Fiona Joy Hawkins – Blue Dream (2008) [SACD / Little Hartley Music – FJH005]

Fiona Joy Hawkins - Blue Dream (2008)

Title: Fiona Joy Hawkins – Blue Dream (2008)
Genre: New Age
Format: MCH SACD ISO + Hi-Res FLAC

Fiona’s Blue Dream album was the most ambitious project of my entire career and resulted in one of the most remarkable collaborations this genre has ever known. Blue Dream is unique and I’m as proud of it as anything I’ve ever worked on in my 35 year career of Grammy Awards and gold /platinum records. – Will Ackerman, founder Windham Hill Records

(more…)

1 min read

Boston Symphony Orchestra, Charles Munch – Mendelssohn: Symphony No. 4 “Italian” & Symphony No. 5 “Reformation” (2006) [SACD / RCA Red Seal – 82876-71616-2]

Boston Symphony Orchestra, Charles Munch - Mendelssohn: Symphony No. 4 “Italian” & Symphony No. 5 “Reformation” (2006)

Title: Boston Symphony Orchestra, Charles Munch – Mendelssohn: Symphony No. 4 “Italian” & Symphony No. 5 “Reformation” (2006)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC

One has to chuckle at some covers. The picture depicts the Arch of Titus, with what possibly is a pine tree at the edge of the photograph. Yet, when one turns to the jacket of Respighi’s ‘Pines of Rome’ in the same SACD series, what does one see? Very few, if any pines.

This SACD of vintage Munch performances also includes a cherishable bonus, the famous scherzo from the octet. It is interesting to compare the ‘Italian’ symphony to Szell’s 1962 performance, also on SACD. The only deficiency in the Munch is the absence of the first movement exposition repeat, which Szell observes. Szell’s performance could well be described as ‘brilliant’, the outer movements bursting out of the starting blocks and maintaining this pace to the end. Some might find this verging on the militant. Munch’s tempi are less fleet. Indeed, all the movements in this disc strike a happy medium. The orchestra is recorded slightly more closely than Szell’s Clevelanders. The string sound of the Boston orchestra consequently sounds fuller. The woodwinds have a slight but appealing nasality which I gather represents the orchestra’s Gallic tinge during the Munch era. The brass has presence and bite, without blare. Throughout the performances of both symphonies, I was reminded of Munch’s conducting of Berlioz. Szell’s phrasing sounds leaner, more streamlined, and aimed to contain longer stretches of music. In contrast, Munch’s style, especially amongst the strings, presents more highly moulded and articulated phrasing. Every now and then, the strings will ‘dig in’ over some notes, before relaxing the pressure to allow details from the woodwind to suddenly shine through. One is reminded here of Berlioz’s orchestration and melodic writing, with the quicksilver and unexpected handovers of melody from one set of instruments to another. This is not to say that Munch’s performance is maverick, nor that he moulds the music in a style at odds with the composer’s intentions. The shifts in emphasis are subtle, but audible if one is alert. In other words, there is more to discover the more one listens, unlike some superficially more exciting renditions. ( Szell is brilliant and not superficial, although charm is jettisoned along the way.) Munch’s inner movements may in principle lean towards the stately, but because of the detailed perspectives, especially from the woodwinds, there is so much of interest that one welcomes unhurried tempi. These comments I aim mainly at the ‘Italian’. I am almost certain he weaves the same individual magic in the ‘Reformation’, but as I barely know the piece, I’m not familiar with the standard interpretative formulae for these nuances. This is the first time I have actually found the ‘Reformation’ symphony semi-interesting, so it must function as an enthusiastic welcome. The sound has remarkable little tape hiss, and is typical of the Boston recordings from this source. The strings are warm and solid, the brass not as piercing and obviously virtuostic as at Chicago, the stereo spread rather wide but without a hole in the middle, the orchestra bathed in a lush but not overresonant acoustic. Copyright © 2006 Ramesh Nair and SA-CD.net ~sa-cd.net

(more…)

