SACD / DSD – HDMusic.me

When Wes Montgomery made his first amazing impact on the New York jazz scene at the end of the 1950s, a great many established stars actively sought to record with him. Milt Jackson was one of the few for whom the guitarist felt an equal affinity. For one thing, they shared a strong love for the blues; and Wes had learned, through years of playing with his brother Buddy, to value the vibes/guitar sound. To support this memorable meeting of thoroughly compatible jazz masters, Riverside assembled one of the most cohesive recording rhythm sections of its day: Wynton Kelly, Sam Jones, and Philly Joe Jones.

Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn’t hesitate to tell you exactly what he thought of a musician – so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn’t be confused with swing drummer Jo Jones). Although Jackson and Montgomery prove what lyrical ballad players they could be on the standard “Stairway to the Stars,” ballads aren’t a high priority on this album. Instead, the improvisers put more of their energy into the blues – and the 12-bar format serves them well on “Sam Sack,” “Blue Roz,” and “S.K.J.” Equally strong are hard-swinging versions of Montgomery’s “Jingles” and Benny Golson’s “Stablemates”.

Tracklist:
01. S.K.J.
02. Stablemates
03. Stairway to the Stars (take 3)
04. Stairway to the Stars (take 2)
05. Blue Roz
06. Sam Sack
07. Jingles (take 9)
08. Jingles (take 8)
09. Delilah (take 4)
10. Delilah (take 3)

Recorded on December 18-19, 1961 in Plaza Sound Studios, NYC.

Personnel
Milt Jackson – vibraphone
Wes Montgomery – guitar
Wynton Kelly – piano
Sam Jones – bass
Philly Joe Jones – drums

ISO

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FLAC

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Mari & Momo Kodama, Deborah & Sarah Nemtanu, Magali Demesse / Lawrence Foster,
Orchestre Philharmonique de Marseille – Martinů: Double Concertos for Violin & Piano (2018)
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 62:37 minutess | Digital Booklet | 2,87 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/96 kHz | Digital Booklet | 1,21 GB
Features Stereo & Multichannel Surround Sound | PentaTone Classics # PTC 5186 658

Bohuslav Martinů’s distinctive musical voice, which infuses the great Czech tradition with modern idioms, is showcased in this captivating survey of his concertante works, performed by the Orchestre Philharmonique de Marseille conducted by Lawrence Foster. The Concerto for Two Pianos and Orchestra is a lively and rhythmic tour de force. Breezily energetic and relentless, it is full of jazzy inflections and high speed fireworks, pausing only in the tranquillity of the slow movement for moments of serene calm. By contrast, the Concerto for Two Violins and Orchestra is a warm, lyrical work in the Romantic tradition. With its intricate and interweaving solo lines, expansive melodies and dance-like syncopations it’s an engaging work of considerable charm which deserves a wider audience. The Rhapsody-Concerto for Viola and Orchestra is a dreamily nostalgic work whose simple melodies, radiant lyricism and soaring viola line make it one of the 20th century’s most performed viola concertos.

Bohuslav Martinu took naturally to the double-concerto format, with its various possibilities for exchange between the soloists, and he wrote quite a few of them. There are various recordings of the works recorded here, with the aptly titled Rhapsody-Concerto for viola and orchestra probably the most popular of the three. But the grouping here, with established duos in the two double concertos, is unique. All three of the concertos date from Martinu’s American period, with the Concerto for two pianos and orchestra the earliest one, from 1943. Naturally enough, this work is the edgiest, and it gets a high level of tension from pianists Mari and Momo Kodama. The other two works are richly lyrical within a neoclassic framework, an attractive combination. Sample the opening movement of the Concerto No. 2 for two violins and orchestra, H. 329, performed by the somewhat lesser-known Romanian-French sister duo of Sarah and Deborah Nemtanu, who add humor in unexpected places and have an apparent sibling rapport. The Orchestre Philharmonique de Marseille has a lively alertness to what the soloists are doing, and the end result is a strong recording of works by this composer whose recorded catalog is still rather sparse.

Tracklist:
01. Concerto for Two Violins and Orchestra H329 – Poco allegro
02. Concerto for Two Violins and Orchestra H329 – Moderato – Allegro con brio – Vivo (Presto)
03. Rhapsody-Concerto for Viola and Orchestra H337 – Moderato
04. Rhapsody-Concerto for Viola and Orchestra H337 – Molto adagio – Allegro – Andante
05. Concerto for Two Pianos and Orchestra H292 – Allegro non troppo
06. Concerto for Two Pianos and Orchestra H292 – Adagio
07. Concerto for Two Pianos and Orchestra H292 – Allegro

Recorded on June 20-30, 2017 at Friche la Belle de Mai, Marseille, France.

Personnel
Deborah Nemtanu – violin (Concerto in D major for two violins and orchestra H329)
Sarah Nemtanu – violin (Concerto in D major for two violins and orchestra H329)
Magali Demesse – viola (Rhapsody-Concerto for Viola and Orchestra)
Momo Kodama – piano (Concerto for Two Pianos and Orchestra, H292)
Mari Kodama – piano (Concerto for Two Pianos and Orchestra, H292)
Orchestre Philharmonique de Marseille – Conducted by Lawrence Foster

ISO

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Murray Head’s Nigel Lived is a groundbreaking classic and one of the boldest, most daring and inventive albums of all time. Recorded by the great recording engineer Phill Brown, Nigel Lived is from the golden era of all-analog recording, a sonic and musical masterpiece that every music lover and audiophile simply must have. This 45th Anniversary Edition was mastered directly from 1972’s analog tapes by Kevin Gray. As the master tapes can no longer be found in Sony’s vaults in the US or the UK (Sony bought CBS and its assets), Phill’s 1972 tapes are the de facto “original master tapes”. The sound quality on these tapes is a revelation, with deep but tuneful bass, sweet highs, gorgeous vocals and very wide dynamics!

