Category: SACD

SACD

Camel – Rain Dances (1977) [Japanese SHM-SACD 2014] [SACD / Decca – UIGY-9544]

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Camel - Rain Dances (1977) [Japanese SHM-SACD 2014]

Title: Camel – Rain Dances (1977) [Japanese SHM-SACD 2014]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

The band’s fifth release, Rain Dances is Camel at its best, offering the most consistent and representative package in their saga. The addition of Caravan-cofounder Richard Sinclair proves profitable, as do a few colorist touches by Brian Eno on “Elke.” Mel Collins’ woodwinds are among the highlights, especially on “Tell Me” and the title track. From beginning to end, this project flows gracefully.

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SACD

Camel – Moonmadness (1976) [Japanese SHM-SACD 2014] [SACD / Decca – UIGY-9543]

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Camel - Moonmadness (1976) [Japanese SHM-SACD 2014]

Title: Camel – Moonmadness (1976) [Japanese SHM-SACD 2014]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Abandoning the lovely soundscapes of Snow Goose, Camel delved into layered guitar and synthesizers similar to those of Pink Floyd’s Wish You Were Here on the impressive Moonmadness. Part of the reason behind the shift in musical direction was the label’s insistence that Camel venture into more commercial territory after the experimental Snow Goose, and it is true that the music on Moonmadness is more akin to traditional English progressive rock, even though it does occasionally dip into jazz-fusion territory with syncopated rhythms and shimmering keyboards. Furthermore, the songs are a little more concise and accessible than those of its predecessor. That doesn’t mean Camel has abandoned art. Moonmadness is indeed a concept album, based loosely on the personalities of each member — “Chord Change” is Peter Bardens, “Air Born” is Andy Latimer, “Lunar Sea” is Andy Ward and “Another Night” is Doug Ferguson. Certainly, it’s a concept that is considerably less defined than that of Snow Goose, and the music isn’t quite as challenging, yet that doesn’t mean that Moonmadness is devoid of pleasure. In fact, with its long stretches of atmospheric instrumentals and spacy solos, it’s quite rewarding.

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SACD

Caetano Veloso – A Foreign Sound (2004) [SACD / Universal Music – 0602498192283]

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Caetano Veloso - A Foreign Sound (2004)

Title: Caetano Veloso – A Foreign Sound (2004)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

When an international artist records an English-language album, crossover is usually in the cards. For Caetano Veloso, however, it’s an entirely different matter. The statesman of Brazilian pop, a musical giant who is on track to record more in his fifth decade of artistic striving than in any other (not to mention his accompanying exploits in literature), Veloso has no need to begin an American campaign. He also has shown no wish to. Caetano Veloso has never courted an American audience, though he has drawn a sizeable one because of his prescient, emotionally charged songwriting and a performance style that can be studied or unhinged depending on the circumstances required. A Foreign Sound is not only an English-language album but an American songbook, one that explores Veloso’s long fascination with the greatest composers in American history. It began when he was a child in the ’40s and ’50s enamored of American culture, was strengthened when his hero João Gilberto began championing the great American songbook, and has remained steady if not continuous through his artistic career. The record is perhaps his most ambitious project ever, a 22-song album that ranges for its material from emperors of Broadway to the denizens of folk music, from the cultured (Rodgers & Hart’s “Manhattan”) to the torchy (Jerome Kern’s “Smoke Gets in Your Eyes”) to the gritty (Nirvana’s “Come as You Are”). Veloso’s high tenor has only strengthened 30 years after his other English-language record — an eponymous 1971 LP, recorded in London as a forlorn postcard to the country he had been forcibly removed from by Brazil’s fascist-leaning government. Although few recordings in his discography (or any other’s) can rival that one’s emotional power, A Foreign Sound comes very close. Veloso transforms these standards by a clever combination of his subtle interpretive gifts, his precise, literate delivery, and his ability to frame each song with an arrangement that fits perfectly (usually either a small group led by his acoustic guitar or a small string group, though “Love for Sale” is given a spine-tingling a cappella treatment). Out of 22 songs, only Bob Dylan’s “It’s Alright, Ma (I’m Only Bleeding)” sounds like a mistake; every other performance here is nearly irresistible, the perfect valentine to a country with a strong songwriting tradition that Veloso unites and celebrates with this album.

