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Stan Getz – Moments In Time (2016)
DSF Stereo DSD128, 1 bit/5,6 MHz | Time – 01:04:57 minutes | 5.15 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © 2xHD
Recorded live at Keystone Korner. San Francisco, May 11-16, 1976
Recorded the same week as Getz/Gilberto ’76, Resonance Records’ companion album, 2016’s Moments in Time, captures saxophonist Stan Getz performing live at San Francisco’s Keystone Korner in May 1976. To celebrate the release of Getz’s reunion album with Brazilian singer/guitarist João Gilberto, 1976’s The Best of Two Worlds, the saxophonist booked a week of shows at the Keystone backed by his quartet and featuring Gilberto. Whereas Getz/Gilberto ’76 showcases the Gilberto performances, Moments in Time finds Getz appearing alone with his band, featuring pianist Joanne Brackeen, drummer Billy Hart, and bassist Clint Houston. Despite the wealth and fame he accumulated from his initial 1960s bossa nova albums, Getz remained a creatively restless, forward-thinking artist over the coming years. His band here, arguably one of his best of the period, also bore this forward-looking vision out with performances that straddled the line between lyrical intimacy and aggressive, extroverted improvisation. One can also see where Getz’s taste was at the time based on his song choices, pulling together standards like “Summer Night” with more harmonically layered pieces like Wayne Shorter’s languid and sultry “Infant Eyes” and the funky Kenny Wheeler composition “The Cry of the Wild Goose.” As with Getz/Gilberto ’76, Moments in Time is a thoughtfully curated package featuring not only some of Getz’s best live performances of the period, but also liner notes from producer Zev Feldman, Keystone Korner club owner Todd Barkan, and others, as well as interviews with bandmembers Hart and Brackeen.
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Stan Getz, Joao Gilberto feat. Antonio Carlos Jobim – Getz/Gilberto (1964/2011)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 00:33:50 minutes | 1,34 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Verve Music
Recorded: March 18–19, 1963 at A&R Recording Studios, New York City
Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you’ll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you’ve heard up until now – definitely still breathy, warm and rich – were made from something less than the master. Prepare to hear the veil removed
Astrud Gilberto says that her husband, Joao, informed Stan Getz that she “could sing at the recording.” Creed Taylor recalls that it took Getz’s wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud’s presence over the others’ objections. So who’s right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known – each one who hears it goes “Ahhh!”
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Stan Getz, Joao Gilberto – Getz/Gilberto ’76 (2016)
DSF Stereo DSD128, 1 bit/5,6 MHz | Time – 46:13 minutes | 4,02 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © 2xHD/Resonance Records
Recorded live at Keystone Korner, San Francisco, May 11-16, 1976
Getz/Gilberto ’76 is an instant classic collection of never-before-released recordings captured May 11-16, 1976 at the legendary San Francisco jazz club Keystone Korner, showcasing the legendary Brazilian singer, guitarist and composer João Gilberto, accompanied by the saxophone icon Stan Getz and his rhythm section of pianist Joanne Brackeen, bassist Clint Houston and drummer Billy Hart. These recordings were made during João Gilberto’s and Stan Getz’s weeklong engagement at the Keystone, which took place nearly 12 years after the release of their initial award-winning album.
The first Getz/Gilberto album sold over one million copies and almost single-handedly launched the bossa nova craze in America and around the world. It’s been said that the hit single off that album, “The Girl From Ipanema,” is the second most recorded song of all time, behind only “Yesterday” by the Beatles. The 1976 Keystone engagement represents one of the very few times this famed duo reunited after their initial creative collaboration in 1962, and according to the club’s founder and owner Todd Barkan, this engagement was João Gilberto’s first public performance after a four year hiatus
Back in 2012, George Klabin and I assumed the guise of a couple of jazz loving Indiana Jones – type archeologists when we decided to take an adventure: we were going to go after the crown jewels of a riveting tape collection amassed by Todd Barkan, the legendary jazz impresario and owner of San Francisco’s iconic jazz club, Keystone Komer. Our adventure would take us deep into a treasure trove of live recordings made at the Keystone by the artists who played there.
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Stan Getz & Gerry Mulligan – Getz Meets Mulligan (1957/2015)
DSD128 (.dsf) 1 bit/5,6 MHz | Time – 37:11 minutes | 2,93 GB
FLAC (tracks) 24-bit/96 kHz | Time – 37:11 minutes | 766 MB
High Definition Tape Transfers, Official Digital Download | Artwork: Digital booklet
“Getz Meets Mulligan” (also released as “Gerry Mulligan Meets Stan Getz” and “Getz Meets Mulligan in Hi-Fi”) is an album by American jazz saxophonists Gerry Mulligan and Stan Getz featuring performances recorded in 1957 and released on the Verve label.
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Stan Getz, Charlie Byrd – Jazz Samba (1962/2011)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 00:33:32 minutes | 1,32 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Verve Music
Recorded: Pierce Hall, All Souls Unitarian Church, Washington D.C., February 13, 1962
Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The words “bossa nova” are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim – an adaptation of infectious Brazilian samba rhythms with the harmonic structures and “cool” surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba – the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America.
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Boston Symphony Orchestra, Rafael Kubelik – Bedrich Smetana: Ma Vlast (1971/2016)
DSF Stereo DSD64/2.82MHz | Time – 50:18 minutes | 3 GB | Genre: Classical
Source: ISO SACD | © Esoteric Company ESSG-90153 | Front Cover
Classical masterpiece collection :: The reissue of classical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. This series marks the first hybrid SACD release of historical recording selections that have been mainstays of the catalog since their initial release. These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.
Experience by yourself… :: Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.
ESOTERIC equipment used for re-mastering :: The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model Grandioso G1 and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.
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Sly & The Family Stone – There’s A Riot Goin’ On (1971/2013)
DSF Stereo DSD64/2.82MHz | Time – 48:01 minutes | 1,9 GB | Genre: R&B, Soul, Funk
Studio Masters, Official Digital Download – Source: ProStudioMasters | Booklet, Front Cover | © Epic Records
Recorded: 1970–71, The Record Plant, Sausalito, California
During the late ’60s, Sly and the Family Stone was the house band for the new utopia: celebratory, integrated, intent on breaking down walls, and full of relentlessly positive, idealistic energy. 1971’s „There’s A Riot Goin’ On“ directly contradicted all of these characteristics. Instead, the album represented the dark days of post-’60s disillusionment–a move from right-here/right-now ethos to reflection (‘Time’), from integration to separatism (‘Thank You For Talkin’ To Me Africa’), and from Sly’s exuberant cheerleading to a weary, craggy-voiced vocal style. Many fans considered the album a ‘downer’ at the time.
In truth, „There’s A Riot Goin’ On“ is stunningly innovative and artistically accomplished. Here Sly began playing with subtle, sophisticated rhythms, creating webs of interlocking parts and textures, foregrounding mood over pop structures. The production is murky, keeping with the dark, edgy themes of the album, yet it is packed with detail. The burbling guitars, keys, lock-pop bass, and ghostly vocals create a warm, enveloping cocoon, as on the honeyed, heavy-lidded groove of ‘Just Like A Baby,’ the percolating surge of ‘Family Affair’ (one of Sly’s finest moments), and ‘(You Caught Me) Smilin’,’ which catches a wistful flash of the old optimism. Though it may be a challenging listen for the uninitiated, „There’s A Riot Goin’ On“ rewards endless repeated listens.
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Sir Neville Marriner, The Academy Of St. Martin-in-the-Fields – G.F. Handel: Ballet Music (1972/2018)
DSD128 (.dsf) 1 bit/5,6 MHz | Time – 44:17 minutes | 2,08 GB
FLAC (tracks) 24-bit/176,4kHz | Time – 44:17 min | 1,56 GB
FLAC (tracks) 24-bit/96kHz | Time – 44:17 minutes | 846 MB
High Definition Tape Transfers, Official Digital Download | Artwork: Digital booklet
George Frideric Handel’s “Alcina”, “Ariodante” and “Il pastor Fido” (The Faithful Shepherd) were cornerstone of Sir Thomas Beecham’s so-called ‘lollipops’ and are beautifully rendered here. These recordings represent some of Academy of St. Martin-in-the-Fields with Sir Neville Marriner’s earliest, dating from 1970 and 1971.
