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SACD

Dejan Lazic – Liaisons Vol.1: Scarlatti, Bartok (2007) [SACD / Channel Classics – CCS SA 23407]

adminOctober 13, 2025 211 Views

Title: Dejan Lazic – Liaisons Vol.1: Scarlatti, Bartok (2007)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC

At 1st sight, they appear to have nothing in common – but disregarding the stylistic elements & a difference of 2 centuries, you soon recognize that both are in a sense, musical architects, who as piano virtuosos were equally interested in miniature forms & inspired by folk music. On the 1 hand you have Scarlatti, who, after moving to Spain in 1729 composed almost exclusively for harpsichord & integrated elements of Spanish folklore into his compositions in an experimental way; on the other hand Bartk, who boosted the recognition of the rich native Hungarian peasant songs to an independent folk art, & was also influenced by Arabic folk music.

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1 min read

SACD

Deitra Farr – Let It Go! (2005) [SACD / JSP Records – JSP5105]

adminOctober 13, 2025 200 Views

Title: Deitra Farr – Let It Go! (2005)
Genre: Blues
Format: MCH SACD ISO + Hi-Res FLAC

On this accessible set of romance-themed songs, veteran Chicago blues vocalist Deitra Farr offers dynamic interpretations that frequently dabble in pop and soul. Standout tracks include the melancholy, gospel-tinged tune “Signs, Signals, and Warnings” and the emotive ballad “My Love for You”, both of which highlight Farr’s deep, expressive voice.

The same qualities you could use to describe the persona that blues singer Deitra Farr inhabits in song—independence, self-confidence, a refusal to play on anyone else’s terms—also inform the way she deals with the music business. That might explain why, despite her international reputation and undiminished talents, she hasn’t released a solo album since 2005’s Let It Go! (JSP). Farr melds traditional postwar Chicago blues and fervent deep soul with modern-sounding emotional directness and a panache that few of her contemporaries can match. Let It Go! makes her case: she coaxes fatback funk out of players who usually prefer rootsier fare, like guitarist Billy Flynn, and she runs the emotional gamut from haunted urgency (“In a Dark Place”) to swing-inflected joy (“When They Really Love You”). Even on her most anthemic barn burners, which she delivers with full-hearted ebullience, Farr steers clear of “blooze-mama” posturing. She’s at her best live, so this all-too-rare hometown show is a must-see.

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2 min read

SACD

Dejan Lazic – Schubert: Sonata in B-Flat Major & Moments Musicals (2005) [SACD / Channel Classics – CCS SA 20705]

adminOctober 13, 2025 257 Views

Title: Dejan Lazic – Schubert: Sonata in B-Flat Major & Moments Musicals (2005)
Genre: Classical
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Dejan Lazić is one of those pianists who personalizes everything that he does, somewhat like a German stage director who has to have a “concept”. Accordingly, the results can be stimulating, or just plain perverse. Confronting Franz Schubert’s great B-flat major sonata presents a unique series of challenges, because the music itself is so strange, so rich in character, that it tends to be diminished rather than enhanced by an excess of “ideas”, if by this we mean something novel or gratuitous imposed for its own sake. The sonata needs to be realized from within, as it were, and met on its own terms. Happily, Lazic clearly understands this and does what any outstanding interpreter of this music must: he simply loses himself in the work, letting us hear Schubert speak through Lazić, rather than the other way around.