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SACD

Constantin Silvestri – Dvorak: Symphonies Nos. 7, 8, 9 etc [2 SACDs] (1957-1960/2021) [SACD / Tower Records Definition Serie – TDSA-183]

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Constantin Silvestri - Dvorak: Symphonies Nos. 7, 8, 9 etc [2 SACDs] (1957-1960/2021)

Title: Constantin Silvestri – Dvorak: Symphonies Nos. 7, 8, 9 etc [2 SACDs] (1957-1960/2021)
Genre: Classical
Format: SACD ISO

Sylvester’s nationalistic Dvořák recordings, featuring each symphony conducted with a different orchestra, are finally released worldwide for the first time on SACD! Newly remastered from the original analog master tapes in the Czech Republic at 192kHz/24bit. Featuring new liner notes, this world premiere SACD release presents a modern reissue of Silvestri’s important recordings of Dvořák’s symphonies and other works, originally released on the old EMI label. Silvestri’s diverse musicality, which uniquely draws out each piece’s distinct national character and fascinating timbres despite the unusual practice of assigning three different orchestras, represents a quality lost in modern times. The three symphonies, in particular, display superb expressiveness, with the latest high-resolution remastering reviving their exquisitely delicate nuances. Aiming for the highest possible sound quality today, the SACD layer and CD layer were mastered separately using a 192kHz/24bit digital master derived from the original analog master tapes in the country of origin. Includes new liner notes. A permanent preservation edition. Constantin Silvestri (1913-69) moved to Paris in 1956 after his time in his native Romania, making his London debut the following year and quickly gaining attention as a conductor. Around this time, he signed with EMI (Pathe Marconi), recording from the late monaural era through the stereo period. Despite his short life ending at age 55, recordings from his later years survive, making him a conductor with many fans even today. His performances are often described as highly individualistic, and his unique musicality remains endlessly fascinating even today. Among them, his first recording of the “New World Symphony” (1957, monaural) won the French ADF Disc Grand Prix and garnered significant attention. This 1959 stereo recording, made just two years later and included here, stands as one of Silvestri’s definitive performances. It’s unusual for the same orchestra to record so quickly after the first session, hinting at the record company’s strategy, but the straightforward expression makes this a highly regarded performance. His driving interpretation of the Vienna Philharmonic in the Seventh Symphony is truly spectacular. It feels like he’s subduing the orchestra with an approach distinct from Solti’s, resulting in something quite exhilarating. The Eighth Symphony, performed with the London Philharmonic Orchestra, with whom he collaborated relatively often, features an expression that conveys a sense of dignity, making it particularly interesting when compared to the other two symphonies. While each recording has a distinct sonic character, it’s fascinating how they all become Silvestri’s music. This high-resolution remastering allows us to appreciate these differences even more, including the unique appeal of each conductor. For this remastering, we used a flat master created by digitizing the original 2-channel analog master tape from the artist’s home country at 192kHz/24bit, followed by the latest mastering techniques. The master tapes exhibited a well-balanced overall sound with minimal aging effects. Therefore, we prioritized preserving the original balance and focused on musical mastering. This approach enhances the sense of distance and depth between instruments, improving spatial imaging. The result is a stress-free listening experience showcasing the finest performance. Additionally, the booklet features new liner notes by Mr. Kōzō Asari. For this series, the SACD layer aims for extended high frequencies and soft nuances alongside high resolution and a rich soundstage. The CD layer strives for a cohesive, solid sound with a tangible, present-to-the-touch tonal quality. The CD itself possesses high potential; indeed, we encourage you to enjoy it as an SACD hybrid disc that lets you savor the best of both worlds. This 34th installment of the Definition Series will release a total of three titles.

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SACD

Kyung Wha Chung, Phillip Moll – Con Amore (1985/2022) [SACD / Decca – 4845137]

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Kyung Wha Chung, Phillip Moll - Con Amore (1985/2022)

Title: Kyung Wha Chung, Phillip Moll – Con Amore (1985/2022)
Genre: Classical
Format: SACD ISO

Violinist Kyung Wha Chung & pianist Phillip Moll perform compositional works by Brahms, Kreisler, Elgar and more. Korean violinist Kyung Wha Chung has been widely acclaimed both by critics and audiences. Her career was at its peak during the ’70s and ’80s, ranked alongside the great violinists Pinchas Zukerman and Itzhak Perlman. She became one of the most characterful and best-loved violinists in the world. The total involvement she conveys comes not just from the actual notes but from her physical stance, revealing her love of the music and of the violin in every movement of muscle. Yet today, even when faced with her most spectacular recording of showpiece concertos, she will deny that she is a virtuoso. What she means is that technique is merely incidental to her communication through music. This dislike of showing off for its own sake accounts for her reluctance to concentrate on ‘firework’ pieces in this selection, preferring instead pieces she loves for other reasons.

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SACD

Colin Linden – Big Mouth (2001) [Reissue 2003] [SACD / Accord Music Group – S6001]

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Colin Linden - Big Mouth (2001) [Reissue 2003]

