Vanessa Fernandez – I Want You (2019) DSF DSD128 + Hi-Res FLAC

Vanessa Fernandez – I Want You (2019)
DSD128 (.dsf) 1 bit/5,6 MHz | Time – 60:39 minutes | 3,69 GB
FLAC (tracks) 24-bit/192 kHz | Time – 60:39 minutes | 2,92 GB
FLAC (tracks) 24-bit/96 kHz | Time – 60:39 minutes | 1,42 GB
Studio Master, Official Digital Download  – Source: nativeDSDmusic | Artwork: Digital booklet | Genre: R&B

“I Want You” sees Vanessa Fernandez return to the ’70s R&B classics and modern soul catalog that was delivered so very well on “Use Me” but with the addition of more recent hits from the likes of Radiohead and Amy Winehouse. Her third session for Groove Note features a collection of classic and old school soul and R&B classics with more recent songs included in the mix. Fernandez covers artists that include Curtis Mayfield, Marvin Gaye, Michael Jackson, Gloria Gayner, Amy Winehouse, Hall & Oates, Radiohead and more!

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Various Artists – 8 Ensembles in 1 Bit (2015) DSF DSD256

Various Artists – 8 Ensembles in 1 Bit (2015)
DSF Stereo DSD256, 1 bit/11,2 MHz | Time – 39:07 minutes | 6,2 GB | Genre: Classical, Jazz, Folk, Demo
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Native DSD Music | Just Listen
Recorded in DSD 256fs, March 4th and 5th 2015 at The Dutch Music Center for Broadcast (MCO) Studio 2 in Hilversum

‘Recording in DSD’ is not a term musicians are generally familiar with. As a matter of fact, none of the musicians we asked to participate had the slightest idea what it was at first! Surprisingly, without exception, all immediately said yes and were very keen to learn about it. Especially on the recording days, March 4th and 5th 2015, they soon learned what it’s like to record acoustically in DSD: “Hey you, cellist, a little closer to the mics please” and “Could the saxophone player take two steps back and one to the right?”. With the microphones spread around above their heads and the prospect of no post recording mixing at all, the sound balancing had to be made right there and then at the recording session.
   Once the musicians and engineers were happy with the balance, the recording began. Not only audio, but also visual! Jonas Sacks filmed each take of each ensemble, dancing fluidly around the musicians. This way, when the best take was chosen, we would always have a ‘1 take’ video to go with the ‘1 take’ DSD audio!
   Seeing the expression on the faces of the musicians when they listened to themselves in DSD for the first time in the studio proved that Native DSD had organized something quite special. Most of them immediately shouted out in excitement: “We are playing right here in this room for ourselves to listen to!” A few others closed their eyes, made no sound and sat totally still apart from the occasional jaw drop.
   Well, that brings us to the point of why we did this. We are spreading the message of what the incredible DSD recording technique can deliver. At the same time, we are enriching the libraries of music fans with the music of some of the most promising Dutch musicians who would otherwise not have been recorded in DSD.
   We intent to flabbergast the musicians as well as our Native DSD customers by facilitating a one-off chance to record – and listen to them – in DSD. And who knows, perhaps the next step will be to record a complete album with the most popular ensemble? Or we can go to other places and do the same? One thing is for sure: Native DSD will keep exploring the ‘beyond’ part of our “DSD and Beyond” mission!
   We hope you will enjoy the repertoire, interpretations & audio quality of “8 Ensembles in 1 Bit” as an attempt of a holy musical trinity provided by the musicians, recording technique and your playback equipment. –The Native DSD Team

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Audio Masterpiece Collection: Contemporary Records Vol.1 (2016) DSF DSD64

Audio Masterpiece Collection: Contemporary Records Vol.1 (2016)
DSF Stereo DSD64/2.82MHz  | Time – 03:37:01 minutes | 8,57 GB | Genre: Jazz
Source: ISO SACD | © Stereo Sound/Contemporary Records/Concord Music Group | Front Cover, Booklet

