Kiss Sacd

Destroyer is the fourth studio album by American hard rock band Kiss. This is one of Kiss' most experimental studio albums, but also one of their strongest and most interesting. The album marked a departure from the raw sound of the band's first three albums. Destroyer is the first Kiss album to prominently feature outside musicians, such as members of the New York Philharmonic. One musician not credited was Dick Wagner, from Alice Cooper's band, replacing Ace Frehley on the track "Sweet Pain". Wagner also played the acoustic guitar found on the song "Beth".

Harold Mabern is a hard bop, post-bop and soul jazz pianist and composer. He is described in The Penguin Guide to Jazz Recordings as "one of the great post-bop pianists." On this release, Mabern is joined by Nat Reeves on bass, Joe Farnsworth on drums, and Eric Alexander on tenor sax.

A talented altoist influenced by David Sanborn, Brandon Fields has the versatility to be able to play both R&B/crossover and hard bop. Fields grew up in Orange County, CA, and started playing alto when he was ten. A freelance musician since he was a teenager, Fields moved to Los Angeles in 1982 and has worked steadily ever since. He toured with George Benson in 1985, was a regular member of the Rippingtons, has long been a busy session player, and recorded CDs as a leader for Nova and Positive. This release is his Jazz tribute to Stewie Wonder.

2015's collection of Bryan Ferry, released in Japan as SHM-SACDs. Features new DSD flat transfer from the original analogue master tapes. Includes the albums: These Foolish Things (1973), Another Time, Another Place (1974), Let's Stick Together (1976), In Your Mind (1977), The Bride Stripped Bare (1978), Boys And Girls (1985).

A Beautiful Mind is the original soundtrack album, on the Decca Records label, of the 2001 film "A Beautiful Mind". The album garnered nominations for the Golden Globe Award for Best Original Score and the Academy Award for Best Original Score. Music critics felt that the musical score fit the film well, but believed it to be similar to several of Horner's previous films.

One for All have been an active New York City-based collective with fairly steady personnel except for the bass chair, which has rotated between several players. On this 2003 session for the Japanese Venus label, Ray Drummond joins tenorist Eric Alexander, trombonist Steve Davis, trumpeter Jim Rotondi, pianist David Hazeltine, and drummer Joe Farnsworth, the latter members all being part of the core group back to its creation in the mid-'90s. Most of the selections on this date are associated with Art Blakey's Jazz Messengers, having been written for the late drummer's band or popularized by him, while the band's name was the title of Blakey's final album as a leader.

Ted Rosenthal is one of the leading jazz pianists of his generation. He actively tours worldwide with his trio, as a soloist, and has performed with many jazz greats, including Gerry Mulligan, Art Farmer, Phil Woods, Bob Brookmeyer, and James Moody. He is the winner of the 2nd Thelonious Monk International Jazz Piano Competition in 1988. He is also very active in jazz education as a faculty member of The Juilliard School and Manhattan School of Music. Rosenthal executed this somewhat adventurous idea beautifully and made a delightful piano trio album. His impressive arrangement skills are on full display, and his superb supporting cast George Mraz and Lewis Nash more than rises to the challenge of turning sometimes tricky compositions into a romping, swinging affair. This is a wonderful, fun and swinging piano trio album. Enthusiastically recommended.

This is sublime: quite simply the finest registration of 17th century English song on the market. It’s one of those perfectly designed programmes, which have all the built-in variety you need for over an hour’s uninterrupted listening pleasure. There is plenty here for the casual listener and connoisseur alike and, despite the title, the introspective mood is upliftingly beautiful throughout. The scholarly preparation which makes this possible, and the clear sense that these interpretations have been honed, through regular performance, are what we’ve come to expect from the brilliantly successful partnership of Dutch soprano and the lutenist… An outstanding achievement on every front.