Grundsätzlich finde ich alle Aufnahmen von Chesky seit ca. 1994/1995 akustisch beeindruckend, unabhängig vom Musikstil. Seitdem die Brüder in der St. Peter's Episcopal Church NYC aufnehmen hat jede Aufnahme eine wunderbare (aber auch immer ähnliche) Räumlichkeit.martino hat geschrieben:Neben den hier schon vorgestellten Alben haben mir noch Brecker/Hidalgo/Chesky/Mintzer – “The Body Acoustic” und Badi Assad/Larry Coryell/John Abercrombie – “Three Guitars“ sehr gefallen. Hast Du noch Tipps?
Interessanter Vergleich/Eindruck: ich habe mir gerade die Stockfisch XRCD24 "SARA K. - Hell Or High Water" zugelegt
Die Aufnahme ist sehr hoch ausgesteuert und dadurch im ersten Eindruck sehr dynamisch/beeindruckend. Alle Instrumente sind sehr direkt aufgenommen. Alles spielt aber auf einer Bühne ohne viel Tiefe/Räumlichkeit. Jetzt zum Vergleich mal schnell die Chesky-CD "Hobo" z.B. Titel "Oh Well" eingelegt und die Lautstärke auf etwa gleichen Pegel eingestellt. Siehe da, beeindruckende Tiefe/Räumlichkeit und Fazit - es braucht keine XRCD um hervoragende Aufnahmen zu hören. Alle Chesky-CD's seit ca. 1996 sind vom 96/24-Master erstellt.
Wie gewünscht, jetzt noch ein paar Tipps (Quelle: http://www.Chesky,com).
Viel Spaß beim Reinhören ...
Markus
Sara K. - Hobo
Rough-and-tumble singer/songwriter Sara K.'s brilliant new record, Hobo, is her hottest and hardest-hitting effort to date. Already regarded as a star internationally, Sara is poised to make her mark on America with her fourth Chesky release, which brims with smoky, road-worn songs about love and life. Hobo finds Sara's voice beautifully captured by Chesky's new 96/24 technology, and you'll be amazed by the range of tone and emotion that she conveys on this recording. Sara K. tells her musical war-stories with heart-cutting lyrics and tunes that you'll be singing long after the disc has stopped playing. Hobo also provides Sara with an opportunity to bring her blusey, knowing style to a number of diverse covers. "Brick House" is a witty, stripped-down acoustic take on the Commodores' smash, featuring dynamite upright bass work and irresistible percussion, while the Rodgers and Hammerstein favorite, "You'll Never Walk Alone," from Carousel , gets an intricate re-working that sounds far more barroom than Broadway. And a version of Fleetwood Mac's "Oh Well" showcases Bruce Dunlop and Hui Cox's furious fretwork alongside some breathtakingly raw acappella vocals by Sara. Another Hobo highlight is Sara's R&B-flavored duet with vocalist Matthew Andrae on the true-to life "Oughtta Be Happy By Now." This is undoubtedly Sara's strongest work to date and listening to her is an invitation to experience a life
Sara K. - No Cover - A Live Performance
Through her unique voice and heart-wrenching songs, Sara has taken us down rocky roads and into smoky bars to create stunning portraits of life and love. Now, for the first time, you can fully experience the raw emotion and pure energy of Sara live on No Cover, her brand new Chesky release. Featuring classics like "If I Could Sing Your Blues" (with special guest Chuck Mangione), "Horse I Used To Ride," and "I Couldn't Change Your Mind," as well as new songs like the bluesy "Ball 'n Joint," this electrifying performance was recorded and filmed inside the acoustically-rich St. Peter's Church in New York. Sara and band never sounded better, and the 96-kHz/24-bit DVD with full-motion video -- one of the first in the world -- places you in the front row. From soft ballads to bluesy rockers, No Cover showcases Sara's unique blend of acoustic folk, blues, pop and jazz in an intimate setting. Her unmistakable voice and uniquely-tuned, 4-string guitar are further enhanced by harmonica, acoustic bass, 12-string guitar and percussion. The result is a collection of breathtaking new arrangements and standout performances that will delight music lovers, audiophiles and home-theater enthusiasts alike. And the best part of all? You can enjoy this special performance any time you want
Oregon - Beyond Words
Oregon continues to move forward creating and evolving as one of America's most important contemporary musical movements. The compositions are original and soar with collective unity, fusing elements of jazz, folk, classical, and world music into a completely original voice. Recorded in a live setting, Chesky Records has captured this event in absolute sonic splendor
Dave's True Story - Sex Without Bodies
With so much of today's music sounding like the din of open warfare, along comes Dave's True Story to prove there's still room for espionage. Chesky Records takes pleasure in presenting a record that's as sweet as a peach and dry as a martini. Sex Without Bodies by Dave's True Story is reminiscent of the post-swing, cafe society sound that belonged to stars like Peggy Lee and Chet Baker. Singer Kelly Flint uses her smoky, sultry vocal to explore a world of love, lust and venetian blinds. Composer/guitarist David Cantor writes his songs with the heart of a continental rogue--combining wit, insight and late-night -cool. Together they are masters of fallen innocence. For Sex Without Bodies, they bring to Chesky a diverting ensemble including vibes, accordion, horns and a deliciously grinding stand-up acoustic bass.
