Category: SACD

SACD

Bill Charlap Trio – Stardust: The Music Of Hoagy Carmichael (2002) [SACD Release 2003] [SACD / Blue Note – SA41746]

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Bill Charlap Trio - Stardust: The Music Of Hoagy Carmichael (2002) [SACD Release 2003]

Title: Bill Charlap Trio – Stardust: The Music Of Hoagy Carmichael (2002) [SACD Release 2003]
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

Bill Charlap is one of the strongest mainstream jazz pianists on the scene and one of the most gifted interpreters of standards. Stardust is a wonderful album, which began a series of albums that focused on a single composer. Stardust featured the music of Hoagy Carmichael. Features the special lineup of guest stars like Tony Bennett, Shirley Horn & Jim Hall.

There’s a fitting symmetry implicit in Bill Charlap’s latest Blue Note release. It’s a symmetry born from purity of purpose, illuminated on 1 end by the timelessness of Hoagy Carmichael’s Americana, & asserted at the other by the clarity of Charlap’s touch. Charlap negotiates the music of Carmichael as if he’s lived it always – an impressive sleight-of-hand considering the disparate backgrounds from which these jazzmen come: One was inspired by lazy Indiana summers; the other by the fast-break rhythms of New York. What gives the album that extra touch is the special lineup of guest stars like Tony Bennett, Shirley Horn & Jim Hall.

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SACD

Bill Charlap Trio – ‘S Wonderful (1999) [Japan 2000] [SACD / Venus Records – VHGD-8]

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Bill Charlap Trio - 'S Wonderful (1999) [Japan 2000]

Title: Bill Charlap Trio – ‘S Wonderful (1999) [Japan 2000]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Before the talented pianist Bill Charlap went “major” with the Blue Note label, he was discovered by Venus Records and the Japanese audience. This “debut” album of Charlap, released in 1999, was an enormous hit and became an instant classic. Deeply rooted in the tradition of jazz and with tremendous knowledge and respect for the American songbook, Charlap’s piano playing is lyrical, fantastic and powerful. This album may not dazzle you with apparent “newness,” but the beauty of melody, sound, and deep swing will move you and make you smile. The great New York rhythm section, bassist Peter Washington and drummer Kenny Washington, contributes with great performances as well.

Best known for his work with Gerry Mulligan and later Phil Woods during the 1990s, pianist Bill Charlap was clearly developing rapidly on his own record dates. Beginning with a crisp rendition of “Time After Time,” Charlap, with a formidable rhythm section of bassist Peter Washington and drummer Kenny Washington, explores a nice mix of standards and jazz classics. His refreshing approach to “Lover” initially adds a Latin rhythm to the sprightly waltz before launching into overdrive. The less familiar material, including a jaunty take of George & Ira Gershwin’s “Boy, What Love Has Done to Me” and a breathtaking solo interpretation of Jimmy Van Heusen’s dreamy ballad “Only the Lonely,” is equally rewarding. The sound on this studio date is so intimate that it sounds as if the listener is sitting right next to the piano. This exquisitely packaged Japanese release is very highly recommended.

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SACD

Big Star – #1 Record + Radio City (1972+1974 / 2 albums on 1 Disc) [1992, Reissue 2004] [SACD / Stax – SXSA 60025-6]

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Big Star - #1 Record + Radio City (1972+1974 / 2 albums on 1 Disc) [1992, Reissue 2004]

Title: Big Star – #1 Record + Radio City (1972+1974 / 2 albums on 1 Disc) [1992, Reissue 2004]
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

The quintessential American power pop band, Big Star remains one of the most mythic and influential cult acts in all of rock & roll. Originally led by the singing and songwriting duo of Alex Chilton and Chris Bell, the Memphis-based group fused the strongest elements of the British Invasion era — the melodic invention of the Beatles, the whiplash guitars of the Who, and the radiant harmonies of the Byrds — into a ramshackle but poignantly beautiful sound which recaptured the spirit of pop’s past even as it pointed the way toward the music’s future. Although creative tensions, haphazard distribution, and marketplace indifference conspired to ensure Big Star’s brief existence and commercial failure, the group’s three studio albums nevertheless remain unqualified classics, and their impact on subsequent generations of indie bands on both sides of the Atlantic is surpassed only by that of the Velvet Underground.

