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Arne Domnérus, Bengt Hallberg, Lars Erstrand, Georg Riedel, Egil Johansen – Jazz At The Pawnshop. Late Night: New, Unreleased Tapes (2015)
DSD256 (.dsf) 1 bit/11,4 MHz MHz | Time – 48:37 minutes | 7,68 GB
or FLAC (tracks) 24 bit/176,4 kHz | Time – 48:37 minutes | 1,52 GB
Studio Master, Official Digital Download | Artwork: Digital booklet
A previously unreleased continuation of the highly successful Jazz At The Pawnshop recording.
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Arne Domnerus, Bengt Hallberg, Egil Johansen, Georg Riedel, Lars Erstrand – Jazz At The Pawnshop 3: Good Vibes (1976/2017)
DSD128 (.dsf) 1 bit/5,6 MHz MHz | Time – 55:08 minutes | 4,36 GB
or FLAC (tracks) 24 bit/176,4 kHz | Time – 55:08 minutes | 2,04 GB
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet
The recordings that comprise Jazz At The Pawnshop, made by recording engineer Gert Palmcrantz in 1976, are widely regarded by audiophiles as the best jazz recordings of the 20th Century. Jazz At The Pawnshop 3 is the last in this series that revisits the legendary Stockholm sessions from musicians Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen, and Lars Erstrand, presenting five previously unreleased tracks that highlight the unique relationship these jazz musicians have, their fervent improvisations bonding them to each other and to their audience.
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Art Of Noise – Daft (1984) [Reissue 2003]
SACD ISO (2.0/MCH): 4,07 GB | 24B/88,2kHz Stereo FLAC: 1,11 GB | Artwork | 3% Recovery Info
Label/Cat#: ZTT # ZTT184SACD | Country/Year: UK 2003, 1984
Genre: Electronica | Style: Leftfield, Synth-pop, Experimental
I think I own about every version of this album that was ever released, from the first Art of Noise EP “Into battle” (featured almost completely on “Daft”) which I bought on vinyl when it came out till the 20th anniversary CD on Repertoire that came with a DVD with some of AON’s groundbreaking videos early 2004.
“Daft” is my 2nd SACD and although I thought I knew every little “boing”, “duh” and other sound effect on the album, it surprised me what a difference the additional channels make. The music is litteraly all around you, the effects come from everywhere and if you close your eyes the album is like a roller coaster ride.
“Close (to the Edit)” and “Beat Box” are still the stand-out tracks, “Moments in Love” is still the only AON track in the entire AON catalogue that sounds outdated, but what a wonderful edition the SACD version is.
Blessed are the noisemakers. sa-cd.net
Arthur Grumiaux – Lalo, Saint-Saens, Chausson, Ravel (1999) [Japan 2019]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 78:25 minutes | Scans included | 3,15 GB
or FLAC (converted with foobar2000 to tracks) 24bit/96kHz | Scans included | 1,17 GB
Belgian violinist Arthur Grumiaux brings his sublime artistry to four French compositions from the nineteenth century, some inspired by aspects of Spain, including Lalo’s five-movement ‘Symphonie espagnole’ and Ravel’s spicy ‘Tzigane’.
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Arthur Fielder with Boston Pops Orchestra – Pops Caviar: Russian Orchestral Fireworks (2006)
PS3 Rip | SACD ISO | DST64 2.0 & 3.0 > 1-bit/2.8224 MHz | 69:38 mins | Scans included | 3,19 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,57 GB
Over an hour of the most beloved Russian orchestral showpieces, in performances worthy of a great maestro & his orchestra. Arthur Fiedler & the Boston Pops perform orchestral works from composers Alexander Borodin, Rimsky-Korsakov, Aram Khachaturian, & Tchaikovsky. DSD remastering brilliantly reproduces the superb sound quality of the original master tapes.
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Arthur Fiedler & The Boston Pops – Up, Up and Away & Fiedler’s Choice (1968 & 1970) [Reissue 2019]
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 76:03 minutes | Scans NOT included | 3,22 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/96 kHz | Scans NOT included | 1,57 GB
2 LP on 1 SACD | Features Stereo and Quadrophonic Surround Sound | Vocalion # CDLK4623
A populist programmer, avuncular podium presence, and constant visitor to small-town concert halls and living room televisions, Arthur Fiedler personified orchestral music in America. He was less glamorous, less intellectual, and in many ways less respected than Leonard Bernstein, but those deficiencies worked to Fiedler’s advantage in the minds of ordinary Americans. He also enjoyed greater longevity on his home turf – nearly 50 years in the national limelight, as opposed to Bernstein’s one decade of unmatched glory in New York before running off to Europe to become another gray eminence. Fiedler’s success, though, was also the source of some frustration; he was forever pigeonholed as a pops conductor.
