I don't always manage to include all recent HDTT releases that I've liked in any given article. Sometimes a little catch up is required. Thus the belated reviews of two releases missing from my last discussion, Overtures by Offenbach and Auber and Louis Armstrong meets Oscar Peterson. And a Pure DSD256 Miles Davis reissue plus one of the great early Decca London Blueback LPs. But first, let's celebrate a new release from the original Desmar master tapes recorded by the great David Hancock and restored by John Haley.
Richard Strauss, Piano Quartet In C Minor, Op. 13, The Los Angeles String Trio (from the Desmar original master tapes). HDTT 1975 2025 (DXD, DSD256) HERE
We know Richard Strauss principally for his large orchestral pieces such as Also Sprach Zarathustra, Don Quixote, the Alpine Symphony, and Don Juan (written when he was 24), or operas like Elektra and Der Rosenkavalier. His output of chamber music, on the other hand, was slight. But, don't mistake a small number of works for inadequate quality.
Strauss composed this piece, the Piano Quartet in C Minor, in 1884 at the age of 20, but the work already reflects a complex compositional talent. When I heard the first movement, my immediate thought was "Brahms!" And when I read the enclosed booklet I found I was not alone in this thought. The work has a maturity and complexity that belies the youthful age of the composer. And the ideas fomenting throughout the work seem almost too many for the constraints of the genre. Yet, against all odds for such a youthful composer, it holds together—pretty much.
As so often in the works of Richard Strauss, the music contains many sly barbs, unexpected jibs and jabs. The second movement is particularly abundant. He is having great fun. When the third movement Andante commences, it is like we've left all before this behind and we're off to a completely new and unrelated set of ideas. Ah, well. It is still beautifully written even if coherence is not the strong suit. And with the fourth movement, "Finale: Vivace," we're off to the races, or maybe not. Seems the music is not quite sure of where to go. But, we're having great fun nonetheless.
So, what do I make of the music? It's an entertaining ride. And it's a treat to hear a great composer's early working-through of a bunch of ideas. As I mentioned at the outset, this is high quality. Just a bit lacking in overall coherence because there are so many ideas competing for time and attention. But who am I to judge or to complain!?! I just listen and offer my reaction. Yours may be quite different.
I write about this release because 1) the music content is not the usual fare (hurray!), 2) the performance is very well accomplished by the Los Angeles String Trio (which included the great cellist Jeffery Solow) with pianist Irma Vallecillo, and 3) the recording is marvelous.
If you love well recorded chamber music, as I do, then this is a release you should have in your music library.
The recording was made by the great David Hancock for Desmar Records, an independent audiophile label of the mid to late 1970s. The source of this release is the original Desmar master tape as transferred by Bob Witrak and restored by John Haley, Harmony Restorations, LLC. The Desmar master tapes were discovered by John as they were being discarded from a storage locker where they had sat for years. John salvaged them. Such is the delicate balance on which so many recordings lie—teetering between preservation and discard. Over the past several years, John and Bob have worked to identify the tapes and piece them together for possible reissue. Many are just bits and snippets, many are not identified in their boxes. But some, like this one, they have been able to identify as to both content and provenance. Bob and John are working together to release as many as possible. It will be the work of several years.
Recording engineer David Hancock was a genius. And an iconoclast. His recordings are greatly admired for their immediacy, clarity and superb capture of the soundstage. But, he did not follow industry standards in the set up of his equipment. He followed his own design genius to create results that were not possible for many other engineers. Because his techniques were of his own design, proprietary, and secret (e.g., the bias used in his tape recorder, the frequency curve to which he had his record heads set), his tapes are not plug-and-play retrievable/playable on industry standard tape players. Without access to David's own analog tape machine (long lost), the process of restoration is a matter of art, done entirely by ear, by John Haley.
The results John is able to achieve are amazing. Simply listen to this release! It has a directness, a transparency, a level of detail that is very rare. And the analog quality of the sonics is simply to die for. Is it euphonic? Perhaps. But gloriously so.
All together, very highly recommended.
