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Dead Can Dance – The Serpent’s Egg (1988) [MFSL 2008]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,46 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 36:12 min | Scans included | 678 MB
Mobile Fidelity Sound Lab # SAD 2709 CD
The Serpent’s Egg is the fourth studio album by Australian musical act Dead Can Dance. It was released on 24 October 1988 by record label 4AD.
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Dead Can Dance – Within The Realm Of A Dying Sun (1987) [MFSL 2008]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,57 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 38:36 min | Scans included | 752 MB
Mobile Fidelity Sound Lab # SAD 2708 CD
Within the Realm of a Dying Sun is the third studio album by the band Dead Can Dance. It was released on 27 July 1987 by record label 4AD.
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Dead Can Dance – Spleen And Ideal (1986) [MFSL 2008]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,54 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 37:48 min | Scans included | 736 MB
Mobile Fidelity Sound Lab # SAD 2707 CD
Spleen and Ideal is the second studio album by Australian musical act Dead Can Dance. It was released on 1 September 1985, by record label 4AD. The album features a transition between the band’s post-punk and gothic rock-influenced debut album towards a greater darkwave style.
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Dead Can Dance – Garden Of The Arcane Delights (EP – 1984) [MFSL 2008]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 627 MB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 15:00 min | Scans included | 293 MB
Mobile Fidelity Sound Lab # SAD 2706 CD
Garden of the Arcane Delights is the first and only EP by Australian band Dead Can Dance. It was released in August 1984 on record label 4AD. The tracks were later added to Dead Can Dance’s self-titled debut album when it was re-released on CD.
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Dead Can Dance – Dead Can Dance (1984) [MFSL 2008]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | Scans included | 1,47 GB
SACD-ISO PS3 Rip to FLAC 2.0 | 24 bit / 88,2 kHz | 36:15 min | Scans included | 701 MB
Mobile Fidelity Sound Lab # SAD 2705 CD
Dead Can Dance is the debut studio album by Australian musical act Dead Can Dance. It was released on 27 February 1984 by record label 4AD. This album differs greatly from later Dead Can Dance releases in its incorporation of post-punk and gothic rock musical styles.
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David Wilczewski – Room In The Clouds (2006)
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 72:33 minutes | Front/Rear Cover | 4,21 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Cover | 2,86 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Rear Cover | 1,65 GB
DSD Recording | Features Stereo and Multichannel Surround Sound | Opus 3 Records # CD 22051
Dave Wilczewski was an American saxophonist living in Stockholm. Working with many groups on the road as well as in the recording studio, Dave was one of the most outstanding and coveted jazzsoloists in Sweden. He played with a melodic unique and personal style, which assembled many elements from different jazz and fusion areas. He has played on over 200 albums and in 2006, released his own album, “Room In The Clouds”. This album is a mature and relaxed offering from a musician who is equally gifted as a player and writer. This distinctive recording will resonate with fans of the contemporary music scene and undoubtedly stand the test of time.
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David Sanborn – Time Again (2003)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 51:43 minutes | Scans included | 3,5 GB
or DSD64 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Full Scans included | 1,48 GB
or FLAC 2.0 (carefully converted & encoded to tracks) 24bit/96 kHz | Full Scans included | 1,05 GB
Features Stereo & Multichannel Surround Sound
It’s not hyperbole to say that this is Sanborn’s best record since his Warner Brothers heyday of the ’80s. The same can be said of the quality of the musicians gathered for the alto saxophonist’s first album for Verve. The material may be the best he’s ever assembled, with many cover tunes that are singularly identified with other artists, yet he redefines them. None of those words are meant to disparage those Grammy-winning gold albums of yore, it just his high standards have been magnified many fold on these 10 tracks.
From the absolutely smoke-any-kind-of groove all-star band featuring a wailing Russell Malone on guitar, Christian McBride on bass, Mike Mainieri from Steps Ahead on vibes, and Sanborn’s longtime keyboard player, Ricky Peterson, to the sterling arrangements of re-imaged classics, including Stevie Wonder’s “Isn’t She Lovely” done as a ballad and the timeless “Harlem Nocturne” spiced with world music overtones, this record sparkles. “Comin’ Home Baby” and “Christo Redentor,” songs made famous in the ’60s by Herbie Mann and Donald Byrd respectively, are interpreted with such passion and fire, it’s as if the melodies have belonged to Sanborn the whole time. His exquisite alto tone shines throughout the proceedings, and Malone just shows off on “Sugar”, and one of three Sanborn originals, “Spider B”.