Title: Colin Linden – Big Mouth (2001) [Reissue 2003]
Genre: Blues, Country, Folk
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Canadian singer/songwriter Colin Linden has been delivering his own blues-oriented rock since the early ’70s. One fine thing about his “Big Mouth”: It is not a collection of 15 tracks, with the best two or three at the beginning. The quality is consistent throughout – there are no real clunkers and some of the best tunes are at the middle and end. If you are a listener who lets a disc fade into the background after a track or two, you’ll want to start this one in the middle now and then.
This disc from Canadian Colin Linden returns to the more acoustic feel of his earlier recordings. It is still plugged in and he uses many of the same players from his last two discs, yet it is still a subtler disc that maintains the fiery intensity for which he is known. His songwriting remains strong here, and he either wrote or co-wrote 14 of the 15 songs presented here. He is more than ably backed here by his longtime substantial band of Gary Craig, John Dymond, and Richard Bell. Their work is highlighted by special guests/friends Bruce Cockburn, Keb’ Mo’, Lee Roy Parnell, and Lucinda Williams. It is just a sheer delight to hear Linden and Lucinda Williams play off each other on this unadulterated romp, “Don’t Tell Me.” On this disc he displays his full range of influences in a total synthesis, from the electric and acoustic blues work across and through the highways of the Continent to the Nashville twang that is infiltrating his sound. Make no mistake, this is a substantial, honest disc that is sustained and heightened by Linden’s voice and guitars, with the wonderful collaboration of John Whynot.

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SACD

Sir Colin Davis, Symphonie-Orchester des Bayerischen Rundfunks – Tchaikovsky & Dvorak: Serenades for Strings (1988) [Japan 2017] [SACD / Esoteric Company – ESSD-90179]

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Sir Colin Davis, Symphonie-Orchester des Bayerischen Rundfunks - Tchaikovsky & Dvorak: Serenades for Strings (1988) [Japan 2017]

Title: Sir Colin Davis, Symphonie-Orchester des Bayerischen Rundfunks – Tchaikovsky & Dvorak: Serenades for Strings (1988) [Japan 2017]
Genre: Classical
Format: SACD ISO + Hi-Res FLAC

Sir Colin Davis conducts the Bavarian Radio Symphony Orchestra for performances of Tchaikovsky’s Serenade For Strings in C major and Dvorak’s Serenade For Strings in E major. This reissue series 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 that have been mainstays of the catalog since their initial release.

These performances are among the two or three best currently available of this familiar music. Colin Davis gets superb, finely colored playing from his Bavarian string section, with excellent, balanced ensemble. Not merely satisfied to present yet another recording of these thrice-familiar masterpieces, Davis gets inside the music in every phrase, seeing it in a clear, classical way, wholly consistent with both composers intentions. The Romantic flame is still there, but burning with a tight, jem-like fire which lights up form, motific development, and inner lines in a natural, balanced way. This should satisfy both classicist and Romantic in a way many other performances cannot. Fellow Brit Neville Marriner recorded equally fine performances of these pieces, but Davis’s somewhat larger string ensemble, especially when it’s so well recorded, has its points, too. This is another great recording which should stay in the active catalog.

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SACD

Sir Colin Davis, Academy Of Saint Martin In The Fields – Purcell: Dido & Aeneas (1970) [Reissue 2016] [SACD / PentaTone – PTC 5186 230]

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Sir Colin Davis, Academy Of Saint Martin In The Fields - Purcell: Dido & Aeneas (1970) [Reissue 2016]

Title: Sir Colin Davis, Academy Of Saint Martin In The Fields – Purcell: Dido & Aeneas (1970) [Reissue 2016]
Genre: Classical
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

When Henry Purcell wrote his one and only opera “Dido and Aeneas” in the second half of the seventeenth century, there was no existing opera tradition in England. With a libretto based on Virgil’s Aeneid and its music stylistically close to and derived from the typically English ‘Masque’ form, Purcell created a monumental baroque opera. On this 1970 multi-channel Philips Classics recording, Dido is interpreted by soprano Josephine Veasey. The Academy of St Martin in the Fields and the John Alldis choir are conducted by Sir Colin Davis. The recording has been remastered in 2015 and is now re-released in Pentatones’s Remastered Classics series, which finally gives it the chance to expose its magnificent sound quality.

In 2016, multichannel recording is regarded by classical listeners as state of the art, and some of the finest recordings available have been released in the hybrid SACD format. In 1970, quadraphonic recording was the most advanced technology, and Philips was one of the leading labels developing the process, as shown by this historic recording of Henry Purcell’s Dido and Aeneas. This early English opera may not seem like a practical demonstration piece for showing off the depth, wide frequency range, and clarity of Philips’ quadraphonic recording, or, for that matter, PentaTone’s multichannel remastering, considering the rather monochrome sound of strings and continuo. However, Colin Davis and the Academy of St Martin in the Fields delivered with extraordinary energy and precision, and the cast – featuring Josephine Veasey as Dido, John Shirley-Quirk as Aeneas, and Helen Donath as Belinda – sang with crisp diction, beautiful tone, and powerful presence. The spaciousness of the recording is most evident whenever the John Alldis Choir enters with its vigorous choruses, and the dramatic contrasts with the soloists highlight the effectiveness of the innovative microphone placement. Newcomers to this opera may skip ahead to Dido’s famous aria, When I am laid in earth, but because the opera runs less than an hour, the recording deserves a full hearing to reveal its excellence as a performance and as an important artifact from the early days of audiophile sound. Highly recommended.

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