SACD / DSD – HDMusic.me

When this album was recorded in 1975, Yoshiko Goto had been singing for 20 years. As is always the case, she could have made more money singing pops, but she would rather not sing at all if she was not singing jazz. In this, another memorable vocal album from Three Blind Mice, Goto is paired wih a quartet led by bassist Takashi Mizuhashi, with young pianist Junichiro Ohashi (this was his recording debut) and alto saxophonist Yoshio Otomo providing romantic solos and counterpoints.

Goto sings a selection of mostly slow-tempo ballads honestly and effectively, with subtle shadings and inflections that can be acquired only through long years of life and musical experience. The first four songs are about the joy and happiness of being in love, while the last four talk about the pain and suffering assosiated with love.

Tracklist:

01. Day Dream
02. I Wish I Knew
03. This Is Always
04. What A Difference A Day Made
05. Angel Eyes
06. I Got It Bad And That Ain’t Good
07. Jesse
08. Every Time We Say Goodbye

Personnel
Yoshiko Goto – vocals
Takashi Mizuhashi – bass
Yoshio Otomo – alto sax
Junichiro Ohkuchi – piano
Hideo Sekine – drums

Produced by Takeshi Fujii. Engineered by Yoshihiko Kannnari.
Recorded on February 17 & 18, 1975 at Aoi Studio, Tokyo, Japan.
Three Blind Mice / Sony Music Direct, Japan # MHCP 10041

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For 40 years Allan Taylor, born in Brighton in 1945, has been considered as the consummate performer, a writer of literary gracefulness whose troubadour chronicles encapsulate the realism of otherwise unsung heroes, otherwise uncharted lives.

Taylor had played on the Folkest festival every two or three years, usually on the stage in the Piazza Castello of Spilimbergo, a delightful small town near the North Italian city of Udine. The plan arose, that Valter Sivilotti, an Italian composer, arranger and conductor, would make arrangements of a selection of Allan’s songs and conduct the orchestra for the concert. This concert took place in July, 2013.

When Günter Pauler of Stockfisch Records heard the demo live-recordings he enthusiasticly suggested to produce a SACD: Taylor together with a symphony orchestra! Pauler hired the “Göttinger Symphonie Orchester” with their agile conductor Christoph-Mathias Mueller; Valter Sivilotti and Taylor joined the recordings in Göttingen, and a very successful session was performed.

Allan Taylor writes about this record: “What you hear on this SACD is the product of great technical and artistic expertise on the part of Stockfisch Records. I wrote some of these songs many years ago, but I hope you enjoy the experience of hearing them in an orchestral setting. Certainly, Valter Sivilotti’s empathy with my songs has created some wonderful settings, and it was a privilege to work with such a creative and empathetic musician”.

Tracklist:

01. Chimes at Midnight
02. For Those We Knew
03. Down the Years I Travelled…
04. For What It’s Worth
05. The Merlin Café
06. Provence
07. There Was a Time
08. Joseph
09. Win or Lose
10. Winter
11. Red on Green (Rosso su verde)
12. The Beggar (A pittima)

Personnel
Allan Taylor – vocals and guitar
Lutz Möller – piano
Hans-Jörg Maucksch – fretless bass
Göttinger Symphonie Orchester
Christoph-Mathias Mueller – conductor

Recorded and Mixed by Günter Pauler.
Digital Editing, 5.1-Surround Mix & Mastering by Hans-Jörg Maucksch at Pauler Acoustics.

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Belgian violinist Arthur Grumiaux brings his sublime artistry to four French compositions from the nineteenth century, some inspired by aspects of Spain, including Lalo’s five-movement ‘Symphonie espagnole’ and Ravel’s spicy ‘Tzigane’.

Franco-Belgian faction supernumerary which made flow of the work blossoming super-nominated performance of violin’s beautiful sound and orchestment Vivid and raw super excellent recording capturing the violence of the violin! World’s first SA-CD conversion. New mastering from the original analog master tape.

Belgian violinist Arthur Grumioau (March 21, 1921 – October 16, 1986) served as a masterpiece of the “Franco-Belgian school” who studied with Uzynes Isaai’s youngest brother, Alfredo Dubois. When contracting with Philips of the Netherlands (now Decca) in 1953, we recorded 78 CDs until death and Gurumio’s name and art roared to the world through these recordings. Activity as existence embodying Belgian culture was recognized, and in 1972 it was granted the baroness from King Boruougou I of Belgium.

The five songs made into SACD are all songs by French composers from the late 19th century through the first half of the 20th century and include the masterpieces of the Franco-Belgian factions, Pablo de Sarasaté, Pierre Marsic, Uzynes Isa , It is common to have been premiered by Georges Enesco. It is a matter of course that Grummy, nurtured in the Franco-Belgian tradition, is an optimum delegate for that performance. At the same time, he was also a child of the times, and he was also a neoclassical style of play after the Second World War. While expressing the score distortionlessly to details, while playing at the height of Gurumio at the height of the griddle based on the traditional interpretation since the premiere that was not written in the score, the performance of elegance was captured by excellent recording in the early stages of analog and stereo It is a norm of beauty. Frenchman Manuel Rosenthal (1904-2003) whose back was studied with Ravel, and Rumru Orchestra founded in 1881 who premiered numerous French works such as Debussy and Ravel, filled with the atmosphere of the orchestras of the past What is praised also makes the value of this recording immortal.

In this series, we make high quality digitization (DSD) after doing physical maintenance and repair of home country’s original analog master tapes, and our dedicated labels dedicated engineers will do a thorough process for this series I spent a lot of time mastering work. In the SA-CD layer, you can enjoy high-definition master sound. Since the CD layer also performs the latest digitization and mastering, it is distinguished from the sound quality of the conventional board.

