More on Music Matters Blue Note: Hank Mobley Soul Station 33 rpm, The Magnificent Thad Jones 45 rpm, Lee Morgan The Sidewinder 33 rpm

I am kind of running out of words to use in describing the new series of 33rpm Blue Note from Music Matters.

If you haven't heard them, do it. This is the best these titles have ever sounded and ever will. If you have the 45, particularly those repeated from the Analogue Productions 45 rpm series, well, yes -  you need to get these, and hopefully you have a used record store in your area to ease your pain. They completely invalidate the sonics of the AP BN series.

However, Soul Station was done in 45rpm by Music Matters, not AP, and sounds good at 45. Why, then, would the same company and the same team (admittedly now sans Hoffman) do a double dip and reissue Soul Station yet again?

The reason is - because they can do it better. And not just better - way better, so way that it justifies the double dip, which double dips rarely do.

And this one is overwhelmingly justified.

I don't need to tell you about the music. It is probably Mobley's greatest record, one of the top 20 Blue Notes in history, and probably Blakey's finest moment on record. Being anchored by the light touch and incredible swing of Wynton Kelly and the big bottom of Paul Chambers is a dream combo.

So to the sound - it is organic. The earlier MM 45 was less so, favoring a more delineated sound, that maybe has more transparency - but here, it sounds as a whole. The sense of 'harmonic inner timing" is here to a much greater extent than before. And the tonality - that is a whole different matter. The sheer brassiness of Mobley on this date, the swings, the dips, the slurs, the swoops - the sheer range of his sound, and his burnished tone - all here, right out in front. There are no speakers, just this huge ornaic sound straight out in space ahead of you. Blakey bombs and shimmers, the metal hits, the shimmying of the cymbals, the big swooshes, the drama of Blakey all perfectly represented like the day in Hackensack they recorded it. A monster record, and all I can add is - the previous MM was great, and I listened to it and enjoyed it. The new MM I can't stop playing.

On to a Music Matters 45 I had inexplicably overlooked. Actually, a record I have totally ignored until I had the idea come to me that I should pick up the MM45.

First - the cover. What a totally amazing image of New York in the late 50's, and no one besides Music Matters would go back to the original cover materials to get the original shot so it can be shown so crisply and clearly.

The music is an amazing set of varied tunes, not the typical blowing formula or uptempo/ballad/uptempo a side formula so often used in this era. This is a beautiful, almost autumnal record, from a unique voice. I came to Thad via the Thad Jones/Mel Lewis Big Band recordings of the 70's, the greatest big band operating in the 70's, way past the end of the big band era. Thad always marched to his own beat, even against the tides of the times, and that is no less the case in the late 50's on The Magnificent Thad Jones.Thad has been somewhat diminished historically, overshadowed by his brothers Hank and Elvin. Undeserved, but understandable as his body of work as sole leader is quite small.

Magnificent Thad Jones is a treasure. The sonics here, mid-50's, are astonishing. Barry Harris' piano actually sounds like a real piano, unlike a lot of RVG recordings of the ear. Thad sounds amazing, with a huge, wide open tone - I can hear echoes of dixieland in Thad, echoes of Broadway and Tin Pan Alley, and a very unique harmonic voice, very advanced, always swinging. The fourth track, where Billy Mitchell's tenor lays out, is a masterpiece of advanced ballad playing that is so stunning, and at times the sound so incredibly beautiful, it is not just a one track masterpiece. It sums everything that came before, and points ahead as a roadmap to free jazz, without ever losing the song. Incredible.

This may be one of the very best pre-1960's Music Matters Blue Notes, so don't miss a completely unique, unforgettable record. The cover alone is worth the price.

Lee Morgan - The Sidewinder. Done by Analogue Productions on 45 rpm, now done by Music Matters at 33 rpm. In every way, the 33 supersedes the 33. Again, the AP 33 sounds like they thought it was a Barry Manilow record, not a hard bop record with boogaloo swing. The MM 33 has what is now becoming apparent will be the signature sound of this new series - completely organic, holistic sound, incredible transparency but not clinical, transparency to source and the holistic analog signature of the master tape, astonishingly low noise floor, a massive big sound with floor crushing timing.

