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Chie Ayado meets Nobuo Hara and His Sharps & Flats – My Way (2010)
SACD ISO: DSD64 2.0 1-bit/2.8224 MHz | Time – 43:29 minutes | 1,77 GB
DSD64 2.0 (tracks.dsf) 1 bit/2,8 MHz | Time – 43:29 minutes | 1,74 GB
FLAC (stereo tracks) 24-bit/96 kHz | Time – 43:29 minutes | 946 MB
Genre: Swing, Easy Listening, Smooth Jazz | Label: East House Records / EWE # EHSA-1005 | Artwork: Front cover
Japanese unique music band, Nobuo Hara, Sharps & Flats, and a rare jazz singer who repainted the history of Japanese jazz over the past 10 years. Chie Ayado meets saxophonist Nobuo Hara and His Sharps & Flats for this recording of 13 standards. The No.1 “For Once In My Life” with special big band arrangement is sure to become a hot topic. Only Chie Ayado can sing George Gershwin’s famous song “Swanee” so expressively. A surprisingly performance!
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Chie Ayado – Fifty (2007)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 60:32 minutes | 2,44 GB
or FLAC Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 1,08 GB
As this is the case with many international stars, Chie Ayado is not a household name in America. In her native Japan, she’s a superstar jazz performer with more than 10 millions of recordings sold. She’s so in demand, she continues to play over forty large-venue concerts a year. Her label, East House Records, is making a name for itself with Three Blind Mice-style analog recordings of unbelievable accuracy and dimension. Vocals are listening-room immediate and the piano is detailed, full and beautifully balanced. Very little processing is used, so you hear Ayado’s unique vocal and piano playing without all the sonic distractions hiding many modern digital recordings.
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Chie Ayado – Time (2004)
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 5.1* > 1-bit/2.8224 MHz | 49:44 min | 2,68 GB
or FLAC Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 995 MB
As this is the case with many international stars, Chie Ayado is not a household name in America. In her native Japan, she’s a superstar jazz performer with more than 10 millions of recordings sold. She’s so in demand, she continues to play over forty large-venue concerts a year. Her label, East House Records, is making a name for itself with Three Blind Mice-style analog recordings of unbelievable accuracy and dimension. Vocals are listening-room immediate and the piano is detailed, full and beautifully balanced. Very little processing is used, so you hear Ayado’s unique vocal and piano playing without all the sonic distractions hiding many modern digital recordings.
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Chie Ayado – Seven (2004)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 51:55 minutes | 2,09 GB
or FLAC Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 990 MB
As this is the case with many international stars, Chie Ayado is not a household name in America. In her native Japan, she’s a superstar jazz performer with more than 10 millions of recordings sold. She’s so in demand, she continues to play over forty large-venue concerts a year. Her label, East House Records, is making a name for itself with Three Blind Mice-style analog recordings of unbelievable accuracy and dimension. Vocals are listening-room immediate and the piano is detailed, full and beautifully balanced. Very little processing is used, so you hear Ayado’s unique vocal and piano playing without all the sonic distractions hiding many modern digital recordings.
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Chie Ayado – To You (2003)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 52:23 minutes | 2,12 GB
or FLAC Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 0,98 GB
As this is the case with many international stars, Chie Ayado is not a household name in America. In her native Japan, she’s a superstar jazz performer with more than 10 millions of recordings sold. She’s so in demand, she continues to play over forty large-venue concerts a year. Her label, East House Records, is making a name for itself with Three Blind Mice-style analog recordings of unbelievable accuracy and dimension. Vocals are listening-room immediate and the piano is detailed, full and beautifully balanced. Very little processing is used, so you hear Ayado’s unique vocal and piano playing without all the sonic distractions hiding many modern digital recordings.
