicate Thing”, as the working class protagonists are redeemed by love. “Both Sides The Tweed” gives the band a traditional format, emphasizing their Celtic roots.

Two engaging covers provide a different template for the group. Steely Dan’s “Dirty Work” receives a faithful adaptation. Dunne’s singing is a deft vehicle for the weary refrain of tenuous romance. The band sparkles on the jazz standard, “Please Don’t Talk About Me When I’m Gone”. A spirited “jug” arrangement frames the breezy vocals in a relaxed setting, spurred on by McKee’s bouncy runs.

Stockfisch has reproduced the live feel of this extraordinary group with great precision. The separation of the instrumentation (especially between guitar and violin, and accordions) eliminates the occasional dint of live recording. The balance of the sound seems proportionate. Vocals never impinge on the music, and vice versa.

Live At Stockfisch Studio is a towering achievement. audiophile audition

SACD Info:

Beoga – Live At Stockfisch Studio

Label: Stockfisch Records
Catalog#: SFR 357.4053.2
Format: Hybrid-SACD, Album, Stereo DSD
Country: Germany
Released: 2010
Genre: Folk, Jazz

Tracklist:

1    Trolleyed 03:22.29
2    Factory Girl 03:17.84
3    Jazzy Wilbur 03:41.49
4    Mickey The Pipes 04:04.00
5    Please Don¦t Talk 02:32.53
6    Boxy Set 02:57.07
7    Both Sides The Tweed 04:23.64
8    A Lovely Madness 04:27.76
9    A Delicate Thing 05:25.83
10    Soggy’s 04:34.81
11    Prelude Polkas 04:30.53
12    The Solid Man 03:34.89
13    Dirty Work 03:02.07

Credits:

Liam Bradley – Piano, Keys
Niamb Dunne – Lead Vocal, Fiddle
Eamon Murray – Bodhran
Damian McKee – Button Accordion
Sean Og Graham – Button Accordion, Guitar, Backing Vocals

Notes:

Produced & Recorded by Günther Pauler
SACD-Mastering by Hans-Jörg Maucksch at Pauler Acoustics
Mastering Monitors: Bowers & Wilkins 801D

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Blue Chamber Quartet – Chick Corea: Children’s Songs
SACD ISO (2.0/MCH): 2,36 GB | 24B/88,2kHz Stereo FLAC: 712 MB | Full Artwork
Label/Cat#: Stockfisch Records # SFR 357.4067.2 | Country/Year: Germany 2009 | 3% Recovery Info
Genre: Jazz, Classical | Style: Contemporary Jazz, Chamber Music

A word of warning: the notes to this CD may detract from the lovely music it contains. German ensemble Blue Chamber Quartet commissioned journalist Cathrin Kahlweit to write a brief essay for each of the work’s 20 movements, first-person vignettes describing the lives of children in 20 countries that seemingly have no discernable relationship to Corea’s gentle, sophisticated miniatures.

Corea wrote this suite of pieces for piano in the 1970s and ’80s, and it has been recorded both in the original version and in various arrangements numerous times. The pieces are delightful — playful, lively, graceful, and inventive — and there is nothing about them that marks them as entertainment only for children. This is music that can be savored by anyone with a taste for directly communicative new music. The music works beautifully in this arrangement by group member Thomas Schindl, scored for piano, harp, vibraphone, and double bass, along with a part for guest percussionist Sven von Samson. The colorful and unusual instrumentation creates an even broader expressive palette than the piano version, and the evocative percussion atmospherics that surround some of the pieces add about 10 minutes to the total duration of the suite. The playing is delicate and spirited throughout, and the sound quality of the SACD is balanced and detailed. ~allmusicguide

“The arrangements are subtle and tasteful in expanding the simple but lovely melodies of each of the songs into quartet or quintet form.” John Sunier: www.audaud.com

SACD Info:
Blue Chamber Quartet – Chick Corea: Children’s Songs

Label: Stockfisch Records
Catalog#: SFR 357.4067.2
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2009
Genre: Jazz, Classical
Style: Contemporary Jazz, Chamber Music

Tracklist:

1 No. 01 3:28
2 No. 02 1:32
3 No. 03 1:48
4 No. 04 3:14
5 No. 05 1:35
6 No. 06 3:32
7 No. 07 2:10
8 No. 08 1:59
9 No. 09 1:48
10 No. 10 1:58
11 No. 11 1:30
12 No. 12 2:21
13 No. 13 1:36
14 No. 14 2:30
15 No. 15 1:46
16 No. 16 1:38
17 No. 17 1:31
18 No. 18 1:48
19 No. 19 2:48
20 No. 20 2:50

BLUE CHAMBER QUARTET: Julia Bartha – piano / Angelika Siman – concert harp / Thomas Schindl – vibraphone / Holger Michalski – double bass / als Gast: Sven von Samson – percussion

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Inger Marie Gundersen is a Jazz vocalist from Arendal, Norway. She waited many years before venturing into a solo career, but more than twenty years as an active vocalist have provided her with ample experience in the music field. For twenty years she has been active as vocalist in several bands, ranging from a youthful rock band to a six year period as lead singer of a jazz big band. She has also fronted her own jazz quintet ”My Favorite Strings”, as well as collaborating with several excellent jazz musicians, among them Tom Lund, one of Norway’s finest Latin jazz-guitarists, founder of the renowned group ”Trio de Janeiro”. She have released five solo albums. “Best of The Best Of Inger Marie Gundersen, Volume 2” is her second compilation released by Hong Kong label Aurora Music with some co-operation with Stockfisch Records.