Tracklist:

01. Lalo: Symphonie espagnole in D Minor, Op. 21 1. Allegro non troppo
02. 2. Scherzando (Allegro molto)
03. 3. Intermezzo (Allegretto non troppo)
04. 4. Andante
05. 5. Rondo (Allegro)
06. Saint-Saens: Introduction et Rondo Capriccioso, Op.28, R. 188
07. Saint-Saens: Havanaise, Op.83, R.202
08. Chausson: Poeme, Op.25
09. Ravel: Tzigane, M.76 – Concert Rhapsody for Violin and Orchestra

Personnel
Arthur Grumiaux – violin
Orchestre des Concerts Lamoureux – conducted by Manuel Rosenthal

Recorded in Paris on April 15, 1963 (tracks 1-7) and March 1966 (8-9).
DSD Remastered in February 2019 by Classic Sound. Selection & Supervision by Susumu Kitamura.
Tower Records Japan # PROC-2201

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Features the 2010 DSD mastering based on US 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). DSD Transferred by Ellen Fitton.

This marriage of four players with impressive pedigrees proved to be the success story of 1982 when Asia’s debut lodged itself at the top of the U.S. album charts for two months. The album spawned a massive number four single in “Heat of the Moment,” a follow-up Top 20 hit in the sweeping “Only Time Will Tell,” and a handful of other tracks that received heavy radio play despite going against the grain of the new wave styling of the day. Produced by Mike Stone, Asia’s strengths were the powerful vocals of John Wetton, the nimble, classically tinged guitar work of Steve Howe, Geoffrey Downes’ majestic keyboard playing, and anchoring the band, Carl Palmer’s propulsive drumming. The lyrics are overwrought at moments, but there’s no denying the epic grandeur of the music, which provided some much-needed muscle to radio at the time, and did so with style.

Tracklist:
01 – Heat Of The Moment
02 – Only Time Will Tell
03 – Sole Survivor
04 – One Step Closer
05 – Time Again
06 – Wildest Dreams
07 – Without You
08 – Cutting It Fine
09 – Here Comes The Feeling

DSD Transferred from analogue master tapes by Ellen Fitton at Universal Studio Mastering.

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What’s a guitar hero to do now that the masses prefer electronic beats and rap-metal to killer scale runs? Joe Satriani seeks that answer on Strange Beautiful Music. Satriani set himself apart from other would-be kings of the six-string in the 1980s by combining impeccable technique with great feel and pop hooks. With those qualities, he produced great guitar-driven albums like Surfing With the Alien and Flying in a Blue Dream. On his 2002 release, Satriani tries to make his music fresh by incorporating world music influences and a bit of techno flava. To his credit, he succeeds more than he fails. “Belly Dancer” combines straight-up rock riffs with Middle Eastern-twinged melodies and faster-than-sound runs up and down the fretboard. On “Oriental Melody,” Satch’s world music sensibility shines with the help of ping-pong delay and keyboards. He still has a knack for great hooks, too, as is evident on “New Last Jam,” which features a melody that bounces around in your head for days. But none of these tracks approach the pop brilliance of his Surfing With the Alien songs. In many ways, the experimental nature of songs like “What Breaks a Heart” hark back to his Not of This Earth release. But Strange Beautiful Music suffers from inconsistency. While the mix-and-match approach works on “Belly Dancer,” it can also result in the bland discontinuity of “Chords of Life,” which at times sounds like “All Along the Watchtower” and at others resembles scale and chord exercises from Yngwie Malmsteen — not an enticing combo. And “Starry Night,” while a nice ballad, feels like an attempt to rewrite his masterful ballad “Always With You, Always With Me”.

Tracklist:
01. Oriental Melody
02. Belly Dancer
03. Starry Night
04. Chords Of Life
05. Mind Storm
06. Sleep Walk
07. New Last Jam
08. Mountain Song
09. What Breaks A Heart
10. Seven String
11. Hill Groove
12. The Journey
13. The Traveler
14. You Saved My Life

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With Crystal Planet, Joe Satriani made an effective return to his signature sound following the erratic blues-rock detour of Joe Satriani. For the follow-up to Crystal Planet, Satriani is once again exploring novel territory in an effort to keep his music fresh, and Engines of Creation is the biggest stylistic shift he’s made yet — to electronic music. Satriani’s guitar is still the focal point of the music, to be sure, but while his virtuosity is obvious, it’s often submerged in the new demands of this musical idiom. That isn’t a surprise either, given that Satriani is one of the few guitar shredders whose taste and musicality have never been in question. But fans who simply want to hear him rip through his typical jaw-dropping solos may be disappointed (even though, in the end, there are more than a few solos), as will those guitar fans who reflexively disdain all sounds electronic. Having defended it, though, Engines of Creation isn’t a total success. While the music is certainly influenced by techno and electronica, it probably won’t appeal to listeners coming from those arenas; overall, it simply isn’t as adventurous as much genuine electronica, avoiding complex backing rhythms or edgy sonic textures; nor is it as hypnotic, meandering or drifting aimlessly at times instead of moving into trancelike states of consciousness. Plus, Satriani’s songs are often more traditional than they may seem upon first listen; many of the compositions are based on repeated themes and riffs and standard rock-song structures, switching between recurring, identifiable sections rather than gradually building and unfolding. However, the album can also be quite inventive. Satriani has challenged himself to find ways of coaxing totally new sounds from his guitar, and he weaves them seamlessly into the futuristic electronic soundscapes. Moreover, his melodies and main themes have rarely been this angular and off-kilter, meaning that exploring this music has indeed helped Satriani refresh and re-imagine his signature sound. Even the pieces that aren’t ultimately that revolutionary are still intriguing, since very few musicians have the technical training and innate sense of musicality required to mine this territory. Overall, Engines of Creation is a brave and sporadically successful experiment, and it’s also a promising new direction for Satriani should he choose to continue this vein of exploration and take it out even farther.