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Sir Simon Rattle & London Symphony Orchestra – Haydn: An Imaginary Orchestral Journey (2018)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 51:27 minutes | 2,04 GB
FLAC (tracks) 24 bit/96 kHz | Time – 51:27 minutes | 1, GB
Studio Master, Official Digital Download | Artwork: Digital booklet
Sir Simon Rattle pays homage to a composer he holds close to his heart with An Imaginary Orchestral Journey through the music of Joseph Haydn. Rattle trawls through the great composer’s impressive catalogue, piecing together excerpts from symphonies, oratorios and operas spanning a 40-year period in what the director describes as ‘a kind of greatest hits’ format.
Read morePekka Kuusisto, Tapiola Sinfonietta – Sibelius: Works for Violin and Orchestra (2006/2015) DSF DSD64
Pekka Kuusisto, Tapiola Sinfonietta – Sibelius: Works for Violin and Orchestra (2006/2015)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 01:04:16 minutes | 2,54 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © 2xHD/Ondine Oy, Helsinki
For lovers of Sibelius’s famous Violin Concerto, this album offers an ideal opportunity to discover his less-performed works for violin and orchestra, played by celebrated Finnish violinist Pekka Kuusisto. Known as a cutting edge musician, Kuusisto is acclaimed for his tone, technique, infectious enthusiasm and his imaginative interpretations, all of which are on display here. The Tapiola Sinfonietta, one of the top professional orchestras in the Nordic countries, is famous for its fine performances of classical, contemporary and less familiar chamber orchestra repertoire.
Pekka Kuusisto and composer Jean Sibelius seem to be an ideal match. After his highly successful debut recording, playing the Sibelius concerto, Kuusisto returns here as soloist and conductor of the Tapiola Sinfonietta for another strong showing with some of Sibelius’ lesser-known works for violin and orchestra.
This album was mastered using our 2xHD proprietary system. In order to achieve the most accurate reproduction of the original recording we tailor our process specifically for each project, using a selection from our pool of state-of-the-art audiophile components and connectors. The process begins with a transfer to analog from the original DSD master, using cutting edge D/A converters. The analog signal is then sent through a hi-end tube pre-amplifier before being recorded directly in DXD using the dCS905 A/D and the dCS Vivaldi Clock. All connections used in the process are made of OCC silver cable.
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London Symphony Orchestra, Sir Colin Davis – Sibelius: Symphony No 2 & Pohjola’s Daughter (2007)
DSF Stereo DSD64/2.82MHz | Time – 58:38 minutes | 2,33 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © LSO Live
Sibelius’s Pohjola’s Daughter is usually classified as a ’tone poem’– in other words, not a ’pure’ symphonic work, but one in which a literary or pictorial idea is represented in music. But Sibelius’s description was ’Symphonic Fantasy’ – which is exactly how the onemovement Seventh Symphony was entitled when it first appeared in 1924. It is quite possible to appreciate Pohjola’s Daughter simply as a colourful and highly compact one-movement symphony. All the same, unlike the Seventh Symphony, Pohjola’s Daughter does come with a story, printed in verse form in the score. It tells how V.in.m.inen – the wizard-hero of the Finnish folk-epic, the Kalevala – sees the daughter of the moon-god Pohjola sitting at her spinning wheel atop a rainbow. Instantly he falls in love with her, and begs her to join him. She agrees to come down when V.in.m.inen has conjured a boat from her spindle – in other words: ’Thanks, but no thanks’. V.in.m.inen tries heroically, but fails. Furious, humiliated, he springs onto his sleigh and vanishes.
