J.S. Bach, Motets. Fabio Bonizzoni, Capella Cracoviensis. Alpha ALPHA 199, Compact Disc.
Alpha label has been known for years for their sophisticated releases. It was founded in 1999 by Jean-Paul Combet and it's also known for very special covers of their releases, chosen by Denis Grenier. In December 2014 Mr Didier Martin was named the new director, which resulted in significant changes in label's activity. Today Alpha Records is part of OutThere Music group and is called Alpha Classical. Also other labels specializing in early music, including: Fuga Libera, Æon, Ramée, Zig-Zag Territoires, Phi and Arcana. Since recently Alpha Classics releases covers look bit differently as the characteristic black stripes are not used anymore.
Been released by Alpha was always a nobilitation for the conductor and musicians. So I was really happy to learn that Capella Cracoviensis joined this elite club. Its first album marked with famous α mark was Jean-Baptiste Lully's Te Deum, conducted by Vincent Dumestre, with Le Poème Harmonique (see HERE).
This time Capella got their own recording—conducted by Fabio Bonizzoni recorded J.S. Bach's Motets. The recording was realized in 2014 in Lutosławice—at Krzysztof Penderecki European Music Centre. Aline Blondiau was responsible for recording and mastering of the material for this album.
This is not the first CC album recorded in Lutosławice, as before they already recorded there the Bach Rewrite for Decca. And one can clearly notice some common features of both recordings. First of all selectivity is not that good. Sound is bit dark and one has to use high volume level setting for proper clarity of the sound. At such, relatively high, volume setting one would get a rich, deep sound, with good definition a tonal balanced slightly shifted towards lower midrange. It's this kind of recording that one may equally enjoy many times without getting bored or tired. One just sits there and relaxes.
It is also a fantastic performance—Capella is getting better and better at it. Alpha productions realized at their home turf seem more resolving which translates to deeper soundstage and more distinct presentation of each instrument and vocalist. Motets offer though a wonderful timbre of instruments and voices, rich, dense sound and a fantastic performance of Capella. We can only highly recommend this album and award it with RED Fingerprint.
Sound quality: 7-8/10
Bill Wyman, Back To Basics. Proper Records/Music On Vinyl MOVLP1538 . "Individually Numbered Red Vinyl | MOV 000953". Medium: 180 g Long Play. Released: 2015
Any musician who, for the most part of his career, was a member of a famous band, will always be perceived/remembered as such whether he likes it or not. Bill Wymann, born in London in 1936 will always be a Rolling Stones bass layer, as he started to play with them in December 1962 and was a member until December 1992. 30 years is a long time.
In the meantime he played also with Erik Clapton, Stevie Winwood, and Ry Cooder. After leaving the band he recorded and toured with his own Bill Wyman’s Rhythm Kings. After twenty years, in 2012, he performed with The Rolling Stones again during their The O2 Arena Counting concerts celebrating the band's 50th anniversary.
Back To Basics is only his 5th solo album—previous one was released in 1982, which means 33 years ago! Wymann decided to prepare new album when he found in his archive 60 tracks that were never released. He used three of them for this new album. The other nine were recorded during sessions with artists like: Guy Fletcher (keyboard player from Mark Knopfler band) and a singer Beverley Skeete. The album was released by Music On Vinyl as a limited edition on a red vinyl.
As many albums produced today also in this one one shall find a slight emphasis in the lower midrange. This makes sound richer but the differentiation of this part of the range is not particularly great. Wymann's voice features some sibilants that seem to separate from his vocal, although they are not too bright or too disturbing. It's a very powerful, energetic, highly enjoyable blues-rock album that was also nicely produced. There is good frequency range extension which results in a very good bass and treble without any hints of a roll-off. But to be perfectly honest treble is not particularly open, nor selective. Soundstage is not very deep—most events happen in the front of the stage and right behind it. Album delivers palpable performance with warm leading vocal and supporting ones. Guitars are particularly well recorded—they have their depth and are nicely differentiated. One sonic signature of guitar amplifiers used during the session.
It's this type of music and recording that keeps you involved, energized—most will come back to this album many, many times having a great time listening to it. Even more so considering that the pressing is also very good with a low vinyl noise and very few pops & cracks.
Sound quality: 6-7/10