For some additional information about HDTT's Desmar master tapes project, you may find these past articles of interest:
A Conversation with John Haley - Audio Restoration Magician
Nathaniel Rosen - Schumann's Complete Works for Cello and Piano
Stokowski's Rachmaninoff Third Symphony - From the Master Tapes in Pure DSD256
Remembering David Hancock by John Marks
Oscar Peterson Plays The Duke Ellington Songbook. HDTT 1960 2025 (DXD, DSD256) HERE
Don't miss this album. However long you delay, you'll regret not getting it sooner. This is a great album and a terrific sounding release. I can't summarize my reaction to listening to this better than HDTT's own introduction on the web page:
"Peterson’s approach to Ellington’s music is both reverential and inventive, with his hallmark dazzling technique and refined harmonic sense. Ray Brown’s bass playing provides an impeccable foundation, always locked in with the pianist’s phrasing. Ed Thigpen’s brushwork and swing feel add subtlety and drive, enhancing the trio’s overall cohesion. This album captures a perfect balance of swing, elegance, and virtuosity, making it one of the finest piano tributes to Duke Ellington."
The album is all of that and more. The more is the sound quality HDDT has achieved in making this transfer from their source 2-track tape: clean, transparent, voluptuously round and analog sounding, yet very detailed. Bob doesn't say, but I'm guessing this is a 7.5ips tape, not 15ips. Yet, still—my goodness it sounds good!
And just look at the track listing: Take The "A" Train, I've Got It Bad And That Ain't Good, Just A Sittin' And A Rockin, Sophisticated Lady, Cottontail and seven more. It's the gold list of the great songs Ellington was known for.
And all are played with the inimitable style of the Oscar Peterson Trio. As the liner notes say, Peterson's "inventive phrasing, effortless articulation, and deep rhythmic sense make every track a fresh interpretation rather than a mere reproduction."
Don't miss this album. However long you delay, you'll regret not getting it sooner.
Louis Armstrong meets Oscar Peterson. HDTT 1957 2025 (DSD256, DXD) HERE
This may be my favorite Louis Armstrong recording. At least for this week. I think I like it so much because Armstrong sings, and sings, and sings in this album. Now, one may not call what he does technically "singing," but I sure do like whatever it is. There is an abundant joyfulness about the man. And right now some joyfulness is a very good thing. When combined with the pure excellence that is Oscar Peterson and his compatriots, this is altogether some marvelous music-making.
I've long had a copy of the Verve CD in my collection, so I took a few moments to compare. And, you guessed it, the HDTT, sourced from a 15ips 2-track tape and transferred directly to DSD256 and then post-processed in DXD for a bit of cleanup, is simply better sounding. No, it doesn't "trounce" the CD for sound quality. But, the HDTT has the detail, texture, extended harmonics, and aural density that the CD just can't match. The CD is just "thin" by comparison.
As with so many of these releases from HDTT, if all you have heard is some other digital release, you have not really heard what is on this album. If you like these performers nearly as much as I do, you will relish this new release from HDTT. It's a good 'un.
Miles Davis and Horns, Miles Davis Sextet. HDTT 1951 & 1953, 2025 (Pure DSD256) HERE
The albums offered by HDTT are always top drawer, both the music and the performances. One might have favorites, but they have all met the test of time as excellent albums. In the case of this current Miles Davis release, one might be put off by the 1950s artwork, but never by the music. The players are the cream of 1950s era jazz and they are simply great. I did compare this HDTT Pure DSD256 release to a 192k release from another source that was already in my collection. As I expected, the HDTT release is much more natural sounding, much more neutral in tonal balance, much more "analog sounding". In the alternate source release, the upper midrange and highs have been goosed up for punchier impact, but far less natural sound. This is not simply a difference in the formats. It is a difference in the aesthetic choices being made by the engineer making the transfer—Bob Witrak is tops in this respect. The HDTT is a far superior sounding release if you value the natural timbre of the instruments.
Pops Caviar, Arthur Fiedler, Boston Pops Orchestra. HDTT 1959 2025 (DSD256, DXD) HERE
Yes, this album still holds its own over these many decades. Filled with the sound of beautifully silky strings, this Living Stereo album has always been a favorite for those seeking the full Romantic treatment of these works. This is another excellent release in the HDTT's ongoing Vinyl Record Restoration series. As with all the other releases in this series, the background is dead silent, with extended frequency balance, excellent detail, and very nice dynamic range.
Compared to the RCA Living Stereo SACD, this HDTT release sounds cleaner, with greater clarity and resolution. The SACD, surprisingly, sounds dull and dim and somewhat congested. Not what I was expecting. My guess is that the SACD was made from a tape that had degraded by the time of transfer whereas the HDTT is made from an early stamper Shaded Dog pressing made when the tape was fresh. I'll be interested to know what others hear.
Of course, the SACD combines two albums in one, both the Russian Orchestral Fireworks album as well as the Pops Caviar. But for me, the improvement in sound quality found in the HDTT release far outweighs the difference in quantity.