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Arthur Fiedler & Boston Pops – Hi-Fi Fiedler (2005)
SACD ISO: 3,08 GB (Stereo + MCH DSD) | FLAC @ 24bit/88.2kHz: 1,35 GB | Full Artwork | 5% Rec. Info
Label/Cat#: RCA Red Seal “Living Stereo” # 82876-67895-2 | Country/Year: Europe 2005, 1956-1960
Genre: Classical | Style: Romantic
RCA Victor began recording in multichannel five years before the introduction of the first single-groove stereo LPs in 1958. They began using two-channel 1/4-inch Ampex decks but soon moved up to three-channel 1/2-inch models as the Mercury Living Presence label had been doing from the start. The idea was to provide the mixing engineers with more flexibility in preparing the final master for production. The center channel signal could be raised slightly in level to bring a solo violin or piano more forward, and/or its signal could be mixed in varying amounts into the left and right channels to achieve a more uniform and balanced stereo soundstage. But also at this time things weren’t completely jelled as to stereo being limited to only two channels. Alan Blumlein had never stated in his original patent that only two channels were required. It was just as easy to make tape heads with three channels as two. But the single-groove stereodisc locked the format into two channels – it was quite impossible to get three channels with the 45/45 system of cutting and playback.
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Art Garfunkel – Breakaway (1975) [Reissue 2018]
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 36:49 minutes | Scans NOT included | 1,59 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 37:00 | Scans NOT incl. | 714 MB
Features Stereo and Multichannel surround sound | Label: Vocalion # CDSML 8537 | Genre: Soft Rock
Breakaway is the second solo studio album by Art Garfunkel. It was released in 1975 on Columbia Records. It was produced by Richard Perry who has produced albums for other artists such as Carly Simon. It includes three Top 40 singles: “I Only Have Eyes for You” (US #18, UK #1), “Break Away” (US #39) and the Simon And Garfunkel reunion duet, “My Little Town” which peaked at #9. “I Only Have Eyes For You” is noted also for being Garfunkel’s first #1 single in the UK. Breakaway has proven to be Garfunkel’s most successful solo album; although only peaking at number 9 in the United States, which was lower than his first album Angel Clare (US #5), it has been certified platinum by RIAA.
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Art Garfunkel – Angel Clare (1973) [Reissue 2018]
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 39:18 minutes | Scans NOT included | 1,72 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 38:53 | Scans NOT incl. | 765 MB
Features Stereo and Multichannel surround sound | Label: Vocalion # CDSML 8534 | Genre: Folk Rock
Angel Clare is the debut solo studio album by Art Garfunkel, released on September 11, 1973. It is his highest charting solo album, peaking at number 5 and contains his only Top 10 hit in the US, “All I Know” which peaked at number 9. It also contained two other Top 40 hits, “Traveling Boy” (#102 Bubbling under the Hot 100, #38 Adult Contemporary) and “I Shall Sing” (#38 Hot 100, #4 Adult Contemporary). It was produced by long-time Simon & Garfunkel producer Roy Halee, alongside Art Garfunkel. The title, Angel Clare, comes from the name of a character in Thomas Hardy’s novel, Tess of the d’Urbervilles.
Read moreArt Blakey & The Jazz Messengers – Moanin’ (1958) [Analogue Productions 2009] SACD ISO + Hi-Res FLAC
Art Blakey & The Jazz Messengers – Moanin’ (1958) [Analogue Productions 2009]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 49:51 minutes | Scans included | 2,08 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,06 GB
Moanin’ includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson’s classy, slowed “Along Came Betty” and the static, militaristic “Blues March” will always have a home in the repertoire of every student or professional jazz band. “Are You Real?” has the most subtle of melody lines, and “Drum Thunder Suite” has Blakey’s quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. “Come Rain or Come Shine” is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin’ ranks with the very best of Blakey and what modern jazz offered in the late ’50s and beyond.
