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SACD

Academy of St. Martin in the Fields, Murray Perahia – Bach: Keyboard Concertos Nos. 3, 5-7 (2002) [SACD / Sony Classical – SS 86960]

adminMarch 12, 2026 5 Views

Title: Academy of St. Martin in the Fields, Murray Perahia – Bach: Keyboard Concertos Nos. 3, 5-7 (2002)
Genre: Classical
Format: SACD ISO + Hi-Res FLAC

Perahia doing Bach, as Perahia does Bach: very clean and very smooth. Very un-Gould. If Gould uses the piano to try and emulate the detached sound of a harpsichord (always sans pedal), Perahia is almost the opposite. Having said so, the sound Perahia achieves in the second movement (largo) of Concerto No. 5 (BWV 1056) is simply fabulous … one of my favourite piano sounds on SACD (after the Tchetuev Schnittke SACD on Caro Mitis). Beautifully recorded. I may be wrong, but it does sound to my ear as though the piano has been tuned below A = 440 Hz. The sound is slightly flat to my ear, though not to the extent that one would find in an authentic instrument recording. There is no mention in the programme notes to this effect. Perahia’s Goldberg variations on SACD is now almost impossible to find, and this SACD seems to be heading the same way, so grab it while you can. Highly recommended. End-notes: 1.The so-called Concerto No. 6 is derived from the harpsichord continuo part in Brandenburg No.4 … and I think it is the first time I have actually heard this played on the piano rather than the harpsichord. In this instance alone, I am not sure that the transition to pianoforte is successful. ~SA-CD.net

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2 min read

SACD

Johannette Zomer, Bart Schneemann, Musica Amphion – Handel Arias: Love and Madness (2009) [SACD / Channel Classics – CCS SA 29209]

adminMarch 12, 2026 3 Views

Title: Johannette Zomer, Bart Schneemann, Musica Amphion – Handel Arias: Love and Madness (2009)
Genre: Classical
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Handel, a child of his time, was fascinated by the poignant human dramas and emotions exemplified by Greek and Roman classical myths, dramas and poetry. A theatre composer to his very bones, he was remarkably skilled in the portrayal of human psychology. The oboe was an instrument especially beloved by Handel and it is the unifying element in this fascinating anthology of arias and cantatas focusing on themes of love and madness sung by soprano Johannette Zomer. Zomer is accompanied by oboist Bart Schneemann and the ensemble Musica Amphion under direction of Jan-Pieter Belder.

Soprano Johannette Zomer, a frequent presence on Channel Classics recordings, begins most impressively with Berenice’s aria, displaying solid, centered tone and confident expressive character in a piece that also requires significant dialog with the oboe–which she and Bart Schneemann execute with engaging charm and remarkable timing. There’s even more drama to come in Medea’s aria from Teseo, “Morirò” (I shall die! But I shall die avenged…), and here Zomer shows her ability to command the opera stage, allowing us without any visual cues to experience the song’s full emotional impact, enlivened by the virtuosic support of the Musica Amphion orchestra. Although Zomer doesn’t shy away from the challenges of Handel’s more fast and florid creations, she’s really at her best in the slower arias–indeed, her “Lascia ch’io pianga” is among the best-ever recorded versions–as are her “Scherza infida!” and “Mi palpita il cor”, which rank with Handel’s most popular and most-frequently performed arias. In the past I’ve had my issues with Zomer’s voice–but I have no such reservations here, especially regarding the exceptionally well-controlled tonal modulations that she uses to great expressive effect, a mastery of technique that wasn’t always present on several of her previous recordings. Zomer and Schneemann (who also contributes a couple of instrumental works to the program) work very well together–two special voices, unique in timbre but united in interpretive style and concept. And the sound is Channel Classics’ usual first-class production. If we’re lucky these two superb musicians will find another good excuse to get together–and Channel Classics will be there to record it.