A two-fer combining Big Star’s first and second albums, #1 Record/Radio City remains a definitive document of early-’70s American power pop and a virtual blueprint for much of the finest alternative rock that came after it. The lone Big Star record to merit the full participation of founder Chris Bell, the brightly produced #1 Record splits the songwriting credits evenly between him and Alex Chilton (in the tradition of Lennon-McCartney). But from the beginning, the group is tearing apart at the seams: Bell and Chilton’s relationship seems less a working partnership than a battle of wills, and each possesses his own distinctive vision. The purist, Bell crafts electrifying and melodic classic pop like “Feel” and “In the Street,” while Chilton, the malcontent, pens luminous, melancholy ballads like “The Ballad of El Goodo” and “Thirteen.” Ultimately, their tension makes #1 Record brilliant. However, Radio City shifts gears dramatically: Bell is largely absent (though he guests, uncredited, on a few tracks, including the wonderful “Back of a Car”), allowing Chilton’s darker impulses free reign. From the raucous opener “O My Soul” onward, the new Big Star is noisier, edgier, and even more potent. Erratic mixing, spotty production, shaky performances — by all rights, Radio City should be a failure, yet Chilton is at his best when poised on the brink of disaster, and the songs hang together seemingly on faith and conviction alone. Each track recalls pop’s glory days, from the Kinks-ish snarl of “Mod Lang” to the Byrds-like guitar glow that adorns “Way Out West.” The much-celebrated “September Gurls” is indeed a classic — everything right and good about pop music distilled down to three minutes of pure genius.

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SACD

Big Brother & The Holding Company – Cheap Thrills (1968) [Remastered Reissue 1999 (2003)] [SACD / Columbia – CS 65784]

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Big Brother & The Holding Company - Cheap Thrills (1968) [Remastered Reissue 1999 (2003)]

Title: Big Brother & The Holding Company – Cheap Thrills (1968) [Remastered Reissue 1999 (2003)]
Genre: Rock
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Big Brother are primarily remembered as the group that gave Janis Joplin her start. There’s no denying both that Joplin was by far the band’s most striking asset, and that Big Brother would never have made a significant impression if they hadn’t been fortunate enough to add her to their lineup shortly after forming. But Big Brother also occupies a significant place in the history of San Francisco psychedelic rock, as one of the bands that best captured the era’s loosest, reckless, and indulgent qualities in its high-energy mutations of blues and folk-rock.

Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and her band Big Brother & the Holding Company had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but for a year after that their only recorded work was a poorly produced, self-titled album that they’d done early in their history for Mainstream Records; and it took the band and the best legal minds at Columbia Records seven months to extricate them from their Mainstream contract, so that they could sign with Columbia. All the while, demand continued to build, and they still faced the problem of actually delivering something worthy of the press they’d been getting — Columbia even tried to record them live on-stage on the tour they were in the midst of when the new contract was signed, but somehow the concert tapes from early March of 1968 didn’t capture the full depth of their work. So they spent March, April, and May in the studio with producer John Simon and, miraculously, emerged with something that was as exciting as anything they’d done on-stage. When Cheap Thrills appeared in August 1968 — sporting a Robert Crumb cover on its gatefold jacket that constituted the most elaborate album design ever lavished on a rock album from Columbia Records, as well as a pop-art classic rivaling the Beatles’ Sgt. Pepper’s jacket — it shot into the charts, reaching number one and going gold within a couple of months, and “Piece of My Heart” became a Top 40 hit and helped to propel the LP to over a million sales. Joplin, with her ear- (and vocal cord-) shredding voice, was the obvious standout. Nobody had ever heard singing as emotional, as desperate, as determined, or as loud as Joplin’s, and Cheap Thrills was her greatest moment. Not that everything was done full out — there were relatively quiet moments on the album that were as compelling as the high-wattage showcases; her rendition of George Gershwin’s “Summertime” was the finest rock reinterpretation of a standard done by anybody up to that time (though, in an incident recalled in his autobiography Clive, when Columbia Records president Clive Davis played it to Richard Rodgers to give him an example of some of the sounds that younger audiences of the late ’60s were listening to, the 66-year-old Rodgers stomped out of the Columbia corporate offices in fury, vowing never to write another song); and Joplin’s own “Turtle Blues” showed that she and the band could turn down and do credible acoustic blues, in something like an authentic period Bessie Smith (or, more properly, Memphis Minnie) sound. Big Brother’s backup, typical of the guitar-dominated sound of San Francisco psychedelia, made up in enthusiasm what it lacked in precision. But everybody knew who the real star was, and Joplin played her last gig with Big Brother while the album was still on top of the charts. Neither she nor the band would ever equal it. Heard today, Cheap Thrills is a musical time capsule and remains a showcase for one of rock’s most distinctive singers.