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Chie Ayado – Shine (2003)
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 5.1* > 1-bit/2.8224 MHz | 53:04 min | 2,7 GB
or FLAC Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 1,02 GB
As this is the case with many international stars, Chie Ayado is not a household name in America. In her native Japan, she’s a superstar jazz performer with more than 10 millions of recordings sold. She’s so in demand, she continues to play over forty large-venue concerts a year. Her label, East House Records, is making a name for itself with Three Blind Mice-style analog recordings of unbelievable accuracy and dimension. Vocals are listening-room immediate and the piano is detailed, full and beautifully balanced. Very little processing is used, so you hear Ayado’s unique vocal and piano playing without all the sonic distractions hiding many modern digital recordings.
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Chick Corea – Return To Forever (1972) [Japan 2017]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 46:46 minutes | Scans included | 1,89 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 956 MB
The legendary first lineup of Chick Corea’s fusion band Return to Forever debuted on this classic album (titled after the group but credited to Corea), featuring Joe Farrell on soprano sax and flute, the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira, and electric bass whiz Stanley Clarke. It wasn’t actually released in the U.S. until 1975, which was why the group’s second album, Light as a Feather, initially made the Return to Forever name. Nonetheless, Return to Forever is every bit as classic, using a similar blend of spacy electric-piano fusion and Brazilian and Latin rhythms. It’s all very warm, light, and airy, like a soft breeze on a tropical beach – hardly the sort of firebrand approach to fusion that Miles Davis, Tony Williams, and the Mahavishnu Orchestra were exploring, and far less rooted in funk or rock. Corea also bathes the album in an undertone of trippy mysticism, not only in the (admittedly dated) lyrics, but in his cosmic keyboard wanderings, which remain melodic and accessible through most of the record. There’s one genuine pop song in the groovy samba “What Game Shall We Play Today,” and while “Sometime Ago” has similar elements, it’s part of an ambitious side-long medley that features a stream-of-consciousness intro and a jubilant, Spanish/Mexican-style closing section called “La Fiesta,” complete with castanets and flamenco modes. The title track is another multi-sectioned work, featuring Corea and Purim in wordless unison on two different, catchy themes, plus breezy work from Farrell and lots of Brazilian-flavored rhythmic interplay. And the dreamy, meditative “Crystal Silence” is an underrated gem waiting to be rediscovered. Certainly, this edition of Return to Forever wasn’t inclined toward high-voltage jazz-rock (as the next one was), but this group’s two albums still stand as some of the most imaginative and distinctive early fusion recordings.
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Chick Corea – Rendezvous in New York (2003) [2x SACD]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 125:21 minutes | 7,7 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 125:02 mins | 2,29 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Full Artwork – 539 MB
Recorded at The Blue Note, New York, New York in December 2001. This album is destined to be ranked as one of the great live jazz concert albums of all time, right up there with ‘Live at the Village Vanguard’ and ‘Waltz for Debbie’. Rendezvous in New York was nominated for the 2004 Grammy Award for Best Jazz Instrumental Album. “Matrix” won for Best Jazz Instrumental Solo. “Armando’s Rhumba” was nominated for Best Instrumental Arrangement Accompanying Vocalists.
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Chicago – VI (1973) [MFSL 2013]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:25 minutes | Scans included | 1,17 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Full Scans included | 1,09 GB
or FLAC (carefully converted & encoded to tracks) 24bit/96kHz | Full Scans included | 895 MB
Mobile Fidelity Sound Lab # UDSACD 2132
Chicago VI is the fifth studio album by American rock band Chicago and was released in 1973. It was the band’s second in a string of five consecutive albums to make it to No. 1 in the US, was certified gold less than a month after its release, and has been certified two-times platinum since.
