Japan 24bit

"Friends in Love" is Dionne Warwick's 3rd studio album for the Arista label. It was recorded during the winter of 1981-1982 and was released that spring on April 14, 1982. The LP was originally issued as number AL 9585 in the Arista Catalog. The album rose to #87 on the Billboard album chart, selling approximately 200,000 US copies. Songs on the album include the title track, a duet with singer Johnny Mathis, which made the Top 40 on the Billboard Hot 100 chart at #38, in addition to charting on the Billboard R&B and adult contemporary charts at #22 and #5, respectively. A follow-up single, "For You", peaked at #14 on the Adult Contemporary chart. This album also contains the Cynthia Weil / Barry Mann song "Never Gonna Let You Go", which would become a hit the following year for Brazilian musician Sérgio Mendes.

A1 for electronic sounds and voices, 1969. A2 music for multi-piano, orchestra and electronic sounds, 1968. B1 for electronic sounds and Japanese traditional instruments, 1968. B2 for electronic sounds, 1968.

A1 for electronic sounds and voices, 1969. A2 music for multi-piano, orchestra and electronic sounds, 1968. B1 for electronic sounds and Japanese traditional instruments, 1968. B2 for electronic sounds, 1968.

"Let Me Be There" is a 1973 album by Olivia Newton-John. The American publication of this 1973 album by MCA Records used the cover art from Olivia's 1972 LP record "Olivia" which was not released by MCA. Some of its songs were taken for the U.S. publication, such as song titles from the British publications of the albums "If Not for You" and "Olivia". Though the title song was a commercial failure in England, it was Olivia Newton-John's first American Top 10 hit, successfully boosting her singing career in North America. She had previously charted in the Billboard Top 40 with the song "If Not for You".

Also known as the New York Jazz Trio, this combo is a studio-only group who specialize in recording classic standards in a straightforward, post-bop style. The New York Trio features three gifted musicians who are firmly established on the East Coast jazz scene. Pianist Bill Charlap is a member of the Phil Woods Quintet, has accompanied the likes of Tony Bennett, Benny Carter, and Gerry Mulligan, and has recorded a handful of well-received albums for Blue Note as a bandleader. Bassist Jay Leonhart has recorded as a headliner since 1983, while also making a name for himself as a vocalist and songwriter as well as backing up Marian McPartland, Louie Bellson, Lee Konitz, and many others. And drummer Bill Stewart had handled demanding gigs with a variety of musicians, including jazz guitarist John Scofield, funky sax man Maceo Parker and R&B legend James Brown. They make this record for the Japanese market.

As the mysterious opening bars of the Kyrie gradually emerge into the light, we know that this recording of Mozart’s glorious Great Mass in C minor is a special one: the tempi perfect, the unfolding drama of the choral writing so carefully judged, and, above it all, the crystalline beauty of soloist Carolyn Sampson’s soprano, floating like a ministering angel. Masaaki Suzuki’s meticulous attention to detail, so rewarding in his remarkable Bach recordings, shines throughout this disc, the playing alert, the choir responsive, the soloists thrilling. And there is the bonus of an exhilarating Exsultate, Jubilate with Sampson on top form.

Masaaki Suzuki, Bach Collegium Japan - Mozart: Great Mass in C minor / Exsultate, Jubilate (2016)
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 71:17 min | PDF Booklet | 3,47 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | PDF Booklet | 1,61 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | PDF Booklet | 1,49 GB
Features Stereo and Multichannel Surround Sound | BIS Records AB # BIS-2171 SACD
As the mysterious opening bars of the Kyrie gradually emerge into the light, we know that this recording of Mozart’s glorious Great Mass in C minor is a special one: the tempi perfect, the unfolding drama of the choral writing so carefully judged, and, above it all, the crystalline beauty of soloist Carolyn Sampson’s soprano, floating like a ministering angel. Masaaki Suzuki’s meticulous attention to detail, so rewarding in his remarkable Bach recordings, shines throughout this disc, the playing alert, the choir responsive, the soloists thrilling. And there is the bonus of an exhilarating Exsultate, Jubilate with Sampson on top form.

As the mysterious opening bars of the Kyrie gradually emerge into the light, we know that this recording of Mozart’s glorious Great Mass in C minor is a special one: the tempi perfect, the unfolding drama of the choral writing so carefully judged, and, above it all, the crystalline beauty of soloist Carolyn Sampson’s soprano, floating like a ministering angel. Masaaki Suzuki’s meticulous attention to detail, so rewarding in his remarkable Bach recordings, shines throughout this disc, the playing alert, the choir responsive, the soloists thrilling. And there is the bonus of an exhilarating Exsultate, Jubilate with Sampson on top form.

As the mysterious opening bars of the Kyrie gradually emerge into the light, we know that this recording of Mozart’s glorious Great Mass in C minor is a special one: the tempi perfect, the unfolding drama of the choral writing so carefully judged, and, above it all, the crystalline beauty of soloist Carolyn Sampson’s soprano, floating like a ministering angel. Masaaki Suzuki’s meticulous attention to detail, so rewarding in his remarkable Bach recordings, shines throughout this disc, the playing alert, the choir responsive, the soloists thrilling. And there is the bonus of an exhilarating Exsultate, Jubilate with Sampson on top form.