Jul 28

簡介:

黃翠珊Susan Wong在音響界是一個響噹噹的名字,曾使用藝名黃浩詩(Janelle Wong),香港女歌手,有HiFi歌後之稱,專門演繹經典的英文金曲。人們對她的來歷傳說紛紜,有說她是一位酒廊歌手,又有傳聞她是來自東南亞地區。原來她是地道的香港人,只是自幼往澳洲留學,說得一口流利的英語。她18歲時曾經加入盛極一時的樂壇,只可惜日本總唱片公司撤離香港,她毅然決定考會計師牌,成為一個專業會計師,2002年在音樂人Keith Yip(葉健華)引薦下推出發燒英語專輯《Close To You》而在音響界大受歡迎而繼續她的音樂事業。

Hi-Fi天后Susan Wong集十年大成之最新力作!於2002年正式出道的Susan Wong加盟Evosound旗下第四張專輯《流金歲月》,除了遠赴美國洛杉磯最著名的百年教堂Ocean Way Studios錄製,更號召頂尖樂手合作,盡善盡美的發燒經典於焉誕生!Susan Wong個人更私心推薦:「這是我出道以來,最棒的專輯!」
從選曲即可看出《流金歲月》絕對是Susan Wong個人最愛的專輯!麥可傑克森的「Billie Jean」與地球風與火樂團的「September」,在Susan Wong充滿玩心的詮釋下,展現俏皮清甜的青春氣息;木匠兄妹合唱團歷久彌新的代表作「Close To You」,由Susan Wong唱來,舒緩動人;感性低吟的「You Make Me Feel Like A Natural Woman」正是靈魂歌後艾瑞莎.弗蘭克林的名曲;而爵士名伶茱莉.倫敦的「Cry Me A River」,純美如酒的餘韻久久不散;更別說是電影《修女也瘋狂》系列的主題曲「I Will Survive」,少了激昂,卻蘊含更多內斂的精彩情愫;搖滾大團老鷹合唱團的抒情之作「Love Will Keep Us Alive」與「Desperado」,經由Susan Wong演唱,更顯清新柔情。
集結了民謠、爵士,搖滾與靈魂樂的此張專輯中,樂迷更能驚喜的發現Susan Wong的嗓音,有別於以往的輕柔可人,更增添了不少成熟厚實的韻味!為自己的演唱生涯,立下嶄新里程碑。

曲目:

1 You’ve Got A Friend 03:59
2 Billie Jean 03:33
3 Something 03:09
4 (They Long To Be) Close To You 03:19
5 September 03:38
6 You Make Me Feel Like A Natural Woman 03:45
7 What A Difference A Day Made 03:35
8 Perfect 03:58
9 Cry Me A River 04:44
10 I Will Survive 03:19
11 Love Will Keep Us Alive 04:56
12 California Dreaming 03:30
13 When You Say Nothing At All 04:05
14 Sometimes When We Touch 04:19
15 Have You Ever Seen The Rain03:19
16 Do That To Me One More Time 03:58
17 Desperado 03:23

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Jul 28

發行公司:EVOSOUND
產品編號:EVSA057S
發行日期:2009/06/16
媒體形式:SACD

yesasia

~Hi-Fi天后全新大碟~
清新Bossa Nova風,再次挑戰發燒友的聽覺

  Susan Wong,一位以音樂打動人心但卻十分低調的女歌手,專輯廣受發燒友喜愛,被讚譽為Hi-Fi天后,但也因自身的低調而被冠上亞洲神秘女歌手的稱號。。出生在香港的Susan Wong,七歲時隨家人移居到澳洲雪梨,從五歲起開始學鋼琴,16歲時返港參加歌唱大賽被發掘,一度中斷音樂夢,但Susan的心中,仍懷有對音樂的熱情,最後再度與唱片圈結緣,一連發行的四張專輯,均深獲好評。

