Reissue Roundup.(sound recordings)

This installment of Reissue Roundup devotes itself to a number of recordings using JVC's K2 process, commonly referred to as XRCD. This is one of several digital recording systems developed over the past decade that aspire to improve sound quality by recording at a higher sampling rate and word length (usually at 96 kHz and 20 or 24 bits). The original XRCD (for extended Resolution CD) process packs 20 bits of music into the conventional 16-bit format. Although not quite as widespread as Microsoft's HDCD encoding, JVC's K2 process has an advantage over HDCD in that it does not require a CD player that can decode their recordings for optimum sound.

As I have often stated in this column, remastering the classic music from the past in the newer high-tech formats is no guarantee that better sound will result. There are many reasons for this, starting with the engineer and the equipment he uses to transfer the original analog source, through the condition of the source tapes (which are prone to deterioration over time), to the policies set by producers and record companies for the sound they want to achieve. But all things being equal, the higher resolution that results from any of the advancements in the digital audio format (whether they are remastered in SBM, XRCD, HDCD, DVD-audio or SACD) theoretically should provide the listener with sound more closely approaching that of the original source. This is owing to its superior digital specifications, and assuming that the reissue engineer is not modifying the signal in any way. In a sense, recording a digital signal using any of these advanced technologies is something analogous to recording at a higher tape speed in analog. I don't mean to suggest that the process is the same, but that improvements in sound quality can usually be heard in an analog recording done at 30 ips (inches per second) compared to one done at 7.5 ips.

An instance of a recording from 1959 that is not well known outside a small circle of jazz enthusiasts demonstrates this well. During the taping sessions for the now legendary Miles Davis album, Kind of Blue, both stereo and monaural tape machines were in use. These two recorders were fed the same signal, but there was one big difference: the monaural recorder was taping at 30 ips, while the stereo machine was taping at 15 ips. Audiophiles who have heard both, point to a clarity and noiseless quality coupled with greater dynamic range in the mono record that isn't quite there in the stereo version. Modern-day collectors are, as a result, willing to pay far more for an original mono pressing than for the stereo.

The XRCD series of recordings is generally available in attractive hard-bound book style jackets with a suggested list price of $31.98. This is a bit high priced, even by audiophile standards, as most of the gold CDs from companies such as DCC and Classic Records are sold for several dollars less, even though many of these have been lower 16 bit recordings. Nonetheless, most of JVC's recordings reissued in the XRCD format feature artists and albums that appeal to a broader audience, and are not licensed strictly on the basis of a marketing strategy targeting audiophiles. The bulk of these releases feature jazz artists that were popular in the `50s and `60s, and not limited to "blockbuster" titles. In many cases they are outside the mainstream, offering avid jazz fans the opportunity to hear historic performances in a format suggesting JVC's attention to detail in reproducing the best sound possible through their process.

Winston Ma's very excellent release, The Super Extended Sound of TBM (FIM XRCD 018), is a prime example of a reissue combining the XRCD process with the meticulous care of a dedicated production team that offers superb results. From start to finish, this collection of 11 light jazz selections from the Three Blind Mice catalog provides the listener with exceptional sound; sound deserving of the "Audiophile Reference" category into which Mr. Ma has placed it. For readers who are not familiar with the "TBM" label, it and Audio Lab were among the labels imported from Japan for the audiophile market during the `70's, first by Jim Bongiorno (of Ampzilla fame), and then later by AudioSource. Some of these became popular among audiophiles, most notably the Tsuyoshi Yamamoto Trio's rendition of "Misty" that appears in this collection, and the Isao Suzuki Quartet's "Aqua Marine" from the album, Blow Up (not appearing here). One of TBM's trademarks is close microphoning techniques, resulting in an abundance of dynamics. These tracks on the FIM CD certainly demonstrate this.

I did a comparison of "Misty" on the new XRCD and a TBM sampler released in the `80s called The Famous Sound of Three Blind Mice (TBM CD9001), and found the improvements in all of the sonics to be blatantly obvious. This was the only track common to the two CDs. Both of these recordings appear to feature transfers from the original master tape that attempt to replicate it as closely as possible. Yet, the newer transfer offers a degree of transparency that the original does not have. Although the liner notes for the original CD release, manufactured in Germany, goes into detail on the analog recording techniques and processes, its discussion of the A to D transfers does not provide us with enough information to determine precisely how the transfers were done, or with what equipment. The new FIM collection was mastered under the supervision of TBM producer, Takeshi "Tee" Fujii, at the JVC center in Japan. Unlike several other FIM CDs I've auditioned, this one does not offer much in the way of technical information on the transfer process. One thing is certain, though, the sound has a continuity of excellence through all of its tracks. This collection will appeal to a broad range of listeners because its selections are varied so greatly, but uniformly enjoyable (9/6).

Another excellent sounding XRCD jazz release from First Impression Music is Over The Rainbow (FIM XRCD 024). It features a number of duets with Tony Overwater on acoustic bass, and Yuri Honing on tenor sax (on 2 tracks), and Maarten Ornstein on bass clarinet and tenor sax on the other 8. The title of the album comes from the song, "Somewhere Over the Rainbow" featured in the movie, The Wizard of Oz. The balance of the CD's 10 tracks are mostly standards -- "When I Fall In Love" and "What's New" for example -- along with a reprise of the title track. This album is one that grows on me the more I hear it, especially with the repeat of the title cut. In this rendition, Maarten Ornstein takes the tempo up a half-beat, and his tone becomes vaguely reminiscent of Paul Desmond. Ornstein steals the show again on "What's New." This is, perhaps, the best track on the album. Overwater's bass solo of "When I Fall In Love" and "Pour un Enfant Terrible" spotlights his talent for improvisation. Although these players are unknown to me, their interpretations are warm and heartfelt, and the playing is superb. The sound is quite natural with excellent imaging and a wonderfully understated dynamic balance (9/9). This recording was licensed from Turtle Records.