ESOTERIC proudly introduces a new series of re-master collection - A great Jazz collection from impulse!
The reissue of historical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. These new audio versions feature ESOTERIC's proprietary re-mastering process to achieve the highest level of sound quality. Limited edition (3,500 sets).
As samplers go, this is one of the best. An excellent cross section of artists from the Stockfish catalog. I am especially taken by the cuts from Alan Taylor ("The Beat Hotel" in particualr) and Chris Jones. Sonics are clean, clear and crisp, with an exceptional sense of timbre. I've purchased a few of the CD's of the artists I've heard on this sampler, and I'm here to tell you, they sound great to - though they can't beat these SACD tracks.
This is the third compilation from the critically acclaimed 'Closer to the Music' sampler series. You will listen to recent recordings of known artists like Sara K. , Allan Taylor, Eugene Ruffolo and David Munyon , but also to new Stockfisch-discoveries like Dennis Kolen (NL), Paul O'Brien (CDN), BEOGA (IRL), Carl & Parissa (AUS), Beo Brockhausen (D) and more. These recordings, as any listener will experience, exemplify once again the Stockfisch philosophy: closer to the music!
And again this 4th compilation offers both a selection from current releases and presentations of artists and albums that will be released by Stockfisch Records in the next months. Belonging to these forecasts you can hear two tracks from the new Paul Stephenson album, who already had recorded two CDs for Stockfisch. Furthermore one song by Zebra Sommerwind, the trio around Fiedelmichel-doyen Thomas Kagermann, featuring German (folk-)songs in contemporary arrangements.
Midem Classique Award winner Christian Zacharias continues his survey of Mozart Piano Concertos as both performer & conductor. Featuring arguably 1 of the most famous, the A Major. MDG’s complete recording of Mozart’s piano compositions with Christian Zacharias in the double role as pianist & conductor of the Lausanne Chamber Orchestra continues with KV 488, certainly the most-performed piano concerto by the great Salzburg composer, complemented here by KV 246 & KV 175, Mozart’s very 1st piano concerto.
Just as it’s four predecessors did, the compilation „closer to the music Vol.5 “ provides an aural overview of the latest and the forthcoming Stockfisch productions - this time for 2015. More than 79 minutes of unusual recordings and fascinating music.
More and more music lovers are discovering the unique sound of a vinyl record. Stockfisch thought about whether it is possible just to make the sound creation factors of a vinyl record audible. A pressed record however, has many artifacts arising from the vinyl pressing i.e. distortion, rumble, groove noise, vertical and lateral aberrations, clicks, etc. and other artifacts that are detrimental to a good sound. Stockfisch calls their new production method 'DMM-CD'.
More and more music lovers are discovering the unique sound of a vinyl record. Stockfisch thought about whether it is possible just to make the sound creation factors of a vinyl record audible. A pressed record however, has many artifacts arising from the vinyl pressing i.e. distortion, rumble, groove noise, vertical and lateral aberrations, clicks, etc. and other artifacts that are detrimental to a good sound. Stockfisch calls their new production method 'DMM-CD'. With this solution, they can eradicate the aforementioned disadvantages of the pressed record - and yet still maintain the typical vinyl sound.
For those who already appreciate Rachel Podger's unique brand of magic I'll just say that this return to recorded Bach is lovely and all that one could hope for. All that one looks for is here, and there is more. For those who are not familiar with Rachel Podger, she is a unique voice among violinists. She has absorbed the principles of late Baroque performance practice and made them a part of herself, so that the articulation and inflection of that rhetorical approach to music flows from her as a natural idiom of expression.