Dan Gibson – Thunderstorm: A Surround Sound Experience (2004) [2.0 & 5.1] SACD-R

Dan Gibson – Thunderstorm: A Surround Sound Experience (2004)
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 5.1 > 1-bit/2.8224 MHz | 52:39 minutes | Scans included | 4,01 GB
Features 2.0 Stereo & 5.1 multichannel Surround sound
Genre: New Age

Thunderstorm: A Surround Sound Experience SACD will completely transform any living space into the heart of a crackling thunderstorm. Specially designed and produced for SACD (Super Audio Compact Disc), but playable on any standard CD player, you will experience 64 times the clarity, depth, and audio resolution of a traditional CD. And featuring true 5.1 high-resolution surround sound, this Solitudes Thunderstorm SACD offers an audio experience like no other. It really is the next best thing to being there. While this is a continuous play, uninterrupted program, six track points have been created to allow for easy access to preferred sections. This way you can choose to listen to the wildlife and distant birdcalls take cover as the storm rolls in or you can advance to the peak of the storm where the wildlife is silent and all you hear is the thunder and rain.

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Dan Gibson – Songbirds: A Surround Sound Experience (2007) [2.0 & 5.1] SACD-R

Dan Gibson – Songbirds: A Surround Sound Experience (2007)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 71:45 minutes | Scans included | 3,54 GB
Features 2.0 Stereo & 5.1 multichannel Surround sound
Genre: New Age

Songbirds: A Surround Sound Experience is a program that will completely transform any living space — immersing the listener in the melodious world of songbirds. With 64 times the clarity, depth and audio resolution of a traditional CD, and featuring true 5.1 high-resolution surround sound, this Solitudes SACD is an audio experience like no other. It really is the next best thing to being there.

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Dan Gibson – Ocean Surf: A Surround Sound Experience (1995) [Reissue 2005] {2.0 & 5.1} SACD-R

Dan Gibson – Ocean Surf: A Surround Sound Experience (1995) [Reissue 2005]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 63:06 minutes | Scans included | 3,87 GB
Features 2.0 Stereo & 5.1 multichannel Surround sound
Genre: New Age

The Ocean Surf: A Surround Sound Experience SACD by Solitudes will completely transform any living space into a spectacular seashore. Specially designed and produced for SACD, but playable on any standard CD player, you will experience 64 times the clarity, depth, and audio resolution of a traditional CD. And featuring true 5.1 high-resolution surround sound, this Solitudes Ocean Surf SACD offers an audio experience like no other. It really is the next best thing to being there.

Too many releases in the relaxation/environmental market feel compelled to accompany their nature recordings with beds of flutes, oozing synths, or chattering forest animals. Luckily Dan Gibson takes the opposite approach. His Ocean Surf is exactly that, a 70-minute-plus track featuring nothing but pristinely recorded surf, tide, and whitecaps. There’s natural ebb and flow here as Gibson captures not only the cascading majesty of the sea, but its quiet, lapping moments as well. Unencumbered by ethnic-music tinkering or new age formula, the solitary Ocean Surf is great for relaxation, meditation, and introspection.

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Anette Maiburg , Alexandra Carvero , Emmanuel Ceysson , Wen Xiao Zheng – Classica Francese (2013) {SACD-R + FLAC 24-88.2}

Various Artists – Classica Francese
Anette Maiburg / Alexandra Carvero / Emmanuel Ceysson / Wen Xiao Zheng
SACD ISO (2.0/MCH): 3,96 GB | 24B/88,2kHz Stereo FLAC: 1,16 GB | Full Artwork
Label/Cat#: MDG “Scene” # 910 1825-6 | Country/Year: Germany 2013 | 3% Recovery Info
Genre: Classical, Pop, Crossover | Style: Romantic, Early 20th Century, Chanson, Vocal

Yves Montand and Claude Debussy, Jacques Brel and André Jolivet -Anette Maiburg is taking us on another conducted tour, bringing musical worlds together.

