Hi-Res Downloads

Sort By:  Post Date TitlePublish Date
A. Everard (Music); P. Miller (Lab)  |  Jul 01, 2016
Part of the third and final tranche of Led Zep remasters, along with In Through The Out Door and the somewhat ragbag Coda, 1976’s Presence arrives in the second decade of the 21st century complete with a second ‘disc’ containing ‘reference mixes’ of four of its tracks plus a previously unreleased instrumental entitled ‘10 Ribs & All/Carrot Pod Pod (Pod)’. That ‘new’ track really stands out against what is perhaps the band’s roughest album: it’s gentle and reflective, driven by delicate piano, but I’m not too sure that one novelty is sufficient to justify a purchase of this set, even if it is in spiffed-up 96/24. For all the remastering work, overseen by Jimmy Page and thus given the stamp of approval, this version doesn’t really bring too much to the party in terms of new insights or revelations. I guess if you’re a Led Zep completist, this is a must-have, however… AE Sound Quality: 75% Hi-Fi News Lab Report These are genuine 96kHz renderings from what are clearly analogue masters – hence the noise is some 30dB higher than a modern all-digital recording [see Graph, above].
A. Everard (Music); P. Miller (Lab)  |  Jul 01, 2016
The eighth album from this Philadelphia-based trio features the familiar line-up of Garrett Dutton (aka G Love) on guitar, harmonica and vocals, bassist Jim Prescott and Jeffrey Clemens on drums, and is a familiar mix of rock and blues styles. It opens with the slam into the title track, but soon settles down into a familiar groove, the three musicians as easy when laying down a good-time chug against which Dutton can solo as they are with the blues-boogie of ‘Back To Boston’ or the horn-laden ‘Let’s Have A Good Time’. But there’s little new ground being broken here, either stylistically or in terms of recording quality. This album may be delivered in 96/24, but there’s little to trouble a system’s hi-res capabilities, and the band’s usual laid-back, ‘rough round the edges’ sound isn’t the most obvious candidate for the audiophile polish treatment.
A. Everard (Music); P. Miller (Lab)  |  Jun 01, 2016
The shadow of Diana Krall looms large over the school of female singer-pianists, but Sarah McKenzie, though still in her early 20s, brings a freshness and exuberance of voice, allied to delicious phrasing and some demon work on the keyboard, to make even familiar material shine anew. On this album, originally released by ABC Classics Australia and now picked up by associated label Impulse! for wider distribution, she also displays quite a way with a tune on the self-penned tracks. (Sarah McKenzie has a degree in jazz composition, after all. ) Together with compatriots Hugh Stuckey on guitar and Alex Boneham on bass, plus an international supporting cast, she makes a great job of the standards here, beside which her own songs stack up very well.
C. Breunig (Music); P. Miller (Lab)  |  Jun 01, 2016
As the British musicologist Michael Talbot explains in a lengthy note, Corelli was as influential a figure in organising performances in 17th century Rome as he was a composer. His appointed successor was Antonio Montanari, little of whose music has survived – five of the concertos here receive premiere recordings. The Paris-based Ensemble Diderot uses period or modern copy instruments, and, as a Toblach concert hall session photograph indicates, the players stand (where practicable) to play – the now fashionable method for Baroque performers. The concertos offer an adventurous, unconventional ride, ranging from the staccato Adagio of Op.
C. Breunig (Music); P. Miller (Lab)  |  Jun 01, 2016
Kopatchinskaja is a ‘Marmite’ violinist, as anyone who has loved/suffered her Bartók and Prokofiev recordings will attest. And when you read the booklet at HRA and see its (in part informative) notes are couched in the form of artful love letters between soloist and conductor you might fear the worst from this 2014/13 Moscow/Madrid theatres coupling. All the singers in Les Noces are native and MusicAeterna uses period instruments. The authenticity tells in their marvellously sung, energetic Les Noces, and unusual timbres add to the concerto performance.
A. Everard (Music); P. Miller (Lab)  |  Jun 01, 2016
Satriani’s latest outing fair shoots out of the traps with the explosive opening of the title-track, placed at the beginning of the album as if to say ‘yup, this is what you’re in for – business as usual’. Not that there’s anything wrong with that, at least provided you’re into the highly distinctive Satriani sound, but this 15th studio album is more like a small ensemble jazz outing, just rocked up a bit. Accompanied by Bryan Beller on drums, bassist Marco Minneman and Mike Keneally on keyboards, this of course is a showcase for Satriani’s guitar playing. Shockwave Supernova ranges from blues to more lyrical pieces, all mixed and mastered by long-time collaborator John Cuniberti, who has delivered a dense, somewhat retro sound.
A. Everard (Music); P. Miller (Lab)  |  Jun 01, 2016
As albums overtaken by events go, this is pretty definitive. Released amidst much hoo-ha as The Dame’s first new work for ages, it almost immediately became a self-obituary, and was thus subjected to even more analysis and interpretation than previous Bowie releases. Recorded apparently in something of a hurry in the final part of Bowie’s life, the artist working when his illness permitted with long-time collaborator Tony Visconti, this may explain its patchwork nature and the variable formats throughout. This may or may not be his swansong, as there are rumours of more recordings having been made.
