Nov 8, 2017

Belafonte at Carnegie Hall (UltraHD review)

Harry Belafonte. Sony Music 88843025992, remastered.

Many years ago, in the 1960's and 70's, I used to listen to a popular weekly FM radio show in the San Francisco Bay Area called "Excursions in Stereo." Similar to John Sunier's even later "Audiophile Edition," "Excursions" gave people a chance to hear some of the best stereo then available. Every week the show's host, Jim Gabbert, would play cuts from his favorite albums, and every week he would invariably include a track or two from the 1959 RCA recording of Harry Belafonte's concert at Carnegie Hall. Naturally, I had to buy the two-LP set for myself, and when I did, I was not disappointed, except that I had taken a while to discover it. It remains one of the best, most realistic reproductions of a live pop concert I've ever heard.

When the CD era arrived, RCA cut out a few tracks and fit the program onto a single compact disc. But it wasn't the excising of four or five songs that disappointed me so much as their almost complete destruction of the sound of the live event. Fortunately, that became a forgotten issue, at least for a little while, because in the mid 90's Classic Compact Discs remastered the entire program on two gold discs, restoring much of the original sound (as well as the omitted songs). Gone was the silver disc's harshness and one-dimensionality, replaced by the master tape's richer, cleaner tones and three-dimensionality. Although the sound seemed a little drier than I remembered it from the old LP days, it still conveyed a sense of presence unmatched by most recent digital efforts. This was a treasured LP set that I regretted coming to late in its history, but I was more than happy to have acquired the gold edition. Too bad Classic Compact Discs went out of business years ago, and the gold discs are no longer available (except used, I suppose).

Well, that was my history with the recording until the present. Now, I'm happy to say, there's another choice, and it's better than anything that's come before. The current incarnation of the Belafonte concert comes to us via UltraHD PureFlection, one of the last projects that FIM (First Impression Music) producer Winston Ma was involved with prior to his death. To manage such a great-sounding disc, Winston had Michael Bishop of Five/Four Productions do the 32-bit remastering and used UltraHD, an extra-precise manufacturing process, to complete the job.

The UltraHD disc contains the following songs on the program:
  1. Introduction/Darlin' Cora
  2. Sylvie
  3. Cotton Fields
  4. John Henry
  5. The Marching Saints
  6. Day O
  7. Jamaica Farewell
  8. Mama Look A Boo Boo
  9. Come Back Liza
  10. Man Smart
  11. Hava Nageela
  12. Danny Boy
  13. Cu Cu Ru Cu Cu Paloma
  14. Shenandoah
  15. Matilda

Harry Belafonte
One thing noticeable about Belafonte's performances in this concert is that he generally slows things down compared to his equivalent studio releases. You'll observe it in things like "Day-O" and "Jamaica Farewell," which seem more heartfelt taken at the slightly slower pace. Other than that, Belafonte is Belafonte, the man who practically invented calypso; or, at least, popularized it in America. Wonderful music in 1959; wonderful music today.

To evaluate the disc's sound quality, needless to say I put it up against the best version I already had in my collection, the aforementioned gold edition from Classic Compact Discs. Here, the comparison was fascinating. The gold remastering had sounded so much better than RCA's silver disc, I couldn't imagine anything surpassing it. But after adjusting for playback levels, the UltraHD disc did, indeed, eclipse it. Especially in clarity. I had never noticed the gold discs sounding so soft or warm before, but compared to the crystalline clarity of the UltraHD disc, the gold discs appear decidedly veiled, if only slightly. Of course, you may prefer a softer, warmer sound because you think it's easier on the ear. Fair enough; individual preference always takes precedence. But, really, the UltraHD is not only more transparent, it's just as easy on the ear as the gold, with no brightness, harshness, edginess, or glare. What's more, it appears to preserve even more of the original master tape's legendary presence, depth, dimensionality, and general feeling of aliveness than the gold discs. So, overall, the UltraHD is a superb product; no reservations whatsoever.

You can find this product at a number of on-line vendors, but you'll find some of the best prices at Elusive Disc: http://www.elusivedisc.com/

JJP

To listen to a brief excerpt from this album, click below:
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Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl Nehring, Editor and Contributor

For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technologies that enable us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa