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Friday 28 December 2018

PERCY FAITH AND HIS ORCHESTRA: The Compact Disc Remasters of 2007 from Sony Epic/CBS Japan – JEALOUSY and VIVA...THE MUSIC OF MEXICO


PERCY FAITH AND HIS ORCHESTRA: The Compact Disc Remasters of 2007 from Sony Epic/CBS Japan – JEALOUSY and VIVA...THE MUSIC OF MEXICO

2007 marks almost the centennial of maestro Percy Faith’s birth. Fittingly, the good people at SONY/CBS Japan have remastered the original LPs for the occasion and designed the packages as ‘mini-LP’ replicas. To the best of my knowledge, the entire range of seven mini-LPs were sold out within months of their release. I managed recently to acquire two unsold pieces from an out of the way record shop in Kyoto: JEALOUSY (from the original LP, 1960) and VIVA…THE MUSIC OF MEXICO (from the original LP, 1958).


The album JEALOUSY is not an album of tangos, despite its title. It has much more in common with the rich, lush, opulent melodies of the late 1950s – think Nat King Cole, Tony Bennett, Johnny Mathis coming onto the hit parade, and of course Dean Martin and Sinatra. Percy Faith captures this mood very tastefully by arranging for a large symphonic orchestra. I can’t tell from the miniscule print on the reproduced back covers if Faith did indeed record this album in a concert hall. But the coordination and layering of strings, brass and piano contributed to the blissful illusion that Faith was indeed ‘moviemaking’ these standard popular songs into his own style. Take ‘Sophisticated Lady’ and ‘Begin the Beguine’ for instance. Faith expands the horizons of both compositions by stretching out each note in a dramatic arrangement using brass or strings. And there are plenty of ‘bridging’ introductions and in-between passages that Faith inserted just to add some pizzazz. On the only tango in the set, ‘Jealousy’, and on ‘More than You Know’, the tinkling piano in the mid-verse sections recall the elegant movement of party dames and gentlemen moving up the stairway to the upper decks of luxury liner or the upper floors of a grand mansion. There is plenty of movement on this album – which is probably what Faith intended – and this is probably what renders them mesmerizing from start to finish. Before Arthur Fiedler and the Boston Pops cornered the symphonic market for easy listening, Percy Faith had gotten there first! The remastering through DSD technology (playable on all CD & DVD players) has taken the years away. The sound quality is remarkable considering that 1958-60 represented the early days of stereo. It is so clean and lively, and the sonic positioning of the instruments so precise that you might mistake it for having been recorded in the 2000s – live in a music hall. Hear it on a classic vintage amplifier of the likes of Luxman, Heathkit, Technics or a Sansui and you’ll fully appreciate the analogue glory of Faith’s conceptualization of this album. 

TRACK LISTING:

JEALOUSY
TEMPTATION
MORE THAN YOU KNOW
THE MOST BEAUTIFUL GIRL IN THE WORLD
TIA JUANA
SOPHISTICATED LADY
BEGIN THE BEGUINE
THAT OLD BLACK MAGIC
RIGHT AS THE RAIN
DANCING ON THE CEILING
WHERE OR WHEN
I'VE TOLD EVERY LITTLE STAR
 


VIVA…THE MUSIC OF MEXICO evokes by contrast the romantic side of popular Mexican song. The cover art however remains a mystery to me. I wonder what the drowsy man in the sombrero is supposed to symbolize – musical dreams perhaps?

GRANADA
LA GOLONDRINA(THE SWALLOW)
LA CUCARACHA (THE MEXICAN COCKROACH SONG)
CHIAPANECAS (THE MEXICAN HAND-CLAPPING SONG)
ESTRELLITA (MY LITTLE STAR)
EL RANCHO GRANDE (MY RANCH)
LA PALOMA (THE DOVE)
BE MINE TONIGHT (NOCHE DE RONDA)
MEXICAN HAT DANCE (JARABE TAPATIO)
GUADALAJARA
ZANDUNGA (THE DANCING DONKEY)
CUANTO LE GUSTA
SOLAMENTE UNA VEZ (YOU BELONG TO MY HEART)

This album hews more closely to a symphonic treatment of Mexican music than the styles of Edmundo Ros, Xavier Cugat or Manuel. Faith employs a large dose of sweeping strings to evoke ‘amor’ under the moonlight. The passages are still full of surprises, as if the musical passages are meant to accompany a soundtrack where the lover and his damsel flit from avenue to alleyway, to the shimmering seaside reflecting a half moon, before ending up in each other’s arms. As with JEALOUSY, Faith does a stellar job of sonic invocation of beautiful sensations and romantic dreamscapes. Two gems worth the price of the entire album alone are Faith’s grand treatment of ‘La Cucaracha’ as a novelty dance employing woodwinds and piano along with maracas and castanets, and ‘Be Mine Tonight (Noche de Ronda)’ where he breathes new life into this ‘quiet’ romantic song by arranging for the strings to ‘sing’ the lead notes.