  SusanWong 2009年的全新大碟《511》,一反常態地沒有收錄經典的Bossa Nova名曲,而選擇了更高難度的挑戰,將許多膾炙人口的流行巨星名曲改編成Bassa Nova版本,例如麥可傑克森的《Billie Jean》、惠妮休斯頓的《Saving All My Love》、ABBA《The Winner Takes It All》、保羅楊的《Every Time You Go Away》、地球風與火樂團的《September》等,以及近期紅透半邊天的蕾哈娜成名曲《Umbrella》。Susan此次也邀請吉他手Ignacio Lamas擔任製作人,遠赴瑞士日內瓦錄音,也由於有數首歌直接在飯店內錄音,所以專輯的名稱便紀念性地以當時居住的房號取名。

  美景當前,令人忘卻塵俗凡務,而放鬆愉悅的聆聽正是Bossa Nova音樂迷人之處,在群山麗景中錄音,也就不難想見這張專輯會有多精彩!

  本專輯錄製於瑞士,並由著名大師Kevin Metcalf於英國倫敦的Soundmasters以96khz / 24bit收錄, 混音及製版. 而5.1 Surround mix技術製版由此技術的發表者Simon Heyworth於英國的Super Audio Mastering。

曲目

01.September 九月
02.I’m Not In Love 我沒愛上你
03.You Are So Beautiful 你如此美麗
04.Home 家
05.Umbrella小雨傘
06.Blame It On The Boogie 都怪搖滾樂
07.Everythime You Go Away每次你離開
08.Billie Jean 比利珍
09.Empty Room 空房
10.Windmills Of My Mind 心中的風車
11.It Ain’t Over ‘ Til It’s Over 還未真正結束
12.Saving All My Love For You 把全部的愛留給你
13.The Winner Takes It All勝者為王

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Jul 26

Queen – Jazz (1978) [Japanese Limited SHM-SACD 2012 # UIGY-9516]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 44:52 minutes | Scans included | 1,82 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 907 MB
based on Digital Remaster 2011 | Genre: Jazz

Famously tagged as “fascist” in a Rolling Stone review printed at the time of its 1978 release, Jazz does indeed showcase a band that does thrive upon its power, thrilling upon the hold that it has on its audience. That confidence, that self-intoxication, was hinted at on News of the World but it takes full flower here, and that assurance acts as a cohesive device, turning this into one of Queen’s sleekest albums. Like its patchwork predecessor, Jazz also dabbles in a bunch of different sounds – that’s a perennial problem with Queen, where the four songwriters were often pulling in different directions – but it sounds bigger, heavier than News, thanks to the mountains of guitars Brian May has layered all over this record. If May has indulged himself, Freddie Mercury runs riot all over this album, infusing it with an absurdity that’s hard to resist. This goofiness is apparent from the galloping overture “Mustapha,” and things only get a lot sillier from that point out, as the group sings the praises of “Fat Bottomed Girls” and “Bicycle Races,” as May and Mercury have an unspoken competition on who can overdub the most onto a particular track while Roger Taylor steers them toward their first disco song in the gloriously dumb “Fun It.” But since over-the-top campiness has always been an attribute in Queen, this kind of grand-scale exaggeration gives Jazz a sense of ridiculousness that makes it more fun than many of their other albums.

Tracklist:
01. Mustapha
02. Fat Bottomed Girls
03. Jealousy
04. Bicycle Race
05. If You Can’t Beat Them
06. Let Me Entertain You
07. Dead On Time
08. In Only Seven Days
09. Dreamers Ball
10. Fun It
11. Leaving Home Ain’t Easy
12. Don’t Stop Me Now
13. More Of That Jazz

This 2011 version has been meticulously re-created using the finest modern analogue and digital technology from the original first-generation master mixes.
Mastered by Bob Ludwig, Gateway Mastering Studios, Portland, ME. SA-CD Authoring: Gus Skinas.

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Jul 22

Lake Street Dive – Side Pony (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 40:22 minutes | 849 MB | Genre: Folk, Jazz
Studio Master, Official Digital Download  – Source: HDTracks | Digital Booklet | © Nonesuch

Lake Street Dive’s presents their Nonesuch Records debut album, Side Pony. The four band members—drummer Michael Calabrese, bassist Bridget Kearney, singer Rachael Price, and guitarist/trumpeter Michael “McDuck” Olson—worked with Nashville-based producer Dave Cobb (Sturgill Simpson, Chris Stapleton, Secret Sisters) on the record.