You know what’s cool about Dejan Lazic’s Schubert B flat major Sonata? He doesn’t try to beat the masters at their own game. He doesn’t try to out-drama Schnabel or out-intensity Richter or out-slick Brendel or out-think Pollini or out-sing Kovacevich. Dejan Lazic, a young Croatian pianist, doesn’t have to. He’s got his own way of doing things, his own point of view, and his own way of singing Schubert’s great song of life and love and death. It’s passionate, sure, but Lazic’s a young man and can’t help himself. More importantly, it sounds completely thought through. Lazic knows that no matter how long the heavenly lengths of the work, the performer has to know exactly how he or she is going to get from one end of it to the other. More importantly yet, it sounds completely improvised. Lazic knows that no matter how familiar he is with the work, its bottomless depths and endless heights will always confound the traveler through its heavenly lengths and the performer always has to be ready to go with the inspiration of the moment. But most importantly of all, Lazic sounds like he’s completely at one with the music. Length, height, depth: all these are measurements. In the end, Lazic knows that it was the qualities beyond them, Schubert’s heart and soul and spirit, that make the B flat Sonata one of the most precious of all piano sonatas. Lazic’s “filler,” the set of Six Moments Musicaux, are nearly in the same league: sweet, bitter, funny, quaint, coy, and utterly endearing. A terrific performance, especially as preserved in Channel Classics’ clear and translucent sound.

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3 min read

SACD

Dejan Lazić, Atlanta Symphony Orchestra, Robert Spano – Brahms: Piano Concerto No. 3 (2010) [SACD / Channel Classics – CCS SA 29410]

adminOctober 13, 2025 215 Views

Title: Dejan Lazić, Atlanta Symphony Orchestra, Robert Spano – Brahms: Piano Concerto No. 3 (2010)
Genre: Classical
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Channel Classics presents the world premiere recording of Dejan Lazić’s arrangement for piano and orchestra of Johannes Brahms beloved violin concerto. Recorded live with the Atlanta Symphony Orchestra led by Robert Spano, the work’s creation was driven by two major inspirations. One was keyboard arrangements of violin concertos by Bach and Beethoven that were penned by the composers and the other was Brahms own countless arrangements and transcriptions of his and other composers works. Although Lazić completely re-wrote and re-thought the solo part, penning it in a clearly recognizable Brahmsian style and adding his own cadenza, the orchestral score remains entirely unchanged. Ultimately, Lazić’s goal was to translate Brahms’s unique musical language into a new setting without losing any of its original musical value and, in addition,to give pianists an equal chance to perform and enjoy this wonderful music. After hearing it, you will agree that there is a strong possibility that his goal will come to fruition.

In the notes accompanying this recording, Dejan Lazic points to the transcriptions for keyboard of Bach’s and Beethoven’s violin concertos as inspiration for his own piano arrangement of Brahms’ Violin Concerto. It is rare that something as large as a full concerto is arranged for a different instrument, but Lazic took on the challenge for two reasons: he loves the music and Brahms was a pianist who wrote as a pianist. Lazic went back to Brahms’ correspondence with the violinist for whom he wrote the concerto, Joseph Joachim, in essence to reverse-engineer the soloist’s part and rebuild it for the piano. Lazic’s arrangement generally works well. There is nothing missing in terms of the melodies, harmonies, and emotion; anyone who is familiar with the Violin Concerto will immediately recognize this. Looking deeper, however, it seems like the contrapuntal nature of the piano isn’t used to its full advantage often enough; in other words, there are numerous times when the left hand is just a note-for-note harmony of the right’s melody. The pianistic writing of Lazic’s cadenza and other passages could have been used even further to make the concerto sound more native to the instrument. Another detraction is when Lazic is obviously trying to imitate the articulation of the violinist’s double- and triple-stops in declamatory passages. On the piano it comes out as choppy chords. Robert Spano and the Atlanta Symphony tend to stay out of Lazic’s way, allowing the piano to take the spotlight, and the recording’s sound is good, if slightly shallow. The disc is filled out with Lazic playing the solo Rhapsodies, Op. 79, and Scherzo, Op. 4, where the sound is closer, a little richer, and captures the nuances of his playing. On the whole, this is not recommended for the purists among Brahms’ lovers and pianists, but it is of interest to those who are open to sampling other possibilities.