Above all, these two remasters are a string lover’s delight. If you do acquire them, listen out for the featured solo violins that make their furtive appearance everywhere, briefly, just to draw you into the music, thereafter you float with the tides of musical grandeur…Percy Faith’s music is timeless perfection.

ALAN
December 2018

Monday 10 December 2018

SOUNDBOXES X: SANSUI 881 RECEIVER AMPLIFIER – YESTERDAY ONCE MORE IN LIVING PRESENCE STEREO!

Like the glamour of vintage grandfather clocks, every adult person knows what one looks and acts like. The Sansui 881 receiver amplifier is just like that. But can its vintage aura be considered relevant and competitive for twenty-first century ears? YES and YES.

Take a look at its technicalities:

Tuning range: FM, MW
Power output: 60 watts per channel into 8Ω (stereo)
Frequency response: 10Hz to 30kHz
Total harmonic distortion: 0.3%
Damping factor: 45
Input sensitivity: 2.5mV (mic), 2.5mV (MM), 100mV (DIN), 100mV (line)
Signal to noise ratio: 70dB (MM), 80dB (line)
Channel separation: 45dB (MM), 45dB (line)
Output: 100mV (line), 30mV (DIN)
Dimensions: 480 x 135 x 300mm
Weight: 13.2kg
Year: 1974

These are the specifications of the highest rated model of the 221 to 881 receiver amplifier range. Moreover, they speak of Sansui’s highly storied transformation of modest wattage into high performance sound. Although I am not an engineer, one look at the innards of the amplifier suggests that the sound has been refined by a layered arrangement of circuits and a number of standalone capacitors. The transformer is itself the size of an average adult’s fist and this makes quite a statement about its design. 


I have learnt from owning and testing a number of other earlier Sansui amplifier models that the size of the transformers matter to the quality of the sound. The AU919 has two gigantic amplifiers each the size of the Sansui 881. The Sansui AU101 was however a surprise, albeit qualified, since it has a transformer half the size of the 881. It sounded remarkably big and open in sound when matched with Vienna Acoustics speakers, for instance. (See my other reviews of the AU555A, AU101, AU70, AU919 by performing a search on this site.)



I am happy to note that the restorer of the 881, AUDIO-ADDICT of Germany, took pains to preserve the integrity of the original transformer in complement to all the capacitors and transistors. As you can see from the pictures, the interior of the 881 is extremely clean, near mint, given the fact that it is 40 plus years old. You can search for AUDIO-ADDICT’s restored HiFi products for sale on eBay but make sure your search settings are set for ‘worldwide’. Also, at my request, they eliminated the 1970s era spring clip type speaker terminals (Set A & B only) and replaced them with partially buried terminals for banana type speaker connectors. This ensures that the amplifier is present-perfect and ‘future ready’. If you are using spade speaker cable terminations, you can easily buy an adaptor set made in Hong Kong, Europe or China and it will fit perfectly.


Jazz and Orchestral Easy Listening

When the 881 was turned on for the first few hours of listening, the triple tone controls were set to flat. And, I tried the 881 with a Crystal Cable Micro (non-Diamond series) power cord since the modifications replaced the stock power cord with a modern IEC receptacle terminated a short distance from the rear of the amplifier. Such high end power cords may, depending on the particular Sansui model produce a harsh metallic edge on most CDs and LPs. For the majority of the Sansuis I have tested, my preference is to use a power cord that is rated several price and quality steps down from the higher end cords to retain the Sansui warmth and wide soundstage without the harshness in the higher registers. Maybe this has to do with the compatibilities between the extensive use of old-fashioned copper wiring and the newer technologies of alloyed and non-alloyed oxygen free copper, silver and gold wires. That said, by fiddling with the quality of power cords between the Sansui amplifier and your power outlet and/or power distributor, one would also be probing at the maximum potential of your particular Sansui amplifier.