Recorded in the summer of 1972 and released the following year, Nigel Lived is Murray Head’s first solo LP. A rarity for this singer, it takes the form of a concept album. A songwriter found the diary of a stranger and wrote songs out of some fragments. The booklet reproduces pages of the fake diary along with the lyrics, weaving a believable fiction that helps in distancing or objectifying the autobiographical nature of the songs. They are split between the “success” and “failure” sides of the LP and tell the story of an artist (actor? singer? – both would apply to Head) who leaves his small hometown, comes to the “big city” to make it, and, after an initial encouraging period, watches his life fall apart. Head is surrounded by an impressive cast of session musicians from folk, rock, and jazz realms, including Caravan flutist Jimmy Hastings, jazz clarinetist Tony Coe, and original King Crimson drummer Michael Giles. The whole album seems to foretell Chris DeBurgh’s Spanish Train and Other Stories, especially because of the daring arrangements (a Gregorian choir and a steel drums ensemble in “Religion”). Other comparisons would include Shawn Phillips and Cat Stevens’ records around the same time. Head still had to write a memorable song like “Say It Ain’t So, Joe,” but despite the lack of shining moments, Nigel Lived makes a solid and surprisingly uncompromising album. And “Junk” is the longest, weirdest song this singer ever recorded.

Tracklist:
01. Pacing On the Station
02. Big City
03. Bed & Breakfast
04. The Party
05. Ruthie
06. City Scurry
07. When You Wake Up in the Morning
08. Why Do We Have to Hurt Our Heads
09. Pity the Poor Consumer
10. Dole
11. Nigel, Nigel
12. Miss Illusion
13. Religion
14. Junk

Mastered directly-to-DSD from recording engineer Phill Brown’s 1/4″ 15-ips analog tapes from 1972 by Kevin Gray at Cohearent Audio.

ISO

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FLAC

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Nat Adderley led a double creative life at Riverside: featured on the highly successful working-group albums led by his brother Cannonball, and also devising several intriguingly different projects under his own name. Very possibly the most interesting was Work Song, which took its title from one of Nat’s most widely known soulful compositions, and took its instrumentation from the younger Adderley’s fertile imagination. Cornet, cello, and guitar make up a front line that will probably never be duplicated. The guitarist was his friend Wes Montgomery, just emerging towards jazz stardom; the cellist was the longtime bassist of Cannonball’s band, Sam Jones.

Work Song is a near-classic by cornetist Nat Adderley. Adderley utilizes a cornet-cello-guitar front line with Sam Jones and Wes Montgomery, along with a top-notch rhythm section pianist including Bobby Timmons, Percy Heath, or Keter Betts on bass and drummer Louis Hayes. First up is a fine early performance of his greatest hit, “Work Song.” He also helps introduce Cannonball Adderley’s “Sack O’ Woe.” Four songs use a smaller group, with Timmons absent on “My Heart Stood Still,” which finds Keter Betts on cello and Jones on bass; “Mean to Me” featuring Nat backed by Montgomery, Betts, and Hayes; and two ballads (“I’ve Got a Crush on You” and “Violets for Your Furs”) interpreted by the Adderley-Montgomery-Jones trio. No matter the setting, Nat Adderley is heard throughout in peak form, playing quite lyrically. Highly recommended.

Tracklist:
01. Work Song
02. Pretty Memory
03. I’ve Got a Crush on You
04. Mean To Me
05. Fallout
06. Sack of Woe
07. My Heart Stood Still
08. Violets For Your Furs
09. Scrambled Eggs

Recorded at Reeves Sound Studios in New York City on January 25, 1960 (tracks 2, 4, 5 & 7) and January 27, 1960 (tracks 1, 3, 6, 8 & 9)

Personnel
Nat Adderley – cornet
Bobby Timmons – piano on “1, 2, 5, 6 & 9”
Wes Montgomery – guitar
Sam Jones – bass, cello
Keter Betts – bass, cello
Percy Heath – bass
Louis Hayes – drums

ISO

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FLAC

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Ning Feng, Deutsches Symphonie-Orchester Berlin, Yang Yang – Bruch: Scottish Fantasy / Tchaikovsky: Violin Concerto (2013)
SACD Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 70:41 minutes | Digital Booklet | 3,92 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Digital Booklet | 1,27 GB
Features Stereo & multichannel Surround Sound | Channel Classics # CCS SA 34913

After two very successful solo discs it was time for Chinese violin star Ning Feng to move on and record two beautiful pieces for solo violin and orchestra. The great success of Max Bruch’s 1st Violin Concerto cast a shadow over his other music. Tchaikovsky’s Violin Concerto in D is a breathtakingly virtuosic work from becoming one of the most frequently performed of all violin concertos.

Violinists visiting Max Bruch to play him his 1st Violin Concerto (the violin concerto, though he wrote three) were chased away by the composer, who shouted that he had written a lot more than just that. The great success of this delightful piece has cast a shadow over his other music. And those who know the work – or hear it for the first time – understand only too well why, for it is rightly one of the most popular of allromantic violin concertos. However, Bruch another work for violin and orchestra which is perhaps even more special. For the soloist it is technically more more difficult than the 1st Violin Concerto, and it is a free fantasy rather than a traditional threemovement concerto. It is the Scottish Fantasy op. 46 for violin and orchestra (1880), written for the legendary virtuoso Pablo de Sarasate, a Spaniard who spent his entire life in France. Shortly before, Edouard Lalo had composed his exotic and daredevil Symphonie Espagnole (1875) for De Sarasate. This is another strange mixture of symphony, solo concerto and suite. Bruch hesitated to use the title fantasy’, since this is usually a rather short piece in free form, while he had written a considerable work lasting half an hour, with a range of contrasting moods.

