Title: Carel Kraayenhof – Tango Royal (2002)
Genre: Latin, Tango, Classical
Format: MCH SACD ISO
This album features a selection of tangos by Piazzolla and others arranged for bandoneón player Carel Kraayenhof and his own sextet, together with the Concertgebouw Chamber Orchestra. Kraayenhof is considered to be one of the worlds finest bandoneón players and has worked with Piazzola.
![Caravan - In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2016]](https://imghd.xyz/images/2025/09/01/F0S99W4.jpg "Caravan - In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2016]")
Title: Caravan – In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2016]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC
In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band’s premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12″ outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on “Winter Wine,” as well as the organ and sax driven instrumental introduction to “Nine Feet Underground.” These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the album’s title, there seems to be pastoral qualities and motifs throughout. Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair’s lyrics are of particular note, especially the middle-earth imagery used on “Winter Wine” or the enduring whimsy of “Golf Girl”.
![Caravan - In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2010]](https://imghd.xyz/images/2025/09/01/RNmPZBR.jpg "Caravan - In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2010]")
Title: Caravan – In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2010]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC
In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band’s premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12″ outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on “Winter Wine,” as well as the organ and sax driven instrumental introduction to “Nine Feet Underground.” These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the album’s title, there seems to be pastoral qualities and motifs throughout. Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair’s lyrics are of particular note, especially the middle-earth imagery used on “Winter Wine” or the enduring whimsy of “Golf Girl”.
![Caravan - For Girls Who Grow Plump In The Night (1973) [Japanese SHM-SACD 2014]](https://imghd.xyz/images/2025/09/01/cmPNGxR.jpg "Caravan - For Girls Who Grow Plump In The Night (1973) [Japanese SHM-SACD 2014]")
Title: Caravan – For Girls Who Grow Plump In The Night (1973) [Japanese SHM-SACD 2014]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC
After the musical uncertainty of Waterloo Lily, Caravan returned with their most inspired recording since In the Land of the Grey and Pink. The splendidly titled For Girls Who Grow Plump in the Night is several steps ahead in terms of fresh musical ideas that wholly incorporate the band’s trademark humor within the otherwise serious and challenging sonic structures. Two of the more dominant reasons for the change in Caravan’s sound were the return of keyboardist Dave Sinclair and the addition of violist Peter Geoffrey Richardson. Die-hard fans gladly welcomed Sinclair back, however, Richardson was met with heckles from enthusiasts during live appearances. They were soon silenced as his place on For Girls Who Grow Plump in the Night easily ranks among Caravan’s watershed moments. There are perhaps none better than the mesmerizing counterpoint melodies he weaves during the “L’Auberge Du Sanglier” suite. While not completely abandoning their jazz leanings, For Girls Who Grow Plump in the Night is considerably focused back into the rock genre. Ironically, the album also features some rather elaborate orchestration. In context, it is quite effective in creating emphasis — especially on the leadoff track “Memory Lain, Hugh,” as well as the dreamy mid-tempo “The Dog, The Dog, He’s At It Again.” The remastered CD also includes five additional tracks. The first four are demos featuring the band without orchestra and with some notable differences, such as the distinct lead guitar opening to “Memory Lain, Hugh.” “Derek’s Long Thing” is another instrumental piece penned by keyboardist Derek Austin — one of the two transitional Caravan members chosen to replace Steve Miller. A must-own for inclined parties.
Title: Carol Rosenberger – Beethoven: Piano Sonatas Opp. 57 & 111 (2002)
Genre: Classical
Format: SACD ISO
“Dynamic Piano” Beethoven: Piano Sonata “Appassionata” Op. 57, Op. 111
![Cannonball Adderley - Somethin' Else (1958) [MFSL 2024]](https://imghd.xyz/images/2025/04/28/f7b93ba191bf86929e95b99d9966948e.jpg "Cannonball Adderley - Somethin' Else (1958) [MFSL 2024]")
Title: Cannonball Adderley – Somethin’ Else (1958) [MFSL 2024]
Genre: Jazz
Format: SACD ISO
Mobile Fidelity’s Numbered-Edition Hybrid SACD Presents 1958 Landmark in Definitive Sound: Includes Bonus Track, “Allison’s Uncle” Julian Cannonball Adderley’s only Blue Note album, Somethin’ Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he’d make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin’ Else strictly on Davis’ involvement misses the big picture. Plain and simple, Adderley’s jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two jazz standards.