“Classica francese” gives the enterprising and exceptional flautist the opportunity to show us that high-calibre chamber music and deeply expressive chansons need not be worlds apart. She is joined by Alexandra Cravero, whose remarkably flexible voice leaves these well-known songs haunting us, and Emmanuel Ceysson, whose sensitive harp playing has delighted audiences and reviewers alike. prestoclassical

Viele der sogenannten „Crossover“-Experimente der letzten Jahre und Jahrzehnte hinterließen einen zwiespältigen Eindruck, vor allem wohl, weil meist so getan wurde, als ob alle Musikformen, jene der Kunstmusik und jene der Populärkultur, irgendwie gleichwertig wären. Interessanterweise unterscheidet auch Anette Maiburg, der spiritus rector dieses Albums „Classica francese“, in ihrem Beihefttext zwischen „klassischer Ausbildung“ und „anderen Musikstilen“: Auf dieser fünften Folge einer Reihe von nationalstilistischen CD-Programmen (es gibt auch „Classica Cubana“ und anderes) stehen französische Chansons besonders der 1950er und 60er Jahre den vier Kunstkompositionen von Debussy, Jolivet und Jean Cras gegenüber.

Das Nebeneinander von Chanson und klassischer Kammermusik erweist sich hier jedoch als harmonisch. Dies liegt daran, dass sowohl die Komponisten Debussy, Jolivet und Cras auf je eigene Weise auch auf die Popularmusik ihrer Zeit anspielten, die sehr guten Arrangements der Chansons für das siebenköpfige Kammerensemble von Andreas N. Tarkmann aber ihrerseits starke Anleihen an klassischer Instrumentationskunst machen. Schön etwa die vereinzelten Tupfer von Harfe und Xylophon in „Elle fréquentait la rue Pigalle“, das durch die Piaf berühmt wurde, oder „Ces gens là“ von Jaques Brel, dessen Besetzung lange sehr reduziert gehalten wird. Alexandra Cravero singt diese Chansons, die von der Authentizität der Passionen leben, schlichtweg wundervoll.

Zwischen den Kompositionen und den Chansons treten die Qualitätsbrüche aber auch deswegen nicht störend hervor, weil die sieben Musiker um die Flötistin Anette Maiburg alle Stücke mit einer begeisternden Sensibilität spielen. Die sieben Solisten sind sämtlich bereit, gleichsam auch ihrem eigenen Klang nachzulauschen sowie den zauberhaften Verbindungen, die dieser mit dem der anderen Instrumenten eingeht. So übertreffen die Musiker in Debussys Sonate für Flöte, Viola und Harfe sogar die bisherige Referenzaufnahme des Ensembles Wien-Berlin aus den späten achtziger Jahren (Deutsche Grammophon 429 738-2) an Raffinesse; die Sonate und auch das Prélude à l’après-midi d’un faune in einer kammermusikalischen Fassung werden mit einem akuten Sinn für deren klanglichen Wunder präsentiert. Den kompositorisch avanciertesten Akzent setzt Jolivets Chant de linos von 1945, der neben den magischen und den melancholischen Stimmungen auch ein wenig Dunkelheit hören läßt. Wenn ein Programm so ausgewogen zusammengestellt ist und so hochkonzentriert musiziert wird, dann läßt man sich „Crossover“ gerne gefallen. Nicht zuletzt auch wegen der glasklaren Akustik sehr hörenswert. 10/10
Michael B. Weiß Klassik Heute

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Carpenters – The Singles 1969-1973 (1973) [Japanese SHM-SACD 2014] {SACD-R + FLAC 24-88.2}

Carpenters – The Singles 1969-1973 (1973) [Japanese SHM-SACD 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 41:46 minutes | Scans included | 1,7 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 865 MB
Genre: Pop

There’s a certain inherent sadness listening to this concise 12-song collection of the Carpenters’ early hits, especially as it opens with “We’ve Only Just Begun,” with its hopeful, dreamy lyrics — for it was never supposed to be definitive, just the first of at least two such collections. But changes in the public’s taste and a slackening (though never a disappearance) of hits for the duo, and Karen Carpenter’s death in 1983, made this the first and only real mass choice for a Carpenters collection. Ten of the duo’s dozen Top Ten hits are present, from “Close to You” to “Top of the World,” with their gorgeous and original slow ballad interpretation of “Ticket to Ride” and their cover of Carole King’s “It’s Going to Take Some Time” thrown in to offer a slightly wider perspective. Listening to this material, it’s easy to accuse the Carpenters of being hopelessly retro even in their own time — bear in mind that “We’ve Only Just Begun” and “Superstar” being contemporaneous with the Allman Brothers’ At Fillmore East and Eat a Peach and you get the idea. But the lush melodies brought out in Richard Carpenter’s arrangements and Karen’s singing are justification in themselves.