Tracklist:

01. When All Is Said And Done
02. Try To Find Me
03. Last First Kiss
04. Make This Moment
05. Let It Be Me
06. Crying In The Rain
07. Feels Like Home
08. Where Were You
09. I Can See Clearly Now
10. One
11. I’m So Lonesome I Could Cry
12. Even When
13. Take On Me
14. Fool On The Hill / Nature Boy

Mastered by Pauler Acoustics (Stockfisch Records)

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In May 2011, in Lars Nilsson’s Nilento Studio outside Gothenburg, Inger Marie Gundersen and her five Scandinavian musicians met with producer Rasmus Solem and created “For You.” This time, Ulf Wakenius and Inger Marie join forces once again. This time with a Scandinavian dream team featuring another Swede, Lars Jansson, on piano, and two Danes, bassist Jesper Bodilsen and drummer Morten Lund – as well as the wonderful trumpeting of Norwegian Per Willy Aaserud on several tracks. This album includes a version of the perhaps most successful song ever from a Norwegian pop group, AHA’s “Take on Me”.

Inger Marie first worked with the Swedish guitarist Ulf Wakenius on BY MYSELF from 2006. The collaboration was inspiring for both of them and led to many concerts all over the world. Inger Marie’s next release, MY HEART WOULD HAVE A REASON, was produced by another great Swedish guitarist, Georg Wadenius. But on her new album, FOR YOU, Ulf and Inger Marie join forces once again. This time with a Scandinavian dream team featuring another Swede, Lars Jansson, on piano, and two Danes, bassist Jesper Bodilsen and drummer Morten Lund – as well as the wonderful trumpeting of Norwegian Per Willy Aaserud on several tracks. Inger Marie and her band of outstanding musicians make this album an aesthetic delight… Inger Marie doesn’t seek flashy musicality, she seeks depth, and she finds it in this quintet of musicians, who despite their virtuosic qualities never play a superfluous note. Their splendid musicianship allows room for reflection. This is the sound of the mountains of Arendal.

Tracklist:

01. Crying In The Rain
02. Answer Me, My Love
03. I Will Always Love You
04. Take On Me
05. How Insensitive [Bonus Track]
06. I Go
07. You Stole My Heart
08. Compassion
09. Blue Eyes Awake
10. What It Means To Me
11. Kiteflyers Hill
12. Om Natten

Recorded in May-June 2011 at Nilento Studio.

Personnel
Inger Marie Gundersen – vocals
Ulf Wakenius – guitars
Lars Jansson – piano
Jesper Bodilsen – bass
Morten Lund – drums
Per Willy Aaserud – trumpet
Rasmus Solem – keyboards on “5 & 9”

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Norwegian vocalist Inger Marie Gundersen’s second solo album BY MYSELF is a worthy follow- up to her successful debut release MAKE THIS MOMENT. 45-year old Inger Marie waited many years before venturing into a solo career, but more than twenty years as an active vocalist have provided her with ample experience in the music field.

Inger Marie has built a solid relationship based on mutual respect with several musi- cians from the surprisingly high quality pool of players in and around her home town, and has hand-picked the musicians for her band. They provide the exquisite backing on her recordings, as well as on stage. On piano you hear Oscar Jansen, a very popular musician, and a prolific painter in addition to his musical activities. “Oscar is an ingenious musician with a unique way of phrasing and creating the right mood with his playing.” Ole Kelly Kvamme is an active freelance bass player. He also works as a music teacher. “Ole’s depth and warm sound on his old acoustic double-bass is no less than brilliant.” Geir Aage Johnsen is a very original drum- mer with his own unique style. “Geir is my favorite drummer ever… He always comes up with lots of ideas for arrangements.“ The saxophone player Oivind G. Stoemer works as a music teacher and freelance musician. He is also Inger Marie’s son. “I really like his sound and his lyrical style.” On her second album, BY MYSELF, Inger Marie chose to work with the renowned Danish producer Søren Sigumfeldt. They recorded the album at Nilento Studio, Gothenburg, Sweden. Inger Marie’s hand- picked group of local Norwegian musi- cians are joined by Swedish guitar vir- tuoso Ulf Wakenius, known from Oscar Peterson’s trio. Other guest performers include Norwegian trumpeter Gunnar Halle, Danish electric guitarist Niclas Knudsen, and Norwegian vocalist Rasmus Solem. BY MYSELF is easy to listen to, but hard to forget. The music is smooth, but far from saccharine or superficial. The honesty in Inger Marie’s husky voice is unmistakable. You believe her. The words mean some- thing – she can’t sing a song without mean- ing it. Whether it’s a jazz standard or a pop tune, she delivers the lyrics as if she had experienced and written every word. She doesn’t waste time pressing her voice or using a heavy vibrato, she lets the music speak for itself with a dusty, velvety feel… and a voice that won’t let go of you. This is the sound of a mature woman telling her stories with no regrets.