Of course, The Sidewinder is an essential record. Morgan's trumpet, coming back after a lengthy drug related layoff, has a confidence and swagger, and a new maturity. Joe Henderson is massive and skirts the edges of his sound. Billy Higgins throws up a wall of shimmering cymbals. It's all here, and I daresay, an original could not possibly sound this good. This is the definitive Sidewinder, despite a sense for a few seconds - seconds only - with the opening bars (the bass figures) that there is a slight wobble in the master tape, which is immediately dispelled when the horns come in. I only mention it as the AP did not have that slight sonic hesitation at the start,  which says that the MM 33 comes from the true, one and only, authentic master tape. Obviously a well used master given the popularity of Sidewinder - but still one capable of giving up glorious sound in the right hands - which are the hands that brought the Sidewinder to life once again, via Music Matters.

It's time for Record Store Day 2014 - a Preview:

Tomorrow another Record Store Day hits, with the inevitable lineups, Ebay poachers and scalpers, a frezy for what could be high value collectables - and a ton of titles, in my opinion, most of rather limited merit. Some have complained that RSD is a cash grab, which it certainly is, but a cash grab with a noble purpose - to get the beautiful sound of 'ca-ching!' ringing through the independent record store industry, struggling to survive, and that is the most worthwhile cash grab I can think of.

Yet this year, I find less of interest than ever before. But there are gems, and here are the ones I have picked up:

1. Grateful Dead - Live At Hampton Colisseum 1974:

A Record Store Day tradition - an unreleased Dead live recording, mid-period Dead and still vital, and although this year it was not mastered by Chris Bellman at Grundman's, no matter - it sounds excellent, and the artwork, particularly the inner gatefold, is superb. A great show from a period that is not always front & center, sounds great, a great release.

2. Mastodon - Live At Brixton:

A live set from Mastodon, a very good one, pretty heavy, a decent if not exceptional live recording covering their 'big' tracks, includes a DVD which is why this is the most expensive record I picked up. Worth having, if not entirely essential. Any Mastodon is a good thing.

3. Bruce Springsteen - American Beauty:

4 tracks, leftovers mostly from his High Hopes LP, sonically similar - brickwalled, but as they had the good sense to go to Grundman for mastering, not as bad as it could have been. Regardless, there are ok songs here but nothing that comes near essential or even illuminating.

4. Frightened Rabbit Live At Criminal Records:

I loved Frightened Rabbit's last LP, but this left me pretty cold. It is the most brickwalled RSD release I have this year, and sounds very hard and digital, quite in opposition to what were warm, woody semi-acoustic performances. A let down, and could have been better had more attention been paid to the sound quality.

5. Tame Impalas - Live Versions:

Fantastic. Quite different from the LP studio versions, much more of a Hendrix/Cream psychedelic and hypnotic groove, a record that grabs you from the A-side lead in groove and doesn't let go until the B-side run-out. Sounds really super for a live recording. Thrilled to have picked this one up.

Pretty decent colored vinyl, too. I would suggest you grab this one.

6. Steve Earle - Townes (The Basics):

Unadorned, basic versions of Steve Earles's covers of Townes Van Zant, which is the way it should be - the dialog between Steve and Townes, the conversation with these great songs, demands minimal intrusion and that's what this is. Superbly mastered for vinyl. Decent pressing. Well worth checking out, one that will get repeated spins over a long period.

7. Flaming Lips: 7 Skies H3:

A distillation of the gimmicky 24 hour song of a few years ago. I approached with caution. I like the cover. The swirl vinyl looks pretty cool. So I'm in, but not expecting much when the needle hits the grooves.

But - WOW! This is the best RSD release Flaming Lips have ever put out there. The music is almost a (mostly) instrumental soundscape for a landing in  another galaxy - exploring sounds, textures, melodic fragments, and even noise - but all the way through it is highly cohesive, moody and melodic, exploratory and gripping. I love it. Get one.

8. Sun Ra - Outer Spaceways Incorporated:

From ORG, a Black Lion title from 1968. Interesting.

I am no Sun Ra scholar or follower, his recordings are so disparate and spotty to find that this catalog never could form anything approaching a cohesive entity, and getting into Sun Ra is very difficult due to the many low quality self recorded albums he did and the great distance between a good Sun Ra night and a not so good one.