Tracklist:
01. Devil’s Side
02. Flavor Crystal 7
03. Borg Sex
04. Until We Say Goodbye
05. Attack
06. Champagne?
07. Clouds Race Across The Sky
08. The Power Cosmic 2000-Part I
09. The Power Cosmic 2000-Part II
10. Slow and Easy
11. Engines of Creation

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Pharoah Sanders is one of the few horn players whose sound is instantly commanding and recognizable. He’s often compared to John Coltrane in their similar power, spirituality, and preference for the meaty middle register of the tenor, and in fact, one of the selections here is a long, atmospheric meditation on Coltrane’s “Welcome”. This album is a rare treat, since Sanders has not been recording as prolifically as he did in the first four decades of his career.

The Creator Has a Master Plan is largely a reflection of the sort of sets that Pharoah Sanders has been doing live — a mixture of ballads, blues, and spiritual pieces, be they originals, standards, or drawn from the Coltrane catalog. Sanders is heard only on tenor sax on this record, supported by William Henderson (piano), Ira Coleman (bass) and Joe Farnsworth (drums). Sanders is best known for his fiery work with John Coltrane’s last bands and his free jazz workouts in the late 1960s and early ’70s.

If he’s not quite as pyrotechnic as before, his sound and soul are undiminished, and he’s still coming up with unusual timbres The title track, his timeless 1969 hit, gets nine minutes here rather than the 32-minute original exposition with Leon Thomas’s memorable yodeling, but it’s still a tour-de-force. Everyone gets to stretch out on “Tokyo Blues,” and while the band isn’t particularly inspired by “The Greatest Love of All,” (Whitney Houston’s hit) they do a fine job on Sanders’s own “Tina, and “It’s Easy to Remember,” the latter of which showcases Sanders’s way of excavating a ballad. There’s also great support and propulsion throughout from bassist Ira Coleman, and drummer Joe Farnsworth, with pianist William Henderson supplying some swinging solos.

Tracklist:
01. I Want To Talk About You
02. Moon Rays
03. Tokyo Blues
04. Greatest Love Of All
05. The Creator Has A Master Plan
06. Welcome
07. Tina
08. It’s Easy To Remember

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Shuji Kitamura.
Recorded on April 23, 2003 at Wonder Station in Tokyo, Japan.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-180.

Personnel
Pharoah Sanders – tenor sax
William Henderson – piano
Ira Coleman – bass
Joe Farnsworth – drums

ISO

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The exotic, one of a kind Brazilian guitarist, singer, and rhythmic mouth and body percussionist has had a stop-and-start career with turns as mysterious and intriguing as her music.

After splashing on the scene with her Chesky debut Solo in 1994, continuing the stir (including vast critical acclaim) with Rhythms (1995) and releasing Chameleon on Verve in 1997, Badi Assad suffered from a series of personal issues that drew her back home for a few years. Fans who were excited about her 2003 re-emergence on the trio date Three Guitars with Larry Coryell and John Abercrombie will be beside themselves with the long-awaited Verde, her first solo project in six years. Those expecting a typical Brazilian vocal album – she explains the title as “the shades of the Brazilian rain forest” – will be surprised by Assad’s versatility, which incorporates rhythmic textures from around the world. She opens with the very African-flavored voice and dense percussion call-and-response “Cheguei Meu Povo” and a vocal percussion pitter patter interlude before tapping into a sound more typical of classic romantic samba (“Basica”). That sultry side is balanced by her more aggressive vocal and guitar on the feisty “Nao Adianta,” which blends modern rock influences with indigenous soundscaping, complete with birdcalls. Other tracks have slight classical leaning, and there’s even a little avant-garde oddity apparent on the brief “Feminina.” More mainstream ears will be glued to her sly, sexy reading of U2’s “One” and soaring, folk- and chamber music-tinged take on Björk’s dramatic “Bachelorette,” which further confirms Assad’s incredible willingness to tackle exotic challenges. Though all the stylistic zigzagging is fascinating, Assad is first and foremost a vocalist of heartbreaking intensity, and tracks like the mournful “Bom Dia Tristeza” best reflect her ability to penetrate the heart.

Tracklist:

01. Cheguei meu povo
02. Asa branca
03. Básica
04. Não adianta
05. One
06. Voce não entendeu nada
07. Viola meu bem (Arr.: Badi Assad)
08. O verde é maravilha
09. Feminina
10. Bachelorette
11. Seu delegado (Arr.: Luca Raele)
12. Estrangeiro em mim
13. Bom dia tristeza
14. The Being Between
15. Valse d’Amelie
16. Implorando
17. In My Little White Top [Básica – English Version]

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Barbara Carroll remains at the top of her game at age 80. This wonderful program of standards shows her at her swinging best. If her voice has lost a little of its bloom (she sings, or rather speaks, on a couple of numbers) her fingers certainly have not. Very few jazz pianists get a truly individual sound from the piano, but Carroll’s full, two handed style is unique, and has been for decades. An excellent rhythm section and the usual fine sound from Venus make this a winner. With Jay Leonhart playing bass and Joe Cocuzzo playing drums, the trio performs such classics as “Fly Me To The Moon”, “My Funny Valentine” and “Autumn In New York”.

Tracklist:

01. Lady Be Good
02. Autumn In New York
03. You’d Be So Nice To Come Home To
04. Here’s That Rainy Day
05. Fly Me To The Moon
06. Last Night When We Were Young
07. On A Clear Day
08. My Funny Valentine
09. In A Sentimental Mood
10. Yesterdays
11. I Guess I’ll Have To Change My Plans
12. As Long As I Live

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Katherine Miller.
Recorded on September 24-25, 2005 at The Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-203.