Tracklist:

01. I Don’t Want To Talk About It
02. By Myself
03. A Taste Of Honey
04. Sad Song
05. One
06. I Will
07. Don’t Let Me Be Lonely Tonight
08. I’m So Lonesome I Could Cry
09. Where Were You
10. If You Go Away
11. Don’t Explain
12. You Don’t Know What Love Is
13. Abide With Me

Personnel
Inger Marie Gundersen – vocals
Oscar Jansen – piano/Rhodes
Ole Kristian Kvamme – bass
Geir Age Johnsen – drums/percussion
Øivind G.Stømer – saxophones

ISO

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Antonin Dvorak – Symphony No. 6 in D major, Op. 60; Vodnik op. 107 / The Water Goblin
Staatsphilharmonie Nürnberg / Marcus Bosch
SACD ISO (2.0/MCH): 2,93 GB | 24B/88,2kHz Stereo FLAC: 990 MB | Full Artwork: 100 MB
Label/Cat#: Coviello Classics # COV 31316 | Country/Year: Germany 2013 | 3% Recovery Info
Genre: Classical | Style: Romantic, Orchestral

Nach Brahms und Bruckner steht seit Anfang letzten Jahres der Böhme Antonin Dvorák auf der To- Do-Liste des Nürnberger Generalmusikdirektors Marcus Bosch. Alle neune sollen es sein. Mit der nun vorliegenden Einspielung der 6. Sinfonie hat er nach den Symphonien Nr. 3 und 7 in nicht einmal zwei Jahren das erste Drittel der Gesamteinspielung bereits im Kasten.

Auch hier basiert die Aufnahme auf einem Konzertmitschnitt. Im Mai dieses Jahres stand Dvoraks Sechste neben dessen programmatischer symphonischer Dichtung “Der Wassermann” auf dem Programm, Dvoraks erste späte Auseinandersetzung mit den musikalisch-assoziativen Bilderwelten, in denen Smetana, Liszt oder auch Strauss längst in traumwandlerischer Sicherheit beheimatet waren.

65 beglückende Minuten

Die gemeinsame Spurensuche von Marcus Bosch mit seiner Staatsphilharmonie Nürnberg nach dem böhmischen im Brahms’schen Gewand und nach dem böhmischen in Hain und Sage des Antonín Dvorák, nach den Zauberwelten zwischen Naturmystik und Ballade dauert knappe 65 beglückende Minuten. In diesen Minuten entfaltet sich ein Tableau zwischen elegant blühender Holzbläserwärme, schwelgerisch-sinnlicher Melodieführung in den Streichern, raffiniert-dezenten Dialogpassagen und rasant-überschwenglich bodenständigem Volkston. Das Scherzo im Furiant der 6. Symphonie bürstet Bosch scharf gegen den Strich, setzt die Gegenrhythmik des so typischen Zweier- und Dreierrhythmus genau dahin, woher sie stammt – auf den Tanzboden böhmischer Feste. Da packen Überschwang und Leidenschaft, Ausgelassenheit und überschäumende Freude kräftig zu und als Hörer fühlt man sich unmittelbar in ein Dorffest hineinkatapultiert.

(Bayerischer Rundfunk, Ursula Adamski-Störmer, 29.11.2013)

SACD Info:

Antonin Dvorak – Symphony No. 6 in D major, Op. 60; Vodnik op. 107 / The Water Goblin

Staatsphilharmonie Nürnberg / Marcus Bosch

Label: Coviello Classics
Catalog#: COV 31316
Format: Hybrid-SACD, Album, Multichannel, Stereo
Country: Germany
Released: 2013
Genre: Classical
Style: Romantic, Orchestral

Tracklist:

1 The Water Goblin, Op. 107, B. 195 19:40
2 Symphony No. 6 – I. Allegro non tanto 15:59
3 – II. Adagio 10:56
4 – III. Scherzo: Presto 7:47
5 – IV. Finale: Allegro con spirito 9:56

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A wonderful live album that capitalizes on Withers’ trademark melancholy soul sound while expanding the music to fit the room granted by a live show. Lovely versions of “Grandma’s Hands” and “Lean on Me” are balanced by heartfelt downbeat numbers like “Better Off Dead” and “I Can’t Write Left-Handed,” the latter being an anti-war song with a chilling message. The set finishes off with the lengthy “Harlem/Cold Baloney,” with lots of audience-pleased call-and-response going on. One of the best live releases from the ’70s.

Tracklist:
01. Use Me
02. Friend Of Mine
03. Ain’t No Sunshine When She’s Gone
04. Grandma’s Hands
05. World Keeps Going Around
06. Let Me In Your Life
07. Better Off Dead
08. For My Friend
09. I Can’t Write Left-Handed
10. Lean On Me
11. Lonely Town, Lonely Street
12. Hope She’ll Be Happier
13. Let Us Love
14. Harlem/Cold Baloney

Mastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.
UDSACD-2156

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When it comes to music, “old” can be a relative term. Jazz may be a revered and ancient language to its practitioners and fans, but it’s a mere infant compared to the music of the West African Manding Empire, which dates back to the 13th Century rule of Sunjata Keita, its founder and first king. Until recently, you had to be from one of a handful of select families to be qualified to play Manding music right. But times have changed, colonialism notwithstanding, and players like France’s Jean-Jacques Avenel have made Manding music their own.

