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Doug MacLeod - There's a Time (Reference Recordings 2013)

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"Run With the Devil", "The Night of the Devil's Road", "Black Nights", "St. Elmo's Rooms and Pool" sunt foarte atmosferice. Blues-ul acustic, riff-urile excelente, vocea inconfundabila, maniera vocala vorbita sau tipata, instrumentele deosebite, blues-ul religios, inregistrarea excelenta (ca mai toate albumele Reference Recordings) fac din acest album un must-have.

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Reference recording, o casa ce scoate in continuare formate ce necesita player cu decodor HDCD, la fel ca opus3record si FIM.

O alta casa ce a scos titluri bune este Audioquest, firma de cabluri.

Ca tot veni vorba de Doug MacLeod exista o inregistrare la acesta casa, scoasa si in format XRCD (recomand totusi editia veche de la audioquest): albumul "Come to Find"

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Alt titlu interesant Robert Lucas cu albumul "Family Portrait", tot scos de audioquest..

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Reference recording, o casa ce scoate in continuare formate ce necesita player cu decodor HDCD, la fel ca opus3record si FIM.


Nu e cea mai buna sau mai lesne varianta, avand in vedere complicatiile care decurg din alegerea formatului, insa este singura solutie de a asculta un album excelent daca playerul nu stie HDCD.

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The DALI CD - In Admiration Of Music


01. John Campbell - Down In The Hole 04:55

02. Hans Theessink - Mississippi 06:01

03. Hugh Masekela - Stimela (The Coal Train) 10:00

04. The Yuri Honing Trio - Walking On The Moon 05:28

05. Jocelyn B. Smith - When I Need You 07:59

06. Jan Akkerman - Am I Losing You 06:24

07. Damien Rice - Cannonball 05:10

08. Peter Schneider & The Stimulators - St. James Infirmary 06:47

09. Terry Evans - Get Your Lies Straight 05:34

10. Patricia Barber - Let It Rain 05:09

11. Marilyn Mazur & Audun Kleive - Drum Impro 02:24

12. Dick Hyman - Bach Up To Me 02:36


01. Tears Of Joy - Antonio Forcione 5:21

02. In Your Wild Garden - Josefine Cronholm 6:13

03. Hedonism (Just Because You Feel Good) - Skunk Anansie 3:30

04. Set Them Free - Caecillie Norby 4:31

05. Take Five - Dave Brubeck Quartet 5:28

06. Train Song - Holly Cole 3:29

07. The Gates of Istanbul - Loreena McKennitt 7:02

08. Breaking Silence - Janis Ian 3:13

09. Fever - Elvis Presley 3:36

10. Spanish Harlem - The Willy DeVille Acoustic Trio 4:05

11. Angel - Sabia 4:34

12. Samb-Adagio - Safri Duo 6:01

13. I Will Remember - Toto 6:09

14. Heart - Bo Stief Dream Machine 3:42

15. You and I (Trentemoller remix) - Filur feat. Pernille Rosendahl 9:02


01. Pat Metheny , And I lover Her

02. Sophie Zelmani , How it Feels

03. Teitur , Stormy Weather

04. Zhao Cong , Moonlight on Spring River

05. Ane Brun , These Days

06. Sko,Torp , On a Long Lonely Night

07. Sinne Eeg , My Treasure

08. OP8 , Leather

09. The Brandt Brauer Frick Ensemble , Bop

10. Jan Harbeck Quartet , Too Darn Hot

11. Norwegian Chamber Orchestra , Haydn - Rondo all’ Ungarese(Allegro Assai)

12. WDR Symphony Orchestra Cologne , Grieg- In the Hall of the Mountain King

13. Tim Christensen , Far Beyond Driven

14. Fallulah , The Black Cat Neighbourhood

15. Mike Sheridan (ft. Maya Albana) , Med sma skridt

16. Deadmau5 , Whispers (remix)

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Why another demo music compilation?

Frankly, we’re fed up with the handful of demo tracks in heavy rotation at audio shows and shops. The same tired, uninspiring four or five usual suspects (none named, none shamed) are repeated ad nauseum. Typically, tracks are selected solely for technical quality, despite a mediocre musical performance that grows old fast.

An industry grapevine somehow elevates tracks to reference status to show off specific sonic traits but surely this is an anti-musical pursuit. Shouldn’t our goal as music lovers be versatility, the ability to reproduce anything, whether the source is good, bad or indifferent?

Is it fair – or even meaningful - to evaluate a good audio system based on one narrow parameter at a time? And should our choice of music be dictated by technology?

Our answer is a resounding “NO!” in both cases, yet still we release demo compilations… DALI CD1 and CD2 were well received in terms of sales and worldwide “collector’s item” status. The two discs led to a wider “discovery” by the audio world of many of the artists involved and, in all humility, we accept that we have a heritage to maintain.

DALI CD3 is our latest effort to present new music (if you haven’t heard it before, any music is “new”) for the inspiration and listening pleasure of music lovers. Inevitably, not every track will be to your taste, but we believe that everyone will find something new and worthwhile. Give it a few spins and see.

It is our intention that each selection will demonstrate various aspects of what it is that makes listening to music on a quality system such a rewarding experience, something most people can’t imagine, until they actually try it!

Why a CD?

Some will question the seriousness of CD as a demo medium at all. Isn’t CD so last millennium in comparison with newer high resolution formats? Technically, the question may be relevant and deserves a considered response. CD quality, (stereo, 44.1 kHz sampling rate and 16-bit constant bit depth) has been criticised since the early 1980’s for limited bandwidth, restricted bit resolution and dynamic range of “only” 96 dB.