Beethoven Symphonies Nos. 8 & 9, Herbert von Karajan, Berlin Philharmonic. HDDT 1962 2025 (DSD256, DXD) HERE
Herbert von Karajan circa 1962 was a superb conductor. His early DGG recordings and his even earlier EMI recordings stand as a testament to how great he was. Later recordings—not so much, for me. YMMV. But here he is on the top of his game. And the Berlin Philharmonic play their hearts out for him.
This is one of the GREAT recordings of Beethoven's Ninth Symphony. And this transfer from a 2-track tape by HDTT does it full justice. Dynamic, detailed, transparent—just outstanding. Out of curiosity, I compared this HDTT release to both the SACD (DSD64) and Blu-ray (96kHz) releases of this recording. The HDTT is better to my ears, on my system. It sounds less "processed", more analog, more resolved, while still retaining the natural timbre of the instruments without over-sharpening (as in bad photo editing).
Shelly Manne & His Men at The Black Hawk Vol. 2. HDTT 1959 2025 HERE
This is yet another excellent sounding release in HDTT's ongoing Vinyl Record Restoration series. Bob Witrak's obsessive attention to detail in his setup and equipment continues to yield releases that, like this one, I simply can't differentiate from a transfer from a good tape source. Clear, clean, dynamic, highly resolving... One could go on with the adjectives. Suffice it to say, I can't imagine anyone being disappointed with these results. Is it as good as a transfer from a 15ips 2-track tape? Probably not—it is an LP after all. And I've always found a good 15ips, 2-track tape to have superior air, openness, and dynamics when compared to LP. Tape is simply a different medium, and it sounds different. But, my point is simply this: if you loved great vinyl, this is an excellent reissue with outstanding sound quality.
This is Volume 2 in a series of live recordings from September 22-24, 1959, at the Black Hawk club in San Francisco. If you like Shelly Manne's style of West Coast jazz, consider adding Volume 1 to you wish list as well (available HERE).
For me, recordings of live sets such as this capture the essence of jazz. It is alive, it is spontaneous, and it includes extended improvisations. It offers an intimate, club-like atmosphere that we can enjoy from our own listening rooms. Enjoy!
Muddy Waters, Folk Singer. HDTT 1962, 2025 (DSD256, DXD) HERE
Spookily real. That's the first thought that came to me as the music started playing. I've always loved this album. Chess Records captured Muddy Water's voice and guitar with great immediacy back in 1962. And the LPs always managed to reproduce this exceptionally well, whether Chess original or Mobile Fidelity reissue or Speakers Corner reissue. The CD, not at all, however. In this new release sourced from an original Chess pressing, HDTT has captured all of that LP goodness, but without any hint of surface or groove noise. The results are immensely impressive—musically and sonically compelling. If anything, I'm liking this HDTT DSD256 release as much or more as I can ever recall enjoying this album. And, yes, I would have called that a blasphemy seven or so years ago. So life and experiences change.
Overtures By Offenbach & Auber - Paul Paray, Detroit Symphony. HDTT 1959 2024 (DSD256, DXD) HERE
An album of warhorses, but likely the best performances of these works that you will find. Paul Paray and his "greatest French orchestra in America" play these pieces to the hilt. With all the flair, subtly and grace one can imagine. This album, originally released by Mercury Living Presence in 1959, has remained an audiophile favorite ever since. And for good reason. The performances are outstanding and the capture of the orchestral sound by the great Bob Fine and Wilma Cozart team is second to none.
This is another excellent release in HDTT's ongoing Vinyl Record Restoration (VRR) series. If HDTT had not told me this was sourced from an LP (an original Mercury pressing), I'd never have known it was not from tape. Quiet background, highly detailed, good dynamics. The sound is a slightly bit dark, as typical of the electronics of that day, but other than that, this release is a winner in all respects.
Ravel & Chabrier, Paul Paray, Detroit Symphony Orchestra. HDTT 1958 2025 (DXD, DSD256) HERE
Paul Paray (1886–1979) was a well-known French conductor famous for his interpretations of French orchestral music. He promoted 20th-century French composers and had a successful career, especially with the Detroit Symphony Orchestra from 1952 to 1963, where he focused on precision and warm performances. He transformed his Detroit Symphony Orchestra into one of the best French orchestras of the day, it was just in America.
