Joan Baez – Recently (1987) [Analogue Productions 2016] [SACD / Analogue Productions – CAPF 112 SA]

Joan Baez - Recently (1987) [Analogue Productions 2016]

Title: Joan Baez – Recently (1987) [Analogue Productions 2016]
Genre: Folk
Format: SACD ISO + Hi-Res FLAC

Joan Baez is an American folk singer, songwriter, musician, and activist, whose contemporary folk music often includes songs of protest or social justice. “Recently” was her first album of new material issued in the US in eight years. As she had done during the 1960s for Bob Dylan, Tim Hardin and Richard Farina, among others, Baez lent her voice to many of the songwriters of the day, in this case Mark Knopfler, U2, Peter Gabriel, and Johnny Clegg and found herself straddling a line between attempting to further connect with young audiences, while reintroducing herself to her established listeners, after such a long absence.

A 30th anniversary reissue, this set from 1987 was recorded after an eight-year hiatus. As typical of her career, it reminds us of Baez’s impeccable taste in material. While she wrote two tracks and one is a traditional folk anthem, the rest includes sincere renditions of Dan Penn’s magnificent “Do Right Woman, Do Right Man”, U2’s “MLK”, Dire Straits’ “Brothers In Arms” and Jimmy Webb’s “The Moon Is A Harsh Mistress”. Backed by ace musicians including Caleb Quaye and Abe Laboriel, Baez was doing what she always did: preaching and protesting and guilt-tripping the audience. If you can swallow the right-on politics, musically this is pure class.

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2 min read

Joan Baez – Diamonds And Rust In The Bullring (1988) [APO Remaster 2015] [SACD / Analogue Productions – CAPF 080 SA]

Joan Baez - Diamonds And Rust In The Bullring (1988) [APO Remaster 2015]

Title: Joan Baez – Diamonds And Rust In The Bullring (1988) [APO Remaster 2015]
Genre: Folk
Format: SACD ISO + Hi-Res FLAC

Joan Baez is an American folk singer, songwriter, musician, and activist, whose contemporary folk music often includes songs of protest or social justice. This album has been recorded live in the bullring of Bilbao, Spain. It featured twelve songs, six of which were performed in English, five in Spanish and one, “Txoria Txori”, in Basque. Most of the songs had been performed and recorded by Baez previously, with the exception of Leonard Cohen’s “Famous Blue Raincoat”. “Gracias a la Vida” is a duet with singer Mercedes Sosa.

Although she released a comeback album, Recently, in 1987 after eight years away from U.S. record stores, Joan Baez continued to be more of a force in Europe than in her homeland, and she followed Recently with what was actually her third live album to be recorded in Europe in the 1980s. Diamonds & Rust in the Bullring is not to be confused with her 1975 studio album Diamonds & Rust, of course, and it is not a live recording of the songs from that album, either, even though the song “Diamonds & Rust” itself does lead it off. So, the title is not helpful. The album chronicles a show performed by Baez, in a bullring, naturally, in Bilbao, Spain, in 1988, and it demonstrates what makes her such a draw overseas. Half of the collection (side two of the LP and cassette, tracks seven through 12 of the CD) consists of songs sung in Spanish, recalling her 1974 all-Spanish album Gracias a la Vida and including that LP’s title song, here performed as a duet with Mercedes Sosa, “El Preso Numero Nueve” (which was also on her debut album, Joan Baez, in 1960), “Llego con Tres Heridas,” and “No Nos Moveran” (aka “We Shall Not Be Moved”). Also part of the Spanish side are a translation of Sting’s “They Dance Alone (Gueca Solo),” called “Ellas Danzan Solas (Cueca Sola).” (Singing in Spanish always seems to remind Baez of the bloody Chilean military coup and its aftermath.) But the song that most moves the crowd is the pretty “Txoria Txori,” a song in Basque with which they sing along. Actually, the Spanish side is more moving than the English one, in which Baez seems to be just running through some familiar material or turning in interpretations of such classics as Bob Marley’s “No Woman No Cry,” Leonard Cohen’s “Famous Blue Raincoat,” and the Beatles’ “Let It Be” that have been done definitively by their originators. Diamonds & Rust in the Bullring smacks of being a placeholder in Baez’s discography, which makes it an odd release for an artist willing to wait so long to return to making records.