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3 min read

SACD

Scottish Chamber Orchestra, Joseph Swensen – Johannes Brahms: Violin Concerto & Hungarian Dances (2004) [SACD / Linn Records – CKD 224]

adminMarch 12, 2026 2 Views

Title: Scottish Chamber Orchestra, Joseph Swensen – Johannes Brahms: Violin Concerto & Hungarian Dances (2004)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC

Amazing recording!!! I’ve heard many, many versions of this concerto; it’s one of my favorite concertos, and Brahms – for me – is one of the greatest composers. This one has become one of my favorite versions (maybe even the most). It’s wonderfull to hear a soloist and orchestra play together that well; they’re all part of one big spirit. This version reveals a lot of details (even the finest), while the big/main line isn’t lost at all. And about the smaller size of the orchestra; I like it! Brahms often sounds ‘too heavy’ and thick, even sometimes troubled, when performed by some conductors/full orchestras. But using smaller orchestras doesn’t mean you’re being sure of getting a clear performance. In my opinion, Swensen leaves the version of Sir Neville Marriner e.g. (with Hilary Hahn) far behind, regarding the performance of the orchestra. I really don’t like the coloration and style of playing of the orchestra in that recording. Hilary Hahn’s playing, on the contrary, is beautiful. Swensen has succeeded (from my point of view) in making a great and very moving performance and recording of the Brahms voilin concerto. Coloration, choices of tempo, phrasing… in one word: brilliant! The Hungarian Dances are simply being performed with the same feeling for details and long lines. Whipping ‘gypsian’ drive being varied with moving lyricism. About the sonics… The sound of the recording is fantastic. The only thing I would like to have heard is a fraction more acoustic breath in the rear channels. But that’s a very small point. From the deapest bass-lines of the basses to the heighest hights; it sounds very natural and clear! Totally recommended! sa-cd.net

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2 min read

SACD

Hardy Rittner – Johannes Brahms: Early Piano Works Vol.2 (2008) [SACD / MDG – MDG 904 1538-6]

adminMarch 12, 2026 2 Views

Title: Hardy Rittner – Johannes Brahms: Early Piano Works Vol.2 (2008)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC

Hardy Rittner seemed on top of his game both technically and interpretively in his first volume of Brahms’ early piano works, but for some reason he seems less assured and less interpretively attuned to Brahms’ music in this, his second volume. Performing the north German composer’s C major and F minor sonatas, Rittner does not bring out of the piano the massive sonorities the music’s out-sized chords require. This may be due in part to his choice of instrument. On the first volume, Rittner performed on a rich-toned 1851 Johann Baptist Streicher piano, but here he’s playing an 1850 Bösendorfer lacking both depth and resonance. As he did in the previous disc, Rittner does well with the poetic side of Brahms’ nature and his account of the F minor Sonata’s Andante espressivo is thoroughly persuasive. But when he needs to pour on the power as in the same sonata’s Finale, Rittner and his Bösendorfer can’t supply what’s wanted. Though Musikproduktion Dabringhaus und Grimm’s super audio sound is clear and present, this disc fails to live up to the promise of its earlier sibling. ~ Review by James Leonard allmusicguide
This second volume pairs the first and third sonatas, so now we have the complete sonatas in period performances. Instead of the Johann Baptist Streicher, an 1849/50 Bösendorfer is employed and gives a certain extra element of brightness, weight and tonal depth without sacrificing anything of the clarity that period instruments tend to bring to the proceedings. It is often said that Brahms was late in writing a symphony but Rittner’s playing shows that to be false; these works are symphonic in scope and scale – all that was left was for Brahms to produce an orchestration. Apart from capturing the grand sweep of the phrases and the structure of the compositions, Rittner also delivers on the poetry of the music. No detail escapes his attention but neither does it interrupt the musical narrative. The Scherzo movements of each sonata have a nice Viennese lilt to them and the slower movements a tender eloquence. The Finale’s are dazzling in their virtuosity yet Rittner’s playing is fully at the service of the music, not his self-aggrandisement. The recording from MDG, again a 2+2+2 production, is as clear and rounded as that in volume 1. Very highly recommended and one looks forward to future volumes. ~SA-CD.net

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3 min read

SACD

Joe Weed – The Vultures (1995) [Reissue 2003] [SACD / Top Music International Ltd. – TM-SACD 9801.2]

adminMarch 12, 2026 2 Views

Title: Joe Weed – The Vultures (1995) [Reissue 2003]
Genre: New Age
Format: SACD ISO + Hi-Res FLAC

Joe Weed is a great guitar instrumentalist in the mood of 50’s and 60’s. This album performs acoustic versions of the dreamy Sleepwalk and the ’60s classic Wipeout and more! He is joined by David Grisman on mandolin, Rob Ickes on dobro, Todd Phillips on bass and Norton Buffalo on harmonica.