Sourced from the original analog master tapes and housed in a mini-LP-style gatefold sleeve, Mobile Fidelity’s numbered-edition hybrid SACD pays tribute to the record’s merit and includes the bonus track “Allison’s Uncle.” This collector’s edition provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis’ sextet a year prior. That vibrancy reveals itself openly on a reissue that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would in front of you on a stage. Jones’ foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Lifelike in timbre, naturalism, purity, and presence. For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin’ Else is a record you’ll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release: “The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer.” Such emotion courses throughout every passage, and no where more obviously than on “Autumn Leaves” and “Love for Sale.” The interpretations of the Johnny Mercer and Cole Porter songs, respectively, on Somethin’ Else have long been considered part of jazz’s alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on “Autumn Leaves,” with the latter’s muted trumpet and the headliner’s lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood – as well as on the spry, head-over-heels spirit of “Love for Sale” – join in on the conversation with sharp economy and float-on-air roundedness. Not to undersell the other three numbers, all deserving of five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley’s brother, Nat, the 12-bar “One for Daddy-O” transmits funk flavors. The closing “Dancing in the Dark” pops with lushness and temptation, its stream of bold colors and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin’ else, indeed.
Title: Cannonball Adderley – Supreme Jazz (2006)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC
Alto saxophonist Julian “Cannonball” Adderley was one of the true greats of his day and the height of his career, journalists were even comparing him to the legendary Charlie Parker…
![Cannonball Adderley - Somethin' Else (1958) [Analogue Productions 2009]](https://imghd.xyz/images/2025/08/31/niktOot.jpg "Cannonball Adderley - Somethin' Else (1958) [Analogue Productions 2009]")
Title: Cannonball Adderley – Somethin’ Else (1958) [Analogue Productions 2009]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC
It isn’t too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue — aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, “”Alison’s Uncle,”” closes out Somethin’ Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming “”Dancing in the Dark”” as the final track). In many ways it’s a surprise that this track was left off originally — it’s an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. Due to the original recording (made in 1958), Davis’ trumpet sometimes seems a little shrill and metallic, but it’s not an overwhelming problem — certainly not when you consider Davis’ style. Altogether, an excellent addition to any jazz collection.
![Cannonball Adderly with Bill Evans - Know What I Mean (1961) [Analogue Productions 2002]](https://imghd.xyz/images/2025/08/31/Hh64xRU.jpg "Cannonball Adderly with Bill Evans - Know What I Mean (1961) [Analogue Productions 2002]")
Title: Cannonball Adderly with Bill Evans – Know What I Mean (1961) [Analogue Productions 2002]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC
What’s better than a Bill Evans Trio album? How about a Bill Evans trio album on which the bassist is Percy Heath, the drummer is Connie Kay, and the leader is not Evans but alto sax god Cannonball Adderley, making the group actually a quartet? It’s a different sort of ensemble, to be sure, and the musical results are marvelous. Adderley’s playing on “Waltz for Debby” is both muscular and sensitive, as it is on the other Evans composition here, a modal ballad called “Know What I Mean?” Other treats include the sprightly “Toy” and two takes of the Gershwin classic “Who Cares?” The focus here is, of course, on Adderley’s excellent post-bop stylings, but it’s also interesting to hear Evans playing with a rhythm section as staid and conservative as Kay and Heath (both charter members of the Modern Jazz Quartet). It’s hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording.
![Candido & Graciela - Inolvidable (2004) [Reissue 2005]](https://imghd.xyz/images/2025/08/31/EHGMdYU.jpg "Candido & Graciela - Inolvidable (2004) [Reissue 2005]")
Title: Candido & Graciela – Inolvidable (2004) [Reissue 2005]
Genre: Latin
Format: MCH SACD ISO + Hi-Res FLAC
In Spanish, the word “inolvidable” means “unforgettable.” A title as lofty as Inolvidable would, in many cases, be an example of excessive hype, but when the artists in question are percussionist Candido Camero and singer Graciela Perez, the word “unforgettable” is definitely appropriate — their contributions to Afro-Cuban jazz music are exactly that. Camero and Perez go back a long way; they first met in the ’40s, when Perez was a featured vocalist for Machito’s band (a gig that lasted into the ’70s). Perez retired from performing in 1993, but Camero managed to lure her back into the studio for this 2004 release. Both of them were octogenarians when Inolvidable came out; Camero was 82, while Perez was 88. Produced by Nelson Gonzalez and David Chesky (with Charles Carlini serving as associate producer), Inolvidable finds Camero and Perez turning their attention to classic Latin gems like “Cesar Portillo de la Luz,” “Tu Mi Delirio” and Rafael Hernandez’ “Desvelo” — and the octogenarians happily recreate the spirit of jazz-influenced Afro-Cuban dance music as it sounded in the ’40s and ’50s (but with the digital technology of the 21st century). Despite Perez’ physical limitations — she has been plagued by debilitating arthritis — the veteran singer brings a great deal of enthusiasm to this project. And for 88, Perez still sounds surprisingly good; she doesn’t have the vocal stamina of her youth, but she gets her points across nonetheless — and being reunited with Camero seems to really inspire her on the album’s up-tempo selections as well as romantic boleros such as Hernandez’ “Amor Ciego,” and Arsenio Rodriguez’ “La Vida Es Un Sueño.” For Afro-Cuban enthusiasts, a Camero/Perez reunion is truly an historic event — one that yields consistently enjoyable results on Inolvidable.