Also from Soundscape:
Sun Ra Arkestra: Live From Soundscape DIW-CD-388
Material: Live From Soundscape DIW-CD-389
Back On 52nd Street DIW-CD-406
Latin New York DIW-CD-408
Interpretations Of Monk, Vol. 1 KOC-CD-7838; Vol. 2 KOC-CD-7839

AllMusic Review by Heather Phares
Live From Soundscape: Latin Jazz features four extended performances recorded at the Soundscape. Paquito D’Rivera’s „Estamos Ahi,“ Jorge Dalto’s „Avenida Buenos Aires/Carnevalito,“ Hilton Ruiz’s „Body and Soul,“ and Jazzbata’s „Jazzbata“ make for a sophisticated and spontaneous album of Latin jazz.

Artykuł DIW Japan<br />Live From Soundscape – Latin Jazz pochodzi z serwisu Cleartone.

Artykuł DIW Japan<br />Live From Soundscape / Hell’s Kitchen pochodzi z serwisu Cleartone.

Er hat mit Künstlern wie Herbie Hancock, Mick Jagger, Bootsy Collins, Sly & Robbie, Pain Killer und Last Exit zusammengearbeitet. Die Band besteht aus Michael Beinhorn an den elektronischen Instrumenten, dem renommierten Avantgarde-Gitarristen Fred Frith und drei Schlagzeugern. Das Album enthält nur einen einzigen langen, einstündigen Track. Diese außergewöhnliche Musik brachte Material den Ruf als Höhepunkt der Downtown-Jazz-Avantgarde ein, und Laswell gilt als einer der herausragendsten Musiker der letzten 20 Jahre. Dieses wichtige Dokument erfordert vom Zuhörer aufrichtiges und echtes Engagement. (BL)

Artykuł DOW Japan <br />Bill Laswell<br />Live From Soundscape pochodzi z serwisu Cleartone.

Artykuł Stevie Ray Vaughan <br />Couldn’t Stand The Weather <br />ULTRADISC ONE STEP LP pochodzi z serwisu Cleartone.

Strictly limited to 7,000 numbered copies and pressed on SuperVinyl at RTI, Mobile Fidelity’s ultra-hi-fi UltraDisc One-Step collector’s edition brings Vaughan and Co. into your listening room and places them at your feet. You’ll enjoy deep-black backgrounds, pointillist details, staggering dynamics, and arguably, the most lifelike tonalities and nuances ever committed to vinyl. Experienced via UD1S, Vaughan’s scrunched-up face, closed-eyes appearance, quick-draw fingers, and cowboy hat into pristine focus. More importantly, the searing tones from his Fender Stratocaster and every touch of his pick on the strings are captured with extreme delicacy. You won’t miss a note. The soundstage is deep and wide, and the microdynamics pop. This is the closest you will ever come to hearing Vaughan perform in Antone’s, circa 1982.

The lavish packaging and beautiful presentation of Mobile Fidelity’s Texas Flood UD1S pressing befit its extremely select status. Housed in a deluxe box, this UD1S version contains special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this reissue exists a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound quality and creativity, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the textures.

Born of hot, sweaty bars and years of woodshedding in front of demanding crowds, Texas Flood is rooted in Austin’s rich musical heritage – as well as Vaughan’s tenure in Paul Ray & the Cobras, recipient of the „Best Band“ award in the city’s first-ever music poll. After getting his feet underneath him, Vaughan formed Triple Threat, the ensemble that morphed into Double Trouble, with which he’d perform with for the remainder of his career. Having evolved from a quintet to a trio, extra demands were placed on Vaughan’s role and playing – requirements he was more than comfortable to accommodate.

The evidence is scattered throughout Texas Flood, which single-handedly resuscitated a long-dormant genre. Spending more than half a year on the Billboard charts, the record pays homage to influences (Hendrix, Albert King, Larry Davis) and ripples with a freshness that joins contemporary Texas blues and muscular rock at the hip. Vaughan’s playing prizes emotion and pace, whether he’s lighting it up on the jumpy „Love Struck Baby“ or bursting with enthusiasm on the sparks-shooting „Pride and Joy.“

The trio proves equally mesmerizing on slow numbers, with covers of Howlin‘ Wolf’s „Tell Me“ and Davis‘ “ Texas Flood“ weeping with longing. And as if to insure his name is etched in history, Vaughan takes a jazzy stroll with the instrumental tribute „Lenny,“ covering all the bases in less than 40 minutes. On par with anything recorded by Eric Clapton, Paul Butterfield, John Mayall, Johnny Winter, and the like, Texas Flood remains legion.

<b>More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior</b>

Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab’s new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a „convert.“ Delicate „converts“ are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

<b>Mobile Fidelity SuperVinyl: The World’s Quietest Surfaces and Cleanest Grooves</b>

Mobile Fidelity SuperVinyl is a new proprietary compound developed by NEOTECH and RTI to address two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. Mobile Fidelity Sound Lab feels SuperVinyl provides the closest approximation of what we hear in the mastering lab.

Artykuł Stevie Ray Vaughan<br /> Texas Flood <br />ULTRADISC ONE STEP LP pochodzi z serwisu Cleartone.

Works
Monk, T: ‚Round Midnight
Rivera, P: New York Suite
Romero, Aldemaro: Preludio y Quirpa
Solal: Une pièce pour quatre
Woods, P: Improvisations (3) for Saxophone Quartet

Artykuł Phill Woods, Thelonius Monk, Quarteto di Sassofoni Accademia<br/>Round Mid Night Jazz pochodzi z serwisu Cleartone.

Artykuł JOPLIN, GERSHWIN, ELLINGTON, Marco Fumo<br/>Rhapsody in Black and White pochodzi z serwisu Cleartone.