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3 min read

SACD

Deep Purple & The Royal Philharmonic Orchestra – Concerto For Group And Orchestra (1969) [Reissue 2002] [SACD / Harvest – 7243-541009-2]

adminOctober 13, 2025 191 Views

Title: Deep Purple & The Royal Philharmonic Orchestra – Concerto For Group And Orchestra (1969) [Reissue 2002]
Genre: Classical, Hard Rock, Symphonic Rock
Format: MCH SACD ISO + Hi-Res FLAC

Back in 1970, it seemed as though any British group that could was starting to utilize classical elements in their work — for some, like ELP, that meant quoting from the classics as often and loudly as possible, while for others, like Yes, it meant incorporating classical structures into their albums and songs. Deep Purple, at the behest of keyboardman Jon Lord, fell briefly into the camp of this offshoot of early progressive rock with the Concerto for Group and Orchestra. For most fans, the album represented the nadir of the classic (i.e., post-Rod Evans) group: minutes of orchestral meandering lead into some perfectly good hard rock jamming by the band, but the trip is almost not worth the effort. Ritchie Blackmore sounds great and plays his heart out, and you can tell this band is going to go somewhere, just by virtue of the energy that they put into these extended pieces. The classical influences mostly seem drawn from movie music composers Dimitri Tiomkin and Franz Waxman (and Elmer Bernstein), with some nods to Rachmaninoff, Sibelius, and Mahler, and they rather just lay there. Buried in the middle of the second movement is a perfectly good song, but you’ve got to get to it through eight minutes of orchestral noodling on either side. The third movement is almost bracing enough to make up for the flaws of the other two, though by itself, it wouldn’t make the album worthwhile — Pink Floyd proved far more adept at mixing group and orchestra, and making long, slow, lugubrious pieces interesting. As a bonus, however, the producers have added a pair of hard rock numbers by the group alone, “Wring That Neck” and “Child in Time,” that were played at the same concert. They and the third movement of the established piece make this worth a listen.

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2 min read

SACD

Deep Purple – Machine Head (1972) [Japanese SACD 2011] [SACD / Warner Music – WPCR-14166]

adminOctober 13, 2025 178 Views

Title: Deep Purple – Machine Head (1972) [Japanese SACD 2011]
Genre: Hard Rock
Format: MCH SACD ISO + Hi-Res FLAC

Released in 1972, Deep Purple’s best-selling album remains a landmark hard rock recording. The album hit #1 in the UK and #7 in the US and was eventually certified Double Platinum. Along with Led Zeppelin and Black Sabbath, Deep Purple-—particularly Machine Head-—paved the way for countless progressive rock bands who followed in their wake.

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1 min read

SACD

Deep Purple – Live On The BBC (1972) [Audio Fidelity 2004] [SACD / Audio Fidelity – AFZ 017]

adminOctober 13, 2025 214 Views

Title: Deep Purple – Live On The BBC (1972) [Audio Fidelity 2004]
Genre: Hard Rock
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Recorded by the BBC on March 9, 1972, this previously difficult to find live show captures the classic Mark ll version of Deep Purple in all their incendiary power. This performance — basically the entirety of the then just released Machine Head minus “Pictures of Home” — is easily as good, and at times better than, Made in Japan, recorded five months later. The band apparently felt the Japan tapes were of inferior quality, and initially did not want them released, which makes this arguably the most potent document of the group’s live show from that year. Although this SACD hybrid adds studio versions of “Hush” and “River Deep Mountain High” from the Mark l edition to flesh out the playing time, one of the live tracks, their version of Little Richard’s “Lucille,” is only available on the SACD layer. That means that anyone without an SACD player won’t be able to hear it, but will be able to play the two studio tracks, a perplexing decision that is unexplained in the liner notes. In any event, the live BBC tapes find Purple slamming through these songs like they had something to prove. Although “Child in Time” is MIA, it is replaced by “Maybe I’m a Leo” and “Never Before,” two tracks that didn’t make the Japan set list. Even without those additions, this is a find for all Deep Purple fans, and a great place for all classic rock fans to jump in. Since this release is from an audiophile label, great care was spent making sure the sound is as crisp as possible from tapes this old, and the work has paid off. Those with SACD equipment get to hear “Lucille” and also experience the band in a wider soundscape, making the performance even more lifelike.