“. . .We’ve always been this somewhat uncategorizable, weird, outlying, genre-less band. That’s the statement we wanted to make with this record: be yourself.” – bassist Bridget Kearney

Centered on the warm, highly resonant vocals of Rachael Price, Boston’s Lake Street Dive began their career as an eclectic, adventurous quartet just as likely to play a twangy, Fleetwood Mac song or a Hall & Oates cover as any of their own soulful, jazz- and R&B-influenced originals. However, since their 2010 eponymous debut, Lake Street Dive, which also features guitarist/trumpeter Mike Olson, bassist Bridget Kearney, and drummer Mike Calabrese, have streamlined their approach, whittling their influences down to a handful of touchstones from guitar-soaked Southern rock to buoyant, dance-oriented old-school R&B. On the group’s fourth full-length album and Nonesuch Records debut, 2016’s Side Pony, they’ve honed their sound even further, zeroing in on a vintage-inspired, ’60s soul aesthetic. Named after Kearney’s hairstyle, and serving as an easy metaphor for the group’s unpredictable creative choices, Side Pony was recorded in Nashville with producer Dave Cobb, who has previously worked with the likes of Jason Isbell, Sturgill Simpson, Shooter Jennings, and others. Purportedly, Cobb requested the band come to the sessions with song sketches, rather than fully composed pieces. Furthermore, he encouraged them to crate dive for vintage LPs from which to draw inspiration, a process that may have led the band to sample Major Lance’s rare 1978 Motown-side “Love Pains” for their ’70s disco-era soul-sounding track “Can’t Stop.” While there is plenty to admire about how closely Lake Street Dive hew to their vintage-sounding paradigm, they do take some interesting side-steps on their retro journey, jumping into the Beatles-meets-Janis Joplin-sounding “I Don’t Care About You,” and kicking out the jams on the fuzz-toned, psych-soul anthem “Hell Yeah.” Ultimately, hooks abound on Side Pony and cuts like “Godawful Things,” “Call Off Your Dogs,” and “How Good It Feels,” with their shimmery, echo-chamber, AM Radio vibe, stick in your head about as much as many of the classic sides they are attempting to match. ~~AllMusic Review by Matt Collar

Tracklist:
1. Godawful Things 03:47
2. Close to Me 04:18
3. Call Off Your Dogs 03:25
4. Spectacular Failure 02:32
5. I Don’t Care About You 03:38
6. So Long 02:45
7. How Good It Feels 02:14
8. Side Pony 03:02
9. Hell Yeah 03:24
10. Mistakes 04:08
11. Can’t Stop 03:25
12. Saving All My Sinning 03:44

Personnel:
Rachael Price, vocals (1–12), background vocals (3, 4, 8, 9, 11, 12), vocoder (3), handclaps (11, 12)
Bridget Kearney, bass (1, 2, 4–9), background vocals (1–12), piano (1), acoustic bass (3), electric bass (3, 10–12), Mellotron (3), screams (3), celeste (8), organ (9), handclaps (11, 12)
Mike “McDuck” Olson, guitars (1–9, 11, 12), background vocals (1, 2, 4–12), Moog (1), organ (1), Mellotron (2, 3, 5–9, 11, 12), trumpet (3, 4), screams (3), organ guitar (4), celeste (8), Rhodes (10–12), handclaps (11, 12)
Michael Calabrese, drums (1–12), background vocals (1, 2, 4–12), tambourine (1–6, 8, 9, 11, 12), handclaps (1, 3, 11, 12), congas (3, 8, 9, 11, 12), shakers (3, 4, 8, 9, 11, 12), vocal percussion (3), screams (3), organ (5), marching kit (11), triangle (11)
Dave Cobb, handclaps (1, 3, 11), vocoder knobs (3), acoustic guitar (6), volume knob (9)
Emily Lichter, handclaps (11)