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Chicago – Chicago V (1972) [Japanese Reissue 2011]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 51:28 minutes | Scans included | 3,73 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 51:52 mins | Scans | 1,12 GB
Features 2.0 Stereo and 5.1 multichannel surround sound
With four gold multi-disc LPs and twice as many hit singles to its credit, Chicago issued its fifth effort, the first to clock in at under an hour. What they lack in quantity, they more than make up for in the wide range of quality of material. The disc erupts with the progressive free-form “A Hit by Varese” — which seems to have been inspired as much by Emerson, Lake & Palmer’s Tarkus (1971) or Yes circa Close to the Edge (1972) as by the Parisian composer for whom it is named. Fully 80 percent of the material on Chicago V (1972) is also a spotlight for the prolific songwriting of Robert Lamm (keyboards/vocals). In addition to penning the opening rocker, he is also responsible for the easy and airy “All Is Well,” which is particularly notable for its lush Beach Boys-esque harmonies. However, Lamm’s most memorable contributions are undoubtedly the Top Ten sunshine power pop anthem “Saturday in the Park” and the equally upbeat and buoyant “Dialogue, Pt. 1″ and “Dialogue, Pt. 2.” Those more accessible tracks are contrasted by James Pankow’s (trombone/percussion) aggressive jazz fusion “Now That You’ve Gone.” Although somewhat dark and brooding, it recalls the bittersweet “So Much to Say, So Much to Give” and “Anxiety’s Moment” movements of “Ballet for a Girl in Buchannon” found on Chicago II…
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Chicago – The Chicago Transit Authority (1969) [MFSL 2015]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 76:49 minutes | Scans included | 3,09 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,48 GB
Mobile Fidelity Sound Lab # UDSACD 2134
Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet’s first national exposure, the group was far from the proverbial “overnight sensation.” Under the guise of the Big Thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock & roll in and around the Windy City for several years. Their initial non-musical meeting occurred during a mid-February 1967 confab between the original combo at Walter Parazaider’s apartment on the north side of Chi Town. Over a year later, Columbia Records staff producer James Guercio became a key supporter of the group, which he rechristened Chicago Transit Authority. In fairly short order the band relocated to the West Coast and began woodshedding the material that would comprise this title. In April of 1969, the dozen sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience. This included an unheralded synthesis of electric guitar wailin’ rock & roll to more deeply rooted jazz influences and arrangements. This approach economized the finest of what the band had to offer — actually two highly stylized units that coexisted with remarkable singularity. On the one hand, listeners were presented with an incendiary rock & roll quartet of Terry Kath (lead guitar/vocals), Robert Lamm (keyboards/vocals), Peter Cetera (bass/vocals), and Danny Seraphine (drums). They were augmented by the equally aggressive power brass trio that included Lee Loughnane (trumpet/vocals), James Pankow (trombone), and the aforementioned Parazaider (woodwind/vocals). This fusion of rock with jazz would also yield some memorable pop sides and enthusiasts’ favorites as well. Most notably, a quarter of the material on the double album — “Does Anybody Really Know What Time It Is?,” “Beginnings,” “Questions 67 and 68,” and the only cover on the project, Steve Winwood’s “I’m a Man” — also scored as respective entries on the singles chart. The tight, infectious, and decidedly pop arrangements contrast with the piledriving blues-based rock of “Introduction” and “South California Purples” as well as the 15-plus minute extemporaneous free for all “Liberation.” Even farther left of center are the experimental avant-garde “Free Form Guitar” and the politically intoned and emotive “Prologue, August 29, 1968″ and “Someday (August 29, 1968).” The 2003 remastered edition of Chicago Transit Authority offers a marked sonic improvement over all previous pressings — including the pricey gold disc incarnation.
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Chiaroscuro Quartet – Haydn: String Quartets, Op.76 (2020)
SACD Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 70:54 minutes | PDF Book | 3,13 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/96 kHz | PDF Booklet | 1,38 GB
Features Stereo and Multichannel Surround Sound | BIS Records # BIS-2348 SACD
The Chiaroscuro Quartet was formed in 2005 by the violinists Alina Ibragimova (Russia) and Pablo Hernán Benedí (Spain), the Swedish violist Emilie Hörnlund and cellist Claire Thirion from France. The Chiaroscuro Quartet made their first appearance on BIS with acclaimed recordings of Joseph Haydn’s Sun Quartets, Op. 20, described in The Strad as ‘period-instrument performances of the utmost subtlety and refinement’. The Op. 20 quartets are widely regarded as a mile-stone in the history of the genre. When Chiaroscuros now return to Haydn, it is with his last complete set of quartets, begun in 1796 when he was 64 years old.
