Hit Dnia - Klasyka, Jazz oraz...

Yes - Fragile

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BEETHOVEN - Concerto for Violin and Orchestra in D major / Concerto for Piano, Violin, Violoncello and Orchestra in C major

UHQCD oznacza Ultimate High Quality Compact Disc. Najnowszy (lipiec 2018) materiał chroniący warstwę nośną płyt kompaktowych, opracowany przez specjalistów z Japonii i Hong Kongu. Na krążki tych płyt nanoszona jest cienka warstwa z monomerów oraz wypełniacza. Warstwa ta nie stanowi bariery dla światła lasera. Promień lasera jakby nie dostrzega owej warstwy ‘fotopolimeru’, a więc nie ulega rozproszeniu, załamaniu, odbiciu. Promień sięga po czysty sygnał i w takiej, nieskazitelnej postaci wraca z nim do źródła. Zdaniem specjalistów – to najwierniejszy z dotychczasowych sposobów na przeniesienie analogowych walorów taśmy matki na płytę CD. Dziś. Płyty UHQCD są dodatkowo kodowane jako MQA (Master Quality Authenticated). Wystarczy wyprowadzić sygnał cyfrowy z cyfrowego wyjścia odtwarzacza CD lub wcześniej zgranego strumienia danych z serwera muzycznego i podać go do odpowiedniego konwertera MQA DA by wygenerować z danych umieszczonych na tej CD 24-bitowy sygnał z częstotliwością próbkowania do 352 kHz. Do wyprodukowania limitowanej serii płyt UHQCD wykorzystano dane DSD z jednowarstwowych płyt SACD (One Layer), wydanych przez Universal Japan w poprzednich latach. Wydania te stanowią szczytowe osiągnięcie fonograficzne ostatnich lat. Niestety, dostępne wyłącznie dla posiadaczy odtwarzaczy SACD. Płyty UHQCD są idealnym rozwiązaniem dla melomanów, którzy nie mają playerów SACD, a chcieliby delektować się jakością legendarnych już japońskich SACD One Layer. Płyty UHQCD - w naszej ofercie ...]]>

SCHUBERT - Wanderer-Fantasie, Fantasie op.17

Płyty SHM-CD do odtworzenia we wszystkich typach czytników CD oraz DVD. Gwarantują niespotykaną wcześniej analogową jakość brzmienia, odwzorowują wszystkie walory taśmy-matki. Zdaniem specjalistów - ten nośnik i ta technologia najlepiej - bo natywnie, przenosi na krążek CD wszystkie walory nagrania analogowego.

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Simon and Garfunkel - Bookends

MOZART - Requiem

Sunday Herald ‘The playing of the Dunedin Players under John Butt is admirably crisp, and the singing of the Consort disciplined and clear in enunciation.’ The Sunday Telegraph ‘The playing and the singing is outstanding. Highly recommended.’ The Observer • The Dunedin Consort presents the premiere recording of Mozart scholar David Black’s new 2013 edition of Süssmayr's completion of Mozart’s Requiem. • In keeping with several other Dunedin projects, this provides the opportunity to re-imagine what this work may have sounded like at its very first performance. • To this end, the recording will be the first not only to use this new edition, but also to present the work using forces close in style and scale to those at the first performances. • One striking element of these performances is the fact that the soloists are also the leaders of the choir, thus giving a greater consistency to the relationship between the solo numbers and the choruses. • Dunedin Consort seeks to resurrect Süssmayr's much maligned edition to its place and worth in history. • Taking centre stage are soloists Joann Lunn soprano, Rowan Hellier alto, Thomas Hobbs tenor and Matthew Brook bass-baritone. • The Dunedin Consort has established a reputation as one of the finest period performance choirs around, under the direction of prize-winning historical performance specialist John Butt OBE. • The multi-award-winning Dunedin Consort has won praise for the natural style of its soloists and renown for the virtuosity of its singers. Surrey Mirror
‘…it’s well nigh impeccable, with director John Butt marshalling his resources superbly to create a richly detailed rendition of this much loved work.’
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Voix des Arts
'Maestro Butt and Dunedin Consort approach the score with the refinement of chamber players, and the resulting fusion of grandeur with intimacy serves the music ideally.’
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Audiophile.no
‘…a world-class performance…’
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BachTrack.com

‘…magical performance…’
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SAMPLER- TACET - My Audiophile Companion for classical and jazz lovers