Many early CD releases were irrefutably bad; cold, aggressive, anaemic bass, harsh top end, perhaps because the best recording and mastering engineers still focused on the LP. CD required a new skill set, continued development of digital recording technologies and new techniques for transferring and mixing analogue tapes. With a steep learning curve, CD quality is now much improved. 96 dB dynamic range, properly captured, 20 Hz – 20 kHz frequency bandwidth, properly rolled off, etc., are more than up to the task of handling demanding performances with surprising verisimilitude.

One could argue that the main value of high resolution formats is that they allow engineers and manufacturers of digital recording equipment more leeway in exploring the dynamics and extended frequency response of hi-rez media. Extracting outstanding sound from CD is altogether more demanding.

It should also be noted that many recordings come nowhere near testing the technical limits of CD. Extreme dynamic compression is applied in pop genres for CD and download to boost levels to a constant high “loudness” to make music more “exciting” on cheap headphones, portable players or in a car. The sound of many modern performances and even remasterings of older recordings is compressed to a narrow 10 – 15 dB dynamic range, by turning down dynamic peaks and boosting quiet passages so that the track’s high uniform loudness grabs and holds the listener’s attention. This is quite a departure from the hi-fi goal of natural, engaging musicality.

In this context, 96 dB of dynamic range is more than adequate and, properly deployed, can offer near perfection. The day may well come when audiophiles look back in nostalgic gratitude that we were ever allowed to experience a widespread high quality medium like CD, before the mainstream consumer was steered towards MP3 and other heavily compressed formats vastly inferior to CD.

Let us enjoy the wealth of musical treasures available to us now – Long live the CD!

Lars Worre, managing director, Dali

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  • 2 weeks later...
  • 1 month later...

Pete Alderton - Cover My Blues (SongWays - Ozella Music 2009)

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Pete Alderton was born in Felixstowe, England as the son of an American G.I. and an English mother. His sphere of activity is in Germany, where he lives now as a resident of Paderborn. Specialized on blues classics he started his career with the debut album Living On Love, which was released on Ozella Music in 2006. This album was produced by Carsten Mentzel and Dagobert Böhm.

Pete is supported by the same team on his new album Cover My Blues, which was released in March, 2009. Pete, who sings and plays blues harp, is joined by Carsten Mentzel (guitar, bass, keys), Gerold Kukulenz (upright bass), Michel Roggenland (drums) and further guest musicians.

Pete's album is like a walk on Memory Lane. Our first step is the song Walking Blues. Robert Johnson, one of the most famous Delta blues musicians, wrote this song during his most productive phase in the 30's. His vocal phrasing, his guitar style and his songs have influenced a whole generation of blues singers. Pete catch some of the old Mississippi spirit in his smoky voice. Jan Lessner on blues harp underlines Pete's authenticity.

Blues legend Sonny Boy Williamson's ("the father of modern blues harp") Help Me is best known in the legendary version of Booker T. & The MG's Green Onion. Pete smacks this song with relish.

When I listen to Georgia On My Mind I have immediately to think at the great Ray Charles. Ok, nobody can compete this genius but Pete Alderton's version is notable and impressive.

Scottish folk singer Paul Joses shares Pete's fate. He moved to Germany and has released records on the German label Ozella Music. Don´t Give A Damn is his song and Pete Alderton the man, who gives that song a bluesy finish.

Fever was originally a R&B hit of Little Willie John and later for Peggy Lee (1958). Covered by numerous artists the song gained a high popularity in Germany which Pete pays tribute to.

Bill Wither's hit Ain´t No Sunshine is from the same caliber. Pete's rough vocals really fit to the smoky timbre of the song. Little Red Rooster features Udo Timmermeister on slide guitar, together with Pete's vocals the best approach to Howlin' Wolf's original following Willie Dixon's intention.

With Running For Cover adds Carsten Mentzel an own composition in the moody style of the previous songs. The classic jazz song par excellence is George Gershwin's Summertime. I assume it's the most covered jazz classic of all time. Not an excuse but an explanation that Pete couldn't resist to fill the old song with new life.

I'm Your Hoochie Coochie Man is the second song composed by Willie Dixon and originally performed by Muddy Waters. According to Wikipedia the Hoochie Coochie was a dance that became wildly popular during and after the Chicago World's Fair in 1893. Pete Alderton finds his own way of interpretation.

John Lennon excitingly expressed on Cold Turkey the pain of withdrawal. No one can surpass the original. So let's take Pete's version as homage. Cover My Blues is a composition by Dagobert Böhm and Pete. A slow piece with your chance for contemplation. The album is closed by the bonus track Grinning In Your Face by Eddie James "Son" House, Jr. rising the emotions for a last encore.

Pete Alderton's album Cover My Blues is a fantastic opportunity to discover the blues and an interpret who should be unquestionably in the limelight.

(Copyright HBH -

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  • 2 weeks later...

Daca tot am fost "sinistrat" in casa de o raceala am profitat de moment si am mai ascultat muzica ( da, desi pare paradoxal, da' nu prea am timp de ascultat muzica, in adevaratul sens al cuvintului ). Am savurat un album mai recent al lui SNATANA, "Shape Shifter" . Contine si o piesa dedicata lui Gabor Szabo :

Un chitarist ungur care i-a inspirat si pe el precum si pe alti mari ai jazz-ului sau fusion-ului.



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