Personnel
Barbara Carroll – piano & vocals on “1 & 5”
Jay Leonhart – bass
Joe Cocuzzo – drums

ISO

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BLØF is a four-piece Dutch rock band from Vlissingen, in Zeeland, (founded in 1992), which has become popular regionally and internationally for its music, its frequent collaborations with bands from other parts of the world, willingness to incorporate other genres into their “sound”, and focus on bettering the world around them. It has twice won the Edison Award for “Best Band” in the Netherlands.

Omarm is het zesde studioalbum van BLØF dat in 2003 via EMI werd uitgebracht. Het album stond net als zijn voorganger Blauwe ruis en zijn opvolger Umoja vier weken op nummer 1 in de Nederlandse Album Top 100.

Van het album kwamen in totaal vier singles uit, namelijk: Omarm, Misschien Niet De Eeuwigheid, Barcelona en Hart Tegen Hart. Hiervan was Omarm, dat op nummer 8 van de Nederlandse Top 40 stond, het succesvolste. Voor alle vier eerder genoemde singles werden ook videoclips gemaakt.

Tracklist:

01. De Mooiste Verliezers
02. Bijna Waar Ik Zijn Moet
03. Omarm
04. Hart Tegen Hart
05. Dat Wij Dat Zijn
06. Onmogelijk Rood
07. Barcelona
08. Misschien Niet De Eeuwigheid
09. Bougainville
10. Ten Westen Van De Zon
11. In Het Volle Licht
12. Een Naam & Een Gezicht
13. Ik Denk Dat Ik Ga Lopen
14. De Geest

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Bob Kindred is a great tenor sax player who is consistently underrated and underexposed. Aside from some albums released by the Mapleshade label, it is not easy to find his leader albums on the market. For this second release from Venus, Kindred and co. decided to do a collection of Latin music, mostly boleros. The brawny and sexy sound of Kindred’s tenor is a perfect match for the mysterious and romantic music. The music transports the listener to a steamy bar in a subtropical country in Latin America. One can almost feel the hot and humid air.

Robert Hamilton Kindred, 11 May 1940, Lansing, Michigan, USA. Raised just outside Philadelphia, Pennsylvania, Kindred began studying clarinet and later played this instrument and the alto saxophone with the Philadelphia Youth Jazz Band, under the direction of Jimmy DePriest. At 17 he was with Pennsylvania Sixpence, a small band that played swing and dixieland and which played at many east coast venues and also toured Europe and made records. After graduating from college, Kindred left music and entered the business world, becoming a corporate head-hunter and forming his own company. At the age of 30 he heard Phil Woods in concert and decided to being playing again. He studied with Woods and after two years decided to re-enter the world of music on a full-time basis. He joined the ongoing Glenn Miller Orchestra and then joined Woody Herman, appearing on 1975’s Live At Carnegie Hall. Among other artists with whom he played around this time were Charles Earland, Harry Sweets Edison, Hank Jones, Mel Lewis, Shirley Scott and Buddy Tate, and he has also played with the North Carolina Symphony Orchestra. Kindred, who would gradually become better known as a tenor saxophonist, also plays baritone saxophone and flute. His own concert performances include a tribute to Ben Webster and Johnny Hodges, To Ben And Johnny, With Love, and an annual work, Bending Towards The Light … A Jazz Nativity, of which he is co-composer with his wife, singer Anne Phillips. During the 90s, Kindred appeared at many prestigious venues both in the USA and overseas, including among the former the Topeka Jazz Festival, the Colorado Springs Jazz Party, Carnegie Hall, in a tribute to the Nicholas Brothers, and the Fairbanks Arts Festival at which he conducted clinics for jazz woodwinds and performed as soloist with the symphony orchestra. In 2001, Kindred recorded two well-received albums with Little Jimmy Scott, Over The Rainbow and But Beautiful, and in the same year a duo set with Larry Willis for Mapleshade Records. In addition to performing, Kindred is also active in jazz education as a clinician and has worked with the International Art Of Jazz, Festival Jazz and the Smithsonian Jazz Repertory Company. Although much reference has been made to other tenor saxophonists in reviews of Kindred s work, his greatest quality is that while he might evoke occasional thoughts of these other players, he is at all times his own man, original, commanding and eloquent. Like Spike Robinson, whose late flowering was a thing of beauty, in the early years of the twenty-first century Kindred was attaining that same level of creative and popular success. That this recognition should not have happened until the mature years of his career is jazz s loss but for all its tardiness, it is certainly very well deserved.

Tracklist:

01. Dos Gardenias
02. Que Te Pedi
03. Taboo
04. Toda Una Vida
05. Angelitos Negros
06. Obsesion
07. Alma Con Alma
08. Estrellita
09. La Comparsa
10. La Mentira

Personnel
Bob Kindred – tenor saxophone
John Di Martino – piano
Boris Kozlov – bass
Horacio “El Negro” Hernandez – drums

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Katherine Miller.
Recorded on August 10 & 11, 2006 at The Studio in New York.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-106.

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Baby I’m-a Want You is the fourth album by Bread, released in 1972. Its singles included the title cut (which reached #3 on the Billboard Top 100), “Everything I Own” (#5), “Mother Freedom” (#37), and “Diary” (#15). This was the first Bread album to feature keyboards player Larry Knechtel.

Baby I’m-A Want You is Bread’s best album, showcasing its soft and hard sides (yes, Bread had a hard side) at their respective peaks. “Mother Freedom”, with its crunchy James Griffin guitar solo, and the superb soft rocker “Baby I’m-A Want You” made a brilliant opening which the rest of the album had a hard time matching. The songs range from wistful sentimentality (“Diary”) to spirited protest (“This Isn’t What the Government,” a poor man’s “Taxman” with an anti-war slant). The high points outnumber the flat spots, and the playing is very polished (with unexpected hard rock flourishes on “Dream Lady”), but this is still a ’70s period piece.