My experience with the 881 was mind-blowing! Jazz from late 1950s and early 1960s (e.g. Chet Baker, Art Farmer, Clifford Brown, Dave Brubeck and Paul Desmond) was effortlessly reproduced with a vividness that was engaging. All instruments had plenty of airspace around them and the fading notes lingered in an endearing way. Depending on the quality of these 100% Vinyl original recordings from over 50 years ago, some of these remasters could put you in front of the musical performance. This is how good the 881 is. I tested two horn-driven instrumental albums for this review and the results were beyond expectations. The trombone sound of Kai Winding could sound flat and lifeless on many newer amplifiers using toroidal transformers and printed circuit boards but the Sansui 881 delivered an audio revelation. Kai Winding and his ensemble was in the room and the trombones on the Latin tracks shimmered with lyrical and percussive beauty: ‘Amor’, ‘Recado Bossa Nova’, ‘Dansero’. Even on the slower numbers liked ‘You’ve Changed’ and ‘How are Things in Glocca Morra?’, the sound of this large wind instrument was conveyed with panache, grandeur and emotion despite the years that have passed since the original pressing was made on LP. Sadly, Kai Winding is such an underappreciated jazz artiste with crossover appeal.

Switch the listening menu to Bert Kaempfert’s 1970 LP on CD titled ORANGE COLORED SKY and the results are equally delectable. Kaempfert was employing in equal amounts both technique and the virtuoso qualities of his players. In the words of one of Kaempfert’s famous tunes, ‘the bass walked’ in and out of the Pathos speakers with tremendous ease. Where the trumpets and trombones needed to swing, the 881 delivered the reproduction with authority. At no point did I feel listening fatigue set in. So beware, this is an amplifier that is totally addictive in spite of its ‘grandfatherly’ looks from a very different era.

Dream Setting

Most Sansui fans have their dream settings in mind when listening. Given the spectacular results from listening tests on the ‘flat’ position, I was reluctant to tweak anything else. Except when listening to radio broadcasts. Given my dense urban living environment (i.e. high rise apartments) and the clustering of FM radio stations on a narrow part of the FM Band, the pressing of the FM Muting button was necessary to obtain maximum clarity. Once the location was dialled in to the strongest signal, the results were breath-taking. Radio music never sounded better. For best results, use a dipole antenna fastened to the two part screw in clips at the rear of the amplifier, near the short push-pull onboard AM antenna.

My PATHOS Frontiers Prime speakers (now out of production) are high efficiency pieces and the 881 rarely needed to be turned up in volume beyond position number 2. In fact, even at position number 2 it goes extremely loud, enough to spread music throughout half the apartment with studio like ambience. The knobs felt like they have been given a thorough ‘deoxit’ treatment. They feel like they were installed straight out of the factory, easy on the fingers and offering just the right amount of friction to control the volume to one’s satisfaction. The bass also goes very loud and ‘earthshaking’ even at low volumes, so be aware of disturbing your neighbours if you are listening in compact environments. Treble and midrange should, in my opinion, be adjusted just one notch to the positive side when listening to coarser remasters. When listening to radio news and vocals, turning up the midrange allows you to savour the layers and other variations in the announcer’s or singer’s pronunciation. If you are simply indulging in the pristine beauty of sound, this  will give you endless thrills.

My final verdict for the Sansui 881: the maestro of pure sound, uncovering the ultimate fidelity in every piece of music. Classic 1974, yesterday’s Hi Fi to cherish forever.

ALAN
11 December 2018

Monday 12 November 2018

EASY LISTENING ROMANTIC SUNSETS


 
Sunsets…easy listening magic! Well almost every easy listening album ever released tried to capture the mood of sunsets but here are my current and all-time favourites. Our activities are all clocked by the rising of the sun and the setting of the same. This natural rhythm of life has inspired songs from time immemorial and Reader’s Digest has tried to capture it instrumentally in a massive six disc collection. When the sun sets, it is time to reminisce, to relax the intensity of the mind, to reconnect with those ‘close to you’…