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Jul 22

Richard Bona – Bonafied (2013)
FLAC (tracks) 24-bit/96 kHz | Time – 52:36 minutes | 1002 MB | Genre: Jazz
Official Digital Download – Source: Qobuz | Digital booklet | © Universal Music France

Jazz bassist Richard Bona was born and raised in the West African nation of Cameroon, going on to session dates with Joe Zawinul, Regina Carter, and Bob James as well as a two-year stint as musical director for the great Harry Belafonte. He made his debut as a headliner in 1999 with Scenes from My Life, and two years later Reverence came out.

Tracklist:
01 – Dunia E
02 – Mut’Esukudu
03 – Akwappella
04 – Janjo La Maya
05 – Mulema
06 – Uprising Of Kindness
07 – Tumba La Nyama
08 – Diba La Bobe
09 – La Fille D’A Côté
10 – Socopao
11 – On The 4th Of July

Produced by Richard Bona.

Musicians:
Richard Bona – bass, vocals, guitars, percussion, balafon
Dave Eggar – cello
Etienne Stadwijk – acoustic piano
Michael Rodriguez – trumpet
Osmany Parades – acoustic piano
Obed Calvaire – drums
Luisito Quintero – percussion
Eriko Sato – violin
Joyce Hamann – violin
Louise Schulman – viola
David Eggar – cello
Gil Goldstein – string arrangement
Vincent Perrani – accordion
Camille Dalmais – vocals
Sylvain Luc – guitars

Please note: Track “9” presented in 24bit/44kHz

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Jul 21

Louise Rogers – Black Coffee (2010)
FLAC (tracks) 24 bit/96 kHz | Time – 58:21 minutes | 1,2 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital Booklet | © Chesky Records

Jazz vocalist Louise Rogers has been gradually winning over converts with her beautiful burnished tone, clear diction, flawless intonation and impeccable musicianship. Her natural, unforced delivery harkens back to such pure singers as Peggy Lee, Ella Fitzgerald, Chris Connor, and Doris Day.

BLACK COFFEE is her 5th recording, and finds Rogers taking a more relaxed and restrained approach over 12 songs, including standards “Ain’t Misbehavin’” and “Gentle Rain” and a moving take on “Alice In Wonderland” as well pop numbers, such as Peggy Lee’s 1956 hit “Black Coffee”.

Tracklist:
01 – Comes Love
02 – Alice in Wonderland
03 – Easy to Love
04 – Sentimental Journey
05 – Lazy Afternoon
06 – Pennies from Heaven
07 – Alright Okay You Win
08 – Black Coffee
09 – Ain’t Misbehavin’
10 – Happiness Is a Thing Called Joe
11 – Skylark
12 – When the Sun Comes Out
13 – Be My Baby
14 – Gentle Rain

Main Artists Louise Rogers
Billy Drummond – drums
Paul Meyers – guitar
Rick Strong – bass

Producer David Chesky
Executive Producer Norman Chesky
Engineer Rick Eckerle, Nicholas Prout
Assistant Engineer Alex Sterling

This album was made with the purest audio path, using the very best microphones, mic preamps, analog-to-digital converters, recorders, and cables with careful attention to detail to produce the most transparent and natural sound available today.

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Jul 21

Louis Armstrong – What A Wonderful World (1968/2012)
FLAC (tracks) 24 bit/192 kHz | Time – 31:36 minutes | 1,24 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital booklet | © The Verve Music Group

The album, highlighted with his expressive and emotive vocal styling, includes arguably one of the greatest songs ever written, “What A Wonderful World,” a recording that would be inducted into the GRAMMY® Hall of Fame and continues to transcend countless generations of music lovers.

Helmed by legendary producer Bob Thiele, this 1968 recording ushered Louis Armstrong into his later days as a pop vocalist. Here, the trumpet that drove Armstrong’s early Hot Fives and Sevens is more subdued as his familiar gravelly voice takes center stage. Showcasing the powerful title track as well as several cheery pop favorites, Armstrong’s prowess as an interpreter of song is unmistakable during these recordings, despite his rapidly failing health. Satchmo’s amiable presence carries this recording through a few slow moments and has endeared the album as a pop vocal classic.

Tracklist:
01 – What A Wonderful World (Single Version)
02 – Cabaret (Single Version)
03 – The Home Fire (Album Version)
04 – Dream A Little Dream Of Me (Album Version)
05 – Give Me Your Kisses (Album Version)
06 – The Sunshine Of Love (Single Version)
07 – Hello Brother (Single Version)
08 – There Must Be A Way (Album Version)
09 – Fantastic, That’s You (Album Version)
10 – I Guess I’ll Get The Papers And Go Home (Album Version)
11 – Hellzapoppin’ (Single Version)

About the Mastering:
Mastering was completed by Kevin Reeves at Sterling Sound NYC, using the original 1/4″ analog masters from the ABC Records vault. The masters were played on a modified Studer A820 with Wolke Butterfly heads and converted to digital at 192khz/24bit resolution using the DCS 904 converter and Sterling’s proprietary mastering systems. As always, the most direct signal path was maintained throughout the mastering process.

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Jul 21

Louis Pimentel – The Interstellar Group (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 00:45:53 minutes | 578 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Bandcamp | Front Cover | © Self Released

This is my first recording project that I have decided to take up in the Summer of 2015. I had enough original music to create an album and great musicians that were available to record it, so I asked “Why not?”. A lot of these compositions were written over the course of the two years when I first decided to take up composing. I am so proud on how these tracks have turned out! There are some great moments that have been recorded and I hope that you will enjoy listening as much as we had enjoyed playing it!

Tracklist
1. Level One
2. Searching
3. Always (For You)
4. Stream Of Consciousness
5. Cosmic Undulation
6. Pandemonium

Musicians
Louis Pimentel – saxes, compositions
Shai Golan – alto sax
Zach Ramacier – trumpet
Adam Hersh – piano
Andy McCauley – bass
Kirk Portuguez – drums

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Jul 20

Kenny Dorham – Trompeta Toccata (1964/2014)
FLAC (tracks) 24 bit/192kHz | Time – 00:37:09 minutes | 1,41 GB | Genre: Jazz
Official Digital Download – Source: Qobuz | © Blue Note Records
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on September 4, 1964

It seems strange and somewhat tragic that this was trumpeter Kenny Dorham’s last full album as a leader for he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson’s catchy “Mamacita” also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert “Tootie” Heath served as a strong (if premature) ending to Dorham’s impressive career as a solo artist. –Scott Yanow, AllMusic