Paquito D'Rivera - Tropicana Nights
Awarded "Best Latin Jazz Album" Grammy at 1st Annual Latin Grammy Awards. Cuban dance music is back! Leading an all-star Latin big band, Grammy Award-winner Paquito D'Rivera unleashes the beloved music of his homeland. Following in the tradition of Havana's immortal jazz orchestras, D'Rivera infuses his own stylings with mambo, son, danz¢n and bolero to create an essential musical document. Tropicana Nights lures you back to the renowned nightclub's open-air terrace, "Bajo Las Estrellas," where the jet-set flocked to hear Cuba's great jazz orchestras and experience the spectacular floor shows. In keeping with the club's festive spirit, the album opens with the exuberant "Mambo a la Kenton" (penned by the club's musical director, Armando Romeu, Jr.). If that doesn't get you dancing, the irresistable rhythms of tracks like "Chucho" (a joyous mambo) and "Old Miami Sax" will. And when your feet need a brief rest, timeless ballads like "Como Fue" caress your heart. D'Rivera's passion for his native music is sustained throughout, from his soprano sax solo on the title track (a perfectly-crafted tone poem), to the celebratory call-and-response of "A Mi Que/El Manisero," which features noted Spanish vocalist Lucrecia. His affection for these songs springs from the childhood nights he spent in Havana clubs with his father, Tito, himself a well-known classical saxophonist and jazz orchestra conductor. "Through my father, I learned to love these types of orchestras, and that's why I chose to use the sound of those bands as a point of reference in this project." D'Rivera's mastery of the clarinet and soprano and alto saxophones is rounded out by extraordinary performances from top Latin musicians like Raplh Irizarry, Oscar Feldman, Milton Cardona and Jimmy Bosch. From his groundbreaking influence in Irakere to his Grammy Award-winning Chesky album Portraits of Cuba, D'Rivera has carried the spirit and joy of Latin Jazz music everywhere. Come join him on an unforgettable musical journey back home
Christy Baron - I Thought About You
What is a standard? For Christy Baron, it's Stevie Wonder as well as Cole Porter, it's the Beatles' "Got to Get You Into My Life," as well as "Body and Soul." Combining elements of pop, rhythm and blues and jazz, for Christy, the song's the thing, and when you hear her, you'll understand why. Chesky Records is proud to introduce a sonorous new voice, Christy Baron, whose intimate and sultry vocal stylings are sure to bend your ear. Christy's debut album, I Thought About You, features surprising takes on pop and jazz standards. Christy's rich vocals are given room to swing in the space of pianist Cliff Korman's sparse yet intricate arrangements. The combination of an adventurous piano trio and Christy's inviting harmonies reinvent the notion of the standard. For instance, the interplay between the instrumentalists and Christy's voice are quite involved and present a fresh take on the familiar. Listen to the pairing of Dave Finck's bass and Christy's silken tones on "Summer Soft" and "Ain't No Sunshine," and you will agree that this isn't your usual vocal album.
Christy Baron- Take This Journey
"There's purity to Baron's singing, an unfiltered honesty that's as refreshing as an early morning snowfall and fulfilling as a heartfelt compliment." - JazzTimes
A truly talented vocalist, Christy Baron brings us her third release entitled Take This Journey, again revealing an intriguing repertoire of modern classics delivered through her evocative voice. But it's not only the sound of her voice that captivates the audience … her ability to maintain the delicate balance between the musical and poetic ideas of both the composer and lyricist creates the kind of mood that prepares the listener for a simply wonderful journey. Take This Journey is a story, a reflection of life that captures the wonderful reality of the genuine interactions we share with the people around us. Christy's rendition of the Turtles' classic "Happy Together" sets the tone of the record with her sultry yet optimistic recording that is nothing less than convincing. The album features songs from Carole King including "Stand Behind Me" and "First Day in August," and an incisive version of "Bitter With The Sweet." Christy's clear vocalizations are apparent when she explains the sad fact that "A House Is Not a Home" and sets the limits in Sondheim's Sweeney Todd classic "Not While I'm Around." The darker side of life is apparent through Sinatra's classic "Old Devil Moon" and Cleo Lane's "The Lies of Handsome Men." But don't lose hope just yet … a captivating rendition of Stevie Wonder's "Overjoyed" showcases Baron's optimism in mankind. Christy Baron communicates the pleasure and the pain of our existence in Take This Journey, appealing to the intellectual listener with her sweet, knowing recognition of life's wonder.