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3 min read

Joan Armatrading – Joan Armatrading (1976/2020) [SACD / Intervention Records – IR-SCD5]

Joan Armatrading - Joan Armatrading (1976/2020)

Title: Joan Armatrading – Joan Armatrading (1976/2020)
Genre: Rock, Pop, Folk
Format: SACD ISO

Intervention Records is absolutely thrilled to introduce another classic record in its (Re)Discover Series, Joan Armatrading on hybrid CD/SACD (Cat# IR-SCD5). Produced and recorded by legend Glyn Johns, Joan Armatrading is the breakout record that saw Joan assume full command of her extraordinary talents and leap to the forefront of rock’s great female stars. A soulful, soaring voice and a powerful and evocative songwriter. The smash hits include “Love and Affection,” “Down to Zero,” and “Somebody Who Loves You.” Joan Armatrading’s hybrid CD/SACD is mastered Direct-to-DSD from analog tape by Kevin Gray at CoHEARent Audio from the best source available- phenomenal-sounding 1/2″ safety copy of the original stereo master tape. The remastering is amazing! Thanks to Glyn Johns’ recording and production work, Joan’s vocals and guitar playing have never sounded so rich, resonant and dynamic. This is an audiophile demo disc all the way. The album art is beautifully restored by IR’s Tom Vadakan and housed in a super jewel box.

“One of the finest talents I have ever had the good fortune to work with …” -Producer Glyn Johns “… her voice is ageless, her powers are undiminished.” -The Guardian

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2 min read

Rachel Podger & Brecon Baroque – J. S. Bach: Violin Concertos (2010) [SACD / Channel Classics – CCS SA 30910]

Rachel Podger & Brecon Baroque - J. S. Bach: Violin Concertos (2010)

Title: Rachel Podger & Brecon Baroque – J. S. Bach: Violin Concertos (2010)
Genre: Classical
Format: MCH SACD ISO

For those who already appreciate Rachel Podger’s unique brand of magic I’ll just say that this return to recorded Bach is lovely and all that one could hope for. All that one looks for is here, and there is more. For those who are not familiar with Rachel Podger, she is a unique voice among violinists. She has absorbed the principles of late Baroque performance practice and made them a part of herself, so that the articulation and inflection of that rhetorical approach to music flows from her as a natural idiom of expression. But this is only half of the picture. She also excels at communicating the logic and coherence of the music. She’s not so busy being expressive that she forgets where she is. She can turn a melodic corner with an elastic flourish that makes one catch one’s breath, but she never goes off the road or gets lost. Her style is an intensifying balance between opposing forces: florid yet subtle, expressive yet ordered, emotional yet objective. On this recording there is something of an added richness in her expression, and if anything an even stronger sense of relating each moment to the whole, creating an enlarged sense of integrity and structure in the music even while she executes ravishing rhetorical details with an agile liquid flow. Then again perhaps it is just that the intersection of Ms. Podger and Bach always magifies her virtues, and the present CD is merely the first opportunity we have had to clearly hear her rendition of a Bach concerto. These recordings have some of the energy and wit of a live performance–there is a strong feeling that the performers know each other well and are having fun…

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2 min read

J. Geils Band – The Morning After (1971) [MFSL 2020] [SACD / Mobile Fidelity Sound Lab – UDSACD 2206]

J. Geils Band - The Morning After (1971) [MFSL 2020]

Title: J. Geils Band – The Morning After (1971) [MFSL 2020]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

The trashed hotel room and communal living depicted on the cover of the J. Geils Band’s sophomore album tell you all you need know about the music, spirit, and energy spilling from within The Morning After. Shot through with raw, lean Rock n’ Roll sparked by juke-joint blues and loose rhythms, the 1971 set comes on like the most fun, party-still-raging hangover any group in the 70s enjoyed. And now it rolls with an abandon that takes you inside the sweaty, smoky roadhouses and wall-to-wall-packed clubs the group dominated in its heyday. Spirited, Blues-Driven Rock n’ Roll Comes on Like a Never-Ending Party: features ace performances by harmonica player Magic Dick Salwitz and vocalist Peter Wolf. Mastered from the original master tapes and strictly limited to 2,000 numbered copies, Mobile Fidelity’s hybrid SACD achieves a sonic acumen that brings you face-to-face with the sextet’s white-hot instrumental prowess and magnetic personalities. It’s always been difficult to single out just one member of the band given the cohesive bluster the ensemble achieves as a whole, but this collectible audiophile edition allows you to do just that if you so choose, by way of superb imaging and separation. As for the band’s trademark dynamics? Here, they feel like they’re on the verge of exploding.

The Morning After is a near perfect follow-up to the J. Geils Band’s self-titled debut album. It’s more of the same winning blend of rocked-out blues, jumped-up soul, and pure rock & roll wildness with enough attitude and energy to get a club full of people from zero to sweaty in less than 60 seconds. Featuring the original versions of songs that became radio staples in their live incarnations (“Looking for a Love,” the Magic Dick showcase “Whammer Jammer”), a batch of covers of rare soul gems (“So Sharp,” Don Covay’s “The Usual Place,” the aforementioned “Looking for a Love”), and some fine originals (the rip-roaring opener “I Don’t Need You No More,” the very funky “Gotta Have Your Love,” and the heart-rending ballad “Cry One More Time,” which was covered memorably by Gram Parsons on G.P.), The Morning After is definite proof that the J. Geils Band were well on their way to becoming one of the best rock & roll bands of any era.

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2 min read

The Royal Philharmonic Orchestra, Ivor Bolton – Franz Adolf Berwald: Symphonies Nos. 3 & 4 (2005) [SACD / Membran – 222816-203]

The Royal Philharmonic Orchestra, Ivor Bolton - Franz Adolf Berwald: Symphonies Nos. 3 & 4 (2005)

Title: The Royal Philharmonic Orchestra, Ivor Bolton – Franz Adolf Berwald: Symphonies Nos. 3 & 4 (2005)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC

This is the only Membran from the current batch thats getting 5 stars for both recording quality and performance. I am very fond of this music having grown to like the Bjorlin box of his 4 symphonies concertos and poems. I totally disagree that the later DGG version was anywhere near as good in either lp or CD format. The Chandos release was slightly better than the DGG but I am now totally convinced that this version by the same orchestra as Bjorlin used is a winner. These two of his best symphonies are some where between Mendlessohn/Schumann/ Brahms and Schubert in style. If you are not familiar with these works I would suggest you just buy them and then start asking why his other works are not available. To be honest only the Violin concerto rises to the same heights. Interestingly enough this was recorded at CTS studios London and its slowly becoming clear as to which venues produced the better sonics in these pretty varied quality Membran reissues.Its also nice to have something other than the standard rep… 60 minutes of delight. Strong recommendation..usual average out of date booklet and artwork with usual shortish gap between movements .Doesnt matter here…best of the batch so far …Dave sa-cd.net

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2 min read

Ivonne Fuchs & Georg Gulyas – Britten: Works For Voice And Guitar (2016) [SACD / Proprius – PRSACD2075]

Ivonne Fuchs & Georg Gulyas - Britten: Works For Voice And Guitar (2016)

Title: Ivonne Fuchs & Georg Gulyas – Britten: Works For Voice And Guitar (2016)
Genre: Classical
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

After George Gulyás recent records, including the critically acclaimed “Complete Lute Works for guitar” on Proprius/Naxos is now a new release entirely dedicated to music by Benjamin Britten. All the works in which the guitar is included with and performed together with the mezzo-soprano Ivonne Fuchs. On the album presents a solo piece Nocturnal op 70, one of the guitar literature’s most important works. The piece reflects the various stages of insomnia, where the ambiguous theme of John Dowland, Come heavy sleep, hint at how sleep, or death, finally enters as a liberator. In Songs from the Chinese Op 58, we meet a British brooding over the aging process and where we are thrown from the melancholy to the restlessness that turned up in Dance song, a wild dance where the unicorn symbolizes the lost innocence, one of Britten’s favourite themes. Folksong Arrangements treats traditional themes that sailor, love and moral themes, as in, The Shooting of his Dearborn, where a young man shoots his sweetheart by accident during the hunt after taking her for a swan.