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David Roth – Will You Come Home (2014)
SACD Rip | ISO | DSD64 2.0 > 1-bit/2.8224 MHz | Full Scans (JPG, 300 dpi) | 2,14 GB
FLAC (Tracks) 2.0 ch, 24bit/88,2 kHz (converted with foobar2000) | Full Scans (JPG, 300 dpi) | 971 Mb
Genre: Folk, Country, Acoustic Guitar | 50:13 min | © 2014 Stockfisch Records
A photograph album full of treasured memories – David Roth’s third album with Stockfisch-Records “Will You Come Home”. Singer/songwriter Roth transports the listener on a magical journey through highlights in his life.
David Roth is a musical portrait artist who conveys a wealth of stories, anecdotes and remembered scenes with a physically felt intensity. This album is reminiscent, too, of an much-loved anthology of poetry, like one of those marvellous books which one can simply open at any page. That extraordinary feeling of warmth and familiarity that takes us by surprise when listening to this music comes from the sheer magic of the melodies, the mellow harmonies, the irresistible guitar sounds and David Roth’s voice. And not least because the message is universal: happiness and serenity, sadness, excited anticipation, gratitude, a dash of regret – and not least the humour lurking in chance observations.
In a snowstorm like the one that created havoc along America’s coastline recently, David Roth’s “Will You Come Home” would be the THE music for weathering the storm. Being snowed has its advantages: these songs are like much-loved guests – how nice that they cannot leave.
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David Lloyd-Jones – Gustav Holst: The Planets (2004)
Genre: Classical | SACD ISO: DSD 2.0/DST 5.1 > 1-bit/2.8224 MHz | Artwork | 4.28 GB
Label: Naxos | Release Year: 2004
This version of Holst’s endearing masterpiece, “The Planets”, sounds very good in Naxos’ super audio 5.1 technology. I do not have the point one (subwoofer) hooked up in my house and assume, by listening to the recording in 5.0, that the timpani — which are already very powerful and forward placed — would be explosive if you listened in 5.1. The sound is very good otherwise, with wide ranging and natural orchestral body and timbre. It is not the best super audio sound I’ve heard but it is good and a big improvement over the stereo sound on the last version of “The Planets” I purchased, the one Berlin Philharmonic and Simon Rattle released last year.
The performance, by David Lloyd-Jones and the Royal Scottish National Orchestra, is one built on extreme contrasts. Lloyd-Jones has done everything in his power to contrast the loudness of the loud sections, such as “Mars”, against the quietness of the quieter sections, such as “Venus” and “Saturn”. While the timing for each section is in a normal range based on other recordings I have, Lloyd-Jones seems to proceed as (sic) a measured pace in the quieter sections because they are nearly silent in the hushed moments.
This makes for exciting contrast in your home, where the power of the opening Mars sequence — with timpani brought forward by the sound technology — makes the following Venus section a bit difficult to adjust to. This is not much of a problem when listening at home on a decent super audio stereo setup. However, when you listen in the car, you literally cannot hear the quieter sections. I turned up my car stereo as loud as it would go and still endured long stretches on nothingness that was uniquely frustrating in my experience. This doesn’t make it a bad issue, of course, but it means I won’t be listening to this one in the car.
David Hazeltine Trio – Waltz For Debby (1999) [Japan 2017]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 59:37 minutes | Front/Rear Covers | 2,42 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Front/Rear Covers | 1,22 GB
David Hazeltine is one of New York City’s busiest jazz pianists and he has also attracted attention overseas, having recorded for a number of European and Japanese labels in addition to this work in the U.S. Producer Tetsuo Hara became particularly enamored with Hazeltine and has recorded him on a regular basis for his Venus label; this outing is a tribute to the great pianist/composer Bill Evans, recorded in late 1998.
