MUSIC DISC & DOWNLOAD REVIEWS

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Steve Guttenberg Posted: Dec 02, 2005 0 comments
Brothers in Arms was a monster seller of the 1980s and yielded Dire Straits' MTV anthem, "Money for Nothing." Beyond the pop successes, the band's music was coveted by audiophiles for its sweet sound; back in the day, I wore out countless Brothers in Arms LPs at my job selling high-end audio gear. Reconnecting with the music in this new 20th Anniversary Edition, remastered to DualDisc, was a total pleasure.
Mark Fleischmann Posted: Oct 04, 2005 0 comments
Sergei Rachmaninov's second piano concerto demands both a virtuoso pianist and a huge, supple orchestral sound. It gets both in this multichannel recording from Deutsche Grammophon, which pairs Lang Lang with a venerable Russian orchestra.
Mark Fleischmann Posted: Oct 04, 2005 0 comments
Isn't it a little odd to squeeze a whole symphony orchestra into a living room? The great thing about chamber music is that it's designed to be played in the home, correctly scaled to your personal space. It's best heard live, of course-but, if you can't invite musicians over for tea, the next best thing might be to feed your universal disc player this well-recorded pair of Beethoven chamber works.
Chris Lewis Posted: Oct 28, 2005 Published: Aug 28, 2005 0 comments
HT's audio and video editors share the test and demo discs they use to put a system through its paces.

Audio Test Discs

Mark Fleischmann Posted: Aug 26, 2005 0 comments
Imagine the score for a 33-minute film noir with nonstop action. That's Béla Bartók's The Miraculous Mandarin in a nutshell, although it's actually a one-act dance suite. The story concerns three thugs who use a young woman as bait to rob a series of victims, culminating in the Mandarin. They murder him—but not before he consummates his passion for the girl. The plot had enough sex and violence to get it banned immediately upon its 1926 debut in Köln, Germany.
Mark Fleischmann Posted: Aug 04, 2005 0 comments
Even people who know nothing about Brazilian music recognize the urbane Latin syncopation of the bossa nova beat. The language, of course, is Portuguese, not Spanish. The key names in Brazilian pop music are Jobim and Gilberto; in orchestral and chamber music, Villa-Lobos. Arguably, the most alluring voice in Brazilian music today belongs to Rosa Passos, who partners with jazz bassist Ron Carter on this audiophile release.
Mark Fleischmann Posted: Jan 11, 2006 Published: Jul 11, 2005 0 comments
A trembling flute figure drifts into the air and hangs there, sensuously falling and rising. It's one of the most celebrated moments in orchestral music, and the free, blissful, agile development that follows does not disappoint. Nor does Telarc's multichannel recording of this sumptuous work.
Adrienne Maxwell Posted: Jan 11, 2006 Published: Jul 11, 2005 0 comments
I don't know how many banjo players you can name, but I can come up with two: Bela Fleck and Roy Clark (and I had to cheat to get Roy Clark-before a trip to IMDB.com, it was "that guy from Hee-Haw"). Even if you've never heard of Bela Fleck, you've probably heard his music, as he's appeared on a ton of pop and jazz albums. He's won Grammys in the country, jazz, classical, and pop categories, but his roots are pure bluegrass.
Adrienne Maxwell Posted: Jun 26, 2005 0 comments
By mere coincidence (or perhaps not), I sat down to review this new hybrid SACD on the rare rainy day in Los Angeles (although not quite as rare this winter). The two were a perfect fit. The Jazz Kamerata has a comfortable warmth about it, inviting you to wrap yourself in it and settle in for a lazy afternoon.
Ken Richardson Posted: Apr 16, 2007 0 comments

Michael Berk Posted: Jul 25, 2012 0 comments

If you're a fan of Blue Note's classic releases of the '50s and '60s - and frankly, what jazz aficionado isn't? - and you're a discerning digitally inclined audiophile, you're in luck! Blue Note/EMI, through our friends at HDtracks, is releasing six classics of the period in glorious 96kHz/24bit and 192kHz/24bit remasters from the original analog masters. 

Parke Puterbaugh Posted: Mar 03, 2008 0 comments
The Golden Age Merge
Music •••• Sound •••½

Generous, affirmative, openhearted: These aren't the first words t

Parke Puterbaugh Posted: Jul 05, 2006 0 comments
Surprise Warner Bros.
Music •• Sound •••
Paul Simon's first album in six years is called Surprise, without an excl
Mike Mettler Posted: Oct 05, 2012 0 comments

Duke Ellington knew how to swing. Ellington (1899–1974) was one of the most prolific and influential songwriters of the 20th Century, a purveyor of what he liked to call American Music (he eschewed being labeled as “just” a jazz artist). You know him, even if you don’t think you know him: “Take the ‘A’ Train,” “Mood Indigo,” and “It Don’t Mean a Thing (If It Ain’t Got That Swing)” are but slivers of his deep (and deep-felt) compositional and performing catalog.

One particular set of highly attuned ears that were influenced by Ellington’s magic happen to belong to Joe Jackson. Yes, that Joe Jackson, he of the skinny-tie New Wave scene of the late ’70s who began reinventing himself at the dawn of the ’80s and never looked back. “I was always ready to move on,” Jackson, 58, said matter-of-factly over lunch in midtown Manhattan this past spring. (Well, to clarify, I had lunch; Jackson was content with “just water.”) “It never occurred to me that listeners may not have been ready to hear it. I thought the whole idea of being an artist was to do something different than everyone else.”

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