The above Reader’s Digest set released in 1993 in both the UK and Australian markets (Cat No.: RDCD471-6) aimed for the melody of wood winds, piano sounds associated with the hour just before and after sundown, and the occasional spicy Latin number by Manuel and the Music of the Mountains. The inclusion of Bert Kaempfert added a touch of class, almost Big Band, but lusher and more in tune with the opulent mood of seeing beautiful memories silhouetted on a wide canvas. Bert’s trumpet and bass lines start a melody and often let the strings carry the bulk of it in a sweeping romantic crescendo. Finally, how does Reader’s Digest justify the inclusion of Ray Conniff and his singers in an otherwise all instrumental set? It probably comes down to the vocalizing of relief and soul at the end of a long day at the office, out trekking, exploring tourist itineraries and the like. The Conniff sound encapsulates the words and music of enchantment…take a listen and you will hear what I mean…this set must be on every easy listener’s library! Its thoroughly analogue recording quality also makes it a favourite for most of my Hi Fi listening tests. If this volume ‘glows’  on your Hi Fi set, that must be your ideal set up.

CD1     Programme 1 - Timeless Favourites

1 - Stardust - Henry Mancini
2 - Misty - Geoff Love
3 - Thanks for the Memory - Ray Conniff
4 - Night and Day - Richard Clayderman
5 - What a Difference a Day Made - Bert Kaempfert
6 - Jealousy - Manuel and the Music of the Mountains
7 - I'm in the Mood for Love - Acker Bilk
8 - Smoke Gets in Your Eyes - Henry Mancini
9 - Moonlight Serenade - Ray Conniff
10 - Auf Wiedersehn, My Dear - Acker Bilk
11 - Laura - Bert Kaempfert
12 - I'll String Along with You - Roger Williams
13 - Begin the Beguine - Klaus Wunderlich
14 - Granada - Manuel and the Music of the Mountains

Programme 2  - 50s Magic
15 - Memories Are Made of This - Ray Conniff
16 - Mona Lisa - Ronnie Aldrich & his Two Pianos
17 - Answer Me, My Love - Bert Kaempfert
18 - Scarlet Ribbons - Acker Bilk
19 - Gigi - Harry James

CD2
20 - When I Fall In Love - Geoff Love
21 - Love Me Tender - Richard Clayderman
22 - Island In The Sun - Bert Kaempfert
23 - Only You - Acker Bilk
24 - Unchained Melody - Ray Conniff
25 - Ebb Tide - Ronnie Aldrich
26 - Elizabethan Serenade - Adrian Brett
27 - Blue Tango - Geoff Love
28 - On The Street Where You Live - Ray Conniff
29 - Magic Moments - Ronnie Aldrich
30 - La Bamba - Manuel and his music of the mountains 

Programme 3  - Hits From The Shows
31 - Memory - Klaus Wunderlich
32 - Impossible Dream - Henry Mancini
33 - I Know Him So Well - Gheorghe Zamfir
34 - I Talk To The Trees - Manuel and hmotm
35 - Stranger In Paradise - Ray Conniff
36 - Don’t Cry For Me Argentina - Acker Bilk
37 - Sunrise Sunset - Ray Conniff
38 - So In Love - Ronnie Aldrich
39 - Send in the clowns - Acker Bilk

CD3
40 - I'll Never Fall in Love Again ('Promises, Promises') - Harry Stoneham
41 - On a Clear Day You Can See Forever - Roger Williams
42 - The Carousel Waltz - Geoff Love
43 - My Favourite Things ('The Sound of Music') - Ronnie Aldrich & his Two Pianos

Programme 4  - Classics by Candlelight
44 - Love's Dream - Ray Conniff
45 - 18th Variation on a Theme of Paganini - Richard Clayderman
46 - Concierto De Aranjuez (Second Movement) - Larry Adler
47 - Theme from 'Elvira Madiga' - Gheorghe Zamfir
48 - No Other Love - Henry Mancini
49 - Vilia - Eddie Clavert
50 - Going Home - Acker Bilk
51 - Air on a G String - Ronnie Adrich & his Two Pianos
52 - Theme from 'Rhapsody In Blue' - Ray Conniff
53 - Greensleeves - Acker Bilk
54 - Moonlight Sonata - Henry Mancini
55 - Fur Elise - David Snell
56 - The Shepherd Song - Adrian Brett

CD4     Programme 5 – All-Time Romantic Favourites
57 - Spanish Eyes - Manuel and the Music of the Mountains
58 - Tenderly - Henry Mancini
59 - Love Letters - Ray Conniff
60 - The Shadow of Your Smile - Gheorghe Zamfir
61 - Unforgettable - Ronnie Aldrich & his Two Pianos
62 - Secret Love - Bert Kaempfert
63 - Autumn Leaves - Manuel and the Music of the Mountains
64 - La Vie en Rose - Eddie Calvert
65 - Somewhere My Love - Ray Conniff
66 - The More I See You - Bert Kaempfert
67 - Feelings - Henry Mancini
68 - Just the Way You Are - Richard Clayderman
69 - Nature Boy - Acker Bilk