C. Breunig (Music); P. Miller (Lab)  |  May 03, 2016
The young Paris Conservatoire trained cellist’s 2014 debut CD Play was of salon pieces. A year on – Moreau almost 21 – he tackles 18th-century concertos with a period orchestra [see also HFN Album Choice Mar ’15]. The punning title means ‘young lad’. With the finale taken at a real lick, the Haydn C major is the one well-known work here.
C. Breunig (Music); P. Miller (Lab)  |  May 03, 2016
Perhaps reissued to mark Arvo Pärt’s recent 80th birthday, this was a ground-breaking album release on LP in 1984 and some of the music was soon taken up by other artists: fellow Estonian Neeme Järvi with Cantus, Tasmin Litle with Fratres. ECM’s programme has 12 Berlin Philharmonic cellists playing it and the violin/piano version with Gidon Kremer and Keith Jarrett. Tabula Rasa is for two solo violins, prepared piano (Schnittke playing, no less) and small orchestra. Cantus, a threnody with strings and final tolling bell, written in memory of Britten, especially had a cult following (though it doesn’t inspire me!).
A. Everard (Music); P. Miller (Lab)  |  Apr 13, 2016
Take an artist known for her velvety, soulful voice, add in some class musicians and acclaimed producer Larry Klein, who’s worked with the likes of Tracy Chapman, Madeleine Peyroux, Melody Gardot and Joni Mitchell, and you’re probably onto a winner. That’s exactly the case with this, Lizz Wright’s fifth album, mixing a number of self-composed numbers with two covers: a gospelled-up version of the Bee Gees hit ‘To Love Somebody’ and an unnerving take on Nick Drake’s ‘River Man’, accompanied by Till Brönner on flugelhorn. Wright’s classy, expressive vocals are well-served by Klein’s clean production, imbuing the set with a warm, generous sound. Musicians include Dean Parks and Klein on guitars, Pete Kuzma and Kenny Banks on keyboards, Dan Lutz on bass, and Vinnia Colaiuta and Pete Korpula on drums and percussion.
A. Everard (Music); P. Miller (Lab)  |  Apr 13, 2016
OK, so Scott Oracle’s début album for the famous Blue Note jazz label lives up to its title by opening with drums, but this isn’t a typical drummer’s album, with the tub-thumping all but dominating the mix to the detriment of the other performers. Yes, there are the inevitable drum solos, but this is much more of an ensemble set, with Scott joined by saxophonist John Ellis, keyboardist Taylor Eigsti, guitarist Mike Moreno, and bassist Joe Sanders, along with vocalist Lizz Wright. Scott seemed happy to play his part in the band rather than being the star turn. As he puts it, ‘The accent is on “we” in the title.
C. Breunig (Music); P. Miller (Lab)  |  Apr 13, 2016
The Milanese Giovanni Antonini, like Frans Brüggen, came to conducting via the baroque recorder; he was also co-founder of Il Giardino Armonico. So it’s not surprising to find his Beethoven the very antithesis of Karajan’s: a dry attack with sharp dynamic differentiation. (Wonderful how the concerto steals in from nowhere!) Recorded in the modern Luxembourg Philharmonie, the players patently give their all for him. The two ‘serious’ overtures are the most satisfying tracks here, but that’s only because Sony has frequently given the soloists too much prominence in the Triple Concerto – Gabetta being one of its ‘star’ signings.
A. Everard (Music); P. Miller (Lab)  |  Mar 11, 2016
This album does just what it says on the tin – well, sort of. For while Elias did return to the country of her birth to rehearse and record this set, other elements were recorded in the USA and the UK, giving the whole thing a slightly ‘samba by the numbers’ feel. Yes, it’s desperately commercial, and focuses the attention on the obviously very talented pianist/vocalist. However, the over-lush strings, which swell and shimmer away in the background, and without which the sound would have lost very little, do give this set a bit too much of the ‘latin Diana Krall’ effect.
C. Breunig (Music); P. Miller (Lab)  |  Mar 11, 2016
In a lengthy booklet essay Manfred Honeck explains all his interpretative decisions: live recording, a large orchestra with divided violins, pizzicati continued right to the end of 7(ii) – as suggested to him by Kleiber when Honeck was an orchestral violinist – and various minutiae, with timing/bar reference details. He writes about changing styles since the very first recordings of No 5 in 1910/13. But – oh dear! – the motto theme in the first movement is slowed for every appearance: that’s a write-off for me, I’m afraid. There is also a distracting rhythmic pattern unearthed in the finale, 9m10s-9m 19s.
A. Everard (Music); P. Miller (Lab)  |  Mar 11, 2016
Taking its title from the idea that ‘Music starts and then you have to broadcast, listen, share, make quick decisions… so as to turn this four-person adventure into one’, this album could so easily have become another one of those exercises in indulgent, meandering music. Fortunately, though, pianist Angelini has here partnered with some clearly very talented musicians – Régis Huby on violins and electronics, bassist Claude Tchamitchian and Edward Perraud on drums and percussion – to come up with a constantly interesting set of originals and homages to the likes of Wayne Shorter. Full of sonic light and shade, it was recorded with excellent clarity and powerful dynamics by Gérard de Haro at Studio La Buissonne, on whose house label it’s released, and yes, it delivers a very real sense of musical exploration to keep the listener hooked. AE Sound Quality: 80% Hi-Fi News Lab Report This is an 88.

Pages

X