2/12/2011
Frampton Comes Alive! HiRes 96/24
When it was originally released in 1976, I was a high school student and it's hard to buy this album just because it's an expensive double vinyl album.
So as far as I remember, I air-checked FM program and recorded it to cassette tape and enjoyed it.
Time passed away and this is the first time I purchase this album (in HiRes format).
I think dynamic range of this album is much improved than that of CD edition (like Paul McCartney's BOTR), but not for sure the difference is so distinctive compare to the full acoustic sound albums in HiRes format like Keith Jarrett "The Koln Concert".
But concerning the price is almost the same as Deluxe CD edition, I think it's worth buying HiRes editon.
Following is liner notes by HDTracks ;
Recorded live at the Winterland, San Francisco, California; Marin Civic Center, San Rafael, California; Island Music Center, Commack, Long Island, New York; State University Of New York at Plattsburgh, Plattsburgh, New York. Origianlly released as A&M (3703). Includes liner notes by Cameron Crowe.
By 1976, British singer/guitarist Peter Frampton was already a rock & roll veteran, a former member of the Herd (mid-'60s) and Humble Pie (early-'70s). After a few critically-acclaimed solo albums of melodic pop/rock, FRAMPTON COMES ALIVE was his breakthrough, one of the biggest-selling live albums in rock history, which spawned the huge radio hits "Show Me The Way" and "Baby, I Love Your Way." Accompanied by a tight, sympathetic band, and spurred on by an enthusiastic audience, Frampton rode the wave produced by this album to stardom.
Digitally remastered by Doug Sax (The Mastering Lab).
Includes liner notes by Cameron Crowe.
Personnel: Peter Frampton (vocals, guitar); Bob Mayo (vocals, guitar, Fender Rhodes, piano, organ); Stanley Sheldon (vocals, bass); John Siomos (drums).
Engineers include: Ray Thompson, Eddie Kramer.
Audio Remixers: Chris Kimsey; Peter Frampton.
Liner Note Author: Cameron Crowe.
Recording information: Fedco Recording Truck, NY (03/24/1975-11/22/1975); Island Music Center, Commack, Long Island, NY (03/24/1975-11/22/1975); Island, Music Center, NY (03/24/1975-11/22/1975); Marin Civic Center, San Rafael, CA (03/24/1975-11/22/1975); State University of New York, Plattsburgh, NY (03/24/1975-11/22/1975); SU Of New York City, NY (03/24/1975-11/22/1975); Wally Heider's Mobile Recording Truck, CA (03/24/1975-11/22/1975); Winterland, San Francisco, CA (03/24/1975-11/22/1975).
Photographers: Mike Zagaris; Ian Dickson; Richard Aaron; David Redfern.
Unknown Contributor Role: Richard Aaron.
Arranger: Peter Frampton.
Keith Jarrett LONDON / PARIS TESTAMENT HiRes 96/24
I like London part better than Paris part just because the sound is more relaxed.
But anyway, the piano improvisation album I like the best is still THE KOLN CONCERT.
2009 Album of the Year - Jazzwise (UK)
Following is liner notes by HDTracks ;
At the end of 2008, Keith Jarrett added two concerts to his schedule at short notice – one at Paris’s Salle Pleyel (November 26), one at London’s Royal Festival Hall (December 1) . The music on “Testament” is from these concerts. Their range is compendious, Jarrett’s improvisational imagination continually uncovering new forms, in a music stirred by powerful emotions. In his liner notes, the pianist is forthright about the personal circumstances promoting a need to lose himself in the work once more.
He also reminds the reader/listener that “it is not natural to sit at a piano, bring no material, clear your mind completely of musical ideas and play something that is of lasting value and brand new.” This, however, has been the history and substance of the solo concerts since Jarrett initiated them, almost forty years ago . Over time their connection to ‘jazz’ has often become tenuous, yet Jarrett’s solo concerts, with the foregrounding of melody and the continual building, and relinquishing, of structure, are also removed from “free improvisation” as a genre. Jarrett’s solo work is effectively its own idiom, and has been subject to periodic revisions by the pianist. “In the early part of this decade, I tried to bring the format back: starting from nothing and building a universe.”
Since the “Radiance” album and the “Tokyo Solo” DVD of 2002 Jarrett has been adjusting the flow of the work, more often working with shorter blocks of material. “I continued to find a wealth of music inside this open format, stopping whenever the music told me to.” This approach distinguished “The Carnegie Hall Concert” (2006), and it is most effectively deployed in “Testament” , where the strongly-contrasting elements of the sections of the Paris concert in particular have the logic of a spontaneously-composed suite. The nerves-bared London performance (the first UK solo show in 18 years) is different again: “The concert went on and, though the beginning was a dark, searching, multi-tonal melodic triumph, by the end it somehow became a throbbing, never-to-be-repeated pulsing rock band of a concert (unless it was a church service, in which case, Hallelujah!).”
In the end, the improviser does what must be done. As Keith Jarrett said, a long time ago, “If you’re a rock climber, once you’re halfway up the face of the cliff, you have to keep moving, you have to keep going somewhere. And that’s what I do, I find a way.”
These days, however, Jarrett is rationing the number of ascents: there have been less than thirty solo concerts in the last decade, making “Testament” a special event indeed. Two further solo performances are scheduled for 2009 – at the Palais des Beaux Arts in Brussels on October 9, and at Berlin’s Philharmonie on October 12.
Keith Jarrett / Charlie Haden JASMINE HiRes 44/24
Bit strange, it's HiRes but sampling rate is 44.1kHz/24bit.
The biggest advantage of this format is that you can hear this one with iPhone / iPod.
1. FOR ALL WE KNOW 9:45
J. FRED COOTS / SAMUEL M. LEWIS
CROMWELL MUSIC INC. /
TOY TOWN TUNES INC. (ASCAP)
2. WHERE CAN I GO WITHOUT YOU 9:20
PEGGY LEE / VICTOR YOUNG
DENSLOW MUSIC INC. /
CHAPPELL & CO. INC. (ASCAP)
3. NO MOON AT ALL 4:40
REDD EVANS / DAVID A. MANN
RYTVOK INC. / MUSIC SALES CORP. (ASCAP)
4. ONE DAY I’LL FLY AWAY 4:15
JOE SAMPLE / WILL JENNINGS
FOUR KNIGHTS MUSIC CO. / IRVING MUSIC (BMI)
5. INTRO 0:45
KEITH JARRETT
CAVELIGHT MUSIC (BMI)
I’M GONNA LAUGH YOU
RIGHT OUT OF MY LIFE 11:24
CY COLEMAN / JOSEPH MCCARTHY
NOTABLE MUSIC CO. INC. /
SONY/ATV TUNES LLC. (ASCAP)
6. BODY AND SOUL 11:09
JOHNNY GREEN / EDWARD HEYMAN /
FRANK EYTON / ROBERT SOUR
CHAPPELL & CO. LTD. (PRS)
7. GOODBYE 8:01
GORDON JENKINS
UNIVERSAL MUSIC CORP. (ASCAP)
8. DON’T EVER LEAVE ME 3:11
JEROME KERN / OSCAR HAMMERSTEIN II
UNIVERSAL POLYGRAM INT.
PUBL. INC. (ASCAP)
RECORDING PRODUCER: KEITH JARRETT
RECORDED MARCH 2007 AT CAVELIGHT STUDIO
ENGINEER: MARTIN PEARSON
MASTERING AT MSM STUDIOS
BY MANFRED EICHER AND CHRISTOPH STICKEL
COVER: MAYO BUCHER
PHOTO: ROSE ANNE JARRETT
DESIGN: SASCHA KLEIS
EXECUTIVE PRODUCER: MANFRED EICHER
Following is liner notes by HDTracks ;
Keith Jarrett and Charlie Haden back together again! Thirty three years after the break-up of Keith Jarrett’s great ‘American quartet’ , the pianist and bassist Charlie Haden reunited for an album of standards, played with deep feeling. The programme on “Jasmine” includes such classic songs as “Body and Soul”, “For All We Know” , “Where Can I Go Without You”, “Don’t Ever Leave Me” and more. Intimate, spontaneous and warm, the album, recorded at Jarrett’s home, has affinities, in its unaffected directness, with Keith’s “The Melody At Night With You”. Jarrett and Haden play the music and nothing but the music – as only they can. As Keith Jarrett says in his liner notes: “This is spontaneous music made on the spot without any preparation save our dedication throughout our lives that we won’t accept a substitute... These are great love songs played by players who are trying, mostly, to keep the message intact.”
