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Miles Davis – ‘Round About Midnight (2001)
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 57:47 minutes | 2,33 GB
Genre: Jazz | Publisher (label): Columbia/Legacy 85201
‘Round About Midnight is an album by jazz musician Miles Davis. It was his debut on Columbia Records, and was originally released in March 1957 (CL 949). The album took its name from the Thelonious Monk song “‘Round Midnight”.
Recording sessions took place at Columbia Studio D on October 26, 1955, and at Columbia’s 30th Street Studio on June 5 and September 10, 1956. ‘Round About Midnight is widely recognized by jazz critics as a landmark album in hard bop and one of the greatest jazz albums of all time.
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Miles Davis – E.S.P (2000)
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 48:04 minutes | 2,04 GB
Genre: Jazz | Publisher (label): SME Records SRGS 4561
A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis’ E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis’ classic second quintet made together, it’s also very arguably the group’s best. Never before has the effort been experienced in such transformational sound.
This meticulously restored audiophile version renders the music’s dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.’s creations. Whether it’s the distinctive snap of Tony Williams’ drum sticks against the snare head, air moving through Davis’ trumpet, acoustic thrum of Ron Carter’s bass, or upper register of Herbie Hancock’s piano, the sound is better than you’d even hear in the most intimate jazz clubs. Prepare to be swayed on every level.
For many, E.S.P. looms among the decade’s best albums if only because of the significance of Davis’ lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963’s Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.
As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis’ visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.
Interlocking lines drive “Little One,” alternating rhythms pulse through the funky “Eighty-One,” melodies soar on the balladic “Iris,” the aptly titled “Mood” broods over minor-key structures, and “Agitation” – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis’ quintet on E.S.P. It’s the avant-garde record even jazz traditionalists love, and essential on every level.
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Ray Charles – At The Olympia (Concert of November 22nd, 2000) (2004)
SACD Rip | SACD ISO | DST64 5.1 > 1-bit/2.8224 MHz | 01:09:42 minutes | 3,74 GB
Genre: Jazz, Soul | Publisher (label): XIII BIS Records 640546 2
Live release recorded on the late legend’s 70th birthday in 2000, his first appearance at the Olympia in 40 years, performing on this mythical stage with his trio. 13 tracks in all including ‘Just the Way You Look Tonight’, ‘Route 66’, ‘Song for You’, ‘Hallelujah I Love Her So’, ‘Georgia on My Mind’, ‘I’ve Got a Woman’, ‘Almost Like Being in Love Again’, ‘It Had to Be You’ and more. XIII Bis. 2004.
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Leonard Slatkin, Saint Louis Symphony Orchestra – Bizet: Carmen, Grieg: Peer Gynt, Rimsky-Korsakov, Satie, Borodin (2005)
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 01:18:34 minutes | 1,38 GB
Genre: Classical | Publisher (label): Telarc SACD-60655
This album of orchestral favorites, compiled from a variety of prior releases, showcases Telarc’s celebrated recording technique as much as Leonard Slatkin’s and the St. Louis Symphony’s performance prowess. The 20-plus-year-old recordings originally were made at a 50 kHz sampling rate, the full measure of which is finally available in the home thanks to SACD, bringing with it enhanced clarity and presence, as well as slightly increased dynamic impact. However, it also exposes the acoustic limitations of St. Louis’ Powell Hall, which tends to dampen high frequencies and make strings sound thin-bodied and distant. (This orchestra makes a far bolder impression in Carnegie Hall). Slatkin’s readings are consistently colorful and energetic, with Grieg’s Peer Gynt particularly impressive (highlighted by a rousing Hall of the Mountain King). Although Stokowski and Temirkanov bring more grit and gusto to Russian Easter Overture, and Bizet’s Carmen Suite has been done with more atmosphere by Karajan and López-Cobos, overall this disc makes for a nicely varied, musically enjoyable, and sonically impressive 80-minute program.