African fusions have been approached in any number of different ways, but this mix of jazz and traditional Manding music is definitely something different. French bassist Avenel has worked for years with kora players, but this time out seems to nail both the spirit of tradition and adventure. Listen, for example, to “Pi-Pande,” where overdubbed basses move the textures and melody, while the kora provides a beautiful high overlay. On the original “Batou Kagni” it’s flute, bass and n’goni that do the work, bouncing off each other in some excellent improvisations. And on “Jarabi” the music seems to travel, moving from West Africa across the Atlantic to the Caribbean. All in all it makes for a heady mix that works on all levels — intelligently, thoughtfully, and with a sense of passion about the music. The backgrounds of the musicians mean different approaches to the music, although those mesh very well — as a group the dynamics become ideal, as they show on the closer, “Tubaka.” It’ll be interesting to see where they take these ideas next time around; certainly on this outing they’re successful enough.

Tracklist:
01. Lamba
02. Pi-Pande
03. Batou Kagni
04. Guelema
05. N’Dondore
06. Jarabi
07. Kaпra
08. Denko
09. Destin
10. Tubaka

Recorded to DSD February 7-9, 2003 by Thierry Balasse (Inouïe), and mixed in analogue to stereo and 5.0 DSD March 11-13, 2003 by Thierry Balasse assisted by Djengo Hartlap (Hartlap, Paris), at La Muse en Circuit, Alfortville-Paris.

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The finest of Labelle’s original albums, Nightbirds was recorded in New Orleans with funkmeister Allen Toussaint handling the production chores and, one assumes, members of the Meters taking care of the session work. Worth the price of admission for the Bob Crewe-written “Lady Marmalade” alone, the album veers between the strutting New Orleans, horn-laden singles and more mainstream pop material.

Tracklist:
01. Lady Marmalade
02. Somebody Somewhere
03. Are You Lonely?
04. It Took A Long Time
05. Don’t Bring Me Down
06. What Can I Do For You?
07. Nightbird
08. Space Children
09. All Girl Band
10. You Turn Me On

4.0 Analog to High Definition DSD Digital Transfer by Gus Skinas.
Mastered by Kevin Gray.

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Although he has appeared on a countless number of studio sessions, this release was (with the exception of an obscure Japanese date in 1984) drummer Steve Gadd’s debut as a leader. The Gadd Gang (comprised of the drummer, guitarist Cornell Dupree, bassist Eddie Gómez and Richard Tee on keyboards) was a likable unit that blended together jazz, R&B and some groovin’ funk. With the addition of a horn section arranged by David Matthews, the group plays Bob Dylan’s “Watching the River Flow,” and Wilton Felder’s “Way Back Home,” a medley of “Honky Tonk” and “I Can’t Stop Loving You,” and some basic band originals that can appeal to a wide audience.

Tracklist:
01. Watching The River Flow
02. Strength
03. Way Back Home
04. Morning Love
05. Duke’s Lullaby
06. Everything You Do
07. Honky Tonk/I Can’t Stop Loving You

Remixed & Mastered at Sony Music Studios, Tokyo in September-October 2007
Surround Sound Remix by Jay Messina. Stereo & Surround Mastering by Koji Suzuki.

Personnel
Steve Gadd — Percussion, Conga, Drums
Cornell Dupree — Guitar
Richard Tee — Piano, Organ (Hammond)
Eddie Gomez — Bass
+
Michael Brecker — Sax (Tenor)
Jon Faddis — Trumpet
George Young — Sax (Tenor)
Ronnie Cuber — Horn, Sax (Baritone)
Barry Rogers — Trombone
Lew Soloff — Trumpet
David Taylor — Trombone

ISO

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FLAC

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Tommy is the fourth album by English rock band The Who, released by Track Records and Polydor Records in the United Kingdom and Decca Records/MCA in the United States. A double album telling a loose story about a “deaf, dumb and blind boy” who becomes the leader of a messianic movement, Tommy was the first musical work to be billed overtly as a rock opera. Released in 1969, the album was mostly composed by Pete Townshend. In 1998 it was inducted into the Grammy Hall of Fame for “historical, artistic and significant value”. It has sold over 20 million copies worldwide. This edition uses the 2012 DSD master based on UK original analog tape. Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players).

The full-blown rock opera about a deaf, dumb, and blind boy that launched the band to international superstardom, written almost entirely by Townshend. It was hailed as a breakthrough upon its release, but its critical standing has diminished somewhat in the ensuing decades, because of the occasional pretensions of the concept, and the insubstantial nature of some of the songs that functioned as little more than devices to advance the rather sketchy plot. Nonetheless, the double album has many excellent songs, including “I’m Free,” “Pinball Wizard,” “Sensation,” “Christmas,” “We’re Not Gonna Take It,” and the dramatic ten-minute instrumental, “Underture.” Though the album was slightly flawed, Townshend’s ability to construct a lengthy conceptual narrative brought new possibilities to rock music. Despite the complexity of the project, he and the Who never lost sight of solid pop melodies, harmonies, and forceful instrumentation, imbuing the material with a suitably powerful grace.

Tracklist:
01. Overture – 05:20
02. It’s A Boy – 00:39
03. 1921 – 02:49
04. Amazing Journey – 03:24
05. Sparks – 03:45
06. Eyesight To The Blind (The Hawker) – 02:13
07. Christmas – 04:35
08. Cousin Kevin – 04:07
09. The Acid Queen – 03:34
10. Underture – 10:02
11. Do You Think It’s Alright? – 00:25
12. Fiddle About – 01:31
13. Pinball Wizard – 03:01
14. There’s A Doctor – 00:24
15. Go To The Mirror! – 03:48
16. Tommy Can You Hear Me? – 01:35
17. Smash The Mirror – 01:35
18. Sensation – 02:26
19. Miracle Cure – 00:13
20. Sally Simpson – 04:10
21. I’m Free – 02:39
22. Welcome – 04:32
23. Tommy’s Holiday Camp – 00:57
24. We’re Not Gonna Take It – 07:07

DSD transferred from analogue master tapes by John Astley at The Edge Mastering, 2012.