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Caravan – In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2010 # UIGY-9047] {SACD-R + FLAC 24-88.2}

Caravan – In The Land Of Grey And Pink (1971) [Japanese Limited SHM-SACD 2010 # UIGY-9047]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 43:28 minutes | Scans included | 1,75 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 911 MB
Genre: Progressive Rock

Features the 2010 DSD mastering based on UK original analog tape. Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players). DSD Transferred by Kevin Vanbergen.

In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band’s premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12″ outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on “Winter Wine,” as well as the organ and sax driven instrumental introduction to “Nine Feet Underground.” These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the album’s title, there seems to be pastoral qualities and motifs throughout. Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair’s lyrics are of particular note, especially the middle-earth imagery used on “Winter Wine” or the enduring whimsy of “Golf Girl”.

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Caravan – For Girls Who Grow Plump In The Night (1973) [Japanese SHM-SACD 2014] {SACD-R + FLAC 24-88.2}

Caravan – For Girls Who Grow Plump In The Night (1973) [Japanese SHM-SACD 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 45:32 minutes | Scans included | 1,84 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 852 MB
Genre: Progressive Rock

After the musical uncertainty of Waterloo Lily, Caravan returned with their most inspired recording since In the Land of the Grey and Pink. The splendidly titled For Girls Who Grow Plump in the Night is several steps ahead in terms of fresh musical ideas that wholly incorporate the band’s trademark humor within the otherwise serious and challenging sonic structures. Two of the more dominant reasons for the change in Caravan’s sound were the return of keyboardist Dave Sinclair and the addition of violist Peter Geoffrey Richardson. Die-hard fans gladly welcomed Sinclair back, however, Richardson was met with heckles from enthusiasts during live appearances. They were soon silenced as his place on For Girls Who Grow Plump in the Night easily ranks among Caravan’s watershed moments. There are perhaps none better than the mesmerizing counterpoint melodies he weaves during the “L’Auberge Du Sanglier” suite. While not completely abandoning their jazz leanings, For Girls Who Grow Plump in the Night is considerably focused back into the rock genre. Ironically, the album also features some rather elaborate orchestration. In context, it is quite effective in creating emphasis — especially on the leadoff track “Memory Lain, Hugh,” as well as the dreamy mid-tempo “The Dog, The Dog, He’s At It Again.” The remastered CD also includes five additional tracks. The first four are demos featuring the band without orchestra and with some notable differences, such as the distinct lead guitar opening to “Memory Lain, Hugh.” “Derek’s Long Thing” is another instrumental piece penned by keyboardist Derek Austin — one of the two transitional Caravan members chosen to replace Steve Miller. A must-own for inclined parties.

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Bill Evans Trio – Sunday At The Village Vanguard (1961) [2002, Analogue Productions Stereo SACD] {SACD-R + FLAC}

Bill Evans Trio – Sunday At The Village Vanguard
SACD ISO (Stereo): 2,75 GB | 24B/88,2kHz Stereo FLAC: 1,30 GB | Artwork
Label/Cat#: Analogue Productions # CAPJ 9376 SA | Country/Year: US 1961, 2002 | 3% Recovery Info
Genre: Jazz | Style: Post Bop, Instrumental, Modal

Most of the APO analog to DSD conversions are great, but this one is probably the best from a sonic perspective. And if you like jazz trio’s with articulate bass playing and a clear and purposeful piano technique, then you are in for a treat. This is a live recording set at the New York Village Vanguard jazz club with accompanying audience ‘participation’, though that never distracts. The Stereo separation is rather absolute left/right, with the piano in the right speaker and the rest in the left. There is virtually no center image.