This is a fantastic, vital Sun Ra record that should open a lot of ears to what Ra was about. These are long live tracks, wholly representative of Sun Ra;s cosmic free jazz vision rooted in 1950's be-bop and the big bands of Fletcher Henderson in particular. It opens with a free jazz big band ensemble statement, with (guessing) Ra on piano, very much out of Powell/Nichols/Monk, and a very extended drum solo that is amazing, a primal, thunderous walk across those outer spaceways. Mesmerizing. Elsewhere, there is more free jazz head blowing, interspersed with very straight up hard bop piano soloing, and the occasional horn solo coming out of the young tenor lions of the era.

A fabulous recording and the highlight of RSD for me.

9. Charles Lloyd - Live At Slugs:

Two tracks on a 10" at 33, an undocumented early Lloyd quartet with Gabor Szabo, Ron Carter and Pete LaRoca. Interesting, as this is not yet fully formed Lloyd as evident on the pre-Atlantic era recording of Dream Weaver. The sound is limited - it was recorded in a club in the early 60's on a portable table top Nagra, so take that for what it is. Carter suffers worst, and sounds like he is not that familiar with the music, droning and vamping. Szabo is outstanding, and comes trough very cleanly. Lloyd comes through ok, a little rough at times, and LaRoca is a bit muffled. Interesting, limited in value by the sonics, not great Lloyd, and inessential - but worth a listen, although I doubt I will listen to it again in this lifetime.

10. Jerry Garcia - Garcia:

Rounder Records reissue of a largely forgotten early Garcia solo effort that really does deserve re-evaluation, as it is a truly wonderful, enjoyable record that has great songs, some experimentalism, and great playing. Very well mastered as well, and the dreaded white vinyl isn't too bad. Well worth checking out.

11. Norman Greenbaum - Spirit In The Sky:

I had finally got the title track out of my head, where it has bounced around inescapably for 30 years after I first heard it while participating in a bit too much weed.

Whether you have heard the title track enough for this and the next two afterlives, it's actually a pretty good record that has the vibe of the late 60's, a certain hippiness and a certain happy, free and optimistic vibe, and it grooves, and Greenbaum is a good singer, and this is a great artifact of the era.

Had never owned this album, glad I do know. Maybe Spirit In The Sky, a monster hit back in the day, has enough distance now that we can look at this record fresh, again. It is a good one, and sounds great on this well done RSD reissue.

12. Joan Baez - Blessed Are, Big Mama Thornton - Sassy Mama:

Two Vanguard reissues I was looking forward to:

Joan Baez - Blessed Are, a double album, consisting of relevant covers and strong originals, is among the finest Baez records of the era. Vanguard have remastered it well, it sounds alive and vibrant.

Big Mama Thorton's Sassy Mama is even better, from the other end of the spectrum. It positively rocks, slides and shimmys and is another truthful, vibrant remaster. Hugely rocks, and is a must-have.

13. Otis Redding - Pain In My Heart (mono):

Bringing up the end is a vinyl reissue of Otis Redding's Pain In My Heart, mono version. While I have never bought into the fetishism of mono aficionados - 'more punchy' and all that - this is a very good reissue and the mono mix is much less dark than the stereo, almost as if a light has been shone on it, or scrubbed up a typically muddy early Volt recording. There is a sense of hearing these anew, or renewed, and a freshness that brings classic recordings and a long gone ear back to life. So this is highly recommended and worth picking up.

See you on RSD Black Friday (or a few days before).

HI-RES Audio Roundup:

Some random thoughts on the state of hi-res downloads and some titles I have picked up recently:

First, there is certainly a pickup of new releases appearing as hi-res downloads. In the Popular category, a lot are at 24/44 - showing that hi-res was not really a consideration in recording, as virtually all recording now is at 24bits, but often higher sampling is not even a consideration as the album is targeted at CD (and maybe vinyl). Quality rarely enters the equation in the music business.

And, unfortunately, all too often the mastering, even at 24bits, it the same as the CD mastering - brickwalled.

So unfortunately I tend to avoid new releases in hi-res, until the labels understand that it is entirely reasonable to provide a hi-res file that hasn't been squashed to within an inch of its life. The vinyl isn't brickwalled - so the uncompressed master exists.

Second, I still see tons of shots taken at HD Tracks about "provenance" and such other rubbish, and the usual paranoia about compression and so on. For the most part, these people haven't a clue.

