One of those impossibly perfect titles that seems to have been sprinkled with fairy dust from the get go.
Doubtless you could analyse why this should be so, but - "the closer ...
Good to see that Presto have become a linked supplier at last. they have served us extremely well in the UK for many years and kept going when most others have fallen by the ...
Thanks for the review, John. I'm wondering whether this will add to my understanding of the Bach so may I ask if it's clear whether the detective work in the Ciaconna is ...
My take from your review is that they play the excised passage and that this passage is normally not recorded or played. Is that correct? I have the Eisenstadt Trio ...
I have owned and regularly listened to the RBCD of this for many a year. I saw the SACD set for less than a tenner so bought it. The sound is a definite improvement and I ...
Fausto kantiano, I have the Sieghart recording and it is excellent, indeed. I managed to buy it as an used copy through European seller so the shipping costs weren't ...
Thank you for your helpful comment, Imz! Klaus Tennstedt conducted the finale in his 1989 live recording (LPO 0044 RBCD) approximately in the same tempo as he calculated it to ...
The previous Gatti release was recorded in DXD so fingers crossed this will become the recording standard at the RCO now. As near to DSD as we'll get probably at this venue.
Chick Corea: Return to Forever
Tower Records/Universal ECM PROZ-1088
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2 of 2 recommend this, would you recommend it? yes | no
Another keeper from the Tower Records (Japan) and ECM.
Sonically very good. I don't know enough about the DR history of this title, but as far as I can tell it has not been further compressed for this SACD. It comes in with a Dynamic Range average of 11. Clearly though, it must have had a nudge at some point in the more distant past to get that figure.
The album was recorded by Tony May at IBC Studios, London, in 1972 (same studio where The Who recorded "Tommy"). The mix from multichannel to stereo master tape may have involved the use of equalization and analogue compression, common practices when preparing a tape for LP mastering.
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