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2 min read

Itzhak Perlman, Pittsburgh Symphony Orchestra, John Williams – Cinema Serenade (1997) [Reissue 2015] [SACD / Sony Classical – 88875098592]

Itzhak Perlman, Pittsburgh Symphony Orchestra, John Williams - Cinema Serenade (1997) [Reissue 2015]

Title: Itzhak Perlman, Pittsburgh Symphony Orchestra, John Williams – Cinema Serenade (1997) [Reissue 2015]
Genre: Classical, Soundtrack
Format: SACD ISO + Hi-Res FLAC

Cinema Serenade came to be as a result of the 1992 collaboration of the world’s premier film composer, John Williams, with one of the world’s finest violinists, Itzhak Perlman, on the score for Steven Spielberg’s Holocaust epic Schindler’s List. The duo reunited to create a collection of excerpts from a variety of different film scores presented in new arrangements that are centered around Perlman’s violin. Williams arranged most of the numbers and conducted the Pittsburgh Symphony Orchestra. The selections are a strange hodgepodge culled haphazardly from some 50 years of film history. As you might expect, the theme from Schindler’s List is included. And it’s not surprising to find Oscar honored scores like Out of Africa (John Barry) or Il Postino (Luis Bacalov), The Age of Innocence (Elmer Bernstein) and The Color Purple (Quincy Jones, Jeremy Lubbock, Rodney Templeton, Jeff Rosenbaum). But some of the other selections are less predictable. There are songs from musical comedies (“Papa Can You Hear From Me?” from Yentl, “I Will Wait for You” from The Umbrellas of Cherbourg). There is a Carlos Gardel tango that was used briefly in Scent of a Woman, but was not composed for a film. Most rewardingly, there are some memorable musical selections from the oft-neglected realm of foreign film. In addition to Bacalov’s theme from Il Postino, a beautifully sentimental melody with tango-like flourishes, there are excerpts from Luis Bonfa’s Black Orpheus, Andrea Morricone’s Cinema Paradiso, and Andre Previn’s Four Horsemen of the Apocalypse. Perlman’s gorgeous solos add breadth and scope to nearly all of the compositions, demonstrating that they work as well in the concert hall as they did in the movie theater. The only real lightweight pieces included were both composed by Williams himself. Far and Away and Sabrina are hardly the brightest points in Williams’ career; the scores were nearly as forgettable as the films themselves. (The latter did receive an Oscar nomination for best musical or comedy score, but it never would have been selected if anyone else had written it.) But fans of film music will generally be pleased by this collection, and in some cases may prefer the Perlman versions to the originals.

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2 min read

István Kertész, Vienna Philharmonic Orchestra – Brahms: The Four Symphonies & Haydn: Variations (2016) [Japan] [SACD / Tower Universal Vintage / PROC-1975/7]

István Kertész, Vienna Philharmonic Orchestra - Brahms: The Four Symphonies & Haydn: Variations (2016) [Japan]

Title: István Kertész, Vienna Philharmonic Orchestra – Brahms: The Four Symphonies & Haydn: Variations (2016) [Japan]
Genre: Classical
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

There have been many recordings of the Brahms’ symphonies but few have the passion, vitality and drive of István Kertész’s Vienna Philharmonic cycle. This collection brings together all of Kertész’s Brahms recordings for Decca. His Wiener Philharmoniker Brahms cycle began in May 1964 with a recording of the Second Symphony and continued in 1972-73 with the remaining symphonies and the Variations on a theme of Haydn. Recording of the Variations commenced on March 1, 1972 and upon Kertész’s passing (April 16, 1973), the orchestra completed the recording on May 14, 1973, conductor-less, in his memory.

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1 min read

Istvan Kertesz, Bamberg Symphony Orchestra & Vienna Symphony Orchestra – Haydn & Mozart Symphonies (Japan 2016) [SACD / Columbia x Tower Records – TWSA-1033]

Istvan Kertesz, Bamberg Symphony Orchestra & Vienna Symphony Orchestra - Haydn & Mozart Symphonies (Japan 2016)

Title: Istvan Kertesz, Bamberg Symphony Orchestra & Vienna Symphony Orchestra – Haydn & Mozart Symphonies (Japan 2016)
Genre: Classical
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Japanese double-disc compilation of Istvan Kertesz’s 60s recordings for Eurodisk label. Features Joseph Haydn’s and Wolfgang Amadeus Mozart’s Symphonies performed with Bamberg Symphony Orchestra & Mozart’s “Coronation Mass” performed with Vienna Symphony Orchestra. Remastered in 2016 at High Definition 96kHz/24bit from the original analog master of home country.

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1 min read