ISO

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Hector Berlioz: Symphonie fantastique & La Mort de Cléopâtre
Olga Borodina, Wiener Philharmoniker, Valery Gergiev (2003)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 72:07 minutes | Artwork (PDF) | 4,29 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 1,32 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Decca/Philips # 470 632-2

Valery Gergiev turns in a generally fine Symphonie fantastique, one that really heats up in the last two movements, as any good performance must. The March to the Scaffold has an aptly menacing character, with very clearly voiced timpani and plenty of panache to the brass playing. The finale begins quite quickly and never lets up; it has the special Berliozian frenzy that so many versions never manage to capture. Elsewhere the results are a bit more variable. The first movement goes quite well on the whole, barring a pointless slow-down at one point toward the end, but the second-movement waltz is strange, with oddly Stravinskian accents disrupting its flow and a general lack of rhythmic tension. However Gergiev does find pretty much the ideal tempo for the slow movement, and the oboe and English horn solos have an appealingly plaintive, pastoral character.
La Mort de Cléopatre makes a generous bonus, but not in this performance. Without getting hung up on the details, Gergiev certainly conducts it well enough, but Olga Borodina simply has the wrong voice for the part: thick, heavy, and often unsteady. She sounds dead before the music even begins–okay, maybe it’s not that bad, but compared to singers like Jessye Norman, Véronique Gens, or Janet Baker, she captures neither the nobility of the Egyptian queen nor the pathos of her predicament. Happily, given that many discs offer just the symphony, we can ignore this particular “bonus”, and the rating reflects this. Philips offers vivid live sonics that project the unique timbres of the Vienna Philharmonic horns and strings particularly well, though the harps in the second movement should sound more seductive. Fantastique collectors will find plenty to enjoy here.

Tracklist:
01. Symphonie fantastique: I Rêveries – Passions
02. Symphonie fantastique: II Un bal
03. Symphonie fantastique: III Scène aux champs
04. Symphonie fantastique: IV Marche au supplice
05. Symphonie fantastique: V Songe d’une nuit du Sabbat – Ronde du Sabbat
06. La Mort de Cléopâtre: C’en est donc fait!
07. La Mort de Cléopâtre: Méditation: Grands Pharaons, nobles Lagides

ISO

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Sting – Brand New Day (1999) [Reissue 2004] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 48:32 minutes | Scans included | 2,89 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 48:49 mins | Scans | 969 MB
Features 2.0 Stereo and 5.1 multichannel surround sound

By the late ’90s, Sting had reached a point where he didn’t have to prove his worth every time out; he had so ingrained himself in pop culture, he really had the freedom to do whatever he wanted. He had that attitude on Mercury Falling, but it was too somber and serious, everything that its successor, Brand New Day, is not. Light, even effervescent, Brand New Day feels like little else in Sting’s catalog. Not that it represents a new beginning, contrary to what the title may promise. The album is not only firmly within his tradition, it sounds out of time — it’s odd how close Brand New Day comes to feeling like a sequel to Nothing Like the Sun. Musically, that is. The sparkling, meticulous production and the very tone of the music — ranging from light funk to mellow ballads to the Lyle Lovett tribute “Fill Her Up” — are of a piece with Sting’s late-’80s work. That’s the main thing separating it from Ten Summoner’s Tales, his other straight pop album — well, that, and the levity. There are no overarching themes, no political messages on Brand New Day — only love songs, story songs, and, for lack of a better term, inspirational exhortations. This is all a good thing, since by keeping things light he’s managed to craft an appealing, engaging record. It may not ask as much from its audience as Sting’s other ’90s efforts, but it’s immediately enjoyable, which isn’t the case for its cousins. Brand New Day doesn’t boast any new classics, and it does sound a little dated, but it’s well-crafted, melodic, and has a good sense of humor — exactly the kind of record Sting should be making as he embarks on the third decade of his career.

Tracklist:
01. A Thousand Years
02. Desert Rose
03. Big Lie Small World
04. After The Rain Has Fallen
05. Perfect Love…Gone Wrong
06. Tomorrow We’ll See
07. Prelude To The End Of The Game
08. Fill Her Up
09. Ghost Story
10. Brand New Day

ISO

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FLAC

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There’s a certain inherent sadness listening to this concise 12-song collection of the Carpenters’ early hits, especially as it opens with “We’ve Only Just Begun,” with its hopeful, dreamy lyrics — for it was never supposed to be definitive, just the first of at least two such collections. But changes in the public’s taste and a slackening (though never a disappearance) of hits for the duo, and Karen Carpenter’s death in 1983, made this the first and only real mass choice for a Carpenters collection. Ten of the duo’s dozen Top Ten hits are present, from “Close to You” to “Top of the World,” with their gorgeous and original slow ballad interpretation of “Ticket to Ride” and their cover of Carole King’s “It’s Going to Take Some Time” thrown in to offer a slightly wider perspective. Listening to this material, it’s easy to accuse the Carpenters of being hopelessly retro even in their own time — bear in mind that “We’ve Only Just Begun” and “Superstar” being contemporaneous with the Allman Brothers’ At Fillmore East and Eat a Peach and you get the idea. But the lush melodies brought out in Richard Carpenter’s arrangements and Karen’s singing are justification in themselves.