Jest to prawdziwa płyta bez... słów. Śmieszne? Nie. Bez żadnych form propagandy, perswazji, szantażu, hipnozy, podstępu - ta płyta BEZ SŁÓW - POWIE Państwu, czy mają Państwo sprzęt audiofilski, czy tor jest właściwie ustawiony. Z ta płytą mogą Państwo pójść do wijącego się jak wąż boa sprzedawcy, zakneblować go - uprzednio kazawszy włączyć sobie tę płytę. Wybór szczególnie staranie nagranych i dobranych fragmentów muzycznych jazzu i klasyki oraz efektów zawiera wręcz DEFINICJĄ właściwego brzmienia, proporcji sceny, dynamiki, światła między instrumentami i tysiąca jeszcze innych poetycko-audiofilskich kategorii. Mogą Państwo słuchać jak ryczy głupi baran czy niewyspany lew i w zależności od jakości sprzętu - mogą Państwo ocenia poziom głupoty i stopień wkurzenia lwa. OK. Tyle żartów. Płyta rzeczywiście w pełni zasługuje na miano demonstracyjnej i intelektualnej zarazem. Do tego - każdy track to rodzynek dla uszu. Każdy fragment muzyczny - to osobny test. Szczegóły - w książeczce dołączonej do płyty. My Audiophile Companion - for classical music and jazz lovers Now it all comes out... Judge the quality of hifi equipment for yourself - without any measuring devices: just using your own ears - and this CD! Judge for yourself by comparing: short leads versus long leads, CD versus LP, valve versus transistor, SBM, the "oo-oh-ah-eh-ee" method and lots more! Includes 7-Point Program for Buying Hifi Equipment! My Audiophile Companion Selber urteilen durch vergleichen Jetzt kommt alles raus... Beurteilen Sie selber die Qualität von HiFi-Anlagen, ohne Meßinstrumente, nur mit Hilfe Ihrer Ohren - und dieser CD! INCLUSIVE 7-PUNKTE-TEST FÜR DEN HIFI-EINKAUF Diese CD enthält: 7-Punkte-Test zur Beurteilung von HiFi-Anlagen, kurze Kabel contra lange Kabel, CD contra LP, Röhre contra Transistor, was ist dran an SBM?, die UOAEI-Methode und vieles mehr! ...]]>

Barb Jungr - Just like a woman

Diana Krall - Live in Paris

Diana Krall - w naszej ofercie ...]]>

Chris de Burgh - Still in love... The 80's

PREMIERA EDYCJA NUMEROWANA - 1000 EGZEMPLARZY]]>

Bill Crow Quartet - Jazz Anecdotes

>>Hyper Magnum Sound - to wyjątkowo subtelny proces 24 bitowego masteringu, w wyniku którego dźwięk uzyskuje bardzo głęboki, miękki i soczysty wymiar. Nagrania w tej technologii zachwycają urodą i klimatem jazzowej ballady, improwizacji, a także vocalem. Nikt nie potrafi tak ożywić brzmienia instrumentów jak Venus Records....]]>

Diana Krall - All For You - A dedicattion to the Nat King Cole Trio

The Sisters of Mercy - First and last and always

Paint It Black: 1985 Debut Is Penultimate Goth-Rock Album

Andrew Eldritch’s Ghostly Vocals, Static Beats, Melodic Guitar Jangle Create Hauntingly Atmospheric Soundscapes

Mastered on Mobile Fidelity’s World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP The template for all goth-rock records that followed, Sisters of Mercy’s First And Last And Always stands as one of the—if not the most—influential albums of its kind ever released. Distinguished by Andrew Eldritch’s ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record. Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch’s haunting singing to the group’s jangling guitars and prancing bass lines finally gain genuine definition. Yet what’s most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force. Ever since it’s release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He’s framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.’s mysterious underground. Despite its overall dark character, the record’s arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos a...]]>

FIELD - Complete nocturnes

Donald Byrd - Places and spaces

Najnowszy format płyt CD, pozwalający w stopniu dotychczas niespotykanym przekazywać oryginalne, naturalne brzmienie zapisu studyjnego. Płyty UHQCD do odtworzenia we wszystkich typach czytników CD oraz DVD. Format opracowało znane japońskie laboratorium rekonstrukcji i masteringu dźwięku Memory-Tech Co., Ltd.

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Fats Navarro - The Fabulous Fats Navarro - Volumen 1

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Chris Botti - In Boston

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Joe Pass - Portraits Of Duke Ellington

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Ray Charles - The Genius of Ray Charles

