Category: SACD

SACD

Carlos Franzetti – The Jazz Kamerata (2005) [SACD / Chesky Records – SACD287 ]

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Carlos Franzetti - The Jazz Kamerata (2005)

Title: Carlos Franzetti – The Jazz Kamerata (2005)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

A set of songs written by jazz musicians were arranged for this project by pianist Carlos Franzetti for piano, sax, bass, flute, clarinet, and a string quartet. The results are pleasing if not overly memorable. While the selections are often challenging, the interpretations are more middle-of-the-road and fairly accessible due to the strings. Franzetti and saxophonist Lawrence Feldman take most of the solos and their improvisations are excellent, although the utilization of strings and woodwinds smoothes over some of the rough edges of the compositions, making the results fairly safe if occasionally unpredictable.

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SACD

Carlo Maria Giulini, Wiener Philharmoniker – Bruckner: Symphonie No.9 (1989) [Japan 2019] [SACD / Esoteric Company – ESSG-90195]

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Carlo Maria Giulini, Wiener Philharmoniker - Bruckner: Symphonie No.9 (1989) [Japan 2019]

Title: Carlo Maria Giulini, Wiener Philharmoniker – Bruckner: Symphonie No.9 (1989) [Japan 2019]
Genre: Classical
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

The Viena Philharmonic Orchestra conducted by Carlo Maria Giulini performing Anton Bruckner’s Symphony No. 9 in D minor. The reissue of classical music masterpieces by Esoteric has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound. This series marks the first hybrid SACD release of historical recording selections. These new audio versions feature Esoteric’s proprietary re-mastering process to achieve the highest level of sound quality.

Carlo Maria Giulini recorded Bruckner’s Symphony No. 9 with the Chicago Symphony Orchestra for Angel in 1976, and that album has long been considered a superb achievement and difficult to surpass. Yet Giulini’s 1988 performance with the Vienna Philharmonic matches the older recording in every important detail and exceeds expectations by sounding richer in the digital format. As wonderful as Chicago’s sound was, the Vienna Philharmonic offers more varied and subtle timbres, a result of its long history of Bruckner performances. Using the Nowak edition, Giulini takes this unfinished symphony into dark places, making it the full realization of the Romantic idea of Sturm und Drang. The opening movement is one of Bruckner’s most commanding essays in sonata form. Through its explicit parallels with Beethoven’s Ninth, Bruckner clearly points to his source of inspiration. The terrifying Scherzo, with its stacked dissonances and pounding rhythms, creates a mood of violence and instability that the nervous Trio does little to alleviate. Resolution – indeed, an apotheosis – comes in the glorious Adagio. Giulini elicits the most sumptuous sounds from the orchestra, particularly in the ecstatic opening measures. After hearing this movement, any thought of adding a finale must seem pointless, for this is a sublime valedictory and nothing more is needed.

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SACD

Carlo Maria Giulini, Chicago Symphony Orchestra – Mahler: Symphony No.1 (1971) [Japan 2016] [SACD / Warner Classics – WPCS-13534]

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Carlo Maria Giulini, Chicago Symphony Orchestra - Mahler: Symphony No.1 (1971) [Japan 2016]

Title: Carlo Maria Giulini, Chicago Symphony Orchestra – Mahler: Symphony No.1 (1971) [Japan 2016]
Genre: Classical
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Carlo Maria Giulini conducts the Chicago Symphony Orchestra in a Grammy winning performance of Gustav Mahler’s four-movement Symphony No. 1 in D. If you want a Mahler First above all for beauty of tone and phrasing and precision of ensemble, then this is a plain first choice. In addition Giulini’s qualities suit this work. For all the orchestral sophistication, he has a transparent honesty which accords well with Mahler in ‘Wayfaring Lad’ mood. Nor does he use the Chicago orchestra’s virtuosity to whip up excitement in fast tempo.

Having long ago firmly establishing itself as one of the world’s greatest orchestras, the Chicago Symphony has also played host to some of the world’s preeminent conductors, both as guests and artistic directors. Over the past several decades, many of these conductors have produced countless recordings with the CSO. Perhaps second in quantity only to Beethoven, the CSO has churned out a staggering number of recordings of Mahler symphonies, almost assuring that one interpretation or another is likely to find its way onto the shelves of listeners. This EMI recording of Mahler’s First Symphony with Carlo Maria Giulini was recorded in 1971 and originally released along with the Fourth Symphony. Sound quality, precision strings, impressively powerful brass, and warm, rich tone are all present, as would be expected. What distinguishes one CSO Mahler recording from another is of course the subtle differences in interpretation of the conductor. Giulini’s reading of Mahler is a somewhat conservative one. This is not to say it is safe, lackluster, or unenergetic. But compared to more lively readings (such as Solti’s, for example), Giulini is more subtle in the differences he makes to the countless tempo and character markings Mahler provides throughout the score; dynamic changes are also less grandiose. Individual listeners must decide for themselves which type of interpretation best suits their tastes, but they can almost universally be sure of a superior execution with the CSO.

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SACD

Carel Kraayenhof – Tango Royal (2002) [SACD / PentaTone classics – PTC 5186 008]

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Carel Kraayenhof - Tango Royal (2002)

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.

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SACD

Caravan – In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2016] [SACD / Deram – UIGY-15036]

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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”.

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SACD

Caravan – In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2010] [SACD / Deram – UIGY 9047]

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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”.

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SACD

Caravan – For Girls Who Grow Plump In The Night (1973) [Japanese SHM-SACD 2014] [SACD / Deram – UIGY-9545]

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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.

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SACD

Cannonball Adderley – Somethin’ Else (1958) [MFSL 2024] [SACD / Mobile Fidelity Sound Lab – UDSACD 2270]

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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. 

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