Christy Baron - Steppin'
When jazz singers interpret popular music, their main source is often the great standards and Broadway music of the 1920's, 1930's and 1940's. Turning most of their attention to George and Ira Gershwin, Cole Porter, Irving Berlin and other famous composers of that era, they tend to ignore the rock and R&B songs of the last 40 years, assuming they are irrelevant to jazz singing. Yet worthwhile popular music didn't die with the Gershwin Brothers -- great popular songs continue to be written, and on her second Chesky album, Steppin', Christy Baron demonstrates that the popular music of the 1960's, 1970's, 1980's and 1990's can, in fact, be relevant to a jazz-oriented vocalist. This album's primary focus is what Baron calls "modern standards" or "new standards:" from The Beatles' "Tomorrow Never Knows," Peter Gabriel's "Mercy Street" and Phil Collins' "This Must Be Love" to Prince's "Thieves In The Temple" and The Atlanta Rhythm Section's "Spooky." Pianist/keyboardist Herbie Hancock was thinking along similar lines when he recorded the instrumental Main Ingredient for Verve in the late 1990's,and Steppin' was being planned coincidentally around the same time. "To me, standards aren't called standards because they're from a certain era," asserts the Pittsburgh-raised singer/actress, who now lives with her husband and baby daughter just outside of New York. "They're standards because they're songs that people listen to and enjoy on a regular basis. They're the popular songs of their day." To some jazz purists, songs by The Beatles, Peter Gabriel and the innovator formerly known as Prince should be off limits to jazz improvisors. But truth be told, Baron interpreting their songs in the year 2000 is as logical as Ella Fitzgerald or Helen Merrill interpreting Rodgers & Hart in the 1950s--and make no mistake: interpreting the songs is exactly what she does. If you're looking for predictable, note-for-note covers of rock and R&B favorites, you won't find them here. Originally an up tempo soul number in the early 1970's, Billy Preston's "Will It Go Round In Circles" becomes moody jazz-noir in Baron's hands. And while The Zombies' "She's Not There" was originally a British Invasion rock hit in the 1960's, Baron puts a very funky, R&B-minded spin on the song. "I wasn't trying to improve any of these songs or make them better - I just wanted to give you my take on them," Baron notes. "My interpretation of 'She's Not There' changes the whole perspective of the song. When The Zombies recorded it, 'She's Not There' was done from a guy's perspective. But my version is a woman telling a guy, 'Get it together--she's not around, but I'm here. Get over it.'" Steppin' will come as a surprise to those whose introduction to Baron was her recording debut of 1996, I Thought About You. While that Cliff Korman-arranged effort wasn't without R&B and pop elements and found Baron interpreting The Beatles' "Got To Get You Into My Life," Bill Withers' "Ain't No Sunshine" and Stevie Wonder's "Summer Soft," it was acoustic-oriented and employed a basic piano trio. "On Steppin' we wanted to do something different," says David Chesky, "so I asked Didier Rachou to take a few chances and produce something new." Producer Didier Rachou is more contemporary in his approach, mixing jazz, world musics and cutting-edge electronica styles. Baron will be the first to tell you that Steppin' is far from the work of a hard bop purist. This is a jazz-oriented album, but it's a jazz-oriented album that is quite mindful of pop, R&B, and electronica, as well as world music. "Tomorrow Never Knows" incorporates traditional Tuvan throat singing, and one hears traces of Indian music on "Mercy Street." "I have never claimed to be a jazz purist or a straight-ahead singer," asserts Baron. "I'm definitely more contemporary-minded, and I embrace music from different eras. I can't help being influenced by the many different styles of music that I have loved during my life." Indeed, parts of the album are funky enough to attract R&B audiences -- it's easy to imagine Erykah Badu or N'Dea Davenport fans getting into Baron's makeover of "She's Not There" or her hypnotic interpretation of Heatwave's 1977 funk smash "Ain't No Half Steppin'." The hip-hop vibe is especially strong on "Nite And Day" and "Delays On The Downtown 6," the two original songs on the album, both written by Didier Rachou and Lucy Lean. "Delays" is a jazz/hip-hop poem that features David Johansen of New York Dolls fame. The piece is a vivid collage of contrasting Manhattan vignettes. "If Miles Davis were alive today," Baron comments, "he'd be continuing to grow and challenge himself. He had to do his own thing, which is why he was an inspiration to so many artists. It's important for artists to express what they honestly feel--and with this album, I was able to incorporate many of the styles that I love and use them to make a personal statement." -- Alex Henderson March 2000
) Stück(e) beim Reinhören auf hdtracks gut gefallen. Ich war ja von Dir gewarnt, letztlich doch immer wieder Variationen ein und des selben Themas 
, aber grooven tut es trotzdem wie Sau 