3 min read

Feeder – Comfort In Sound (2003) [SACD / Echo – ECHSACD43]

Feeder - Comfort In Sound (2003)

Title: Feeder – Comfort In Sound (2003)
Genre: Alternative Rock
Format: MCH SACD ISO + Hi-Res FLAC

When Feeder drummer Jon Lee unexpectedly took his own life in January 2002, the fate of the band was in question. Founding members Grant Nicholas and Taka Hirose had reservations about carrying on without their mate; however, Lee’s family urged them to continue. Nicholas and Hirose and ex-Skunk Anansie drummer Mark Richardson spent most of that year crafting a dark, reflective set of songs. Comfort in Sound is Feeder’s fourth album and a touching tribute to Lee. Featuring Feeder’s most intimate and cohesive material to date, Comfort in Sound finds the group’s peace of mind, but the album as a whole isn’t exactly uplifting. The post-alternative mix of acoustic and electric guitars works with Nicholas’ obvious emotional struggles. Moods and tempos are consistent in change, and such moves make Comfort in Sound as solid as it is. From the crunchy licks of “Come Back Around” to the positive energy of “Forget About Tomorrow,” Comfort in Sound waltzes along without getting lost in song and craft. This album was a journey for Nicholas and Hirose. They came out on the other side with a greater appreciation for Feeder and a brand new musical freshness. Comfort in Sound is their proof of surviving tragedy and it’s a great moment.

(more…)

2 min read

Ernest Ansermet , Teresa Berganza & L’Orchestre de la Suisse Romande – Manuel de Falla: The Three Cornered Hat (1962) [Reissue 2008] [SACD / Esoteric Company – ESSD-90016]

Ernest Ansermet , Teresa Berganza & L’Orchestre de la Suisse Romande - Manuel de Falla: The Three Cornered Hat (1962) [Reissue 2008]

Title: Ernest Ansermet , Teresa Berganza & L’Orchestre de la Suisse Romande – Manuel de Falla: The Three Cornered Hat (1962) [Reissue 2008]
Genre: Classical
Format: SACD ISO + Hi-Res FLAC

Audiophile reissues presenting the best efforts of post-World War II sound engineers have also in several cases preserved performances that would simply be hard to improve upon. RCA’s Living Stereo series has revivified several top-notch albums, and now comes this 1961 recording of Falla’s The Three-Cornered Hat with Ernest Ansermet conducting l’Orchestre de la Suisse Romande, and the soprano passages from Teresa Berganza. The handsome packaging preserves much of the original liner text and also evokes that era in another way — there is a discussion of the technology involved in the remastering, complete with wiring diagrams and the like. Sound nerds will be delighted. But so will ordinary listeners — this is one of those period sonic extravaganzas that can still stand up to the best recordings made today. And The Three-Cornered Hat, with its kaleidoscopic sequence of instrumental colors, interspersed with a large battery of Spanish percussion, is one of the best palettes ever devised for the sound engineer. Ansermet conducted the ballet’s premiere in 1919, with sets by Picasso and dancers from the celebrated Ballets Russes. He knew the work better than any other conductor, and what emerged onto vinyl was a riot of color — brass, winds, percussion, and vocal “olé!” exclamations. Some unique effects of the original recording — Berganza and a few of the instrumentalists are placed at some distance from the microphones in order to create a spacious, quasi-live effect — come through in full color on this remarkable reissue. The famed “Interlude” and “Dance” from La vida breve make for a rousing finale. Thoroughly enjoyable for audiophiles and owners of ordinary equipment.

(more…)

2 min read

Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa – Falla: El Sombrero de tres Picos (1976/2015) [SACD / UNIVERSAL MUSIC – UCGG-9077 ]

Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa - Falla: El Sombrero de tres Picos (1976/2015)

Title: Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa – Falla: El Sombrero de tres Picos (1976/2015)
Genre: Classical
Format: SACD ISO

Seiji Ozawa Masterpieces SACD ~ SHM Edition: Deutsche Grammophon Series Seiji Ozawa’s legendary analogue recordings are released in SACD ~ SHM format, remastered in DSD. Featuring original jackets and original couplings. The enchanting ‘The Three-Cornered Hat’, where Ozawa drew richly colourful sound from the Boston Symphony Orchestra, makes its debut on SACD. Bergansa’s mezzo-soprano solo adds a floral touch to the performance, inviting listeners into the world of Spain.