5人のオーディオ評論家が選んだウェストコースト・ジャズの名盤を、スティーヴ・ホフマンのリマスタリングでSACD化
 ノー・ブレイナー(no brainer)という英語の言い回しがある。あまりに明白過ぎて選択や決断に頭を使う必要のないことをいう。ステレオサウンドが創立50周年を記念して企画した「オーディオ名盤コレクション」は、名演奏・名録音のマスターテープを独自に音楽ソフト化するプロジェクトだが、その劈頭を飾る『コンテンポラリー・レコーズ』SACDボックスほど、ノー・ブレイナーという言葉が似合うものもそうはない。
 コンテンポラリーとは、もちろん、優秀録音でも名高いウェストコースト・ジャズの名門レーベルのことである。そのカタログから今回ハイブリッドSACDとしてリリースされるのは全部で10タイトル。5タイトルずつを収めたボックス・セット( Vol.1 と Vol.2 )が、4月と5月に発売された。タイトルの選択には5人のオーディオ評論家があたり、1人2タイトルを推薦した。10タイトルは、それぞれオリジナルの形態のままで発売される。分売はない。
 このセットの最大の特徴であり、その価値を限りなく高めているのが、スティーヴ・ホフマンによるリマスタリングである。ホフマンの名前が最初にわれわれの視界に入ってきたのは、1990年代の初めにDCC(ダンヒル・コンパクト・クラシックス )というレーベルから発売された24金ゴールドCDとLPのマスタリング・エンジニアとしてであった。DCCのゴールドCDは、2000年までにディラン、ドアーズ、イーグルス、ポール・マッカートニーといったロックや、マイルス、コルトレーン、ビル・エヴァンスといったジャズの名盤を合わせて116タイトルが出た。今日ではそのすべてがコレクターズ・アイテムとされ、世界中のコレクターが追い求めている。
 DCCはその後経営陣が少し変り、社名がオーディオ・フィデリティ(Audio Fidelity)へと変ったが、現在に至るもホフマンのマスタリングを中心に続々とリリースを続けている。オーディオ・フィデリティは当初数枚のジャズCDを出したが、その後はフュージョンやポピュラー・ヴォーカルが少しあるだけで、ストレートアヘッドなジャズは一つもない。その理由は単純にジャズのCDを出しても高額なライセンス・フィーに見合う採算がとれたことはただの一度もなかったからだ。
 DCCのジャズ・タイトルは、当時からその優れた音質で高く評価されていたが、それでも商業的にはまったく報われなかった。ステレオサウンドが今日「オーディオ名盤コレクション」を始める意義もまさにそこにあるのではないだろうか。CDバブル期と呼ばれた1990年代でさえ難しかったハイクォリティ音楽ソフト出版の企画と運営は、もはやほとんど不可能なことである。それでも、その嚆矢が、ホフマンのマスタリングするジャズであったことは、図らずも、伝説のDCCジャズの衣鉢を継ぐ格好になった。そこに筆者はこれ以上ない吉兆を見る。しかも、そのプロダクツは、ホフマン自身の成熟と、デジタル機器の性能向上のおかげで、DCCよりも優れた結果を出す環境が得られたのである。

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Various Artists – 15 DSD Tracks Of J.S. Bach (2018) DSF DSD64 + Hi-Res FLAC

Various Artists – 15 DSD Tracks Of J.S. Bach (2018)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 83:23 minutes | 3,29 GB
FLAC (tracks) 24-bit/96 kHz | Time – 83:23 minutes | 1,83 GB
Studio Master, Official Digital Download | Artwork: Front cover

Japanese DSD collection of recordings by Johann Sebastian Bach’s works, mostly recorded in the 60s by Munich Bach Orchestra under conducting by Karl Richter. From the archives of Archiv Produktion (German record label, originated in 1949 as a classical label for the Deutsche Grammophon Gesellschaft – DGG).