Of course, HD Tracks usually have no idea of 'provenance' and those jumping up and down about this are either manic depressives or obsessive compulsive. Since the dawn of the record era, 'provenance' has been a complete non-issue. When people bought records, and then CDs, there was never any information or concern about who 'mastered' it, what the exact tape source was, whether it was a first generation stamper or not, or anything else. It sounded good or it did not, and particularly in the case of CD, such provenance was by far no indication of any sonic qualities. But regardless, no one in their right mind ever went to a record store and gave a seconds thought to whether it was mastered by some 'name' technician, whether any hint of dynamic compression was applied, or anything else. Hell, whole continents had vibrant record industries that never, ever received a master tape, and produced glorious sounding records. All that mattered was the music, and whether it sounded good or not.

Now the internet age comes along, and it enables those wankers who sat in their rooms obsessing over whether they had a first pressing or not, or scour the internet for any information that might validate or invalidate their compulsion (and listen according to what such dubious information tells them), and can connect in a forum with others similarly afflicted.

HD Tracks has no such information. We didn't go into a store in the 90's and ask the counter staff for who mastered the CD or what the tape source was. We bought it, and enjoyed it (or if it sounded ugly, we took it to the local used store and sucked it up). Why does anyone think HD Tracks should be any different?

And further, HD Tracks does get stuff that is way too compressed. That is unfortunate, and wrong. The much smaller HighResAudio out of Europe told me that they reject a full 30% of stuff the labels send them, as either too futzed with, too highly brickwalled, or where they suspect an upsample. Good for them. HD Tracks will offer that stuff for sale. I understand that, just as those record stores in bygone days had records that sounded fabulous and ones that sounded like crap. If they don't carry it, the customers interested in those titles will just buy it elsewhere, and that is revenue left on the table.

The Pearl Jam 24/96 are an example of hi-res files taken directly from the latest masters for CD, where the compression was added at the hi-res stage before being downconverted for CD. This is fairly typical, the likeliest is that the compressed 24/96 was what was sent to create the 24/44 glass CD master. But these were analog recordings and almost certainly a 24/96 straight transfer of those tapes was the first step by the mastering house. It is that file that should be made available by the label for hi-res download, not the compressed one.

On the other hand, The Clash remasters at 24/96 also have some compression added but not to the extreme of the Pearl Jam, and this clearly was a choice made artistically and it doesn't bother me a bit. Ditto the very excellent Rush 24/96 series. Fantastic.

On to some recent hi-res acquisitions:

1. Ella Fitzgerald - Sings The Cole Porter Songbook (24/96):

A  fantastic, classic recording. The hi-res transfer is robust and accurate. Crystal clear, with all the natural bloom and detail possible. Timbrally accurate. Ella's voice comes completely 'out of the box', immediate, alive, and the orchestra just rocks. Superb soundstaging. Everything is just right. A must-have.

So is the Ella - Ellington Songbook, which (at 24/192) might be an even better recording. Certainly, there is a very robust tonality here. The colours of the Ellington orchestra are superbly captured. And the music is timeless. A superb transfer. All the Ella transfers in hi-res are (except the Irving Berlin Songbook 24/192 which is a defective file yet to be replaced by Universal).

2. Paul Bley - Plays Blue, Live In Oslo (24/96):

A rare solo recording by Bley, actually a fairly rare late period recording. The first track is a very long improvisation that shows how Bley, advanced in years, has such a living history to draw on - and can bring it all together not as a history lesson, but as a statement of where he is today. The other tracks, also improvisations, are more self-contained and no less profound. Bley's playing is beyond technique and his conceptions are immediate and alive with intellect. ECM's live sound is beyond reproach, as this label has got the sound of a live piano to perfection. Close, with all the extraneous sounds of the performance intact, this is an essential document and undoubtedly one of the top jazz recordings of the year.

3. Billy Hart Quartet - One Is The Other (24/88):

This is a great working band, yet their last record impressed but didn't grab me down deep. Cerebral, and a bit precious at times. This new one follows from that, but forges a more immediate emotional connection. This is still a very cerebral outfit, contemplative, but within that, it has more fire. More blues underpinning, more post-bop, more of a Herbie Nichols aura in spots, even a bit of Ornette evoked at times. And a whole lot more fire from Hart himself makes this a superior album, and the usual fine ECM recording - and superb in hi-res form - makes it another early highlight of the year for me.

4. Pat Metheny Unity Band - Kin (24/96):

The last Unity Band recording was a pretty straight up Quartet date with Chris Potter up front, and it was very impressive.