(more…)

1 min read

Fairport Convention – Unhalfbricking (1969) [Japanese SHM-SACD 2014] [SACD / Island Records – UIGY-9548]

Fairport Convention - Unhalfbricking (1969) [Japanese SHM-SACD 2014]

Title: Fairport Convention – Unhalfbricking (1969) [Japanese SHM-SACD 2014]
Genre: Folk Rock
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Unhalfbricking was, if only in retrospect, a transitional album for the young Fairport Convention, in which the group shed its closest ties to its American folk-rock influences and started to edge toward a more traditional British folk-slanted sound. That shift wouldn’t be definitive until their next album, Liege & Lief. But the strongest link to the American folk-rock harmony approach left with the departure of Ian Matthews, who left shortly after the sessions for Unhalfbricking began. The mixture of obscure American folk-rock songs, original material, and traditional interpretations that had fallen into place with What We Did on Our Holidays earlier in the year was actually still intact, if not as balanced. Sandy Denny’s two compositions, her famous “Who Knows Where the Time Goes?” and the far less celebrated but magnetically brooding “Autopsy,” were among the record’s highlights. So too were the goofball French Cajun cover of Bob Dylan’s “If You Gotta Go, Go Now” (here retitled “Si Tu Dois Partir,” and a British hit) and the magnificent reading of Dylan’s “Percy’s Song,” though the bash through Dylan’s “Million Dollar Bash” was less effective. Richard Thompson’s pair of songs, however, were less memorable. The clear signpost to the future was their 11-minute take on the traditional song “A Sailor’s Life,” with guest fiddle by Dave Swarbrick, soon to join Fairport himself and make his own strong contribution toward reshaping the band’s sound.

(more…)

2 min read

Fairport Convention – Liege & Lief (1969) [Japanese Limited SHM-SACD 2010] [SACD / Island Records – UIGY-9050]

Fairport Convention - Liege & Lief (1969) [Japanese Limited SHM-SACD 2010]

Title: Fairport Convention – Liege & Lief (1969) [Japanese Limited SHM-SACD 2010]
Genre: Folk Rock
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

The best British folk-rock band of the late ’60s, Fairport Convention did more than any other act to develop a truly British variation on the folk-rock prototype by drawing upon traditional material and styles indigenous to the British Isles. While the revved-up renditions of traditional British folk tunes drew the most critical attention, the group members were also (at least at the outset) talented songwriters as well as interpreters. They were comfortable with conventional harmony-based folk-rock as well as tunes that drew upon more explicitly traditional sources, and boasted some of the best singers and instrumentalists of the day. A revolving door of personnel changes, however, saw the exit of their most distinguished talents, and basically changed the band into a living museum piece after the early ’70s, albeit an enjoyable one with integrity.