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1 min read

SACD

Joe Walsh – So What (1974) [Audio Fidelity 2015] [SACD / Audio Fidelity – AFZ 214]

adminMarch 12, 2026 1 Views

Title: Joe Walsh – So What (1974) [Audio Fidelity 2015]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Joe Walsh’s catalog by this point was two albums strong and of a consistently high quality. Despite a change of lineup for So What — a wide range of musicians is used, including the Eagles’ Don Henley — the sound is very similar to previous releases. A number of classic Walsh tracks are featured, including a more polished version of “Turn to Stone,” originally featured on his debut album, Barnstorm, in a somewhat more riotous style. “Help Me Thru the Night,” Walsh’s mellowest song to date, is helped along by some fine lead and backing vocals from the band. So What sees Walsh in top form as a guitarist. Most of the nine tracks feature solos of unquestionable quality in his usual rock style. The classic rock genre that the man so well defined with his earlier albums is present here throughout, and it is pulled off with the usual unparalleled Joe Walsh ability.

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1 min read

SACD

Joe Satriani – Strange Beautiful Music (2002) [SACD / Epic – ES 86294]

adminMarch 12, 2026 4 Views

Title: Joe Satriani – Strange Beautiful Music (2002)
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

What’s a guitar hero to do now that the masses prefer electronic beats and rap-metal to killer scale runs? Joe Satriani seeks that answer on Strange Beautiful Music. Satriani set himself apart from other would-be kings of the six-string in the 1980s by combining impeccable technique with great feel and pop hooks. With those qualities, he produced great guitar-driven albums like Surfing With the Alien and Flying in a Blue Dream. On his 2002 release, Satriani tries to make his music fresh by incorporating world music influences and a bit of techno flava. To his credit, he succeeds more than he fails. “Belly Dancer” combines straight-up rock riffs with Middle Eastern-twinged melodies and faster-than-sound runs up and down the fretboard. On “Oriental Melody,” Satch’s world music sensibility shines with the help of ping-pong delay and keyboards. He still has a knack for great hooks, too, as is evident on “New Last Jam,” which features a melody that bounces around in your head for days. But none of these tracks approach the pop brilliance of his Surfing With the Alien songs. In many ways, the experimental nature of songs like “What Breaks a Heart” hark back to his Not of This Earth release. But Strange Beautiful Music suffers from inconsistency. While the mix-and-match approach works on “Belly Dancer,” it can also result in the bland discontinuity of “Chords of Life,” which at times sounds like “All Along the Watchtower” and at others resembles scale and chord exercises from Yngwie Malmsteen — not an enticing combo. And “Starry Night,” while a nice ballad, feels like an attempt to rewrite his masterful ballad “Always With You, Always With Me”.

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2 min read

SACD

Joe Satriani – Engines Of Creation (2000) [SACD / Epic – ES 67860]

adminMarch 12, 2026 3 Views

Title: Joe Satriani – Engines Of Creation (2000)
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