Tracklist:

01. Mother Freedom
02. Baby I’m-A Want You
03. Down On My Knees
04. Everything I Own
05. Nobody Like You
06. Diary
07. Dream Lady
08. Daughter
09. Games Of Magic
10. This Isn’t What The Governmeant
11. Just Like Yesterday
12. I Don’t Love You

Personnel
David Gates – vocals, guitars, bass, Moog, violin
James Griffin – vocals, guitars, piano
Larry Knechtel – piano, bass, Hammond organ, harmonica, guitars, miscellaneous keyboards
Mike Botts – drums, percussion
Robb Royer – bass on “1”

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

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The Best of Bread, is the single-disc collection of Bread’s hits, spanning 12 tracks, including lesser-known hits that didn’t reach the heights of “Make It With You”, “Everything I Own”, “If”, or “Baby I’m a Want You”. Though this isn’t as comprehensive as Rhino’s previous double-disc set – which means it doesn’t contain the David Gates solo cuts that the first one does – it still provides most casual listeners with all the Bread they’d need, in a highly listenable fashion, too.

Tracklist:

01. Make It With You
02. Everything I Own
03. Diary
04. Baby I’m-a Want You
05. It Don’t Matter to Me
06. If
07. Mother Freedom
08. Down on My Knees
09. Too Much Love
10. Let Your Love Go
11. Look What You’ve Done
12. Truckin’

4.0 Analog to High Definition DSD Digital Transfer by Gus Skinas.
Mastered by Steve Hoffman.

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The full title of this disc is “The Essence of Viennese Music – opera, operetta and dance..”. Rather cumbersome, but a fair description of the contents. It is played by an orchestra from Linz, Austria’s third city, with a conductor (Peter Guth) who specialises in music of Johann Strauss II and a pair of excellent young soloists in soprano Edith Lienbacher and tenor Herbert Lippert. While its programme contains many of the expected Viennese lollipops, it goes beyond the merely predictable, and the producers have come up with a diverse and very entertaining concert.

It opens with the younger Strauss’ Polka schnell ‘Thunder and lightning’, given a lively and bracing performance, particularly from the percussion, who are spread along the back of the auditorium. A duet from Strauss’ Vienna Blood follows (Das eine kann ich nicht verzeih’n), performed by the fresh-voiced soloists with a fine sense of style and lilt, aided by their excellent diction and characterful woodwind support; their music duet seductively into what we know as the Waltz ‘Vienna Blood’. The balance is rather odd here, though; distractingly the voices sing at one another from either side of the wide stage instead of interacting while standing close together as one would normally expect.

The everlasting subject matters of the stage drama are, to name a few: differences of cultures, the struggle between good and evil, and of course love, jealousy and intrigue. The Viennese Operetta centers on these themes, primarily on the tension in relations between the aristocracy and commoners. Strauss playfully demonstrates this in his comedies of errors and royal festivities; Lehár on the other hand tends to stay close to the drama and tragedy between the wealthy and poor, at times even with a renunciation of love; as for Kálmán, his works are full of ebullient vitality in a delirium of oblivion, set during the time when the monarchy perished, on the threshold of a new era. – Peter Guth

Tracklist:

01. Johann Strauss Jr.: Unter Donner und Blitz, Polka schnell op.324
02. Johann Strauss Jr.: Das eine kann ich nicht verzeih´n – Duett from Wiener Blut
03. Johann Strauss Sr.: Radetzky-Marsch, op.228
04. Johann Strauss Sr.: Sei mir gegrüßt du holdes Venetia – The Duke´s Aria from Eine Nacht in
05. W.A. Mozart: Deh vieni non tardar – Susanna´s Aria from Le nozze di Figaro
06. W.A. Mozart: Dies Bildnis ist bezaubernd schön – Tamino´s Aria from Die Zauberflöte
07. Franz Lehár: Vilja Lied from Die lustige Witwe (The Merry Widow)
08. Johann Strauss Sr.: Overture from Die Fledermaus
09. Franz Lehár: Lippen schweigen – Duet from Die lustige Witwe
10. Franz Schubert: Entr´acte Musik No. 2 from Rosamunde
11. Franz Schubert: Licht senkt es sich vom Himmel nieder from Das Dreimäderlhaus
12. Johann Strauss Sr.: Mein Herr Marquis, Adele´s Couplet from Die Fledermaus
13. Franz Lehár: Dein ist mein ganzes Herz from Das Land des Lächelns
14. Johann Strauss Sr.: An der schönen blauen Donau, Walzer op.314 (The Blue Danube Waltz)
15. Emmerich Kálmán: Tanzen möcht´ ich – Duet from Die Csárdásfürstin

Personnel
Edith Lienbacher – Soprano
Herbert Lippert – Tenor
Bruckner Orchester Linz
Peter Guth – Conductor

Produced by David Chesky. Engineered by Miguel Kertsman.
Edited and Mastered by Miguel Kertsman and Harald Huber.

– This album was made with the purest audio path, using the very best microphones, mic preamps, analog-to-digital converters, recorders, and cables with careful attention to detail to produce the most transparent and natural sound available today.

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A set of songs written by jazz musicians were arranged for this project by pianist Carlos Franzetti for piano, sax, bass, flute, clarinet, and a string quartet. The results are pleasing if not overly memorable. While the selections are often challenging, the interpretations are more middle-of-the-road and fairly accessible due to the strings. Franzetti and saxophonist Lawrence Feldman take most of the solos and their improvisations are excellent, although the utilization of strings and woodwinds smoothes over some of the rough edges of the compositions, making the results fairly safe if occasionally unpredictable.