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SACD

Big Brother & The Holding Company – Cheap Thrills (1968) [MFSL 2016] [SACD / Mobile Fidelity Sound Lab – UDSACD 2172]

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Big Brother & The Holding Company - Cheap Thrills (1968) [MFSL 2016]

Title: Big Brother & The Holding Company – Cheap Thrills (1968) [MFSL 2016]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and her band Big Brother & the Holding Company had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but for a year after that their only recorded work was a poorly produced, self-titled album that they’d done early in their history for Mainstream Records; and it took the band and the best legal minds at Columbia Records seven months to extricate them from their Mainstream contract, so that they could sign with Columbia. All the while, demand continued to build, and they still faced the problem of actually delivering something worthy of the press they’d been getting – Columbia even tried to record them live on-stage on the tour they were in the midst of when the new contract was signed, but somehow the concert tapes from early March of 1968 didn’t capture the full depth of their work. So they spent March, April, and May in the studio with producer John Simon and, miraculously, emerged with something that was as exciting as anything they’d done on-stage. When Cheap Thrills appeared in August 1968 – sporting a Robert Crumb cover on its gatefold jacket that constituted the most elaborate album design ever lavished on a rock album from Columbia Records, as well as a pop-art classic rivaling the Beatles’ Sgt. Pepper’s jacket – it shot into the charts, reaching number one and going gold within a couple of months, and “Piece of My Heart” became a Top 40 hit and helped to propel the LP to over a million sales. Joplin, with her ear- (and vocal cord-) shredding voice, was the obvious standout. Nobody had ever heard singing as emotional, as desperate, as determined, or as loud as Joplin’s, and Cheap Thrills was her greatest moment. Not that everything was done full out – there were relatively quiet moments on the album that were as compelling as the high-wattage showcases; her rendition of George Gershwin’s “Summertime” was the finest rock reinterpretation of a standard done by anybody up to that time (though, in an incident recalled in his autobiography Clive, when Columbia Records president Clive Davis played it to Richard Rodgers to give him an example of some of the sounds that younger audiences of the late ’60s were listening to, the 66-year-old Rodgers stomped out of the Columbia corporate offices in fury, vowing never to write another song); and Joplin’s own “Turtle Blues” showed that she and the band could turn down and do credible acoustic blues, in something like an authentic period Bessie Smith (or, more properly, Memphis Minnie) sound. Big Brother’s backup, typical of the guitar-dominated sound of San Francisco psychedelia, made up in enthusiasm what it lacked in precision. But everybody knew who the real star was, and Joplin played her last gig with Big Brother while the album was still on top of the charts. Neither she nor the band would ever equal it. Heard today, Cheap Thrills is a musical time capsule and remains a showcase for one of rock’s most distinctive singers.

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SACD

Beyonce – Dangerously In Love (2003) [SACD / Columbia – 517164 5]

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Beyonce - Dangerously In Love (2003)

Title: Beyonce – Dangerously In Love (2003)
Genre: Soul, Funk, R&B
Format: MCH SACD ISO + Hi-Res FLAC

Beyoncé Knowles was always presented as the star of Destiny’s Child — which probably shouldn’t be a big surprise since her father managed the group. So it was a natural step for her to step into the diva spotlight with a solo album in 2003, particularly since it followed on the heels of her co-starring role in Mike Myers’ 2002 comedy hit, Austin Powers in Goldmember. Still, a singer takes a risk when going solo, as there’s no guarantee that her/his star will still shine as bright when there’s nobody to reflect upon. Plus, Survivor often sounded labored, as Knowles struggled to sound real. The Knowles clan — Beyoncé and her father Mathew, that is (regrettably, Harry Knowles of “Ain’t It Cool” is no relation) — were apparently aware of these two pitfalls since they pull off a nifty trick of making her debut album, Dangerously in Love, appeal to a broad audience while making it sound relatively easy. Sometimes that ease can translate into carelessness (at least with regard to the final stretch of the album), with a prolonged sequence of ballads that get stuck in their own treacle, capped off by the unbearably mawkish closer, “Gift from Virgo,” where she wishes her unborn child and her husband to be like her daddy. (Mind you, she’s not pregnant or married, she’s just planning ahead, although she gets tripped up in her wishes since there’s “no one else like my daddy.”) Although these are a little formless — and perhaps would have been more digestible if spread throughout the record — they are impeccably produced and showcase Knowles’ new relaxed and smooth delivery, which is a most welcome development after the overworked Survivor. Knowles doesn’t save this voice just for the ballads — she sounds assured and sexy on the dance numbers, particularly when she has a male counterpart, as on the deliriously catchy “Crazy in Love” with her man Jay-Z or on “Baby Boy” with 2003’s dancehall superstar, Sean Paul. These are the moments when Dangerously in Love not only works, but sounds like Knowles has fulfilled her potential and risen to the top of the pack of contemporary R&B divas. It’s just too bad that momentum is not sustained throughout the rest of the record. About halfway through, around the astrological ode “Signs” with Missy Elliott, it starts crawling through its ballads and, while listenable, it’s not as exciting as the first part of the record. Still, the first half is good enough to make Dangerously in Love one of the best mainstream urban R&B records released in 2003, and makes a strong case that Knowles might be better off fulfilling this destiny instead of reuniting with Destiny.