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Art Blakey & The Jazz Messengers – Caravan (1963) [Reissue 2004]
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 51:59 minutes | Front/Rear Covers+ | 910 MB
or FLAC(converted with foobar2000 to tracks) 24bit/96 kHz | Front/Rear Covers+ | 1,14 GB
Art Blakey led many editions of his Jazz Messengers over more than three decades, but a strong argument can be made that the Messengers of his Riverside period constituted his strongest unit. With Freddie Hubbard, Wayne Shorter, and Curtis Fuller in the front line, with Cedar Walton and Reggie Workman as Blakey’s rhythm-section mates, its combination of musicianship and sheer swinging force has rarely been equaled in a small band. Caravan was the first of Blakey’s Riverside albums and endures as a living monument to his nonpareil drumming and leadership. His solo on the title tune is one of the finest recorded examples of Blakey’s unique melding of precision and power. Hubbard and Shorter contributed memorable compositions and, with Fuller and Walton, some of the greatest soloing of the 1960s. Caravan rolls again in the full color and range of SACD sound.
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Art Blakey – Art Blakey! Jazz Messengers! (1961) [APO Remaster 2011]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:03 minutes | Full Scans included | 1,58 GB
An absolutely wonderful 1961 set from Blakey and company, who demonstrate here how to be note-perfect without leeching away the emotion of a performance. Aside from Blakey’s divine drum work, the standouts include Jaymie Merritt’s trippy bass fingerwork and Wayne Shorter blowing his heart out on tenor sax.
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Art Blakey And The Jazz Messengers – Keystone 3 (1982) [Reissue 2003]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 46:36 minutess | Scans included | 3,01 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 46:43 mins | Scans included | 974 MB
Features 2.0 Stereo and 5.1 multichannel surround sound | Concord Records # SACD-1001-6
This hard-hitting, mightily swinging Jazz Messengers unit may well have been one of Art Blakey’s best. Propelled by the omnipresent swing and verve of the indefatigable bandleader/drummer, young Jazz Messengers Donald Brown, Charles Fambrough, Branford Marsalis, Wynton Marsalis and Bill Pierce play with masterful technique, soulful swing and unbridled fire in this live Blakey classic. Honored with two Grammy Award Nominations—Best Jazz Instrumental Performance, Group and Best Jazz Instrumental Performance, Solo—Concord Jazz is proud to present the incendiary Keystone 3 in stellar Super Audio CD (SACD) sound.
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Archie Shepp and The New York Contemporary Five (1964/2018)
DSD128 (.dsf) 1 bit/5,6 MHz | Time – 42:15 minutes | 3,34 GB
FLAC (tracks) 24-bit/88,2 kHz | Time – 42:15 minutes | 808 MB
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Digital booklet | Genre: Jazz | © 2xHD
This historically significant album by the New York Contemporary Five was lead by tenor saxophone player Archi Shepp and included four other equally talented free jazz musicians to create an album that highlights the virtuosic nature of jazz music. Although a short-lived group, this album is quite historic for many contemporary jazz musicians.
On this record is heard a new American jazz group. Certainly one of the most important in recent years and yet one with which the American jazz public has had almost no opportunity of getting acquainted. It was formed with a special view to an engagement in Copenhagen, as no club in New York would, in 1963, be interested in sustaining a group like this during its formative period. Also, its first recordings were made during that stay in Copenhagen, as almost no American record companies could, in 1963, be persuaded to invest in music of this kind. We are thus facing a situation unknown in the history of jazz up till now, a situation where important develop- ments take place outside of the United States. In par- ticular, the Jazzhus Montmartre in Copenhagen seems to be out to becoming something like the Minton’s Play House of the ‘sixties. This club also had the Cecil Taylor Trio in residence for a whole month in late 1962, during which period Taylor made what were at the time of writ- ing his only known records in more than two years.
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Archie Shepp – Emotions (1963/2018)
DSD128 (.dsf) 1 bit/5,6 MHz | Time – 41:24 minutes | 3,27 GB
FLAC (tracks) 24-bit/96kHz | Time – 41:24 minutes | 848 MB
Studio Master, Official Digital Download | Artwork: Digital booklet | © 2xHD – Storyville Records
Saxophonist Archie Shepp is best known for his passionately Afrocentric music of the late 1960s, His tenor sax solos were searing, harsh, and unrelenting, played with a vivid intensity while he was viewed as perhaps the most articulate and disturbing member of the free generation. On this album he performs with the avant-garde jazz ensemble The New York Contemporary Five, “a group which, despite its short lease on life, has considerable historical significance”, laying “the cornerstone of what might be called the mainstream of free jazz”.
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