Ning Feng’s account of the Tchaikovsky is notably elegant. The fast, high passages sound wonderfully clear and pure, and the first movement, in particular, abounds in balletic grace – surely a part of the music’s essential character. In the cadenza, performed just as Tchaikovsky wrote it, without any of the little ‘improvements’ we often hear, he reveals a finely honed sense of timing, which also comes into play in the introductory solo to the finale; and as the finale gets under way, Feng’s liveliness and precision ensure an impression of real vivacity. The Andante, on the slow side, is persuasively elegiac. The only point where Ning Feng’s refinement hampers his performance is during the finale’s folksy episodes where, ignoring the composer’s indication for glissando, he sounds altogether too polite for such rustic music.

Tracklist:
01. Bruch: Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction – Grave
02. Bruch: Scottish Fantasy for Violin and Orchestra, Op. 46: II. Adagio cantabile
03. Bruch: Scottish Fantasy for Violin and Orchestra, Op. 46: III. Scherzo – Allegro-Adagio
04. Bruch: Scottish Fantasy for Violin and Orchestra, Op. 46: IV. Andante sostenuto
05. Bruch: Scottish Fantasy for Violin and Orchestra, Op. 46: V. Finale, Allegro guerriero
06. Tchaikovsky: Violin Concerto in D Major, Op. 35: I. Allegro moderato
07. Tchaikovsky: Violin Concerto in D Major, Op. 35: II. Canzonetta – Andante
08. Tchaikovsky: Violin Concerto in D Major, Op. 35: III. Finale, Allegro vivacissimo

Produced & Edited by Jared Sacks. Engineered by Tom Rußbüldt.
Recorded on November 22-24, 2012 at Teldex Studio Berlin.

Personnel
Ning Feng – violin
Deutsches Symphonie-Orchester Berlin
Yang Yang – conductor

ISO

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FLAC

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Skol is one of the great cooperative sessions among jazz recordings. Swinging and fellow feeling, not leadership or stardom, were the primary considerations when Norman Granz put together in concert Oscar Peterson, Stephane Grappelli, Joe Pass, Mickey Roker, and Niels-Henning Ørsted Pedersen.

Pianist Oscar Peterson and violinist Stephane Grappelli meet up for this Scandinavian concert. The “backup” crew (guitarist Joe Pass, bassist Niels Pedersen, and drummer Mickey Roker) isn’t too bad either. In addition to a closing blues (which is highlighted by tradeoffs from Peterson and Grappelli), the quintet performs five veteran standards with creativity and swing.

The musicians were Danish, American, French, and Canadian, and the international language at Copenhagen’s Tivoli Gardens that night was jazz. In Django Reinhardt’s “Nuages,” with its tender solos by Pass, Grappelli, and Peterson, there are intimations of the Quintet of the Hot Club of France that Grappelli led with Reinhardt in the 1930s. Grappelli soloed at greater length than he customarily did in studio recordings, Peterson with notable restraint and, at the same time, intensity. Pass and Ørsted Pedersen had a great night. Roker, as always, supplied inspiration and perfect time. Standards—including the previously unreleased selections “Honeysuckle Rose,” “Solitude,” and “I Got Rhythm”—make up the repertoire, except for the spontaneous blues that gives the album its name.

Tracklist:
01. Nuages
02. How About You
03. Someone to Watch Over Me
04. Makin’ Whoopee
05. That’s All
06. Skol Blues

Recorded on July 6, 1979 in Tivoli Concert Hall, Copenhagen, Denmark.

Personnel
Oscar Peterson – piano
Stéphane Grappelli – violin
Joe Pass – guitar
Niels-Henning Ørsted Pedersen – double bass
Mickey Roker – drums

ISO

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FLAC

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Otto Klemperer was very much a man of the theatre. “Here, opera and drama were truly united”, he said of his time at Berlin’s Kroll Theatre, a progressive and influential force in the heady years of the Weimar Republic. He was also a man with a sharp sense of humour: this performance of Mendelssohn’s incidental music to Shakespeare’s A Midsummer Night’s Dream both glows with enchantment and sparkles with wit.

Tracklist

Felix Mendelssohn: Incidental Music To “A Midsummer Night’s Dream” Op.61:
01. Overture Op. 21
02. Scherzo
03. March of the Fairies
04. Ye spotted snakes
05. Intermezzo
06. Nocturne Op
07. Wedding March
08. Funeral March
09. Dance of the Clowns
10. Finale

Recorded in January & February 1960.

Personnel
Philharmonia Orchestra & Chorus
Otto Klemperer – conductor
Heather Harper – soprano on “4 & 10”
Janet Baker – contralto on “4”

ISO

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FLAC

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It appears that, with Linn’s The Devil’s Trill, the former Palladian Ensemble shortened its name to just Palladians. With the departure of longtime recorder soloist Pamela Thorby, the quartet was suddenly re-designated a trio, but The Devil’s Trill finds it a quartet once again with the addition of harpsichordist Silas Standage. The new name, according to the group, is designed “[to allow] more artistic freedom for players to come and go as required,” and that’s certainly fair, although one might wonder what effect this might have on their usual, seamless ensemble blend. To judge from The Devil’s Trill, not much, so far. The core group of Rodolfo Richter, Susanne Heinrich, and William Carter hold together like glue, and the addition of Standage discreetly adds a level of color to what was already well put in place with the Palladian Ensemble of old.