Mastered from the Original Mono Master Tapes: Mobile Fidelity Corrects Longstanding Sonic Problems That Until Now, Disturbed Warmth and Dynamics Record Is Split Into Halves: Lively Big-Band R&B and Definitive Standard Ballads Includes "Come Rain or Come Shine": Arguably Charles' Definitive Singular Performance Quincy Jones, David "Fathead" Newman, and Members of Count Basie Band Aid Charles in This Stunning Work of Art Let the good times roll, indeed. Taking the message of the first song on this thoroughly legendary 12-song set to heart, Ray Charles lives up to the album’s title and more, in the process completing one of the most focused, cohesive, and expertly played classic R&B albums ever recorded. It’s not for nothing that Rolling Stone ranked it #263 on the magazine’s list of the 500 Greatest Albums of All Time. Having languished with passable albeit insufficient sonics for too long, Mobile Fidelity has given it the treatment it’s always deserved. Mastered from the original mono master tapes and presented in mini-LP-style gatefold packaging, the audiophile label’s hybrid SACD version of this American gem breathes with palpable airiness, tremendous warmth, sonorous details, snappy dynamics, and studio echoes. Charles’ recognizable voice nearly jumps out of the songs, and the large string orchestra’s instruments possess discernible body, identifiable imaging, and natural decay. Rest assured that this collectible edition outshines every previous edition as well as the collections featuring remastered songs taken from this 1959 album. What a difference the original mono mixes make. Divided into two sides, The Genius of Ray Charles finds the pianist/singer paired with tenor saxophonist and longtime foil David “Fathead” Newman, Charles’ band, and a few members from Count Basie and Duke Ellington’s ensembles. Arranger Quincy Jones does the chart honors, revving up the big bands and seizing their energetic prowess while Charles outshines everyone in the all-star cast. Exuberant, joyous, stylish, and, in a word, the epitome of soulful, the brassy music is belted out with unfettered emotion and honesty, crossing boundaries and rolling the blues, gospel, and jazz into a pure-voiced hybrid. On the record’s second half, ballads take over. Charles teams up with arranger Ralph Burns and a sizeable string orchestra, delivering standards such as “Don’t Let the Sun Catch You Cryin’” and “Am I Blue” with an equal balance of intensity, feeling, and sympathetic originality. Yet the record’s single-greatest performance--and, quite possibly, the definitive performance of Charles’ career--belongs to “Come Rain or Come Shine.” It’s here that Charles, free of the piano and big band, comes into his own as a singer, becomes the singular artist that, in just a few years, would turn country music on its head. The brilliance goes beyond words. Alas, The Genius of Ray Charles has never been celebrated for its sound. Instances of overmodulation clouded cres...]]>

John Di Martino's Romantic Jazz Trio - So In Love

Hyper Magnum Sound - to wyjątkowo subtelny proces 24 bitowego masteringu, w wyniku którego dźwięk uzyskuje bardzo głęboki, miękki i soczysty wymiar. Nagrania w tej technologii zachwycają urodą i klimatem jazzowej ballady, improwizacji, a także vocalem. Nikt nie potrafi tak ożywić brzmienia instrumentów jak Venus Records.

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Eddie Higgins Trio - Amor

PREMIERA NOWEJ 2xLP]]>

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Susan Wong - My LIVE Stories

PREMIERA WERSJI ONE-STEP PRESSING]]>

Joe Walsh - The Smoker You Drink, The Player You Get

John Coltrane - Coltrane Jazz

PREMIERA 2 X LP 180G]]>

Originally released in 1960, and on the heels of Giant Steps, Coltrane Jazz came in the midst of the saxophonist's peak Atlantic period. The album is among several recordings that Coltrane issued from 1959-1961, and which, ultimately, forever changed the face of music. Featuring pianists Wynton Kelly and McCoy Tyner, bassists Paul Chambers and Steve Davis, and drummers Elvin Jones and Jimmy Cobb, the set was recorded at three separate sessions. The expert personnel are a harbinger of the great quartet Coltrane soon would assemble for 1960's My Favorite Things. And while not as famous as that iconic title, Coltrane Jazz belongs in the pantheon of phenomenal jazz albums and is an absolute must for any music fan. In addition to boasting superior performances and playing, the set marks Trane's first use of multiphonics, the practice of extracting more than one tone at a time from the horn, which here, and unlike on any other Coltrane record, is querulously pitched, allowing him to explore new tonalities on tracks such as "Harmonique." Innovations abound. Every cut is an original composition save for Johnny Mercer's "My Shining Hour." Not surprisingly, Miles Davis' influence is felt throughout; his rhythm section is used on all but one selection. ORG Music continues its praiseworthy archival vinyl series, presenting this landmark jazz effort cut at 45RPM and on first-rate 180g vinyl. Mastered from the original master tapes with meticulous care, Coltrane Jazz teems with new life, with the headliner's horn playing and tonalities assuming lifelike richness, boldness, and presence. The supporting cast's movements and fills are heard in pristine clarity, and the airiness that all jazz lovers prize is here in spades. >>> Płyty winylowe należy przechowywać WYŁĄCZNIE w NAJLEPSZYCH NA ŚWIECIE koszulkach produkcji legendarnej wytwórni MOBILE FIDELITY. 100% gwarancji na pozbycie się trzasków będących w istocie w 90% efektem ładunków elektrostatycznych a nie uszkodzeń mechanicznych płyty! <<<

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Chick Corea - Now He Sings, Now He Sobs

ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR]]>

ESOTERIC - w naszej ofercie (tł. masz)...]]>

Van Halen - Fair Warning

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Macy Gray - The World's Greatest Audiophile Vocal Recordings Vol. II

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BRUCKNER - Symphonie No. 8

ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR]]>

ESOTERIC - w naszej ofercie ...]]>

Sam Yahel - JAZZ Side of the Moon - The music of Pink Floyd

Miles Davis - Seven steps to heaven

PREMIERA SUPERVINYL]]>

Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of Seven Steps to Heaven adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of Seven Steps to Heaven is what great-sounding hi-fi is all about. And there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. "The toughest critic I got, and the only one I worry about, is myself," Davis wrote in the liner notes. "The music has to get past me." Davis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. Seven Steps to Heaven acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter. That lineup gels for half of ...]]>

Grant Green - The latin bit

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