This new one, Kin, does not do as much for me. Metheny, as he has a tendancy to do, tries too hard to be eclectic instead of being direct, and too often this record fells like it doesn't know what it wants to be or what it wants to say, being all too often a mashup of disparate instrumentation, often used for effect rather than purpose. A pleasant enough record, but I prefer Metheny in a more simple setting.

Sounds very good in hi-res without a doubt.

5. Mogwai - Rave Tapes (24/96):

Here is one of those cases where there is certainly a fair amount of dynamic compression applied, probably much more than  'audiophiles' will tolerate, especially if they have read some crazy "DR Database" numbers beforehand.

It actually sounds really good, better than the vinyl in fact. It is a very good record, less dreamy and abstract than the previous "Les Revenants", which is a superb and essential record. It is a bit more electronic-y, and a bit more of the club than the cosmic landscapes Mogwai have often painted. The compression probably suits the music well, and this is a download that can be highly recommended.

6. Bryce Dessner - St.Carolyn By The Sea (24/96):

This is a fascinating recording on the DG label that points to a new frontier - a true synthesis of orchestral/classical form with 'rock' instrumentation. Bryce Dessner, guitarist in The National, composes a classical work, St. Carolyn By The Sea, for orchestra which, unlike earlier attempts to blend rock with a classical orchestra (Deep Purple's Concerto For Group and Orchestra, for example) is not some lame attempt to integrate a rock band into an orchestra work - which usually results in a rather weak piece of orchestral music with a rock section grafted on - but a classical symphonic work that has modern instruments, an electric guitar particularly, organically part of the orchestral fabric. This is not a crossover or hybrid - it is a through composed suite, and one that works perfectly. It is a very tonal, somewhat hallucinogenic piece of music, a hint of lineage to Bartok and Hindemith, very emotionally direct, and sounds fantastic. Originally a DXD recording (32 bit 384k sampling) - it would be VERY interesting to hear the original DXD file!  The coupling - a suite by Radiohead's Jonny Greenwood - is much more British in charachter, and much more 'in tradition', and is also a wonderful piece of music that feels like film music of the Gunning/VW/Korngold variety. Works perfectly. Completely recommended, not just for the adventurous.

7. Sibelius Complete Symphonies - Storgards (24/96):

Well, there is a hell of a lot of fine competition on this turf. Perhaps not complete cycles in hi-res, but still, there are classic cycles from the past that are interpretively hard to surpass. Karajan, for example (incomplete, though). The Kamu/Watanabe cycle on SACD from Tokyo FM is simply mind bogglingly revelatory, and in a league of its own as an interpretation. Berglund, particularly his Bournemouth cycle. Barbirolli, on EMI (and a very nice 24/96 transfer recently). Tough competition.

The Storgards is sonically fantastic, a very fine Chandos recording. Good start. The interpretations are broad and compelling, at times searching for a different point of view, overall fairly broad and leaning more to Tchaikovsky than Kamu does. No great revelations here, but a very solid, well thought out and well played cycle that is completely enjoyable. As an interpretation I prefer it to the Vanska cycle ongoing on BIS. Vanska may be more urgent, but Storgards goes deeper.

Problem is - there is a Kamu cycle on the horizon from BIS, and Kamu is not only a hugely under-rated conductor, his Sibelius, as we can see from the older Tokyo FM recordings, is probably a game changer.

8. Cecil Taylor and Grachan Moncur - Blue Note (24/192):

I can't say enough good things about the hi-res Blue Note transfers. That two Cecil Taylor titles have arrived - Unit Structures and Conquistador - is cause for celebration. They are challenging and uncompromising for sure, and guaranteed to clear out any dinner party that has gone on too long. There is no question that these are masterpieces of early free jazz - radical free jazz. The music is what it is, either one immerses oneself in this world, or one is repelled by it. It deserves to be played loud. The transfers are impressive. Taylor is percussive, horns bite. The bass is solid, and the angularity of the music has not been blunted. Grachan Moncur's Evolution is to some less challenging and is not free jazz, but it is post-bop and avant-garde, and a classic of the genre. Hi-res really brings out the depth and width of the trombone tone, as well as Jackie McLean's tart tone.

Apparently The Ultimate Elvin Jones is on tap along with Don Cherry's Complete Communion. Bring them on.

Ornette's New York Is Now is out now. Absolutely killer date and sounds fantastic. Believe it or not, two of the 5 tunes on New York Is Now have become standards. Name another Ornette album that you can say that about! 