Programme 6  - Golden Memories From The 60s
70 - A Whiter Shade of Pale - Richard Clayderman
71 - Scarborough Fair - Ray Conniff
72 - You've Lost That Loving Feeling - Acker Bilk
73 - Can't Take My Eyes off You - Nelson Riddle
74 - Theme from 'A Summer Place' - Klaus Wunderlich

CD5
75 - Africaan Beat - Bert Kaempfert
76 - Strangers in the Night - Manuel and the Music of the Mountains
77 - A Taste of Honey - Acker Bilk
78 - Nights in White Satin - Richard Clayderman
79 - If You Go Away - Ghorghe Zamfir
80 - Yesterday - Acker Bilk
81 - More - Ray Conniff
82 - A Lover's Concerto - Henry Mancini
83 - A Swinging Safari - Bert Kaempfert

Programme 7  - Magical Moments From The Movies
84 - Chariots of Fire - Gheorghe Zamfir
85 - Theme fom 'Love Story' - Manuel and the Music of the Mountains
86 - Cavatina ('The Deer Hunter') - Adrian Brett
87 - Tara's Theme ('Gone with the Wind') - Ronnie Aldrich
88 - Three Coins in the Fountain - Harry James
89 - High Noon - Ray Conniff
90 - Around the World - Geoff Love
91 - The Entertainer ('The Sting') - Larry Adler
92 - The Summer Knows ('Summer of '42') - Acker Bilk

CD6
93 - The Way We Were - Henry Mancini
94 - Raindrops Keep Fallin' on My Head ('Butch Cassidy and the Sundance Kid') - Ray Conniff
95 - A Man and a Women - Harry James
96 - As Time Goes by ('Casablanca') - Henry Mancini
97 - 'The Third Man' Theme - Ray Conniff

Programme 8  - Favourite Hits From the 70s
98 - Annie's Song - Henry Mancini
99 - Yesterday Once More - Adrian Brett
100 - Something - Ray Conniff
101 - The Most Beautiful Girl - Bert Kaempfert
102 - Imagine - Acker Bilk
103 - Sailing - Richard Clayderman
104 - (They Long to Be) Close to You - David Snell
105 - Morning Has Broken - Adrian Brett
106 - And I Love You So - Manuel and the Music of the Mountains
107 – Medley: For All We Know-We've Only Just Begun - Richard Clayderman
108 - Mull of Kintyre - Adrian Brett
109 - Top of the World - Gheorghe Zamfir
110 - Snowbird - Bert Kaempfert
111 - Everything Is Beautiful - Ray Conniff

One final note about that last selection from the 1970s – the compilers at RD were able to capture that sprit not only of optimistic sunsets amidst the relaxing vibes, but also evoking through the Adrian Brett and David Snell selections the gentle rising spirits that accompany breaking dawn…This is of course not the only ‘sunset mood’ collection from Reader’s Digest legendary archives. Here are two more titled STRANGER ON THE SHORE and HAWAIIAN PARADISE from the late 1970s.


Still on the subject of Sunset Mood LPs, PHILIPS/FONTANA released a number of popular mood collections around 1970-2 themed Nice and Easy. As far as I know there were 4 volumes of them. One breathtaking collection was titled simply WHEN LIGHTS ARE LOW. It could be music for the hour starting ten minutes before sunset to two hours after sunset. Who cares? It is simply gentle, classy instrumentals that set the mood for dinner or a romantic night in. PHILIPS in tandem with Phonogram London have remastered WHEN LIGHTS ARE LOW on CD, minus mysteriously 8 tunes from the original LP. 
 