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Various Artists – O Brother, Where Art Thou? Original Motion Picture Soundtrack (2000/2014) DSF DSD64 + Hi-Res FLAC

Various Artists – O Brother, Where Art Thou? Original Motion Picture Soundtrack (2000/2014)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 60:32 minutes | 2,38 GB | Genre: Soundtrack
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Lost Highway

The eight million selling, triple Grammy-winning number one soundtrack for the hit Coen brothers movie represents some of the best talent from Americana and country music, assembled by musician and producer T Bone Burnett.

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Various Artists – Happy Valley, Volume 1 (2013) DSF DSD64

Various Artists – Happy Valley, Volume 1 (2013)
DSD64 (.dff) 1 bit/2,8 MHz | Time – 49:20 minutes | 2,04 GB
Official Digital Download – Blue Coast Records | Front cover

In May 2013, the Blue Coast Crew traveled to Happy Valley, Santa Cruz, California to record a special group of musicians. Hand chosen by Keith Greeninger, these artists came from various parts of Northern California to record a few songs in a magical place in the middle of a redwood forest. Surrounded by trees, birds and wildflowers, the Blue Coast Crew recorded direct to DSD using the Extended Sound Environment technique. All the musicians were incredible. We became instant fans. Occasionally, you’ll hear Keith singing in the background. Sometimes, you’ll hear the birds in the background. The day ended too soon.

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Various Artists – Hit Parade Story: Il Leggendario Suono Wurlitzer (1999) DSF DSD64 + Hi-Res FLAC

Various Artists – Hit Parade Story: Il Leggendario Suono Wurlitzer (1999)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 00:57:16 minutes | 2,15 GB
FLAC (tracks) 24-bit/96 kHz | Time – 00:57:16 minutes | 820 MB
Studio Master, Official Digital Download | Artwork: Digital booklet | Genre: Jazz | © Fone Gold

Hit Parade Story: The Legendary Wurlitzer Sound is a collection of 17 music classics from 1938 to 1949 that were originally released on 78 rpm records and played on the Wurlitzer Juke Box of that era. The songs have been recorded from the Jukebox with the legendary Neumann U47 microphones to enable their transfer to Analog Tape and DSD by Fone’s Giulio Cesare Ricci. The musicians featured on this album include Frank Sinatra and Louis Armstrong along with the Big Band Orchestras conducted by Glenn Miller, Tommy Dorsey and Woody Herman, among others.

The inspiration for this album came during a meeting at the Turin Salone della Musica, where Giulio Cesare Ricci met Elisabetta and Paolo De Angelis, owners of the Turin company Old. They spent a pleasant evening together listening to music on juke boxes, and then Giulio Cesare Ricci said: “Why don’t we try recording directly from the juke box with the legendary Neumann U47 microphones?”

Everyone loved the idea and it led to the creation of this album. Fone wants to pass on the feeling which sparked their enthusiasm for the juke box. Their hope is to infect many with our enthusiasm for this musical tradition, not only collectors and connoisseurs, so that even those who don’t possess a Wurlitzer Juke Box can feel the infinite pleasure of putting a nickel in a slot and listening to a recording of days gone by…

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Various Artists – For Healing – Waves (2021) DSF DSD256 + Hi-Res FLAC

Various Artists – For Healing – Waves (2021)
DSD256 (.dsf) 1 bit/11,28 MHz MHz | Time – 00:54:13 minutes | 7,36 GB
or FLAC (tracks) 24 bit/96 kHz | Time – 00:54:13 minutes | 664 MB
Official Digital Download | Digital Booklet, Front Cover | Genre: Classical, Chamber Music | © Meister Music

The album begins with ” Prelude from Cello Suite”, follows a series of “loose and relaxing” classical sketches, and then quietly ends with the natural sound of the waves, aiming to provide people with spiritual healing. The album contains many classic melodies that have been widely circulated.

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Bud Powell – Bouncing With Bud (1962/2017) DSF DSD128 + Hi-Res FLAC

Bud Powell – Bouncing With Bud (1962/2017)
DSD128 (.dsf) 1 bit/5,6 MHz | Time – 42:46 minutes | 3,37 GB
FLAC (tracks) 24-bit/88,2 kHz | Time – 42:46 minutes | 780 MB
Studio Master, Official Digital Download | Source: HDTracks | Digital booklet | Genre: Jazz | © 2xHD

Bud Powell was one of the most influential pianists in the history of jazz. Along with Charlie Parker and Dizzy Gillespie he was instrumental in the development of bebop, and his virtuosity as a pianist led many to call him “the Charlie Parker of the piano”.

Bud was, and always will be, a main influencein the interpretation and understanding of true jazz playing on the piano. The way he bounces, sings and keeps a natural flow and incredible hard articulation in the swing and the way he speaks the melody line – is like a Baptist reverend spreading the good news at the service. It is like it is an ongoing universal flow that forces itself through him, and he can only serve it no matter the price. He speaks the truth about this music form and like Bach – you will stay touched as a listener or disciple for the rest of your life.

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Buddy Tate & Harry Edison – I Cried For You (2019) DSF DSD64 + Hi-Res FLAC

Buddy Tate & Harry Edison – I Cried For You (2019)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 39:32 minutes | 1,56 GB
FLAC (tracks) 24-bit/96 kHz | Time – 39:32 minutes | 869 MB
Studio Master, Official Digital Download – Source: NativeDSDmusic | Artwork: Digital booklet | © 2xHD

Here is a beautiful partnership between one of the more individual tenors from the swing era the distinctive Buddy Tate, and the always swinging Harry “Sweets” Edison who got the most mileage out of a single note and is immediately recognizable within a note or two for his long-used repetition and simplicity.

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Buddy Tate – Body And Soul (1975/2018) DSF DSD64 + Hi-Res FLAC

Buddy Tate – Body And Soul (1975/2018)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 44:53 minutes | 1,77 GB
FLAC (tracks) 24-bit/96 kHz | Time – 44:53 minutes | 972 MB
Studio Master, Official Digital Download – Source: NativeDSDmusic | Artwork: Digital booklet | © 2xHD

Buddy Tate was one of the most relaxed, humorous and amenable of musicians, with a personal style that was glowingly reflected in the supple and occasionally gently mocking elegance of his saxophone playing. Like many of the lyrical and romantic jazz performers of his era, Tate could perform miniature miracles with minimal materials. Shuffling a handful of soft, buttery notes and mingling them with a textural repertoire of intimately whispering intonations, was one of the most agreeable experiences in postwar jazz. But Tate could also be an exciting, hard-swinging player too, and his control of the horn in its upper register predated many of the technical advances in saxophone playing that were made by the modernists in hard bop and the avantgarde.

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Orchestre de la Suisse Romande, Marek Janowski – Anton Bruckner – Symphony No. 9 (2008) DSF DSD64

Orchestre de la Suisse Romande, Marek Janowski – Anton Bruckner – Symphony No. 9 (2008)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 01:02:00 minutes | 2,44 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet | © Pentatone Music B.V.

If one includes the F minor study symphony dating from 1863, and the Symphony no. ‘0’ dating from 1869, then Anton Bruckner composed a total of 11 symphonies. However, Bruckner weeded out both early works from his definite canon of symphonies, and therefore the symphony which received the conclusive number of 9 was also most emphatically his ‘Ninth’. His ‘farewell’ work. Principally due to the legacy left by Beethoven, the term ‘Ninth’ made him overly feel awkward, perhaps even somewhat fearful. Otherwise, it is impossible to explain why Bruckner laid aside his work on the Symphony No. 9 so shortly after beginning with such commitment, and consciously turned to other projects.

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Orchestre de la Suisse Romande, Marek Janowski – Anton Bruckner – Symphony No. 8 (2010) DSF DSD64

Orchestre de la Suisse Romande, Marek Janowski – Anton Bruckner – Symphony No. 8 (2010)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 01:19:48 minutes | 3,15 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet | © Pentatone Music B.V.