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Shirley Horn – Live at the 4 Queens (2016)
DSF Stereo DSD128, 1 bit/5,6 MHz | Time – 54:54 minutes | 4,37 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © 2xHD/Resonance Records
The first previously unreleased music by Shirley Horn in nearly a decade was recorded live at the 4 Queens Hotel in Las Vegas in May 1988 and feature Horn’s longtime trio, bassist Charles Ables and drummer Steve Williams. The set was recorded by KNPR radio for a syndicated jazz show and captures the angora-voiced jazz singer and pianist at the very beginning of her resurgence on the jazz scene. Renowned for her inimitable ability to negotiate melodies and lyrics at an exquisitely unhurried pace, Horn applies her unique alchemy to classic and contemporary songs: when she sings a song, she changes the way it’s heard forever.
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Russian National Orchestra, Paavo Berglund – Dmitri Shostakovich: Symphony No. 8 ‘Stalingrad’ (2006)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 01:06:28 minutes | 2,62 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Pentatone Music B.V.
Not until later on, in his posthumously published memoirs, did Shostakovich provide a personal insight into his Symphony No. 8 in C minor, Op. 65, which he completed on September 9, 1943 in only two months’ time, following a short, yet agonisingly dry creative period: “The Seventh and the Eighth are my ‘Requiem’.” At the time, his first comments on the new work were very different, and (as was usual during Stalin’s regime, one should add) meaningless: “This work mirrors my thoughts and feelings following the joyous reports on the first victories of the Red Army.” For sure … After all, it would be hard to come up with another 20th-century symphony that soundsas inscrutable and sadly fateful as Shostakovich’s Eighth.
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Royal Liverpool Philharmonic Orchestra, Vasily Petrenko – Dmitry Shostakovich: Symphony No. 7 ‘Leningrad’ (2013/2015)
DSF Stereo DSD64/2.82MHz | Time – 01:19:07 minutes | 3,12 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: ProStudioMasters | Booklet, Front Cover | © 2xHD
Three weeks after the Nazi invasion of the Soviet Union in June 1941, Shostakovich volunteered with the Home Guard in Leningrad. As the siege of the city intensified, he worked on his Seventh Symphony, completing three movements before being forced to leave Leningrad and travel east by train. The work was completed in December that year. Initially he gave each movement a programmatic title, but later withdrew them, leaving this epic work as an emblem of heroic defiance in the face of conflict and crisis: ‘I dedicate my Seventh Symphony to our struggle against fascism, to our coming victory over the enemy, to my native city, Leningrad.’ Shostakovich’s epic Seventh Symphony is a study in defiance and survival, written largely in the ruins of the besieged city in 1941. Its reputation has fluctuated over the years, with its immediate post war reputation largely low. But in recent years it has taken its rightful place in Shostakovich’s symphonic canon. As one of the Twentieth Century’s most recorded symphonists, the composer has been the subject of many recordings.
The award-winning Royal Liverpool Philharmonic Orchestra is the UK’s oldest continuing professional symphony orchestra, dating from 1840. The dynamic young Russian, Vasily Petrenko was appointed Principal Conductor of the orchestra in September 2006 and in September 2009 became Chief Conductor.
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Royal Liverpool Philharmonic Orchestra, Vasily Petrenko – Dmitry Shostakovich – Symphony No. 4 (2013/2016)
DSF Stereo DSD64/2.82MHz | Time – 01:04:52 minutes | 2,56 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © 2xHD
Completed in 1936 but withdrawn during rehearsal and not performed until 1961, the searing Fourth Symphony finds Shostakovich stretching his musical idiom to the limit in the search for a personal means of expression at a time of undoubted personal and professional crisis. The opening movement, a complex and unpredictable take on sonata form that teems with a dazzling profusion of varied motifs, is followed by a short, eerie central movement. The finale opens with a funeral march leading to a climax of seismic physical force that gives way to a bleak and harrowing minor key coda. The Symphony has since become one of the most highly regarded of the composer’s large-scale works.
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