WHEN LIGHTS ARE LOW – Various Artistes: The Cascading Strings, Chaquito, John Gregory Orchestra, Syd Lawrence Orchestra, Paul Mauriat Orchestra etc. Printed in limited quantities and released in 1990 under the Nice N Easy series of Compact Disc remasters, as PHILIPS/Phonogram (London) catalogue no. 842905-2, made in West Germany. As the title and scenic cover photo suggest, this is mood music par excellence for nocturnal listening with soft musical hues provided by a cushion of strings and mostly softly played saxophone, trumpet and piano leads. There are spots of Latin beats – sambas and bossa novas – and gems from the 1960s and 1970s hits parades transformed instrumentally by classy acts. A trip to nostalgia territory, plus dream dancing. Highlights:
·         All tracks by the Bill McGuffie Quartet (Watch What Happens, Begin the Beguine, Quiet Nights etc.) are selected from his early 1970s LP ‘World hits latin style LP Philips 6856025’ featuring gentle piano notes backed by slow bossa and rhumba rhythms. A much much gentler version of Pepe Jaramillo’s Latin piano sound if you need a comparison.

·         John Gregory in three guises: Cascading Strings, Chaquito Latin Big Band, and under his own name – lots of tracks first time in CD format such as his lush rendition of the Carpenters’ hit ‘They Long to be Close to You’ and the dazzling arrangements of ‘Smoke Gets in your Eyes’ and ‘Serenade in Blue’. ‘Witchcraft’ gets a spicy cha-cha rhythm!

·         Nice touches of the sound of slow rolling ‘romantic strings’ by the Reg Tilsley Orchestra and Ivor Raymonde Orchestra.

·         Two guest appearances by Paul Mauriat on the upbeat ‘Ebb Tide’ and the dreamy lounge treatment of Bacharach’s ‘This Guy’s in Love with You’.

Track Listing:

1. Serenade In Blue – Cascading Strings conducted by John Gregory.
2. Watch What Happens – Bill McGuffie Quartet.
3. Let’s Face The Music And Dance – The John Gregory Orchestra.
4. Days Of Wine And Roses – Reg Tilsley and his Orchestra.
5. All The Things You Are – Dennis Wilson and his Orchestra.
6. The Look Of Love – The Chaquito Latin Big Band.
7. Deep Purple – Syd Lawrence Orchestra.
8. In The Still Of The Night – Ivor Raymonde and his Orchestra.
9. I've Got You Under My Skin – Bill McGuffie Quartet.
10. Ebb Tide – Paul Mauriat & his Orchestra.
11. Claire De Lune – Reg Tilsley and his Orchestra.
12. Witchcraft – The Chaquito Latin Big Band.
13.This Guy's In Love With You – Paul Mauriat and his Orchestra.
14.Fantasie Impromptu In C Sharp Minor Op 66 – Reg Tilsley and his Orchestra.
15.Begin The Beguine – Bill McGuffie Quartet.
16. They Long To Be Close To You – Cascading Strings conducted by John Gregory.
17. La Paloma – The Chaquito Latin Big Band.
18. Smoke Gets In Your Eyes – Cascading Strings conducted by John Gregory.
19.Stardust – Syd Lawrence Orchestra.
20.Quiet Nights Of Quiet Stars– Bill McGuffie Quartet.
21.The First Time Ever I Saw Your Face – The John Gregory Orchestra.
22.The Party's Over – Ivor Raymonde and his Orchestra.

Time to dream of even more sunsets...

ALAN
12 November 2018

Tuesday 13 February 2018

Remembering Vic Damone 1928-2018 - Desafinado & More!


The sad news just came in on the 13th February 2018 edition of the New York Times...classic crooner Vic Damone has left us...This collage of pictures remembers some of my personal recollections of his greatest hits. His was a voice that was baritone and symphonically smooth, a niche in between Frank Sinatra, Tony Bennett, Andy Williams and even today's crooners Michael Buble and Patrizio Buanne. Listening to Damone completes one's total Hi Fi experience because it draws out the best in your system's ability to deliver the closest thing to sound surround with a two channel stereo. More of the New York Times obituary here - while the link stays: https://www.nytimes.com/2018/02/12/obituaries/vic-damone-singer-dies.html?module=WatchingPortal&region=c-column-middle-span-region&pgType=Homepage&action=click&mediaId=thumb_square&state=standard&contentPlacement=10&version=internal&contentCollection=www.nytimes.com&contentId=https%3A%2F%2Fwww.nytimes.com%2F2018%2F02%2F12%2Fobituaries%2Fvic-damone-singer-dies.html&eventName=Watching-article-click

I first heard him transforming 'On the Street Where you Live' into one of his many signature anthems. The YouTube clip is here, or you can sample it on the many crooner's compilations available on the market: https://www.youtube.com/watch?v=TwhUipIX_oA It is that sort of song you need a big orchestra to accompany and a singer who 'breezes' your walking rhythm across the frenetic traffic intersection. With a beautiful song such as this, the morning goes wonderfully for you.