Tracklist:

01. Circle
02. Nefertiti
03. Last Year’s Waltz
04. Quiet Rising
05. Allison’s Dance
06. When Autumn Comes
07. Prism
08. Van Gogh
09. Very Early
10. Elegia

Arranged by Carlos Franzetti.
Produced by Carlos Franzetti and David Chesky.
Recorded at 96/24. Engineered by Barry Wolifson.

Personnel
Carlos Franzetti – piano
Jay Leonhart – bass
Lawrence Feldman – soprano, alto & tenor sax
Paul Gallo – clarinet
Theresa Norris – flute
Stephanie Cummins – cello
Maurycy Banaszek – viola
Laura Seaton-Finn – violin
Leonardo Suarez Paz – violin

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Chie is a New York-trained international sensation, performing to dozens of packed houses a year. Her unique phrasing and soulful playing is adored by millions of fans. As this is the case with many international stars, Chie Ayado is not a household name in America. In her native Japan, she’s a superstar jazz performer with tens of millions recordings sold. She’s so in demand, she continues to play over forty large-venue concerts a year. Her label, East House Records, is making a name for itself with Three Blind Mice-style analog recordings of unbelievable accuracy and dimension. Vocals are listening-room immediate and the piano is detailed, full and beautifully balanced. Very little processing is used, so you hear Ayado’s unique vocal and piano playing without all the sonic distractions hiding many modern digital recordings.

Tracklist:

01. Mother
02. Amazing Grace
03. Bridge Over Troubled Water
04. I Could Have Danced All Night
05. Hallelujah [Band Version]
06. Do I Ever Cross Your Mind?
07. Motherless Child
08. Midnight Train To Georgia
09. In The Ghetto
10. Let It Be Me
11. People Get Ready
12. Ol’55
13. Hey Jude
14. Hallelujah [Solo Version]

Personnel
Chie Ayado – vocal, piano
Yuta Kaneko – organ
Hiroki Miyano – guitar
Toru Nishijima – bass
Michiaki Tanaka – drums, percussion

ISO

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The fast rising Anglo-Asian singer-guitarist, Chlara, returns with an album of guitar-centric classy interpretations of her favourite pop classics, including Hotel California, Stuck On You and True Colors, alongside contemporary hits including Hello (Adele), Stay With Me (Sam Smith) and Jealous (Labrinth). Many of the songs have been a part of Chlara’s live shows over the past few years, so working on the tracks on the studio was an easy fit.

British-born Filipina singer / songwriter Chlara (born Chlara Isobel Magtultol) labeled as Philippines acoustic songbird, Chlara spent the early years of her life living in England before moving to the Philippines at the age of nine. Her father Cesar who passed away when Chlara was only two years old was a music lover and left with Chlara his love of music. From the age of three Chlara was already singing and was very much influenced by the music that was constantly played at home, listening to Michael Jackson, Stevie Wonder, Air Supply, The Carpenters, Christina Aguilera, Whitney Houston and Celine Dion. After moving back to the Philippines, Chlara’s mum Gina enrolled her into a few singing schools, While regularly joining the school singing programs and plays Chlara also began playing the guitar at the age 11, learning from his brother and with her own self study, she would watch & learn from videos on YouTube. Before starting college Chlara had already started writing her own songs. Growing up all Chlara ever wanted to do was sing and have the world hear her songs and now is fully focused to reach her dreams having signed a long term management and recording agreement with Evolution. She was featured in Evosound’s album “Voices of Love” together with the finest female vocals featuring Susan Wong, Olivia Ong, Julienne Taylor, Emi Fujita, Stacey Kent, Katie Melua, Chantal Chamberland with her version of Lionel Richie’s Stuck on You.

Tracklist:

01. True Colours
02. Hotel California
03. Stuck On You
04. Stay With Me
05. Hello
06. Jealous
07. Stay
08. Songbird
09. Love Me Like You Do
10. Truly Madly Deeply
11. Come Away With Me
12. Like I’m Gonna Lose You

Personnel
Chlara Magtultol – lead & backing vocals
Jon Goforth – alto saxophone
Kevin Madill – piano
Roland Fernandez – piano
Will Martino – viola
Francis Padilla – violin
James Bertrand – acoustic guitar
Pat Bergeson – acoustic guitar
Danny O’Lannerghty – acousic & electric bass
John Morton – acoustic & electric guitar, bass
Errol Silver – bass
Marcus Finnie – drums & percussion
Ramon Gomez – drums & percussion
Sandy De Vera – backing vocals

Produced by Donald Marrow for Disk Eyes Production.
Recorded at CG Sounds by Nonie Martinez; Disk Eyes Productions by Tom Hall; Ocean Way Nashville by Jasper LeMaster & Bart Pursley; RJ Studios by Jonathan Catacutan; Studio Z by Jan Sanchez; Spryta Recording Studios by Dominic Benedicto.
Mastered by Bastiaan Juijt.

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Is jazz still a modern art? It’s a hundred years old, after all, and some performers and fans seem to ignore everything written after 1940. But as far as the work of Claire Martin is concerned the question has only one answer. Apart from being one of the finest singers on the current scene, Martin is constantly searching for new writers and new ways to interpret them, ensuring that her own approach to music stays resolutely in the present. A Modern Art, her thirteenth album, is an eclectic recording that showcases her talents and those of a superb collection of backing musicians-it’s possibly the best album of her career to date, which is saying something.