This program is centered on the work of reclusive eighteenth century violinist Giuseppe Tartini and the one work of his that gained some traction in the literature: his Violin Sonata in G minor, Op. 1/4, also known as “The Devil’s Trill” (Tartini called it “The Devil’s Sonata”). The disc is not exclusively devoted to Tartini, as it also includes a sonata by a violinist Tartini idolized: Francesco Maria Veracini. In the notes, William Carter rather whimsically comments, “the powerful forces of market distribution […] make us reluctant to adulterate our Tartini product with too much foreign material.” Nevertheless, the Veracini is probably the most outstanding highlight of the disc; Richter really digs into the solo part with gusto and the rest of the group weighs in with remarkable ensemble flexibility, ebbing and flowing easily and naturally with each twist and turn taken by the soloist. This sonata alone is worth the price of admission, and a reading of a single movement from a Tartini sonata in E minor for Richter and Heinrich alone – reflecting Tartini’s long association with cellist Antonio Vandini – is also noteworthy. The only thing here that doesn’t seem to pan out is the title work, “The Devil’s Trill” itself. Rodolfo Richter’s interpretation of the solo part seems rather listless and deliberately dour in the matter of intonation; perhaps this is a reflection of Tartini’s own recorded comments about the piece and its inspiration, but whatever it was, this seems like Tartini on automatic pilot. The rest of the disc is fine, and as always, Linn’s Hybrid Multichannel sound is great. While it may seem absurd to suggest that Palladians might consider adulterating its Tartini product enough to shake out “The Devil’s Trill,” such procedure might have cured this patient.

Tracklist:
01. Giuseppe Tartini: Sonata in G minor ‘The Devil’s Trill’ – Largo affetuoso
02. Giuseppe Tartini: Sonata in G minor ‘The Devil’s Trill’ – Allegro
03. Giuseppe Tartini: Sonata in G minor ‘The Devil’s Trill’ – Andante – Allegro assai – Adagio
04. Giuseppe Tartini: Sonata in G minor, Op.1 No.10 ‘Didone abbandonata’- Affetuoso
05. Giuseppe Tartini: Sonata in G minor, Op.1 No.10 ‘Didone abbandonata’ – Presto
06. Giuseppe Tartini: Sonata in G minor, Op.1 No.10 ‘Didone abbandonata’- Allegro
07. Francesco Maria Veracini: Sonata in A major, Op.1 No.7 – Cantabile
08. Francesco Maria Veracini: Sonata in A major, Op.1 No.7 – Larghetto
09. Francesco Maria Veracini: Sonata in A major, Op.1 No.7 – Allegro
10. Francesco Maria Veracini: Sonata in A major, Op.1 No.7 – Largo
11. Francesco Maria Veracini: Sonata in A major, Op.1 No.7 – Allegro
12. Giuseppe Tartini: Sonata in E minor, Op.1 No.5: Largo
13. Giuseppe Tartini: Sonata in A major, Op.1 No.13 ‘Pastorale’- Grave
14. Giuseppe Tartini: Sonata in A major, Op.1 No.13 ‘Pastorale’- Allegro
15. Giuseppe Tartini: Sonata in A major, Op.1 No.13 ‘Pastorale’- Largo – Presto – Andante
16. Giuseppe Tartini: Grave in D minor

Produced & Engineered by Philip Hobb.
Recorded on November 6-8, 2006 at St Andrew’s Church, Toddington UK.

Palladians
Rodolfo Richter – violin
Susanne Heinrich – viola da gamba
Silas Standage – harpsichord
William Carter – archlute, baroque guitar
+
Rodolfo Richter – violin by Andrea Guarneri, Cremona, 1674 on tracks “1-15”
Susanne Heinrich – 7-string bass viol after M. Collichon by Robert Eyland, 1998 on tracks “1-3 & 7-16”
Silas Standage – harpsichord by D Jacques Way and Marc Ducornet on tracks “1-11”
William Carter – archlute by Klaus T. Jacobsen on tracks “1-11,16”; baroque guitar by Martin Haycock on tracks “13-15”

ISO

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FLAC

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Pat Metheny Group is the first album by the Pat Metheny Group, released in 1978. It features Pat Metheny on guitars, Lyle Mays on piano and synthesizer, Mark Egan on electric bass, and Danny Gottlieb on drums. Many elements that became defining traits of the band’s overall sound were in place on the first album, namely Metheny’s incorporation of several different guitars and Mays’s fusion of electronic and acoustic keyboards to create a fuller, more harmonically sophisticated foundation for the melodies and solos.

The first recording by the Pat Metheny Group features the innovative guitarist along with keyboardist Lyle Mays, bassist Mark Egan, and drummer Dan Gottlieb. The music is quite distinctive, floating rather than swinging, electric but not rockish, and full of folkish melodies. The best known of these six Metheny-Mays originals are “Phase Dance” and “Jaco.” This music grows in interest with each listen.

Tracklist:
01. San Lorenzo
02. Phase Dance
03. Jaco
04. Aprilwind
05. April Joy
06. Lone Jack

Personnel
Pat Metheny – 6-and 12-string electric and acoustic guitars
Lyle Mays – piano, Oberheim synthesizer, autoharp
Mark Egan – fretless electric bass
Danny Gottlieb – drums

Produced by Manfred Eicher. Engineered by Jan Erik Kongshaug.
Recorded in January 1978 at Talent Studio, Oslo, Norway.
DSD Remastered by Christoph Stickel in May 2017.

This Japanese SACD released in Japan on June, 2017. Tower Records Japan Inc. # PROZ-1092
The image ripped direct and unretouched using an Oppo BDP-105D, Sonore ISO2DSD, and sacd_extract.
Fresh rip, proper version without static noise.