9. America - Complete Warners Recordings (24/192):

Here is a case where hi-res causes a complete critical re-evaluation and brings music I have consciously ignored for decades onto the radar. "A Horse With No Name" is still one of those annoying songs that got played so much back in the day that it just sort of got stuck in your head, and you couldn't get it out, and it drove you crazy until you got a chance to put on some ELP or Zeppelin to drive it out of your head. Still is. But despite that, these absolutely wonderful transfers, which have such a fantastic golden tonality, and show exactly what true hi-res done right is capable of. These are not only competitive with anything recorded today, they blow most of it away.

In particular, later albums like Holiday and Hideaway are really great albums!

This is where hi-res does a great service. I would never have sought out these records, but they are a truly welcome addition to my growing collection, even if I still never need to hear "Tin Man" again.

10. Miles Davis - Jack Johnson (24/96):

This one has appeared a couple of places - HD Tracks, Acoustic Sounds. I liked the 24/96 Bitches Brew, and the 24/192 Kind Of Blue knocked me out. This one is unimpressive. Compared to the Japanese DSD version ripped from SACD, it sound dimensionally flat and tonally bleached. The DSD sounds rich, vibrant, dangerous. It roars, stomps, slices, none of which strike me as being the case with this hi-res file. If MOFI get to Jack Johnson, hold out until then, otherwise, track down the Japanese DSD.

11. Love - Forever Changes (24/192):

This is what hi-res is all about. Just a sublime knockout. Dynamics, timbre, dimensionality. This has a reputation, probably undeserved, of being a mediocre recording. That reputation was passed around on certain internet forums, most likely for self serving motives. Don't believe it. This is a completely natural recording with loads of tone and harmonics. And it is a great, great record. This hi-res transfer is just stunning.

I was looking forward to the MOFI DSD. Might pass on it now. Get this one, it is great.

12. Cream - Goodbye / Eric Clapton S/T (both 24/192):

Surprised that these appeared this week, and apparently mastered from the analog tapes at Sterling Sound.

Goodbye Cream is a mismash of a record, multiple recording dates, half live, half studio - leftovers. Another case where the internet experts have passed around the notion that one side's analog masters are MIA since the days of the MOFI gold CD.

Well, regardless, this sounds amazingly good, all the way though - with one exception. Sittin' On Top Of The World really does sound distinctly inferior to the other two live tracks, and of course the studio tracks. Very likely, this is a case of it is what it is - this track was recorded at a different venue on different equipment than the others, and it is a case of the raw materials to work with just aren't up to the hi-res treatment. Not that it doesn't sound good - that Jack Bruce bass is just so propulsive and driving, that big Gibson bass tone. Ginger Baker's double bass drums never came through so cleanly or so full of bottom end power. It is really Clapton's sound on this track that is problematic, recessed somewhat, and at the end - that final electric flurry - almost sounds like tape degradation. But overall, this is a fantastic sounding transfer that greatly exceeds any prior incarnation - even the MOFI.

On Eric Clapton's self titles debut problems, there are no issues stemming from the recording or master tapes. It sounds incredibly good. What I really like about transfers like this is that no 'audiophile' tinkering has been done - just a straight, honest mastering that preserves every nuance of the original tapes. Cut at such high sampling rate, the recording just breathes, sounds wide open with incredible depth and separation. Clapton assembled quite a 'choir' around him, and almost every voice comes through here with great clarity, and the inner timing of the music, and the beat, is just superb and completely natural. I forgot I was listening to digital - always a good thing.

I would say that these new Cream/Clapton reissues in hi-res may just set a new benchmark in the rapidly evolving high resolution marketplace, and if these indicate a new trend - going to the analog masters, using what is obviously top equipment at a top mastering facility, and avoiding any audiophile tinkering - hi-res is about to get a whole lot better.

By the way, I see a ton of new BIS titles appearing on The Classical Shop this week, as well as on Qobuz. These are relatively older recordings - i.e. before BIS started to record at 24/96, which is really only within the last year or two - so virtually all these are unsanctioned upsamplings of 24/44 recordings to 24/96, and although they sound perfectly fine within the confines of 44k sampling, this is a completely dishonest practice and these should be avoided at all costs. For acquiring BIS hi-res, there is ONLY one legitimate source - eClassical.