An intimate new disc by two of jazz’s most influential players, heard here with a programme of love songs and standards. “Jasmine” is the first recorded collaboration between Keith Jarrett and Charlie Haden in more than thirty years. The last time they were together on record was on the live “Eyes of the Heart” disc, recorded 1976, a document from the final days of Jarrett’s great American Quartet (with Haden, Paul Motian and Dewey Redman), the group which also gave us the epochal “Survivors Suite”.
“Jasmine” is music-making of quite different scale and intention. Much has changed in the music of both men in the interim, but not the quality of their commitment to it. Amongst other endeavours, Jarrett and Haden have each, separately, given renewed attention to the music of the Great American Songbook, Jarrett in his widely-admired “Standards” project with Gary Peacock and Jack DeJohnette, for instance, and Haden with his Quartet West.
Early in 2007 Jarrett was invited to contribute some reminiscences to a film documentary about Haden (Reto Caduff’s “Rambling Boy”). This led to some informal playing together, which both enjoyed greatly. Jarrett then invited Haden to come over to his home for four days of recording in March 2007
Keith Jarrett (from the liner notes): “This recording was done in my small studio. So it is direct and straightforward. I chose to use the American Steinway that really isn't at all in the best of shape, yet I have this strange connection with it, and it is better for a kind of informality and slight funkiness that was going to work with the music. With a choice of songs this good, it was hard not to become engaged right away. We did not rehearse per se, but went over chords when necessary. ... Over close to three years we lived with these tapes, talked a lot about them, disputed over choices, but eventually I found Charlie to be the most remarkable and sensitive helper in getting this finally assembled. I wanted only the distilled essence of what we had, and it took some time to wean ourselves from going for hip solos or unevenly played tunes (even though they had wonderful things inside them). This is spontaneous music made on the spot without any preparation save our dedication throughout our lives that we won't accept a substitute. These are great love songs played by players who are trying, mostly, to keep the message intact. I hope you can hear it the way we did.”
iPhone with iOS 4.2 and ND-S1
According to ONKYO press release, new model = ND-S1000 is fully compatible with iPhone, rumoured it's just cosmetically upgraded (lots of aluminum parts used), but logic board or inside parts are the same as ND-S1, so I suspend to purchase concerning the price = USD 300.00 around) and save money to purchase mac mini.
LUSH LIFE JOHN COLTRANE HiRes 88/24
Since I didn't like Coltrane much probably because "Love Supreme" and "Ballad" were not my favour, I only like Coltrane's very straight ahead jazz albums like "Blue Train" and "Soultrane" and thought it's enough for me to pursue at that time.
I'm lucky to purchase this one in HiRes edition.
As I have been said, the sound quality of HiRes one is outstanding especially in acoustic sound and it means most of modern jazz albums in HiRes format will be superior than that of CD edition.
Prestige label released SACD edition as a series through 2003 to 2004 and this one is one of them like "RELAIN' WITH THE MILES DAVIS QUINTET" and mastered by Joe Tarantino as well (and not available now neither).
RELAXIN' WITH THE MILES DAVIS QUINTET HiRes 88/24
According to the booklet in PDF file, the source sound mastering came from SACD edition released in 2004, mastered by Joe Tarantino.
I purchased this one @ HDTracks, but now not available, maybe this one was available only limited time.
A Valentine Gift From Rumer
Hey there,
I've sent you Rumer's cover of Joan Armatrading's 1976 hit "Love and Affection"
To download, simply click the link below.
DOWNLOAD
Liked Love and Affection? You can also get a free download of 'Long Long Day' signing up to the official Rumer mailing list HERE.
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