Leave it to the least showy, most thoughtful of trumpet players to compose and perform a Trompeta Toccata (show piece) and make it work. Any new reissue of a Kenny Dorham date is welcome, guaranteed to be full of Dorham’s inventive twists and surprises as a soloist as well as composer. But as the very last recording session by Dorham as leader (it was recorded in 1964), this one merits special consideration.
The presence of the trumpeter’s favorite frontline companion at this time, tenor saxophonist Joe Henderson, will further enhance its value to some listeners. It’s hard to argue against Henderson’s main predecessor, Hank Mobley, as more compatible with Dorham’s deceptive facility and melodic logic, but the presence of Henderson seemed to push Dorham into more adventurous territory as both composer and player. Henderson’s Coltrane-inspired harmonics and overtones during his somewhat edgy, rough-hewn solos practically required an answer from Dorham in the form of more adventurous solo constructions and modal compositions.
The title piece is one-of-a-kind yet vintage Dorham, taking the music of the bull fight, toreador and matador, stripping it of all the gratuitous trappings, and distilling it to its dramatic and poignant flamenco essence. Besides the artistry of Dorham, the talents of both Henderson and bassist Richard Davis are also heard to full advantage (thankfully, Davis’ strong but lengthy solo stops just short of changing the character of this delicately balanced tone poem into a vehicle for bass).
In some respects, the piece is a highly concentrated, orchestrally spare version of the Miles Davis/Gil Evans recording of Rodrigo’s famous “Concierto De Aranjuez on the Sketches Of Spain album (Columbia, 1959), with Tommy Flanagan’s piano as the subtle, colorful counterpart of Evans’ image-rich, evocative orchestration. (Flanagan is one of the few pianists whose touch is so personal, so distinctive that not even Van Gelder can homogenize it.)
Trompeta Toccata offers a later, more idiosyncratic Dorham, sounding vulnerable and breathy one instant and dynamically brilliant and virtuosic the next. It’s when he moves to the upper register, without betraying a hint of strain or pushing, that his sound really opens up, “blossoming” into bright radiance and fullness. Then there’s that inimitable “growl” (sounding more like a cornered, frightened and ornery kitten) for added tonal variety and humor—possibly Dorham’s response to Henderson’s husky harmonics and percussive articulations.
The “growl” shows up not only in the Toccata but in the debut of “Blue Bossa,” from Henderson’s own debut session, Page One (Blue Note, 1963), as well as in the title tune of Dorham’s Una Mas, which again matches him with the textures of Henderson’s unshaven, masculine sound. But one of the tunes, “The Fox,” harkens back to the kind of challenging, rapidly changing chord sequence that only Dorham, with the possible exception of Mobley, could negotiate with such effortless facility and consummate command. It’s the one tune on both of the present sessions that captures the trumpeter at his lithe best, putting on the sort of harmonic clinic that characterizes his indispensable on-location Blakey session pairing him with Mobley (Jazz Messengers: At the Cafe Bohemia, Blue Note, 1955).
As the quintessential musician’s musician, never showing a need to play merely to “impress,” Dorham seemed intent on precluding others from judging his music by writing his own epitaph in the form of an extended orchestral work. Seeing it to completion remained his dream to the end, and somewhat sadly his album Whistle Stop concludes with a 69-second fragment of that dream, “Dorham’s Epitaph.
Even without the grand closure of a fully-realized requiem, Kenny Dorham remains a giant, belonging on any short list of trumpet immortals. In fact, once Louis Armstrong, Dizzy Gillespie and Clifford Brown have been accounted for, it can be difficult to move any further down the list without at least giving serious thought to the insertion of Kenny Dorham’s name. Given more familiar and influential trumpet styles, it can take a while for a new listener to “get” Dorham. Soon, however, it’s impossible to get enough of him. –Samuel Chell, All About Jazz

Tracklist:
1 Trompeta Toccata 12:22
2 Night Watch 5:44
3 Mamacita 11:03
4 The Fox 7:58

Personnel:
Kenny Dorham, trumpet
Tommy Flanagan, piano
Joe Henderson, tenor saxophone
Richard Davis, double bass
Albert Heath, drums

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Jul 20

Kenny Dorham – Una Mas, One More Time (1963/1999/2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 36:46 minutes | 369 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Front Cover | © Blue Note Records
Rudy Van Gelder Edition, Remastered

When one thinks of great talent scouts in jazz, the name of Kenny Dorham is often overlooked. However, many top young players benefited from playing in his groups, and for proof one need look no further than the lineup on this 1963 CD reissue: tenor-saxophonist Joe Henderson, bassist Butch Warren, and (before either player joined Miles Davis) pianist Herbie Hancock and drummer Tony Williams. Together the quintet performs three of the trumpeter’s originals (“Una Mas” is the most famous) along with the standard ballad “If Ever I Would Leave You.” Even if the playing time (under 37 minutes) is a bit brief, the explorative yet swinging music lives up to its potential. ~ Scott Yanow

Tracklist:
01 – Una Mas (One More Time)
02 – Straight Ahead
03 – Sao Paulo
04 – If I Ever I Would Leave You

Produced by Alfred Lion.
Recorded on April 1, 1963 at Van Gelder Studio, Englewood Cliffs, NJ.
Remastered by Rudy Van Gelder at Van Gelder Studio.

Musicians:
Kenny Dorham – trumpet
Herbie Hancock – piano
Joe Henderson – tenor saxophone
Butch Warren – double bass
Tony Williams – drums

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