Tracklist:
01. Yesterday Once More
02. We’ve Only Just Begun
03. Superstar
04. Rainy Days And Mondays
05. Goodbye To Love
06. I Believe You
07. It’s Going To Take Some Time
08. This Masquerade
09. Ticket To Ride
10. Top Of The World
11. Only Yesterday
12. Hurting Each Other
13. Please Mr. Postman
14. Merry Christmas Darling
15. Sing
16. Bless The Beasts And Children
17. I Won’t Last A Day Without You
18. Touch Me When We’re Dancing
19. For All We Know
20. (They Long To Be) Close To You
21. Calling Occupants Of Interplanetary Craft (The Recognized Anthem Of World Conatact Day)

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This is the world’s first SACD reissue of Lalo’s famous performance, which combines the beautiful and rich sound of violin of Ida Handel with Czech Philharmonic Orchestra, conducted by Karel Ančerl. This reissue uses a new DSD sound sourced from the original analog master tape. The jacket photo uses the original LP design, renews the sound quality and reprints.

Lalo’s “Symphonie espagnole” is in fact a violin concerto, pure and simple: the title was intended to concentrate the listener’s mind on the Spanish nature of the music. The bold and close recording imposes this flavour immediately, although there is surely more subtlety in the balancing of textures than this; not that the results are less than acceptable. By the time the Spanish rhythms and themes have made their influence tell, Haendel has delivered some commanding virtuoso playing. Perhaps it is in the lighter sections of the middle movements (Nos. 2, 3 and 4 of 5) that the performance comes off best. Here the subtleties are experienced and the clarity of the re-mastered sound is at its most effective. For all that this repertoire makes an unlikely combination, the playing has real style and panache and the disc will give much satisfaction.

Ravel orchestrated his single–movement “Tzigane” soon after he had completed the violin-and-piano original. The piece begins with a cadenza, and while Ida Haendel is held in close focus by the microphone she passes this test of her accuracy and tone quality. When the orchestra appears there are some odd balances, though the overall effect is not unpleasing. Given the vintage of the recording, made nearly 55 years ago, the sound is very good. Karel Ančerl was a skilful orchestral accompanist, among his abundant other talents.

Tracklist:

01. Edouard Lalo: Symphonie espagnole 1st Movement
02. Edouard Lalo: Symphonie espagnole 2nd Movement
03. Edouard Lalo: Symphonie espagnole 3rd Movement
04. Edouard Lalo: Symphonie espagnole 4th Movement
05. Edouard Lalo: Symphonie espagnole 5th Movement
06. Maurice Ravel: Tzigane

Personnel
Ida Haendel – violin
Czech Philharmonic Orchestra – Conducted by Karel Ančerl

Recorded in the House of Artists in Prague, Czechoslovakia.
Remastered from the original analogue master tapes.

ISO

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To celebrate the 10th anniversary of its release, Trent Reznor’s classic album receives the deluxe edition treatment. This double set is presented in surround sound SACD hybrid format. Bonus disc features 13 extra tracks – remixes, b-sides, demos and non-album tracks.

The Downward Spiral positioned Trent Reznor as industrial’s own Phil Spector, painting detailed, layered soundscapes from a wide tonal palette. Not only did he fully integrated the crashing metal guitars of Broken, but several newfound elements — expanded song structures, odd time signatures, shifting arrangements filled with novel sounds, tremendous textural variety — can be traced to the influence of progressive rock. So can the painstaking attention devoted to pacing and contrast — The Downward Spiral is full of striking sonic juxtapositions and sudden about-faces in tone, which make for a fascinating listen. More important than craft in turning Reznor into a full-fledged rock star, however, was his brooding persona. Grunge had the mainstream salivating over melodramatic angst, which had always been Reznor’s stock in trade. The left-field hit “Closer” made him a postmodern shaman for the ’90s, obsessed with exposing the dark side he saw behind even the most innocuous façades. In fact, his theatrics on The Downward Spiral — all the preening self-absorption and serpentine sexuality — seemed directly descended from Jim Morrison. Yet Reznor’s nihilism often seemed like a reaction against some repressively extreme standard of purity, so the depravity he wallowed in didn’t necessarily seem that depraved. That’s part of the reason why, in spite of its many virtues, The Downward Spiral falls just short of being the masterpiece it wants to be. For one thing, fascination with texture occasionally dissolves the hooky songwriting that fueled Pretty Hate Machine. But more than that, Reznor’s unflinching bleakness was beginning to seem like a carefully calibrated posture; his increasing musical sophistication points up the lyrical holding pattern. Having said that, the album ends on an affecting emotional peak — “Hurt” mingles drama and introspection in a way Reznor had never quite managed before. It’s evidence of depth behind the charisma that deservedly made him a star.