In the decades since its original release, more than one writer has declared Fairport Convention’s Liege & Lief the definitive British folk-rock album, a distinction it holds at least in part because it grants equal importance to all three parts of that formula. While Fairport had begun dipping their toes into British traditional folk with their stellar version of “A Sailor’s Life” on Unhalfbricking, Liege & Lief found them diving head first into the possibilities of England’s musical past, with Ashley Hutchings digging through the archives at the Cecil Sharp House in search of musical treasure, and the musicians (in particular vocalist Sandy Denny) eagerly embracing the dark mysteries of this music. (Only two of the album’s eight songs were group originals, though “Crazy Man Michael” and “Come All Ye” hardly stand out from their antique counterparts.) Liege & Lief was also recorded after a tour bus crash claimed the lives of original Fairport drummer Martin Lamble and Richard Thompson’s girlfriend; as the members of the group worked to shake off the tragedy (and break in new drummer Dave Mattacks and full-time fiddler Dave Swarbrick), they became a stronger and more adventurous unit, less interested in the neo-Jefferson Airplane direction of their earlier work and firmly committed to fusing time-worn folk with electric instruments while honoring both. And while Liege & Lief was the most purely folk-oriented Fairport Convention album to date, it also rocked hard in a thoroughly original and uncompromising way; the “Lark in the Morning” medley swings unrelentingly, the group’s crashing dynamics wring every last ounce of drama from “Tam Lin” and “Matty Groves,” and Thompson and Swarbrick’s soloing is dazzling throughout. Liege & Lief introduced a large new audience to the beauty of British folk, but Fairport Convention’s interpretations spoke of the present as much as the past, and the result was timeless music in the best sense of the term.

(more…)

3 min read

Fairground Attraction – The First Of A Million Kisses (1988) [Japan 2018] [SACD / Stereo Sound – SSVS005]

Fairground Attraction - The First Of A Million Kisses (1988) [Japan 2018]

Title: Fairground Attraction – The First Of A Million Kisses (1988) [Japan 2018]
Genre: Folk Rock
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Fairground Attraction was a British folk and soft rock band, best known for their hit song “Perfect” and the subsequent single “Find My Love”. The band launched the careers of lead vocalist Eddi Reader and songwriter Mark E. Nevin. “The First of a Million Kisses” is their debut album, released in 1988. The album is a characteristic blend of folk, jazz, country, and Cajun elements.

Originally released in 1988, The First Of A Million Kisses launched the career of Fairground Attractions lead vocalist Eddie Reader who went on to receive a MBE in 2006 for her outstanding contribution to the arts which included her album of Robert Burns material with the Royal Scottish National Orchestra. The album and the #1 single ‘Perfect’ both won best album and single respectively at the 1989 Brit Awards. A refreshing blend of Folk, Jazz, Country and even a bit of Cajun, the album was a runaway success, eventually being certified platinum.

(more…)

1 min read

Formosan Duo – Romantic Album (2013) [SACD / IsoMike – 5605]

Formosan Duo - Romantic Album (2013)

Title: Formosan Duo – Romantic Album (2013)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC

Formosan Duo – Romantic Album is another SACD from Kimber Kable & IsoMike label. The duo features Taiwanese violinist Shi-Hwa Wang and female pianist Yu-Jane Yang. The program includes works of Gershwin, Manuel de Falla, Amy Marcy Cheney Beach, and Korngold.

(more…)

1 min read

Fone Jazz Makers – Girl Of My Dreams (2001) [SACD / Fonè – 014 SACD]

Fone Jazz Makers - Girl Of My Dreams (2001)

Title: Fone Jazz Makers – Girl Of My Dreams (2001)
Genre: Jazz
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Girl Of My Dreams is an album of New Orleans Style Jazz featuring the Fone Jazz Makers. With this recording, Giulio Cesare Ricci wanted to give the listener a unique experience. It is as if the listener was sitting on an armchair positioned in the ideal position of the theater listening to this fine live recording of New Orleans Style Jazz. In this position, the depth, width, and height of the sound can be highly appreciated.

It starts with Darktown Strutters’ Ball by Shelton Brooks. A happy song from the early 20th Century. Catchy and easily remembered. It sounds just like the ideal album opener. Girl Of My Dreams, the title track was a popular waltz song of the Twenties and in more recent years had an important role in the movie Angel Heart. The New Orleans style musicians of the Fone Jazz Makers transformed it into a fox-trot. The recording was produced and recorded by Giulio Cesare Ricci at the Teatro Comunale dei Concordi in Campiglia Marittima (LI). He used Neumann U47 and M49 tube microphones, advanced microphone pre-amplifiers Nagra Audio, Nagra 4s Analog Tape Recorders and line, microphone and supply cables designed by Signor Ricci.

(more…)

2 min read