The Six String Quartets, Op. 76, form one of the most renowned of Haydn’s sets of quartets, and carry the stamp of their maker: No other set of eighteenth-century string quartets is so diverse, or so unconcerned with the norms of the time. In the words of Haydn’s friend and contemporary Charles Burney ‘they are full of invention, fire, good taste and new effects’. On the present disc, the first of two, we hear the first three quartets, including the ‘Fifths’ quartet (No. 2) so named after the falling perfect fifths with which it begins. The most famous of the set – and possibly of all Haydn quartets – is No. 3, however: the ‘Emperor’ quartet with its second movement: a set of variations on the ‘Kaiserlied’ which Haydn had recently composed to the greater glory of the Austrian Emperor Franz II.
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Chet Baker – Supreme Jazz (2006)
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 63:06 minutes | Front/Rear Covers | 3,6 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Front/Rear Covers | 1,16 GB
Features Stereo and Multichannel Surround Sound | Membran Music # 223255
Chesney Henry “Chet” Baker Jr. was an American jazz trumpeter and vocalist. Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings, It Could Happen to You). Jazz historian Dave Gelly described the promise of Baker’s early career as “James Dean, Sinatra, and Bix, rolled into one”. His well-publicized drug habit also drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and ’80s.
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Chet Baker – Chet Baker In New York (1958) [Reissue 2004]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 51:02 minutes | Scans included | 2,07 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,01 GB
Chet Baker’s West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker’s first — in a four album deal — with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums). The results are uniformly brilliant as Baker’s cool-toned solos fly and bop with authority around the equally impressive supporting soloists. Conversely, the same cohesive unity continues on the introspective numbers that are more akin to Baker’s California cool. Undoubtedly one of the charms of this collection is the distinct choice of material. Running the gamut from the relaxed and soothing “Polka Dots and Moonbeams” and equally serene “Blue Thoughts” at one end of the spectrum to the percolating and driving intensity of “Hotel 49″ on the other. This track features each quintet member taking extended solos corralling together at the head and again at the coda for some intense bop interaction. Especially ferocious is Philly Joe Jones, who could easily be mistaken for Keith Moon, Ginger Baker, or even Gene Krupa with his cacophonous solo that never strays from the beat or loses its sense of swing. Perhaps the best meshing of styles can be heard on the Miles Davis composition “Solar.” This “best-of” candidate refers to both Chambers’ and Jones’ concurrent involvement with Davis. The churning backbeat likewise propels the melody and ultimately the performers into reaching beyond their individual expertise and into an area of mutual brilliance. Chet Baker in New York is a highly recommended entry into Baker’s catalog. It should also be noted that these same sides were issued in 1967 as Polka Dots and Moonbeams on the Jazzland label.
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Chet Baker – Chet (1959) [Analogue Productions’ Remaster 2002]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 50:57 minutes | Scans included | 2,35 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 997 MB
Few figures in jazz history have been able to extract as much feeling from a ballad as Chet Baker. Despite his lack of formal training, he was capable of burrowing deep inside the most sophisticated popular songs and tapping a vein of pure emotion. When surrounded by great musicians in an unusual ensemble, as he is on this album, Baker’s poetic instincts were at their keenest. The distinctive septet of jazz giants contains a front line of trumpet, flute, and baritone sax playing Herbie Mann’s delicate arrangements over a rhythm section that is empathy personified. Baker never recorded with a more talented or sensitive group, as the music evokes a mood captured so seductively in the cover photo.
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