Ravel's Ma Mère L'Oye (Mother Goose) is a work of French impressionism featuring magical sounds and fairy-tale themes. Ravel originally composed it as a piano duet for children between 1908 and 1910, later arranging it for orchestra in 1911 and turning it into a ballet in 1912. Paray's performance is equally magical. If you've not heard a performance of Ma Mère L'Oye, you should seek it out. This recording by Paray and his Detroit Symphony Orchestra is an excellent starting point to hear one of Ravel's most ingratiating works.
Chabrier's Bourrée Fantasque is similarly magical. Spritely, bright, energetic is the game of the day for this piece. And Paray gives it full justice, with the orchestra responding with delightful energy and precision. Written as a work for piano, this is heard in André Caplet’s celebrated 1912 orchestration.
I don't know what your reaction to Ravel's Bolero may be, but I almost groaned when I saw it highlighted on the cover. I suppose it's a matter of a nice piece of music being adulterated by association with a certain movie I refuse to name. So, I tried to listen with unbiased ears. And I was quite entertained. Ravel is reported to have said of this composition, "Don't make more of it than it is" or words to that effect. Basically, it was an exercise. It rotates nicely through all the orchestra sections giving everyone a moment in the sun. And Paray's unsentimental approach and precise clarity make this an enjoyable foray.
The recording was made for Mercury Records by the illustrious Bob Fine and it carries his usual trademark clarity and capture of the soundstage. In other words, remarkable! I only wish HDTT had a better source from which to make this transfer. The end result is not up to their usual exceptionally high standard of transparency and resolution. But, while I've not heard an alternate digital reissue of this album, I'll bet this HDTT release is still miles ahead of any other digital release you can find. I do have the Bourrée Fantasque on a Mercury SACD release of "Chabrier Orchestral Works" but, as so often the case, it is not equal to this HDTT transfer and they, presumably, had access to the master tape to make their transfer. (See my recent rant, Master Tapes, Shmaster Tapes.)
Stokowski conducts Bartok, Scriabin, Houston Symphony Orchestra. HDTT 1959/1961, 2025 (DXD, DSD256) HERE
Sourced from a 15ips, 2-track tape, this Bert Whyte produced recording for Everest Records has all the characteristics that made for great Bert Whyte recordings: prodigious dynamic range, great frequency extension, tremendous inner detail, and very natural sound. If the miking could occasionally be a bit overdone, the tradeoff was the detail captured and the overall impact of the recording. Regrettably, these virtues were not always to be heard on the Everest pressings depending on what generation pressing you were able to acquire.
This release by HDTT has the impact and natural sound quality I remember well from the best of the Everest LPs I had in my vinyl collection. If your system can reproduce the dynamic range, it will knock your socks off if played at anywhere close to live performance volume. Recommended!
For an excellent history of Bert Whyte's work with Everest Records founder, Harry Belock, I recommend this article: Fifty Years of Everest and Some Reminiscences, by Peter Joelson in Audiophile Audition, September 2008.
Weber Overtures, Ernest Ansermet, L'Orchestre De La Suisse Romande. HDTT 1958 2024 (DXD, DSD256) HERE
I have a great fondness for early Decca recordings. And the recordings made by Roy Wallace in Victoria Hall, Geneva, are always more than welcome listening. Wallace recorded for Decca on the European continent and was largely left to his own preferences for microphones and microphone placement. Fortunately, his sensibilities were superb—he wanted to capture the full soundstage of the hall without mimicry, without multi-miking, without spotlighting instruments. And, thus, his recordings of L'Orchestre De La Suisse Romande conducted by Ernest Ansermet in Geneva are some of the most consistently pleasurable to my ear of any of the Decca recordings.
These recordings of Weber Overtures from 1958 are among his great ones. I'm delighted to see Bob Witrak adding this album to his HDTT catalog. Transferred from a London Blueback original pressing LP, the sound quality is gorgeous, with excellent frequency extension and dynamic range, delicious tonal quality, and somewhat warm tubey balance but still with great detail and resolution. This is what London Blueback LPs could sound like if you had your vinyl playback system tuned to perfection and a pristine, blemish free copy. In this case of this release, there is no surface noise and an utterly silent background—which you would be hard pressed to hear on any turntable. This once again demonstrates the excellence of HDTT's ongoing Vinyl Record Restoration series. Kudos! I am in awe.
For more about early Decca recordings from this golden era of stereo, you might enjoy reading an earlier article devoted to the subject here: From the Golden Age of Decca Stereo: The Recordings Engineered by Roy Wallace at HDTT