Tracklist:
Disc 1 #01. Mr. Self Destruct
Disc 1 #02. Piggy
Disc 1 #03. Heresy
Disc 1 #04. March Of The Pigs
Disc 1 #05. Closer
Disc 1 #06. Ruiner
Disc 1 #07. The Becoming
Disc 1 #08. I Do Not Want This
Disc 1 #09. Big Man With A Gun
Disc 1 #10. A Warm Place
Disc 1 #11. Eraser
Disc 1 #12. Reptile
Disc 1 #13. The Downward Spiral
Disc 1 #14. Hurt

Disc 2 #01. Burn – Soundtrack Version (Explicit)
Disc 2 #02. Closer (Precursor)
Disc 2 #03. Piggy (Nothing Can Stop Me Now)
Disc 2 #04. A Violet Fluid
Disc 2 #05. Dead Souls
Disc 2 #06. Hurt (Quiet)
Disc 2 #07. Closer To God
Disc 2 #08. All The Pigs, All Lined Up
Disc 2 #09. Memorabilia
Disc 2 #10. The Downward Spiral (The Bottom)
Disc 2 #11. Ruiner – Demo
Disc 2 #12. Liar – Reptile Demo
Disc 2 #13. Heresy – Demo

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I have never been much of a classical music fan (on recorded music anyway) but hearing this Fone recording it actually makes sense for the 1st time! Listening to the SACD layer the music has striking 3-dimentional naturality but more importantly, PASSION! I have never felt that classical music had passion in a CD recording, & I always felt vinyl had too low SNR for classical music. The difference between the SACD & CD layer is quite obvious, & not subtle like on some discs. Listening to the CD layer (which is very good for a CD) results in a massive loss of coherence & passion – just the reason I never enjoyed classical on CD.

Tracklist:

01. CANTO DI CARNEVALE, TAMMURIDDARA, ASSUMMATA DI LU CORPU DI LA TUNNARA – NAVAII 06:54
Al Qantarah: voices and instruments
from SACD fonè 001 “Abballati, abballati!”
02. STELLA NOVA 06:47
Ensemble Weltgesang, Roberta Cristoni: conductor
from SACD fonè 007 “Primus ex apostolis”
03. Johann Gottfried Walther: CONCERTO DEL SIG.R TOMASO ALBINONI APPROPRIATO ALL’ORGANO – Allegro 03:03
04. Johann Gottfried Walther: CONCERTO DEL SIG.R TOMASO ALBINONI APPROPRIATO ALL’ORGANO – Adagio 01:21
05. Johann Gottfried Walther: CONCERTO DEL SIG.R TOMASO ALBINONI APPROPRIATO ALL’ORGANO – Allegro 03:14
Stefano Concordia O.S.B.: organ
from SACD fonè 002 “Vir Dei Benedictus”
06. HYMN OF THANKSGIVING, TE DEUM 05:35
Monastic Choir of the Abbey of Montecassino
Stefano Concordia O.S.B.: organ
from SACD fonè 002 “Vir Dei Benedictus”
07. Antonio Vivaldi: CONCERTO RV 297 “L’INVERNO” – Allegro non molto 03:20
08. Antonio Vivaldi: CONCERTO RV 297 “L’INVERNO” – Largo 02:39
09. Antonio Vivaldi: CONCERTO RV 297 “L’INVERNO” – Allegro 03:03
Marco Fornaciari, fonè ensemble
from SACD fonè 005 – “Antonio Vivaldi: The Four Seasons”
10. Pietro Antonio Locatelli: INTRODUTTIONE IV – Allegro 01:50
11. Pietro Antonio Locatelli: INTRODUTTIONE IV – Andante 01:58
12. Pietro Antonio Locatelli: INTRODUTTIONE IV – Presto 01:07
Orchestra da Camera di Brescia e Bergamo
Agostino Orizio: conductor
from SACD fonè 004 “Pietro Antonio Locatelli:
Six Introduttioni Teatrali, Concerto in A major”
13. Johannes Brahms: SCHERZO FOR «SONATA F.A.E.» 05:43
Salvatore Accardo: violin, Bruno Canino: piano
from SACD fonè 008 “Johannes Brahms: Violinsonaten
op. 78, op. 100, op. 108, Scherzo für die «F.A.E. Sonate»”
14. Isaac Albeniz, arr. Kreisler: MALAGUEÑA 03:50
Salvatore Accardo: violin, Laura Manzini: piano
from SACD fonè 003 “I Violini di Cremona Omaggio a Kreisler”
15. Pietro Mascagni: INTERMEZZO from Cavalleria Rusticana 03:32
Camerata Strumentale di Santa Cecilia
Leone Magiera: conductor
from SACD fonè 006 “Invitation to Opera”
16. Giuseppe Verdi: PACE, PACE MIO DIO from La forza del destino 05:44
Raina Kabaivanska: soprano, Camerata Strumentale
di Santa Cecilia, Leone Magiera: conductor
from SACD fonè 006 “Invitation to Opera”
17. Armand J. Piron: SISTER KATE 04:56
fonè Jazz Makers: vocal and instruments
from SACD fonèJazz 014 “Girl of my dreams”
18. Holt Marvell, Jack Strachey, Harry Link: THESE FOOLISH THINGS 04:24
Gaby Cole: voice, Marco Pezzenati: bells tree, vibrafono
from SACD fonèJazz 010 “Just for a while”

ISO

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Master Music Audiophile SACD sampler includes the beautiful and timeless voices!
Red Hot Audiophile 2008 features such artists as Chie Ayado, Eva Taylor, Nicki Parrott and more!