It is said that the interaction with his rhythmn section and the prominent place he gives them is a hallmark of the Bill Evans Trio. The bass of Scott LaFaro gets the same attention here as Bill Evans’ piano. Every song is rich in texture and communicates the enormous skills of each of the players. There are many tempo changes and the playing just demands your attention. This is not one for background music, it’s far too interesting for that.

Unfortunately LaFaro died in a car accident ten days after this recording – one of the reasons for featuring him so prominently here. A second album was cut of this session. So if you want to re-live that afternoon on June 25, 1961, you have no choice to buy ‘Waltz For Debbie’ as well – some choice

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One of the finest sounding Jazz SACDs in my collection. Expensive now (cira 2013), but it is a must have SACD. At first I thought there was a pressing error/glitch on one track, but I double checked the OJC Red Book and it is there as well. Every system update reveals more information from this stunning SACD. It will hurt when you shell out the bucks for it today unless you can get a good deal, but man is it so worth it! Highest recommendation. sa-cd.net

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Bill Evans Trio – Moon Beams (1962) [2002, Analogue Productions Stereo SACD] {SACD-R + FLAC}

Bill Evans Trio – Moon Beams
SACD ISO (Stereo): 1,57 GB | 24B/88,2kHz Stereo FLAC: 730 MB | Artwork | 3% Recovery Info
Label/Cat#: Analogue Productions # CAPJ 9428 SA | Country/Year: US 1962, 2002
Genre: Jazz | Style: Post Bop, Instrumental, Modal

Review by Thom Jurek

Moonbeams was the first recording Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. Indeed, in LaFaro, Evans found a counterpart rather than a sideman, and the music they made together over four albums showed it. Bassist Chuck Israels from Cecil Taylor and Bud Powell’s bands took his place in the band with Evans and drummer Paul Motian and Evans recorded the only possible response to the loss of LaFaro — an album of ballads. The irony on this recording is that, despite material that was so natural for Evans to play, particularly with his trademark impressionistic sound collage style, is that other than as a sideman almost ten years before, he has never been more assertive than on Moonbeams. It is as if, with the death of LaFaro, Evans’ safety net was gone and he had to lead the trio alone. And he does first and foremost by abandoning the impressionism in favor of a more rhythmic and muscular approach to harmony. The set opens with an Evans original, “RE: Person I Knew,” a modal study that looks back to his days he spent with Miles Davis. There is perhaps the signature jazz rendition of “Stairway to the Stars,” with its loping yet halting melody line and solo that is heightened by Motian’s gorgeous brush accents in the bridge section. Other selections are so well paced and sequenced the record feels like a dream, with the lovely stuttering arpeggios that fall in “If You Could See Me Now,” and the cascading interplay between Evan’s chords and Israel’s punctuation in “It Might As Well Be Spring,” a tune Evans played for the rest of his life. The set concludes with a waltz in “Very Early,” that is played at that proper tempo with great taste and delicate elegance throughout, there is no temptation by the rhythm section to charge it up or to elongate the harmonic architecture by means of juggling intervals. Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader. allmusicguide

There is a storyline running through this and the other two Evans album – also reviewed here – that provides depth to the music. It’s of course about LaFaro, but there is more. When Bill Evans does ballads I always feel he is talking, and that takes listening to him to a different level. It’s not only a fine flowing, elegant piano piece – but let’s not forget the sensitive contributions of Chuck Israels on bass and Paul Motian on drums. It has that something extra that is difficult to put into words. It invites you to really listen and it takes the ballad out of the realm of background music.

Analogue Productions has produced some of the best sounding piano on SA-CD, and this one is no exception. If you want to listen to Bill Evans’ story you owe it to yourself to buy all three discs (‘Saturday At The Village Vanguard’ and ‘Waltz For Debbie’ are the other two). sa-cd.net

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Born – At The End Of The Day (2005) [2.0 & 5.1] {SACD-R + FLAC}

Born – At The End Of The Day (2005) [2.0 & 5.1]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 51:12 minutes | Scans included | 3,33 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,09 GB
Genre: Pop, Rock

Born Stuyven is a Dutch singer/songwriter, rock & roll style who made a name with his previous bands Thunderin’ Hearts & Enos. “At The End Of The Day” is his debut solo album. This sentimental rock & roll album contains a couple very strong songs.

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