For her new record, A Modern Art, Claire Martin decided that she wanted to explore more modern contemporary songs that generally fall outside the confines of the Great American Songbook. She chose songs that define her as a modern jazz singer, from the likes of Michael Franks and Donald Fagen, as well as from relative newcomers Pat Coleman and Colin Lazzerini, Mark Winkler and New York Voices vocalist Lauren Kinhan, with a couple of originals thrown in for good measure. While probably mostly unfamiliar to jazz audiences, many of these songs are filled with snappy and clever lyrics and melodies that, given the right treatment, deserve to be heard alongside the classics, proving that jazz is indeed a modern art form. As usual, her smoky-sweet alto voice is the perfect vehicle for delivery of this bag of chestnuts and quirky goodies, and many of the songs are filled with a capricious mix of off-the-wall humor and occasional melancholy. The end result is a remarkably enjoyable new album, easily confirming Claire Martin’s place as First Lady of British Jazz.

Her cohorts on this album include many of the usual suspects, including the incomparable Gareth Williams, who graces virtually every song with his extraordinary pianisms. Producer and bassist Laurence Cottle provides an exceptional foundation to all the proceedings with his superb playing and he co-wrote the two Claire Martin originals here, ‘A Modern Art’ and ‘Edge Ways’. The album kicks off with an updated, totally swinging take on the Rodgers and Hart classic ‘Everything I’ve Got Belongs To You’ one of only two standards that appear on the disc. Listen here for some burning hot alto sax work by Nigel Hitchcock – Claire Martin definitely surrounds herself with some amazingly talented musicians! Next up is one of two clever and humorous songs by Pat Coleman and Colin Lazzerini, ‘So Twentieth Century’ which Claire Martin has an amazing way of swingingly delivering to cunning effect. The other, ‘Totally’ is a hilarious and skillful take on the lexicography of modern music with a sophisticated kind of ‘valley girl’ twist. ‘Lowercase’ is a clever survey of life in typographical terms, and includes another really sweet sax fill in the middle. Another hilarious cover is the Cy Coleman standard ‘Everybody Today Is Turning On’ which rings so true, it could have been taken from today’s headlines, instead of from the Broadway musical of thirty years ago!

The SACD sound quality, as usual from Linn, is superb. The disc offers a kind of modified stage perspective; Claire Martin’s voice is firmly anchored front and center (as it should be), but there’s enough going on in the surrounds to easily make one feel immersed in the proceedings. Hats off to Linn Records for continuing to support the SACD format; they’re one of the handful of ‘specialty’ labels, along with Mobile Fidelity, Chesky and Analogue Productions that are releasing music on SACD in genres other than classical. Don’t get me wrong – I love classical music, it’s just that there’s a heck of a lot of other styles of music out there that deserve to be heard in high resolution too! This clever and entertaining disc gets four stars – very highly recommended!

Tracklist:

01. Everything I’ve Got Belongs To You
02. So Twentieth Century
03. Love Is Real
04. lowercase
05. A Modern Art
06. Edge Ways
07. Love of Another
08. Totally
09. Everybody Today Is Turning On
10. Sunday Morning Here With You
11. Promises
12. Things I Miss The Most
13. As We Live and Breathe
14. Nirvana

Produced & Arranged by Laurence Cottle. Engineered & Mixed by Calum Malcolm.
Recorded on March 10-12, 2009 at Phoenix Sound, Iver Heath, Bucks, UK.
Surround Mixing and Mastering by Philip Hobbs and Julia Thomas at Finesplice, UK.

Personnel
Claire Martin – vocals
Nigel Hitchcock – alto sax
Mark Nightingale – trombone
Gareth Williams – piano
Phil Robson – guitar
Laurence Cottle – bass
James Maddren – drums
Chris Dagley – drums
Sola Akingbola – percussion

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Claire Martin returns with this stylish tribute to the late and legendary American songstress Shirley Horn. “He Never Mentioned Love” sees the UK’s finest jazz singer investigate songs memorably performed by her greatest influence.

American singer and pianist Shirley Horn was one of Claire Martin’s greatest influences. In He Never Mentioned Love, Claire’s first album since Shirley died at the end of 2005, she pays homage with a set of songs from Shirley’s repertoire.
To demonstrate what’s so great about The Heartache Queen, Claire sings her praises through her own piece – ‘’Slowly But Shirley’’. The ‘silent spaces’ she admired in Shirley’s performances have been assimilated into Claire’s singing style, particularly in her version of ‘’The Sun Died’’, helped along by Gerard Presencer’s aching trumpet solo. In the quietest moments here and in the title track, every smile and every frown is audible in Claire’s luscious voice.
Though this selection of songs is mainly slow – in tribute to Horn, who was renowned for performing at drop-dead tempos – Claire’s wonderful sense of dynamics and story-telling still shine through. She’s threatening and needy in ’’If You Go’’, passionate in ‘’Forget Me’’ and pragmatic in ‘’Trav’llin’ Light”.
Once again, Claire draws together an enviable collection of top UK jazz musicians, which means exciting solos and fresh arrangements. A mixture of trio, bass-voice duo and voice-guitar duo keeps things intriguing, and this is certainly no tribute band. The producer is bandleader Laurence Cottle, who plays a stunning solo on ‘’You’re Nearer’’, his electric bass speaking through the gruffest low notes and singing through the high ones. Gerard Presencer’s broken altissimo notes have a Kenny Wheeler sound to them, and Nigel Hitchcock’s sax storms through ‘’Slowly But Shirley’’. The Gareth Williams–Cottle-Clark Tracey trio get things swinging whenever they can, especially in ‘’All Night Long’’ where everyone lets rip against a jagged time signature. Claire’s long-time cohort on the guitar, Jim Mullen, also features. He gets his teeth into the feisty ‘’LA Breakdown’’, as Claire’s fractured phrases and belting finale turn this hard-driving bluesy waltz into the ultimate drama.
He Never Mentioned Love may be a chance for Claire Martin to remember Shirley Horn, but the sheer individuality that she brings to these songs shows that this is more than a tribute album. Shirley’s passed the flame to Claire, who’s using it to light fireworks. Go girl!