With Crystal Planet, Joe Satriani made an effective return to his signature sound following the erratic blues-rock detour of Joe Satriani. For the follow-up to Crystal Planet, Satriani is once again exploring novel territory in an effort to keep his music fresh, and Engines of Creation is the biggest stylistic shift he’s made yet — to electronic music. Satriani’s guitar is still the focal point of the music, to be sure, but while his virtuosity is obvious, it’s often submerged in the new demands of this musical idiom. That isn’t a surprise either, given that Satriani is one of the few guitar shredders whose taste and musicality have never been in question. But fans who simply want to hear him rip through his typical jaw-dropping solos may be disappointed (even though, in the end, there are more than a few solos), as will those guitar fans who reflexively disdain all sounds electronic. Having defended it, though, Engines of Creation isn’t a total success. While the music is certainly influenced by techno and electronica, it probably won’t appeal to listeners coming from those arenas; overall, it simply isn’t as adventurous as much genuine electronica, avoiding complex backing rhythms or edgy sonic textures; nor is it as hypnotic, meandering or drifting aimlessly at times instead of moving into trancelike states of consciousness. Plus, Satriani’s songs are often more traditional than they may seem upon first listen; many of the compositions are based on repeated themes and riffs and standard rock-song structures, switching between recurring, identifiable sections rather than gradually building and unfolding. However, the album can also be quite inventive. Satriani has challenged himself to find ways of coaxing totally new sounds from his guitar, and he weaves them seamlessly into the futuristic electronic soundscapes. Moreover, his melodies and main themes have rarely been this angular and off-kilter, meaning that exploring this music has indeed helped Satriani refresh and re-imagine his signature sound. Even the pieces that aren’t ultimately that revolutionary are still intriguing, since very few musicians have the technical training and innate sense of musicality required to mine this territory. Overall, Engines of Creation is a brave and sporadically successful experiment, and it’s also a promising new direction for Satriani should he choose to continue this vein of exploration and take it out even farther.

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3 min read

SACD

Joe Pass – Virtuoso (1973) [Reissue 2002] [SACD / Pablo Records – PACD-2310-708-4]

adminMarch 12, 2026 3 Views

Title: Joe Pass – Virtuoso (1973) [Reissue 2002]
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

When Joe Pass recorded and released this first of his Virtuoso series of albums, he was 44 years old, and ready to reclaim his crown as king of jazz guitar after years of heroin abuse. As a solo artist playing only acoustic guitar in an amplified fusion era, the odds were stacked against him, but Pass boldly issued this, his most creative and improvisation-based work, to mass critical acclaim and widespread general public sales. The genius of Pass was that he was easily able to retain melodic lines of these standards while adding stretched-out, extrapolated thoughts on the top and bottom of the melodies. On every track, with each passing phrase, modified and extended line or poetic thought, Pass proves his unique style is better than all the rest. On the marvelous “Night & Day,” classical-flavored “Stella by Starlight” with no small influence of Andres Segovia, faster than the pounding precipitation and pain of “Here’s That Rainy Day,” or purely improvised “Cherokee,” Pass is at the top of his game. He occasionally concentrates more on the melody for the pensive “‘Round Midnight” or the fleet “All the Things You Are,” but meets any challenge during a masterful remake of “The Song Is You.” There can be no doubt as to the essential nature of this incredible recording, a top five item for any jazz guitarist, one of the great modern-day contemporary albums, and essential listening for any serious music lover — a must have item.

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2 min read

SACD

Joe McQueen & Friends – Ten At 86 (2006) [SACD / IsoMike – 55802 ]

adminMarch 12, 2026 1 Views

Title: Joe McQueen & Friends – Ten At 86 (2006)
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Joe McQueen has been a professional jazz musician for over seventy years, turning ‘Pro’ at the tender age of sixteen. He was introduced to the saxophone a few years earlier by his cousin, Herschel Evans, who played in Count Basie’s band in the mid-1930s. Born in 1919 in Dallas, Texas, Joe was raised in Ardmore, Oklahoma, where he played tuba and then saxophone in the Ardmore High School band. Fast forward to 1945, when Joe and his wife, Thelma, were on the road as he was touring in a jazz band. While en-route from Las Vegas, the bandleader gambled away the troupe’s earnings, stranding them in Ogden, Utah. Joe and Thelma decided to stay in Ogden and McQueen reformed the band there. This turned out to be a serendipitous move because after WWII, Ogden, a major stop on the railroad between San Francisco and Kansas City, had become a hotspot for jazz music. Since settling in Ogden, McQueen has performed there with such jazz luminaries as Charlie Parker, Chet Baker (a fellow Oklahoman), Paul Gonzalez, Lester Young, Count Basie, Duke Ellington and Dizzy Gillespie. Joe continued to tour in the region, playing in Idaho Falls with Hoagy Carmichael.

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2 min read