Next, Damone's version of Antonio Carlos Jobim's 'Desafinado', accompanied by the venerated NELSON RIDDLE ORCHESTRA oozes 60s bossa nova charm in its distinctively bold interpretation with the lyrics being sung prominently over the lush orchestration. It is more Damone's style riding over the pleasantness of a gentle Latin rhythm than anything else. Listen here or in any of the following compilations and you'll understand why this singer's song will live on forever as a classic in the EZ listening hall of fame! [https://www.youtube.com/watch?v=zDc8KTQs9OU]


ALAN
February 2018

Thursday 8 February 2018

SOUNDBOXES IX: TWO ‘BOXY’ VALVE CD PLAYERS CONTRASTED – THE SONIC FRONTIERS SFCD-1 AND SHANLING CD3.1

Recently I had the opportunity to acquire two CD players which I had either read about and not heard, or had never been recommended simply because it was not promoted by local Hi Fi circles and shops. What inspired me to twin their reviews was their shape – both resembled rectangular warehouses and sported what in architectural parlance would be termed an industrial fashion to their exterior. As it so happened, both were valve-facilitated disc spinners. What was also deeply impressive was the fact that their performance proved that the Compact Disc would persist in presenting music with a quality that can rival the Vinyl Revival, and most certainly, the digital music downloads.





STEREOPHILE MAGAZINE has extensively reviewed the Canadian made Sonic Frontiers SFCD-1 in regard to its technical aspects, so I will skip all of that in this post. You can read the review of the SFCD-1 here: https://www.stereophile.com/content/sonic-frontiers-sfcd-1-cd-player-specifications#zv5R6TdcqpJ8uFcZ.99. The magazine also described its technical features as follows: CD player with HDCD decoding and tube output stage. Tube complement: 6922 (x2). Outputs: Two 6922 single-ended on RCA jacks, balanced on XLR jacks. D/A conversion: UltraAnalog D20400A. Transport mechanism: Philips CDM 12.4. Frequency response: 0.5Hz–20kHz ±0.3dB. S/N ratio: >107dB (A-weighted). Channel Separation: >100dB, 20Hz–20kHz. THD: <0.05%, 20Hz–20kHz. Intrinsic jitter: <8ps, DC–40kHz with any music signal.
Dimensions: 19" W by 4" H by 12" D. Weight: 27 lbs unpacked.


The fact that the SFCD-1 touted itself as a HDCD-capable player was a throwback to the late 1990s and early 2000s. Indeed, according to the STEREOPHILE review, production of the player was terminated in 2005. Thus, reviewing it in early 2018 allowed some ‘test of time’ to elapse. I was unimpressed by the front fascia. The combination of silver trimmings set against a black front resembled potentially the SONYs, PHILIPses and MARANTZes. The digital display was however simple yet effective, although the unit I acquired and photographed here showed signs of digital ageing – the zeroes and twos missed a stroke each, so did the alphabet ‘n’ – the sound blew me away.

There was an immediate and inviting transparency about every piece. I tried a budget remaster of Nat King Cole’s greatest hits – indeed a disc pressed in Portugal in the mid-1980s – and the results were impressive – particularly in the reproduction of Nat’s nasally semi-baritone and the revelation of detail in the choruses Nat’s arrangers set up on songs like ‘When You’re Smiling’ and ‘Darling Je Vous A’ime Beaucoup’. Nat’s version of ‘Sweet Lorraine’ boasted an intimacy to his piano playing that the SFCD-1 was good at picking out. Switch to saxaphone solos of the likes of Stan Getz and Ben Webster, the SFCD-1 did not disappoint either, placing the soloists precisely where they stood in the studio. The Sax oozed with a deep feeling of soul in the breathing of the musicians. What about strings? The Mantovanis and Frank Chacksfield types revealed their analogue limitations a short time into their instrumentals. One could ‘sense’ the resonance of the violins being played but the limitations of the original LPs were also glaringly evident. Switch back to pop and soul of the likes of Earth, Wind and Fire and Aretha Franklin and you feel the awe coming back. The newer the recording, and especially the HDCD ones, the more brilliantly the SFCD-1 performed. The two 6922 NOS tubes that came with the player gave off a very consistent orange glow and sounded run in, but that analogue sound was not quite exhibited even after I paired it with a Sansui AU-999 integrated amplifier. That said, the SFCD-1 worked very well warming the 6922 valves in a blink of an eye unlike the Shanling which took nearly 10 seconds to warm up.