Tracklist:

01. He Never Mentioned Love
02. Forget Me
03. Everything Must Change
04. Travelling Light
05. The Music That Makes Me Dance
06. All Night Long
07. If You Go
08. A Song For You
09. Slowly But Shirley
10. You’re Nearer
11. LA Breakdown
12. Slow Time
13. The Sun Died

Produced by Laurence Cottle. Engineered & Mixed by Calum Malcolm.
Recorded on December 2-4, 2-6 at Jeremy Stacey Studios, London, UK.

Personnel
Claire Martin – vocals
Gareth Williams – piano
Laurence Cottle – bass
Clark Tracey – drums
+
Nigel Hitchcock – saxophone
Gerard Presencer – flugelhorn
Jim Mullen – guitar
Steve Watts – double bass
Massimo Marraccini – percussion

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FLAC

https://subyshare.com/dhupzb254iw8/ClaireMartinHeNeverMenti0nedL0ve2007FLACStere02448.rar.html

At their best, and especially on home ground in central European repertory, Abbado and the Vienna Philharmonic could produce electrifying music-making, as on the present recording of Brahms’s Hungarian Dances made in Vienna’s Sofiensaal in 1982. The recording was commissioned as part of Deutsche Grammophon’s superb 8-volume, 62-LP “Brahms Edition”, a survey of the composer’s complete musical output which was released in 1983 to mark the 150th anniversary of Brahms’s birth. Gramophone magazine’s Robert Layton commended the warmth, eloquence and virtuosity of the Vienna Philharmonic’s playing, adding that, though Abbado was scrupulous in his observation of the letter of the score, “the spirit of what Brahms liked to refer to as his ‘genuine gypsy children’ is always in evidence”.

Johannes Brahms was 17 when he encountered the brilliant young Hungarian violinist Ede Reményi in Hamburg in 1850. Reményi was passing through the city to the United States after being deported from Hungary for his involvement in the 1848 uprising against the Austrians. Brahms was intoxicated by Reményi’s transcriptions of gypsy and Magyar folk songs and dan¬ces, a fascination that deepened in 1852 when the two men toured together. The two sets of Hungarian Dances which Brahms later published were not the only fruits of the experience. Throughout a composing career that spanned more then 40 years, Hungarian influences were never far from his music. Brahms wrote his Hungarian Dances for piano duet. Books 1 and 2 (nos. 1-10) were pub-lished in 1869, Books 3 and 4 in 1880. The 1880 set offers what might best be called original compositions in the Hungarian style rather than free arrangements of the kind of Reményi-derived material which Brahms had once taken to be authentic. The 1880 set was never quite as popular as the 1869, perhaps because Brahms was no longer interested in the previously all-pervasive csárdás. Yet such is the craftsmanship of the later dances, it is they, paradoxically, which have the stronger “gypsy” feel. The later set did have one admirer: Antonín Dvořák, who provided orchestrations of the last four dances, nos. 17-21.

Tracklist:

01. Hungarian Dances: No.1 in G minor (Allegro molto)
02. Hungarian Dances: No.2 in D minor (Allegro non assai – Vivace)
03. Hungarian Dances: No.3 in F major (Allegetto)
04. Hungarian Dances: No.4 in F sharp minor (Poco sostenuto – Vivace)
05. Hungarian Dances: No.5 in G minor (Allegro – Vivace)
06. Hungarian Dances: No.6 in D major (Vivace)
07. Hungarian Dances: No.7 in F major (Allegretto – Vivo)
08. Hungarian Dances: No.8 in A minor (Presto)
09. Hungarian Dances: No.9 in E minor (Allegro ma non troppo)
10. Hungarian Dances: No.10 in F major (Presto)
11. Hungarian Dances: No.11 in D minor (Poco Andante)
12. Hungarian Dances: No.12 in D minor (Presto)
13. Hungarian Dances: No.13 in D major (Andantino grazioso – Vivace)
14. Hungarian Dances: No.14 in D minor (Un poco Andante)
15. Hungarian Dances: No.15 in B flat major (Allegretto grazioso)
16. Hungarian Dances: No.16 in F major (Con moto)
17. Hungarian Dances: No.17 in F sharp minor (Andantino – Vivace)
18. Hungarian Dances: No.18 in D major (Molto vivace)
19. Hungarian Dances: No.19 in B minor (Allegretto)
20. Hungarian Dances: No.20 in E minor (Poco Allegretto – Vivace)
21. Hungarian Dances: No.21 in E minor (Vivace)

Production and Recording Supervision by Rainer Brock.
Recorded on June 1 & 2, 1982 at Sofiensaal, Vienna, Austria.
Re-Mastering Producer: Motoaki Ohmachi (ESOTERIC Company)
DSD Mastering Engineer: Kazuie Sugimoto (Victor Creative Media Co., Ltd. Mastering Center)

Technical note:
The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model Grandioso G1 and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.

ISO

https://subyshare.com/ci220wg4c0t5/Claudi0Abbad0WPBrahms.21HungarianDances1983Japan2019SACDIS0.part1.rar.html
https://subyshare.com/am8fqic81nx1/Claudi0Abbad0WPBrahms.21HungarianDances1983Japan2019SACDIS0.part2.rar.html
https://subyshare.com/df0c9pxz1wcz/Claudi0Abbad0WPBrahms.21HungarianDances1983Japan2019SACDIS0.part3.rar.html

FLAC

https://subyshare.com/aa1unc23nyg7/Claudi0Abbad0WPBrahms.21HungarianDances1983Japan2019FLAC2496.part1.rar.html
https://subyshare.com/vzkoeymda6q2/Claudi0Abbad0WPBrahms.21HungarianDances1983Japan2019FLAC2496.part2.rar.html

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