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Carol Rosenberger – Beethoven: Piano Sonatas Opp. 57 & 111 (2002)
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 51:00 minutes | 2,05 GB
Genre: Classical | Publisher (label): Top Music International TM-SACD8001.2
“Dynamic Piano” Beethoven: Piano Sonata “Appassionata” Op. 57, Op. 111
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Erich Kunzel, Cincinnati Pops Orchestra – Scary Music (2002)
SACD Rip | SACD ISO | DST64 2.0 / 5.1 > 1-bit/2.8224 MHz | 00:49:52 minutes | 3,2 GB
Genre: Soundtrack | Publisher (label): Telarc Surround SACD-60580
Telarc celebrates Halloween a few weeks early with the release of Scary Music, the highly anticipated follow-up to conductor Erich Kunzel and the Cincinnati Pops Orchestra’s Chiller recording. This imaginative gathering of haunted pop favourites is sure to send a shiver down the spine.
Scary Music features an eerie collection of sound effects and frighteningly memorable performances of theme music from such well-known Hollywood horror films as Ghostbusters, The Blob, Attack of the Killer Tomatoes, The Nightmare Before Christmas, Beetlejuice, The Haunting, Sleepy Hollow and The Shining. Also included are themes from television series Tales from the Crypt, Dark Shadows, The Munsters, and Addams Family.
Popular songs provide yet another source for Scary Music. Two of the biggest singles of the early 1960s were one-hit wonders: the Ran-Dells’ “Martian Hop” and Bobby Pickett’s “Monster Mash”. Chilling pop music of a different sort is represented by Rod Temperton’s title song for Michael Jackson’s Thriller, the best-selling album of all time, and Michael Oldfield’s “Tubular Bells”, which was used in the movie The Exorcist.
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Erich Kunzel, Cincinnati Pops Orchestra – Vintage Cinema (2008)
SACD Rip | SACD ISO | DST64 2.0 / 5.1 > 1-bit/2.8224 MHz | 00:53:13 minutes | 3,17 GB
Genre: Soundtrack | Publisher (label): Telarc SACD-60708
This disc showcases developing musical styles used in films spanning nearly 30 years, beginning with Max Steiner’s theme to the original King Kong (1933) and moving on to merry old England for Eric Wolfgang Korngold’s theme to the spectacular 1938 film, The Adventures of Robin Hood. Alfred Hitchcock understood the vital role music plays in film. Miklós Rózsa’s suite from the 1945 thriller Spellbound captures the psychological suspense with the unique timbre of a theremin – Rózsa won his first Oscar for this score. Legendary film composer Bernard Herrmann’s overture to Hitchcock’s “wrong man” thriller, North by Northwest (1959) is next in the tracklist.
Aaron Copland lent his considerable talents to Hollywood on several occasions, including the 1947 screen adaptation of John Steinbeck’s The Red Pony, selections from the folk-like score are included here. Two Oscar-winning scores by Franz Waxman, one from Billy Wilder’s 1950 classic Sunset Boulevard, as well as A Place in the Sun the following year, deliver quintessential 50’s film music. Next is Alex North’s New Orleans-spiced 1951 score for A Streetcar Named Desire, the first important Hollywood score to incorporate jazz. The great Leonard Bernstein scored only one film, but On the Waterfront (1954) is widely regarded as cinematic classic.
‘Vintage Cinema’ then turns to the 1960s in its three final tracks: Rózsa’s Spanish-flavoured overture to the lavish Charlton Heston epic, El Cid (1961), Elmer Bernstein’s main title theme from To Kill a Mockingbird (1962), and the rousing “Ride of the Cossacks” from Taras Bulba, a 1962 film scored again by the inimitable Franz Waxman.
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Sonny Rollins – Way Out West (2003)
SACD Rip | SACD ISO | DST64 2.0 / 5.0 > 1-bit/2.8224 MHz | 01:10:28 minutes | 4,45 GB
Genre: Jazz | Publisher (label): Naxos CCD-7530SACD
Over his long and distinguished career, Sonny Rollins has made many dozens of albums. Among those recorded during the 50’s, Prestige’s Movin’s Out and Saxophone Colossus, Blue Note’s A Night at the Village Vanguard, Riverside’s The Sound of Sonny, and Way Out West on Contemporary qualify as all-time Rollins classics. The session for Way Out West, Rollins’ first ever in California, was called for 3 a.m. to accommodate everyone’s busy schedules. Sonny, who could never be accused of overstatement, announced after four hours of recording: “I’m Hot Now”.
Recorded in 1957.