           The Shanling CD3.1 looked every bit like a veritable warehouse with no windows, and with only roof access provided ‘James Bond style’ with an almost silent swoosh of the polished aluminium cover sheltering the disc compartment. The latter was totally metallic in look and feel with two discrete depressions where one’s fingers were meant to lower the disc into the play slot before placing the puck on top of the disc to clamp it for stability. Press close on the eject button and the aluminium sliding door hides the disc completely. At the same time, the closure of the disc compartment draws your attention to another discreet feature behind the disc compartment – the grilled cover revealing the two EH 6H30 Valves aglow and producing a palpable amount of heat even before play is engaged. Apart from the blue digits on the display, a barely audible click and whirr coming from the disc compartment signals the start of sound pleasure. I suppose that after living with such a nondescript aluminium box of a CD player, one conveniently forgets about its bizarre, yet bland, physical appearances and simply concentrates on the music.

 The specifications of the Shanling CD3.1 are here, referenced from the website www.audioemotion.co.uk:
Drive:  SANYO HD870 laser head with Philips SAA7824 servo system
 
DAC:
BB PCM1704 *2
Unbalanced output level:
2.3V
Balanced output level:
4.6V
Frequency response:
20 Hz - 20 kHz (0.5dB)
Signal to Noise Ratio:
>107dB (RCA), >115dB (XLR)
THD+N:
<0.02% (RCA), <0.002% (XLR)
Power consumption:
<60W
Dimension:
460mm x 403mm x 132mm
Weight:
12.7kg


  • All-in-one aluminium upper cover plate with side panel; CD module being installed on the 4.9mm thick upper cover plate for ideal anti-vibration, therefore enhancing the precision of the servo system.
  • 2 BB PCM1704 for D/A converting and a SM5847 for digital filtering
  • 4 top-class OPA627 OPAMP
  • Burr Brown SRC4193 for upsampling
  • 2 AD847 and 2 EH 6H30 tube for buffered output
  • Accepts 24bit /96KHz USB digital signal

          The music was rhythmic, sweet in the midrange, and depending on your amplifier, bass was comfortingly controlled in the right dosage. I played the same selections used for the SFCD-1 on the CD3.1 and the results were a tad superior. Particularly older, remastered recordings were presented with an immediacy that the SFCD-1 lacked. The pairing with the Sansui AU-999 was both fitting and sublime. It brought out the analogue best in each other. Nat King Cole in particular was singing a touch more intimately with a velvety quality only your ears could viscerally embrace. I am not jesting here! Pick up any mediocre remaster and test the CD3.1 and you’ll find your jaw dropping in surprise how advanced the Shanling is, and endearing too. Put on the Mantovanis and Frank Chacksfields, and you’ll hear the analogue glory of the original studio sessions brought to life in front of you. Stan Getz and Ben Webster sound simply evergreen, with a soul quality akin to the SFCD-1. If recorded music had to have a virtual pulse to feel in the non-tactile senses, to satisfy the listener fully, the Shanling wins this contest hands down despite the industrial warehouse look of the player. That said, the CD3.1 can occasionally sound harsh in the upper ranges if one uses high end interconnects coupled to high end power cables. I resolved this issue by keeping the high end interconnects (i.e. in my test, the Crystal Cable Micro non-Diamond interconnects) while using a stock power cord. Amazingly the stock power cord did not introduce any audible noise into the music reproduction. This was probably controlled by the Gigawatt power distributor used in this test.
 
          The SFCD-1 is nonetheless not to be derided. It has its place in the evolution of the CD player. It did popularize the idea of discrete power supplies, shielding of the output channels, and the attention to the careful heat dissipating placement of the valves. But if you listen mostly to music produced after 1982 when the digital revolution happened, the SFCD-1 is more than adequate. But if you’ll need an all-rounder to interpret the giants of jazz from the 1950s and 1960s, do not hesitate to acquire the Shanling CD3.1 despite its enigmatic industrial looks!

Accompanying test equipment: SANSUI AU-999 integrated amplifier, Crystal Cable Reference Diamond speaker cables, Crystal Cable Micro (non-Diamond) interconnects, stock power cords alternating with SILTECH SPX-800 power cord, GIGAWATT PF2 Power Distributor.

ALAN   
February 2018