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David Hazeltine Trio – Pearls (2001) [Japan 2018]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 48:57 minutes | Front/Rear Covers | 1,96 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,93 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Front/Rear Covers | 1,03 GB
Hazeltine is one of the most sought after pianists today. He has worked with some of the world’s most respected jazz legends including James Moody, Eddie Harris, Jon Faddis, Joe Henderson, Pepper Adams, Jon Hendricks, and Marlena Shaw. David is known for taking a familiar or unexpected song and making it new, making it his own. He effortlessly transfers this skill from song to stage. Whether he’s composing or interpreting, accompanying or leading, you are certain to end the set remembering the sounds of David Hazeltine.
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David Hazeltine Trio – Cleopatra’s Dream (2006) [Japan 2015]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 56:02 minutes | Front/Rear Covers | 2,28 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 2,22 GB
or FLAC (carefully converted & encoded to tracks) 24bit/48 kHz | Front/Rear Covers | 1,14 GB
David Hazeltine is one of the best pianists and arrangers of our time. For a while now he has been releasing albums dedicated to specific musicians and composers. For Cleopatra’s Dream, Hazeltine performed compositions by the legendary Bud Powell. For most pianists, it would be a formidable task to rework Powell’s compositions as he was a respected guitarist who could play the instrument as well as anyone. Hazeltine wildly succeeds by not trying to ape Powell’s unique style but rather by bringing out the elegant melodies and tenderness of the compositions.
George Mraz on bass and Billy Drummond on drums provide exceptional support and add dazzling solos. The title of Hazeltine’s only composition on the album says it all: “This One’s for Bud”.
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David Hazeltine Trio – Alice In Wonderland (2004) [Japan 2014]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 55:56 minutes | Front/Rear Covers | 2,27 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 2,21 GB
or FLAC (carefully converted & encoded to tracks) 24bit/48 kHz | Front/Rear Covers | 1,11 GB
David Hazeltine, in the tradition of Parker, works within and across the constrains of bebop, and arcs toward the aesthetic of consonance rather than dissonance: reaching toward beauty in harmony, melody, rhythm and never straying too deeply from his roots. He is particularly influenced by Parker, Rollins, Bud Powell and early Miles Davis. Although seemingly hard-line about the tradition, Hazeltine has done an impressive amount of innovation and is a gifted arranger and composer. On this, Japan only release, Hazeltine is joined by George Mraz on bass and Billy Drummond on drums.
Today a major pianist in the New York and Japan scenes, David Hazeltine has been playing gigs since he was thirteen. He did not seriously consider going into music until right before college. Once he entered into the jazz world he was encouraged by Chet Baker who told him to go to New York. He has played and recorded with Jon Hendricks, Louis Hayes, and One for All. Although he is a pianist he feels more influenced by saxophonists, particularly Charlie Parker.
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David Elias – Crossing (2005)
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 50:26 minutes | Scans included | 3,04 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 50:17 mins | Scans | 1,03 GB
From the first note it is apparent that this is an extraordinary recording. “Crossing” is a recording for anyone looking to rediscover the FOLK tradition in a contemporary expressive format. It has the songs and the musicians performing that are capable of recreating what many consider to be a lost or at least an endangered art. – Stereophile Magazine.
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David Davidson – Silver Screen Classics (1997) [Reissue 2019]
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 48:50 minutes | Artwork: Front/Rear Covers | 1,94 GB
FLAC (tracks) 24-bit/44,1 kHz | Time – 48:50 min | Artwork: Front/Rear Covers | 529 MB
Source: SACD-R, Top Music International Ltd. # TM-SACD8013.2
David Davidson’s artistry crosses boundaries of musical styles, combining classical, pop and commercial music with equal success. It would be too simplistic to define David as a session violinist, or an arranger, or even as a composer or orchestral concertmaster. He is all of these things and he approaches each of his many facets with equal amounts of joy, exquisite artistry and technical mastery. This release subtitled as “The Romance and Magic of the Silver Screen” performed the music from the famous movies, featuring Violin with Piano, Harp, Guitar and Strings.
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