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Scottish Chamber Orchestra, Sir Charles Mackerras – Zoltan Kodaly: Dances of Galanta / Bela Bartok: Music for Strings, Percussion & Celeste, Divertimento (2004)
SACD Rip | SACD ISO | DST64 2.0 / 5.1 > 1-bit/2.8224 MHz | 01:12:56 + 01:09:38 minutes | 4,04 GB
Genre: Classical | Publisher (label): Linn Records – CKD 234
“Mackerras’ superb interpretation shows how Bartуk was opening up a world of possibilities for the orchestra.” ~ Daily Telegraph
Bartok’s Music for Strings, Percussion and Celesta is one of the genuine masterpieces of the 20th century music. It is performed by 2 string orchestras left and right on the stage with the piano, harp, celesta and a battery of various percussion instruments in the middle (piano is a percussion instrument in this case, and harp is part of the ‘strings’). This set-up presents ideal opportunity for surround recording, and Linn take much advantage of it, while not sacrificing sonic quality for 2-channel stereo.
The Music for Strings, Percussion and Celesta receives one of the best performances this reviewer has heard as does his All sections of the orchestra make fine contributions, particularly the brass and woodwind sections. The image of the orchestra still has depth and strings woodwinds and brass groups each have clearly delineated space from front to back. All the complex rhythms are well recorded, and sound very sharp and well defined. The second movement of the music for strings, percussions and celesta is the best example of this.
The Bartok Divertimento from 1939 is an example of a mature work written on the cusp of war and at a time when Bartok was starting to clarify and simplify his language which incorporated a range of folk influences from Hungary and the surrounding countries. Unlike the Kodaly piece, this is very idiomatic of the mature Bartok and could not have been written by anyone else.
Kodaly’s beloved Dances of Galentai is a fascinating and beautiful piece, and Mackerras makes such a fine impression with this work that should be available in more orchestras’ repertoire. The slow opening dances with lusciousness and rhythmic flexibility, and the woodwind solos are exceptional. The dances are memories of Kodaly’s childhood and the Mackerras really emphasizes the childish and magical side to this music.
“A sonic triumph” — Hi-Fi News
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Yusan – Ba Yo (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 50:48 minutes | 887 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Aztec musique
Yusan’s first album: a spicy and jazzy fusion. Yusan, meaning “heritage” in Korean, offers a fascinating insight into cultural plurality through a blend of Caribbean, afrobeat, jazz, soul and gospel music.
The group was born in 2017 from the meeting of 5 musicians from various backgrounds: Romain Cuoq, sideman saxophonist and renowned leader in the French jazz community, Kevin Jubert, pianist from the Gospel community who was for years the musical director of the legendary group Gospel for 100 voices, Gwen Ladeux one of the most sought-after bassists on the French hip hop and soul scene, Mathieu Edouard versatile drummer of the moment, who plays with the big names of urban pop, as comfortable with Chassol as Clara Lucciani and Ralph Lavital, a talented guitarist working in the jazz world as a sideman, but also in pop and Caribbean music.
These 5 musicians have been playing together and meeting for almost 10 years through numerous projects ranging from jazz to pop, including urban and Caribbean music.
In “Bayo”, they surround themselves with prestigious guests, such as Jocelyne Béroard (Kassav), Marius Cultier, Célia Kameni, Jean-Michel Rotin, Ann Shirley?
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Yes! Trio – Spring Sings (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 51:24 minutes | 864 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Jazz & People
Following the success of “Groove du Jour”, crowned best album of the year 2019 by the French Academie du Jazz, Yes! Trio makes its return by releasing its third album “Spring Sings”. Bringing together drummer Ali Jackson, whose personal lineage is rooted in an African American family of jazz players from Detroit, spotted by Wynton Marsalis in his teen years; pianist Aaron Goldberg, the son of eminent Boston scientists who graduated from Harvard University; and double bassist Omer Avital, an Israeli musician with Yemenite and Moroccan roots expatriated to New York for his love of bebop, Yes! Trio brings together three musicians who were never expected to meet! United by thirty years of friendship and love of swing, enriched by their differences and their individual experiences, these three contemporary masters, solo leaders in their own right, are bond by a true group spirit which encourages interaction in music at its maximum intensity and subtlety. Convinced that swing is a timeless idea, Yes! Trio continues to embrace jazz with the same happiness, faithful to what makes up its essence, from Ahmad Jamal to Motown to Yemen Blues. Combining two brilliantly revisited standards with a series of sublime original compositions, “Spring Sings” is a pure gem that confirms the unique character of Yes! Trio on the jazz planet.
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