ISO

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FLAC

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The latest Chesky Jazz recordings, The New York Sessions, are, to me, the best recordings ever because they are the most natural sounding ever. They always record live, not in studios, with minimal but highest quality technical equipment. There is no multi-tracking, overdubbing or compressing what makes the music sound so natural with its original dynamics. The lack of technical equipment may be the reason for the natural, pleasing sound of so many Jazz records of the 50`s, even the monaural ones, combined with the highest quality technical equipment of today Chesky makes the perfect sound. Listening to Cheskys for the first time you will recognize they are out of the ordinary, but I think you`ll have to get familiar with them to hear that they are best. In some of the booklets there are diagrams showing the positions of the musicians during the recording session. That was not necessary, you can see them when playing the record.
Uncommon for Chesky, this is an electric line up and Coryell and his guys are playing jazz-rock fusion of the best kind most time, eight of ten are originals plus Hendrix`s Manic Depression and Monk`s Misterioso. The whole thing sounds like jamming and improvising with fantastic solos and thrilling interplay, sometimes relaxed sometimes aggressive, always attracting. For example: Bailey and White are demonstrating for 7 minutes what “Drum & Bass” does mean to jazz men. One can use this instruments in another than a stupid way. If you like modern intelligent fusion by a small group, mixed with wonderful relaxed acoustic guitar tracks, here`s one for you. ~sa-cd.net

SACD Info:

Coryell, Bailey & White – Traffic

Label: Chesky Records
Catalog#: SACD 322
Format: Hybrid-SACD, Album, Stereo, MCH
Country: US
Released: 2006
Genre: Jazz
Style: Fusion, Contemporary Jazz

Tracklist:

01. Judith Loves Jazz
02. Manic Depression
03. Door #3
04. Joyce’s Favorite
05. Misterioso
06. Dedication
07. Drums & Bass
08. Jake’s Lullaby
09. Overruled
10. Electric Jam (aka Back in Our day)

Recorded April 17th 2006, St Peter’s Episcopal Church, NYC.

ISO

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FLAC

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Info+Art

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Carl Cleves & Parissa Bouas – Out Of Australia
SACD ISO (2.0/MCH): 3,12 GB | 24B/88,2kHz Stereo FLAC: 969 MB | Full Artwork | 3% Recovery Info
Label/Cat#: Stockfisch Records # SFR 357.4060.2 | Country/Year: Germany 2010
Genre: Folk, World, & Country | Style: Folk, Acoustic

Musical travelogue is distinguished by stunning vocals and unique instrumentation.

Flemish born singer/songwriter Carl Cleves and Greek-Australian vocalist Parissa Bouas have captured the hearts of folk enthusiasts in Australia. They are celebrated for their unique acuity for global storytelling, reflected in relevant social and political narratives. Together since 1991, as members of the Cleves-formed band, The Hottentots, the duo continue to perform and record together. In the tradition of authentic folk music, they travel extensively, integrating different cultures and auditory influences into original compositions. Cleves, who holds degrees in Law, African Music and Contemporary Composition, inhabits the aura of an international beat poet. Influenced by a collage of inspirational artists like Bob Marley, Abdullah Ibrahim, Arthur Rimbaud, Townes Van Zandt, and Kurt Weill, passion and conscience become recurrent contexts.

Out Of Australia, consisting of twelve original songs, is a ruminating perspective on worldwide society. Coalesced by folk-based guitar constructs and emotional vocals, each track has a unique feel. A centerpiece, “The Bethlehem Bell Ringer” examines the plight of innocent victims in the Palestinian struggle. Parissa Bousa’s incandescent voice is heartfelt, and the hymnal chorus, no less than exultant. The use of a tambura (string drone instrument) adds a somber Middle Eastern tone. The plights of diamond mine workers (“Way Down In The Mines”) in Johannesburg, and ethnic genocide (The Coniston Massacre”), are recounted without overindulgence. Framed by the steady guitar of Cleves, and his idiosyncratic baritone (not unlike Scottish troubadour Donovan), there is a consistent lyrical aesthetic.

Not all of the serious minded themes find a proper elucidation. “Graceful” attempts to juxtapose a breezy tenor and HIV reference, with incongruous results.
African spirit is rendered with joyous abandon on the folk chant “Mother’s Song”. Backup singer Lea Morris blends with Bouas in perfect harmony. “Sharpening A Knife”, an adaptation of a poem by Nanao Sakaki has a Gaelic cadence, with chorus repetition and a soaring lead vocal. In addition to the milieu of international social mores and politics, there is a sensitive coloration by various Middle Eastern and African instruments.

This nomadic anthology captures the pathos of the human condition with originality and verve.
Multichannel SACD is an ideal medium for this music. The understated nuances of the various stringed instruments are reproduced with clear acoustics, whether it’s a prominent rhythm guitar, or delicate lute. Tonal quality of the voices is flawless. The depth and texture of the vocals (in particular the ensembles) refine the musical eminence. Audiophile Audition

Carl und Parissa sind ein Duo, das in seiner australischen Heimat beträchtliche Popularität genießt. Dass man beim Plattentitel Out Of Australia unwillkürlich an Out Of Africa denken muss, ist wohl mehr als Zufall. Scheint doch in Out of eine tiefe emotionale Verbundenheit mit einem Land, seiner Natur und Kultur zum Ausdruck zu kommen. Eine Vermutung, die sich zur Gewissheit steigert, wenn dieses Album sich mit jedem Stück weiter entwickelt.

Parissas glockenreine Stimme mutet an wie eine Einladung der Baumgeister und Flussnymphen, scheint einem Traumpfad zu folgen. Carls warme Stimme und sein Gitarrenspiel erden diesen Gesang, halten ihn auf einem Teppich dezent keltischer Melodielinien, in dem die poetische Auseinandersetzung mit der Welt eingewirkt ist zwischen Freudentanz und lebensweisem Annehmen der Schattenbereiche. Ein Vegemite-Sandwich mit Lebensthemen, Ätherisches über der heißen Erde des Kontinents Down Under: Hörer, kommst Du zum Folk, so sage, Du habest uns hier singen hören wie das Land es befahl. in-akustic

SACD Info:

Carl Cleves & Parissa Bouas – Out Of Australia

Label: Stockfisch Records
Catalog#: SFR 357.4060.2
Format: Hybrid-SACD, Album, Stero & Multichannel
Country: Germany
Released: 2010
Genre: Folk, World, & Country
Style: Folk

Tracklist:

1    Into The Light     04:04.03
2    Eclipse Of The Sun 02:24.07
3    Don’t Flowers Grow 03:29.31
4    The Bethlehem Bell Ringer 05:19.76
5    Way Down 03:56.60
6    House Of Sorrow 04:01.40
7    Mother’s Song 03:38.93
8    The Coniston Massacre 05:00.17
9    Graceful 04:30.67
10    Zeco 04:57.43
11    Sharpening A Knife 03:48.51
12    Carmen 04:45.33

Notes:

Produced and recorded by Günter Pauler
Surround-Mix, -Mastering and CD-PreMastering by Hans-Jörg Maucksch at Pauler Acoustics
Mastering monitors: B&W Nautilus-801 D

ISO

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Info+Art

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At the precise moment when a corporate reshuffling and a reduced roster led to death knells in the press for Columbia Records’ jazz division, Chris Botti was signing on after three albums at rival Verve, the jazz arm of Universal. Along with Bela Fleck, poached from Warner Bros., Botti seemed to represent the new lean-and-mean Columbia Jazz, an eclectic, contemporary artist with considerable crossover potential to go with his jazz legitimacy. While the dominant sound on Botti’s Columbia debut is naturally his haunting, minor-key trumpet playing, highly reminiscent of the more introspective aspect of Miles Davis, his original music, co-written with one-name producer Kipper, is strongly reminiscent of the pop-jazz approach of his most recent employer, Sting, whose tour hiatus created the opportunity for the recording of the album. Sting even contributes a song, the samba-paced “All Would Envy,” complete with lyrics describing a wealthy May-December marriage, sung by Shawn Colvin. But elsewhere his spare, stylish, multi-cultural music provides a guiding principle. Botti is true to the basic tenets of smooth jazz, which hold that a steady beat within a propulsive rhythm track must be maintained, over which the soloist makes his presence felt. But he and Kipper keep things simple, often using an acoustic guitar to create musical textures more suggestive of Rio than west Los Angeles, where the record was actually cut. And even with his less-is-more style of playing, Botti is capable of coming up with melodies that would be strong enough to support lyrics if someone wanted to write them. (A good example is “Light the Stars.”) “Easter Parade,” the final track, is by the members of the Blue Nile, another good touchstone for the trumpeter’s moody, atmospheric sound. The result is a step above most of the cookie-cutter contemporary jazz albums of the day.

Tracklist:
01. Lisa
02. Miami Overnight
03. Streets Ahead
04. Interlude
05. All Would Envy
06. Best Time
07. When I See You
08. You Move Me
09. Blue Horizon
10. Light The Stars
11. Through An Open Window
12. Easter Parade
13. Union

ISO

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Clifford Jordan’s first date as a leader actually found him sharing a heated jam session with fellow tenor John Gilmore. Backed by pianist Horace Silver, bassist Curly Russell, and drummer Art Blakey, the two saxophonists square off mostly on obscurities (other than Gigi Gryce’s “Blue Lights” and “Billie’s Bounce”). This was one of Gilmore’s few sessions outside of Sun Ra’s orbit and, if anything, he slightly overshadows the cooler-toned Jordan. Recommended.

Tracklist:
01. Staus Quo
02. Bo-Till
03. Blue Lights
04. Billie’s Bounce
05. Evil Eye
06. Everywhere
07. Let It Stand

Personnel:
Clifford Jordan – tenor saxophone
John Gilmore – tenor saxophone
Horace Silver – piano
Curly Russell – bass
Art Blakey – drums

ISO

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FLAC

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Frank Sinatra’s collaborations with Count Basie were among the singer’s better ventures back into jazz in the early 1960s, and led not only to a couple of great studio albums, and one superb live Sinatra album, but also to Basie’s being signed to the Sinatra-founded Reprise label in the mid-’60s. The 53 minutes of music captured on Live at the Sands was recorded during the opening sets from three different shows in late January and early February of 1966, by Basie and his band during the engagement with Sinatra at the Sands Hotel that yielded that live Sinatra album. Maybe that raises the expectations, because this release is a slight disappointment — the band sounds OK, but except for Basie himself and drummer Sonny Payne, it seems like they’re walking their way through some of this repertoire. There are a number of good moments here: “I Needs to Be Bee’d With,” “Flight of the Foo Birds,” “Satin Doll,” “Blues for Home,” and “This Could Be the Start of Something Big” (which is worth hearing for the ensemble work and Eric Dixon and Eddie “Lockjaw” Davis’ solos); the band finally takes flight, but compared with some of the recordings of complete shows by Basie that are nothing less than great, a lot of this is secondary. Given the fact that it was Sinatra’s set that was going to be taped for release for certain, the band may, indeed, have been holding back during its own set, for good reason. Even the audience response says it, positive and polite but not excessive — they were there for Sinatra, and nothing Basie and company did were likely to bowl them over, so why make the effort? It’s not a bad set, and some of it — “Makin’ Whoopee” (especially the call and response on the piano), “Corner Pocket,” and “Jumpin’ at the Woodside” — has great appeal. But this is overall a legendary band doing a somewhat less-than-legendary set, during some gigs that, in fairness, yielded up a great live album elsewhere. The quality is solid live sound, in crisp stereo from a nicely controlled mid-’60s venue, using state-of-the-art equipment.

Tracklist:
01. Introduction
02. Splanky
03. I Can’t Stop Loving You
04. I Needs To Be Bee’d With
05. Flight of the Foo Birds
06. Satin Doll
07. Makin’ Whoopee!
08. Corner Pocket
09. One O’Clock Jump
10. Go Away Little Girl
11. Whirlybird
12. Blues for Ilene
13. This Could Be The Start Of Something Big
14. Jumpin’ At The Woodside

Recorded January 26-29 & February 1, 1966 in the Copa Room, Sands Hotel, Las Vegas.
Mastered for this SACD by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

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“Offramp” is the third album by the Pat Metheny Group, released in 1982. It won the Grammy Award for Best Jazz Fusion Performance. The album contains the popular ballad “Are You Going with Me?”. Offramp is the first studio album on which Metheny used a guitar synthesizer, a Roland GR-300 controlled with a Roland G-303 guitar synthesiser controller. The guitar synthesizer became one of Metheny’s most frequently used instruments. “Offramp” is also the first Group album to feature vocals, which became a fundamental component of the band’s sound.

