The AYA (Are You Authentic?) is an association whose members are dedicated to the aim of providing an authentic musical experience in cars. “Are you Authentic“ campaigns for “real” and “natural” sound reproduction by e.g. organizing sound competitions, where the participants receive constructive criticism from an expert jury. The new “know-how” which thereby arises is shared by all without any financial considerations. In order to facilitate a reproducible test of audio systems, a detailed points system has been developed and together with Stockfisch Records and this SACD, with which the sound of hi-fi systems can be critically judged, therefore allows the most objective possible comparison of different systems. These tracks – some newly mixed, others specially recorded for this SACD – contain certain music signals which show up weaknesses in the sound reproduction chain. These tracks were selected to optimize sound systems if necessary. The tracks sound really good only when there are no mistakes in the system.
John Coltrane's A Love Supreme is one of the most compelling, spiritual testimonies in the history of jazz. The four-part suite, originally issued in 1965, can't be divorced from its cultural moment – based on the cadences of Bible psalms and the tenor saxman's own free verse, the album reflects the jazz world's growing embrace of Eastern ideas as well as the tumult of the American black-consciousness movement. ~ Rolling Stone Magazine
For this classic encounter, Duke Ellington "sat in" with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. ~ AllMusic
This splendid-sounding CD reissues a 1962 set from the Roy Haynes Quartet – which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work ~ AllMusic
Having at last laid Roxy to bed with its final, intoxicatingly elegant albums, Ferry continued its end-days spirit with his own return to solo work. Dedicated to Ferry's father, Boys and Girls is deservedly most famous for its smash single "Slave to Love." With a gentle samba-derived rhythm leading into the steadier rock pace of the song, it's '80s Ferry at his finest, easy listening without being hopelessly soporific. As a whole, Boys and Girls fully established the clean, cool vision of Ferry on his own to the general public. Instead of ragged rock explosions, emotional extremes, and all that made his '70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match. Co-producer Rhett Davies, continuing his role from the latter Roxy albums, picks up where Avalon left off right from the slinky opening grooves of "Sensation." The range of people on the album is an intriguing mix, from latterday Roxy members like Andy Newmark and Alan Spenner to avid Roxy disciples like Chic's Nile Rodgers. Everyone is subordinated to Ferry's overall vision, and as a result there's not as much full variety on Boys and Girls as might be thought or hoped. The album's biggest flaw is indeed that it's almost too smooth, with not even the hint of threat or edge that Ferry once readily made his own. As something that's a high cut above the usual mid-'80s yuppie smarm music, though, Boys and Girls remains an enjoyable keeper that has aged well.---allmusic.com
Despite his advanced age and the chaos surrounding him, Richard Strauss remained highly productive well into the 1940s. As the Second World War was coming to an end in 1944-45, the eighty-year-old composer was working on his Oboe Concerto and Sonatina No. 2 for winds, as well as the Metamorphosen for strings. While the latter work was an explicit response to the destruction Strauss was witnessing, in the Concerto and the Sonatina the composer seemed to be turning his mind away from the events surrounding him. There is a pastoral quality to the oboe concerto, with a highly tuneful solo part and more than occasional touches of nostalgia for the 18th century. Similarly, Strauss headed the score of the sonatina with a dedication ‘to the spirit of the immortal Mozart at the end of a life full of thankfulness’.