With the Eight Symphony, Anton Bruckner completes a kind of sonorous apotheosis of the Romantic era. A summit resurrected by the haughty conducting of Marek Janowski at the head of the Orchestre de la Suisse Romande. Partner of this grandiose project which looks increasingly like a current integral, Espace 2 welcomes this release perpetuating the action of a public service specifically mandated to relay the cultural and musical richness of the French-speaking Switzerland. If the recording is –by definition- not central in the mission of a broadcaster, it nevertheless constitutes a kind of freezeframe sealing again the long relationship between the OSR and “its” radio station. I recall that the Radio Télévison Suisse and the great Swiss orchestra are contractually linked for more than 70 years and that they nourish together, day after day, new projects, new exchanges that allow the sonorous immediacy lived at the Victoria Hall of Geneva to be propagated throughout Switzerland, and worldwide through the European Broadcasting Union (EBU).

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Budapest Festival Orchestra, Ivan Fischer – Anton Bruckner – Symphony No. 7 (2014) DSF DSD64

Budapest Festival Orchestra, Ivan Fischer – Anton Bruckner – Symphony No. 7 (2014)
DSF Stereo DSD64/2.82MHz  | Time – 56:43 minutes | 2,24 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records | Booklet, Front Cover

In his time, Bruckner was understood and admired only within a small circle, a handful of advocates of his music, both pupils andWagnerites. As Bruckner worked on the Adagio, the emotional heart of the Seventh Symphony, he heard news of the death of his idol RichardWagner, and instantly decided to dedicate it to his remembrance.

This Symphony brought the composer’s breakthrough in 1885, and until today it has remained the most frequently performed of Bruckner’s nine symphonies. “Bruckner is the saint, the tzadik, the bodhisattva, the guru among composers. He is the purest and most capable of religious ecstasy. Everything is seen with the clearest vision, built to majestic proportions and felt with deepest emotions. The first melody commences as if it were the purest ever written. But soon the notes of a simple E major triad of divine simplicity give way to a chromatic search surrounding the dominant note “B” with a deeply felt human desire. The melody seems to find its calm cadence, but it leaps up again, three times, aiming to attain yet higher ecstasy. And this is only the start..” Iván Fischer

Iván Fischer is founder and Music Director of the Budapest Festival Orchestra. This partnership has become one of the greatest success stories in the past 25 years of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer’s reputation as one of the world’s most visionary and successful orchestra leaders.

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Orchestre de la Suisse Romande, Marek Janowski – Anton Bruckner – Symphony No. 7 (2011) DSF DSD64

Orchestre de la Suisse Romande, Marek Janowski – Anton Bruckner – Symphony No. 7 (2011)
DSF Stereo DSD64/2.82MHz | Time – 01:06:03 minutes | 2,6 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet |  © Pentatone Music B.V.

In the more than 100 years since his death in 1896, the appraisals by musicologists, critics and the public at large of Anton Bruckner, the man, and Anton Bruckner, the composer, have consistently been radical in character. From the beginning, the standpoints of Bruckner disciples and Bruckner haters have been virtually irreconcilable. Few cases in musical historiography have featured such a diversity of standpoints regarding the importance of an oeuvre and its creator for European music. For the longest time, clichés and stereotypes set the tone of Bruckner reception, with Bruckner himself tending to be the focus of attention. This approach was typically accompanied by questionable characterisations which stood in the way of any objective investigation, e.g., ‘God’s musician,’ ‘Upper-Austrian peasant,’ ‘hero of German composition’ and ‘half genius, half idiot.’ It was not until the 1980s that Bruckner’s musical oeuvre, as such, started being subjected to greater scrutiny (than its creator). In particular Germanspeaking musicologists, with the help of detailed work analyses, began to approach the phenomenon of Anton Bruckner using a method which set aside the questionable anecdotes and speculations surrounding the personage, Bruckner, and concentrated above all on the facts: i.e., the surviving musical texts (in which connection the version problem became the foremost priority).

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