If 1980’s As Falls Wichita, So Falls Wichita Falls was defined by Pat Metheny’s charisma, its less accessible but certainly rewarding successor, Offramp, finds him leaning more toward the abstract. But as cerebral as Metheny gets on such atmospheric pieces as “Are You Going with Me?” and “Au Lait,” his playing remains decidedly lyrical and melodic. Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he’s not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics. Throughout the CD, Metheny enjoys a powerful rapport with keyboardist Lyle Mays, who also avoids exploiting his technique and opts for meaningful storytelling.

Tracklist:
01. Barcarole
02. Are You Going With Me?
03. Au Lait
04. Eighteen
05. Offramp
06. James
07. The Bat Pt.2

Personnel
Pat Metheny – electric and acoustic guitar, guitar synthesizer, Synclavier
Lyle Mays – piano, synthesizers, autoharp, electric organ, Synclavier
Steve Rodby – electric and acoustic bass
Danny Gottlieb – drums
Naná Vasconcelos – percussion, voice, berimbau

Produced by Manfred Eicher. Engineered & Mixed by Jan Erik Kongshaug.
Recorded in October 1981 at Power Station, New York. Mixed at Talent Studio, Oslo.

This Japanese SACD released in Japan on September, 2017. Tower Records Japan Inc. # PROZ-1095
The image ripped direct and unretouched using an Oppo BDP-105D, Sonore ISO2DSD, and sacd_extract.

ISO

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Phoenix, the sixth album by Patrick Zimmerli and his fourth on Songlines, finds the New York-based composer/saxophonist investigating new avenues of expression. The record integrates saxophone and jazz instruments with electronics and strings to create an appealing hybrid sound. It draws on Zimmerli’s wealth of experience in jazz, classical, and electronic/popular and film music. Sonically lush, beautifully recorded, and creatively mixed in 5.0 surround sound, Phoenix offers a varied set of responses to contemporary life that is both aesthetically intriguing and immediately approachable.

Usually, when jazz and electronica get together, it’s the former that ends up taking a back seat to the latter – a string bass sample lopes along underneath laid-back synth chords, or a saxophone tries to honk its way through a thicket of over-produced keyboards. Either way, the strategy is to take easy listening pap and give it a superficial gloss of hipness. The sixth album by saxophonist and composer Patrick Zimmerli takes just the opposite tack, and succeeds brilliantly. Instead of using disconnected jazz elements to spice up electronic Muzak, Zimmerli writes complex and beautiful jazz charts and spices them up with tasteful incursions of jittery, jungly breakbeats (courtesy of percussionist and programmer Satoshi Takeishi). His approach might sound gimmicky if it weren’t for the strength of his compositions, which manage to balance challenging formal complexity with intuitive, completely approachable beauty. He incorporates a string quartet into his arrangements in a way that brings to mind the more successful moments of Gunther Schuller’s third stream experimentation of the 1960s; his setting of the Jobim standard “How Insensitive” is one of the most intriguing and lovely ever recorded, and his own “Gnosis Crisis” combines cool strings with hot beats in a way that is both surprising and immediately attractive. Only the slightly bloated tone poem “Wunderlichen Stadt” (clocking in at over ten and a half minutes) fails to consistently hold one’s attention; everything else is a revelation. Very highly recommended.

Tracklist:
01. M
02. Away From You
03. Wunderlichen Städt
04. How Insensitive
05. Clouds and Machines
06. The Bird Dances
07. Breath
08. M
09. Feel
10. Gnosis Crisis
11. Only Surround
12. Beginning
13. Summer Passes
14. M

Recorded on March 27-28, 2003 at Avatar Studios, NYC.

Personnel
Patrick Zimmerli – soprano saxophone
Scott Yoo – violin 1
Yoon Kwon – violin 2
Maurycy Banaszek – viola
Inbal Segev – violincello
Kevin Hays – piano
Stomu Takeishi – fretless electric bass
Satoshi Takeishi – percussion, drum programming, electronics

ISO

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FLAC

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70s magic from Percy Faith – two albums presented here in their quadrophonic mixes! Clair is a really wonderful album from Percy Faith – part of a handful of sweet 70s sides that really had him sounding a lot more groovy than before! The album almost has a 70s soundtrack vibe at times – with a mix of electric elements amidst the fuller orchestrations – all in a nicely compressed way that’s handled with the sort of production that must have made a record like this a real treat for the quadrophonic generation! There’s a bit of vocals at times – mostly wordless – and the tunes themselves really shape the grooviness of the album – with titles that include “Clair”, “Ben”, “Sweet Surrender”, “2001”, “I Can See Clearly Now”, “Summer Breeze”, and “Superfly”. Joy has the Percy Faith sound opening up in warm, mature modes for the 70s – still a fair bit of strings, but also maybe more of that careful couching of sound that could make 70s easy listening so different from the sound of a decade before! Some of the tunes here are a nice surprise – and include pop and soundtrack numbers that further take Percy into fresh territory – titles that include “Shaft”, “This Way Mary”, “Without You”, “Diamonds Are Forever”, “The Summer Knows”, “An Old Fashioned Love Song”, and “Gypsies Tramps & Thieves”.