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2 min read

SACD

Deep Forest – Comparsa (1998) [Reissue 2001] [SACD / Epic Records Group – ES 68726]

adminOctober 13, 2025 225 Views

Title: Deep Forest – Comparsa (1998) [Reissue 2001]
Genre: Electronic, Ambient
Format: SACD ISO + Hi-Res FLAC

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.

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1 min read

SACD

Death Cab For Cutie – Transatlanticism (2003) [SACD / Barsuk Records – bark32sa]

adminOctober 13, 2025 205 Views

Title: Death Cab For Cutie – Transatlanticism (2003)
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

US underground sensations’ fourth studio album is truly a major work, blending subtle intelligent songwriting, amazing production, boundless creativity, and thoughtful rock. This is their best offering to date – dreamy and lovelorn in places, but also epic, gritty and twisted in others.

As musical lunacy goes, things have gotten as crazy as it gets for Death Cab for Cutie since 2002’s You Can Play These Songs with Chords compilation. A wildly successful tour with Dismemberment Plan, a collaboration for singer Ben Gibbard with emo-electronic guru Dntel under the Postal Service moniker, and a whole new legion of fans swooning to Gibbard’s lyrics as if he were a modern day answer to Kiss Me-era Robert Smith have all amassed considerable hype around Transatlanticism. But the group proves themselves more than equal to the task, answering the call and proving the cynics wrong with their most focused and most mature work in their entire catalog. Transatlanticism wastes absolutely no time and dives in head first with “The New Year,” one of the most melodramatic openings to an album since the Smashing Pumpkins’ “Tonight, Tonight” from Mellon Collie and the Infinite Sadness. The mellow, mixed-meter percussion and dense atmosphere of “Lightness” is a brilliant lead into the pop-happy “Expo ’86” and “The Sound of Settling” before setting up the climatic and intensely dramatic title track. Unconsciously taking a page from Blur’s “Sing,” the hypnotic drumming and guitar call and responses through the eight-minute climax of the album are backed with a singalong finale that unquestionably will have every audience on the next tour singing along and holding up their lighters. And while most albums would be left exhausted after such a track, the group keeps things moving, albeit at a much slower pace than compared to the anthems that packed the first half. Gibbard seamlessly makes the transition between songs that full out rock to songs that are comparable to Elliott Smith’s finest hour with great ease. But it’s Gibbard’s poetic lyrics and signature introspection that remain a bench mark for Death Cab; and it’s the group’s maturity as musicians as well as songwriters that make Transatlanticism such a decadently good listen from start to finish. The band has never sounded more cohesive, the track sequencing is brilliant, and it caps off a triumphant year for not only Gibbard, but a band whose time and greater recognition is finally due.

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3 min read

SACD

Dean Martin – This Time I’m Swingin’! (1960) [MFSL 2013] [SACD / Mobile Fidelity Sound Lab – UDSACD 2135]

adminOctober 13, 2025 191 Views

Title: Dean Martin – This Time I’m Swingin’! (1960) [MFSL 2013]
Genre: Jazz, Easy Listening
Format: SACD ISO + Hi-Res FLAC

Dean Martin finally got access to conductor/arranger Nelson Riddle for an album project, and the result was an easy swinging collection with appealing horn charts and a series of comfortable readings of recent and vintage standards. Especially notable were the two songs borrowed from My Fair Lady, “On the Street Where You Live” and “I’ve Grown Accustomed to Her Face,” which Martin and Riddle re-imagined as straight-forward love songs; “You’re Nobody ’til Somebody Loves You” (which Martin would try again in a more contemporary arrangement four years later for one of his biggest hits); and a solo version of “Just in Time,” which the singer had recently done with Judy Holliday in the film version of the musical Bells Are Ringing. This Time I’m Swingin’! was a good, confident set by an artist who had figured out how to make competent albums without expending a lot of effort, which was a key to his charm.

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1 min read