Tracklist:

1. Wish You Were Here – Kirsti Huke
2. Will You Still Love Me Tomorrow – Chie Ayado
3. When Will I See You Again – Tata
4. Hotel California – Akapelleando
5. Suddenly Love – Carmen Cuesta-Loeb
6. Choro – George Garzone & Trio Da Paz
7. Close To You – Lisa Wahlandt & Mulo Francel
8. Everybody Loves My Baby – Eva Taylor
9. Send In The Clowns – Svante Thuresson & Katrine Madsen
10. Cry Me A River – Nicki Parrott
11. Stjernelause Dogn – Kari Bremnes
12. You Don’T Know What Love Is – Stefanie Schlesinger
13. Cinema Paradiso – Robert Wolf & Fang Kammerlander
14. Wien Bleibt Wien. March – Thomas Christian Ensemble

ISO

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Master Music Audiophile SACD sampler includes the beautiful and timeless voices!
Red Hot Audiophile 2009 features such artists as Vonda Shepard, Mary Black, Siri Gjaere and more!

Tracklist:

01. Another January – Vonda Shepard
02. Black Is The Colour – Nyle Wolfe
03. Donegal Breeze – Mary Black
04. Passelig Dose – Kari Bremnes
05. When I Hold You – Ulrik Elholm
06. Full Moon – Mary Black
07. Motlys – S.Groven & K.Bjornstad
08. Last First Kiss – Inger Marie Gunersen
09. Silent Garden – Deva Premal & Miten
10. After A Day Of Rain – B.Torget
11. Everybody’s Talkin’ – Simone
12. Loveless Café – Siri Gjaere
13. Ave Maria – A.Kvalbein & I.Kleive
14. Isaac Albeniz: Tabgo In D – Viveza

ISO

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Master Music Audiophile SACD sampler includes the beautiful and timeless voices!
Red Hot Audiophile 2010 features such artists as Joel Xavier, Lisa Wahlandt, Anita Meyer and more!

Tracklist:

01. Silence – Joel Xavier/ Ron Carter
02. Here, There And Everywhere – Lisa Wahlandt
03. Blue Bayou – Anita Meyer
04. Tears In Heaven – Chie Ayado
05. What A Wonderful World – Etta Cameron
06. You Needed Me – Anita Meyer
07. He Ain’t Heavy, He’s My Brother – Radka Toneff
08. Meditating Over A Photo – Mahsa Vahdat / Mighty Sam McClain
09. My Way – Chie Ayado
10. Don’t Smoke In Bed – Nicki Parrott
11. Grains of Sand – Mona Larsen
12. A Handful of Stars – Eddie Higgins Quintet
13. He’ll Have To Go – Mia
14. Amazing Grace – Sigvart Dagsland

ISO

https://subyshare.com/kkfg026aeu3l/VARedH0tAudi0phile20102010SACDPS3IS0.part1.rar.html
https://subyshare.com/yzi45zbhnh6z/VARedH0tAudi0phile20102010SACDPS3IS0.part2.rar.html

Beoga – Live At Stockfisch Studio (2010) [Hybrid-SACD] {PS3 ISO + FLAC}

Blue Chamber Quartet – Chick Corea: Children’s Songs (2009) [Hybrid-SACD] PS3 ISO

Inger Marie Gundersen – The Best Of, Volume 2 (2019) SACD ISO + FLAC

Inger Marie Gundersen – For You (2011) SACD ISO + FLAC

Inger Marie Gundersen – By Myself (2006) [Reissue 2007] SACD ISO + FLAC

Staatsphilharmonie Nurnberg, Marcus Bosch – Antonin Dvorak – Symphony No. 6; Vodnik op. 107 “The Water Goblin” (2013) [Hybrid-SACD] {PS3 ISO + FLAC}

Bill Withers – Live At Carnegie Hall (1973) [MFSL 2014] {PS3 ISO + FLAC + DSF DSD64}

Jean-Jaques Avenel – Waraba (2004) [2.0 & 5.0] {PS3 ISO + FLAC}

Labelle – Nightbirds (1974) [Audio Fidelity 2015] {2.0 & 4.0} PS3 ISO + FLAC

The Gadd Gang – The Gadd Gang (1986) [Japanese Reissue 2008] {2.0 & 5.1} PS3 ISO + FLAC

The Who – Tommy (1969) [Japanese Limited SHM-SACD 2012 # UIGY-9089] {PS3 ISO + FLAC}

Olga Borodina, Wiener Philharmoniker, Valery Gergiev – Berlioz: Symphonie fantastique & La Mort de Cleopatre (2003) [2.0 & 5.1] {PS3 ISO + FLAC}

Sting – Brand New Day (1999) [Reissue 2004] {2.0 & 5.1} PS3 ISO + FLAC

The Carpenters – Carpenters Singles 1969-1981 (2004) [2.0 & 5.1] {PS3 ISO + FLAC}

Ida Haendel, Czech Philharmonic Orchestra – Lalo: Symphonie Espagnole & Ravel: Tzigane (1964) [Japan 2018] {PS3 ISO + FLAC}

Nine Inch Nails – The Downward Spiral (1994) [Deluxe DCD Edition 2004] {2.0 & 5.1} PS3 ISO + FLAC

Various Artists – Audiophile Trip – Super Audio CD sampler (2001) [SACD] PS3 ISO

Various Artists – Red Hot Audiophile 2008 (2008) [SACD] PS3 ISO

Various Artists – Red Hot Audiophile 2009 (2009) [SACD] PS3 ISO

Various Artists – Red Hot Audiophile 2010 (2010) [SACD] PS3 ISO