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

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