Tracklist:
01. Clair
02. Dont Let Me Be Lonely Tonight
03. Ben
04. Sweet Surrender
05. I Can See Clearly Now
06. Also Sprach Zarathustra 2001
07. Nights in White Satin
08. Summer Breeze
09. Superfly
10. Love Theme from Lady Sings the Blues
11. We Were Havin Some Fun at the Conservatory When
12. Dueling Banjos
13. Joy
14. Brians Song The Hands of Time
15. Love Theme from Mary Queen of Scots This Way Mary
16. Shaft
17. Without You
18. An Old Fashioned Love Song
19. Diamonds are Forever
20. The Summer Knows
21. Gypsies Tramps and Thieves
22. Medley Sunrise Sunset Fiddler on the Roof
23. Hurting Each Other
Tracks “01-12” is “Clair” (LP ‘1973)
Tracks “12-23” is “Joy” (LP ‘1972)

Remastered from the Original Master tapes by Michael J. Dutton.

ISO

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Dana Winner is the stage name of Chantal Vanlee. She is a Belgian singer who is famous especially in Flanders and the Netherlands. After her first success, Dana Winner also became well known in Germany and South Africa. At the end of the 1990s, she began singing in other languages and did not release an album in Dutch between 2000 and 2006.

Tracklist:
01. It’s a beautiful life
02. Sail Away
03. Stand van de maan
04. Where your road leads
05. Every night
06. End of time
07. Wherever you go
08. Tweede jeugd
09. Angels
10. Love the one you’re with
11. Falling from grace
12. Je pense a toi
13. Man in the moon

ISO

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Tracklist:
01. Conquest of Paradise
02. Love Is All
03. Sealed With A Kiss
04. Everything I Do
05. Downtown
06. Don’t It Make My Brown Eyes Blue
07. Dust In The Wind
08. Try To Remember
09. It’s A Heartache
10. Love Is The Reason To Be
11. Crying
12. Plaisir d’Amour – Can’t Help Falling In Love
13. Against All Odds
14. Streets of London
15. ABBA Medley

ISO

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https://subyshare.com/s31erb19lmcw/DanaWinnerUnf0rgettableT002002FLACStere02488.2.part1.rar.html
https://subyshare.com/ylqma1ze7tz7/DanaWinnerUnf0rgettableT002002FLACStere02488.2.part2.rar.html

The duo’s third album, Comparsa, continues the world music potpourri Deep Forest are known for, though there is a pronounced focus on Latin and Caribbean grooves provided by musicians from Cuba, Belize, Mexico, and Madagascar, among other places. Although the nationalities present are truly global, the actual sound of Deep Forest hasn’t changed that much, centering mostly on lush new age music with just a bit more of an edge than is usual, plus several tracks with whispered or restrained vocals. For fans of the debut album, Comparsa is a noteworthy, though hardly necessary, acquisition.

Tracklist:
01. Noonday Sun
02. Green And Blue
03. Madazulu
04. 1716
05. Deep Weather
06. Comparsa
07. Earthquake (Transition 1)
08. Tres Marias
09. Radio Belize
10. Ekue Ekue
11. La Lune Se Bat Avec Les Etoiles (Transition 2)
12. Forest Power
13. Media Luna

ISO

https://subyshare.com/eiotx7btylz7/DeepF0restC0mparsa1998Reissue2001SACDIS0.part1.rar.html
https://subyshare.com/2vnofjq645q6/DeepF0restC0mparsa1998Reissue2001SACDIS0.part2.rar.html
https://subyshare.com/vnxwi8gdbc1r/DeepF0restC0mparsa1998Reissue2001SACDIS0.part3.rar.html

FLAC

https://subyshare.com/vhe8ndjolj18/DeepF0restC0mparsa1998Reissue2001FLAC2488.2.part1.rar.html
https://subyshare.com/0dzegyjav90w/DeepF0restC0mparsa1998Reissue2001FLAC2488.2.part2.rar.html

Milt Jackson & Wes Montgomery – Bags Meets Wes (1962) [Reissue 2004] {SACD ISO + FLAC}

Mari & Momo Kodama, Deborah & Sarah Nemtanu – Martinu: Double Concertos for Violin & Piano (2018) {SACD ISO + FLAC}

Murray Head – Nigel Lived (1973) [Reissue 2017] {SACD ISO + FLAC}

Nat Adderley – Work Song (1960) [Reissue 2004] {SACD ISO + FLAC}

Ning Feng – Bruch: Scottish Fantasy; Tchaikovsky: Violin Concerto (2013) [2.0 & 5.0] {SACD ISO + FLAC}

Oscar Peterson, Stephane Grappelli – Skol (1982) [Reissue 2004] {SACD ISO + FLAC}

Otto Klemperer, Philharmonia Orchestra – Mendelssohn: A Midsummer Night’s Dream (1961) [Japan 2011] {SACD ISO + FLAC}

Palladians – The Devil’s Trill: Sonatas by Giuseppe Tartini (2008) [2.0 & 5.1] {SACD ISO + FLAC}

Pat Metheny Group – Pat Metheny Group (1978) [Japan 2017] {SACD ISO + FLAC}

Coryell, Bailey & White – Traffic (2006) [Hybrid-SACD] {PS3 ISO + FLAC}

Carl Cleves & Parissa Bouas – Out Of Australia (2010) [Hybrid-SACD] {PS3 ISO + FLAC}

Chris Botti – Night Sessions (2001) [2.0 & 5.1] {PS3 ISO + FLAC}

Cliff Jordan & John Gilmore – Blowing In From Chicago (1957) [Analogue Productions 2010] {PS3 ISO + FLAC}

Count Basie – Live At The Sands (Before Frank) (1998) [MFSL 2013] {PS3 ISO + FLAC}

Pat Metheny Group – Offramp (1982) [Japan 2017] {SACD ISO + FLAC}

Patrick Zimmerli – Phoenix (2005) {PS3 ISO + FLAC}

Percy Faith – Clair & Joy (1973-1972) [Reissue 2018] {2.0 & 5.1} PS3 ISO + FLAC

Dana Winner – Beautiful Life (2005) {PS3 ISO + FLAC}

Dana Winner – Unforgettable Too (2002) {PS3 ISO + FLAC}

Deep Forest – Comparsa (1998) [Reissue 2001] {PS3 ISO + FLAC}