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SACD

Beth Quist, Kailin Yong, Kimba Arem, Michael Stanwood, Jesse Manno – Color Of Sound (2010) [SACD / Sterling Circle Records – SC5786]

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Beth Quist, Kailin Yong, Kimba Arem, Michael Stanwood, Jesse Manno - Color Of Sound (2010)

Title: Beth Quist, Kailin Yong, Kimba Arem, Michael Stanwood, Jesse Manno – Color Of Sound (2010)
Genre: New Age
Format: MCH SACD ISO + Hi-Res FLAC

Mastered by Gus Skinas of Sonoma Records and produced by Mickey Holuhan of Wind Over The Earth, this acoustic DSD PURE recording was commissioned by the Denver Museum of Outdoor Arts for their premiere multimedia “Color of Sound” presentation. Color of Sound is a live-in-studio abstract improve stereo and surround recording of the musicians’ interpretation of various colors. The recording contains no edits or overdubs and is an excellent rendition of the live studio performance and was recorded live to the Sonoma DSD PURE recording system.

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SACD

Bernard Lavilliers – Nuit D’amour (1984/2004) [SACD / Barclay – 981 949 7]

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Bernard Lavilliers - Nuit D’amour (1984/2004)

Title: Bernard Lavilliers – Nuit D’amour (1984/2004)
Genre: Chanson
Format: DSF DSD64

Bernard Ouillon a 35 ans quand il publie, en 1981, cet album. Connu depuis 1976 grâce à l’album Les Barbares, Lavilliers, avec son côté SMC, Super- Musicien-Cuir, traverse les années soixante-dix et quatre-vingt en révolté. Sur ce disque, la plupart des chansons sont signées avec son complice d’écriture François Bréant, à l’exception de “Pigalle La Blanche” (écrite avec Éric Dufaure, qui sera ensuite impliqué à la SACEM et dans l’édition), “Changement de main, changement de vilain” (signée avec son guitariste “Hector” Dran), “Les Barbares” (nouvelle version), “Nuit d’amour”, “Betty”, “C’est du rock’n’roll” que l’ami Bernard a écrit seul. L’année de la sortie de cet album, Lavilliers réalise un papier sur le Salvador pour le magazine allemand Stern et prouve qu’on peut avoir l’air d’un déménageur en débardeur et avoir la chanson en reportage. Qui de mieux que Lavilliers a chanté les problèmes de l’Amérique latine ou de l’Afrique sur des musiques musclées ? –A.B.

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SACD

Bernard Lavilliers – O Gringo (1980) [Reissue 2004] [SACD / Barclay – 981 950-2]

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Bernard Lavilliers - O Gringo (1980) [Reissue 2004]

Title: Bernard Lavilliers – O Gringo (1980) [Reissue 2004]
Genre: Pop Rock, Chanson
Format: DSF DSD64 + Hi-Res FLAC

With the body of a bouncer, the looks of a movie star, and a low, sensual voice, Bernard Lavilliers started as a left-wing singer following in the footsteps of Léo Ferré. This boxer-singer rose to stardom in France in the mid-’70s (other Francophone countries followed quickly) and became an icon of the free-thinking singer/songwriter, the conscience of the French bourgeoisie. “O Gringo” is his seventh album. It was recorded in five different studios between April and December 1979. The album featires mix of the styles – from Reggae to Latin & from Pop/Rock to salsa and even traditional Brazilian rhythms.

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