Jones’ multiple talents, warmth, and versatility have made her one of the most successful artists of the past two decades. This is a summation of some of her best material delivered organically, unfiltered, and stripped down by her core elite bandmates. It’s an unquestionably winning combination that will keep Jones’ star beaming as bright as it ever has.

Stan Getz at his best. This live album is a classic. And having it on SACD is a big plus. Great sound for these classic songs.

The heavyweights created an album that is utterly compelling, radiantly jubilant and consummate in artistry.

I’m really enjoying the overall vibe of this set, which feels laid back yet forward-leaning. The band is tight and on the same page with Evans, wrapped around him like a comforting kid leather glove. Trio ’65 is a great misty Sunday morning introspective jazz album, if you know what I mean.

One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past and glimpsed at the future innovations of his final two and a half years. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear.

A wonderful collaboration between a horn player and a singer, perhaps the greatest of all time. This delicate, seductive album stands immortalised in time as tribute, a nod to the genius that was Coltrane/Hartman. The more you listen to it, the more subtle genius details reveal themselves to you, in particular how the saxophone helps tell the story with nuance, sensitivity and re-spect.

The trio achieves a flawless blend of rhythm, subtlety, and technical brilliance, seamlessly weaving the era’s bossa nova influences with the trio’s signature jazz swing, demonstrating their exceptional ability to infuse familiar styles with fresh energy and creative sophistication. Each track on We Get Requests highlights the musicians’ remarkable synergy. Peterson’s inventive phrasing, Brown’s creative bass lines, and Thigpen’s nuanced rhythms create a vibrant and profound sound that is uniquely their own.

The band is excellent and the recording, song choice and laid-back, late-night mood are all impeccable.

Great version of a class jazz album. SHM-SACD sounds fantastic. Great packaging. Great price. Highly recommended.

As with the parallel released SHM-SACD featuring the 4th symphony, this album also benefits from the new DSD remastering. Stunning sound, you wouldn't guess that these recordings are almost 50 years old. A real gem of the late analogue DECCA catalogue.

I listened to the SHM-SACD UCGD-9122 with Shostakovich’s Symphony No. 4, performed by Bernard Haitink and the London Philharmonic Orchestra. This recording has always been powerful, but the new remastering by UK ClassicSound makes it shine even more. The sound is clear, rich, and very detailed. I could hear the orchestra with great depth, from the quiet passages to the huge climaxes. The performance itself is strong and dramatic, and while the symphony is far from easy-listening—it is a complex and demanding work—the excellent sound quality allows me to appreciate its full intensity.

Travels is a MASTERPIECE of the highest order. It offers the listener a complete experience in free form, space, ambient and world jazz. While never being heavy or distorted and always relying on his trademark guitar synth, the music is ALWAYS progressive and quite angular at times. Even though the songs on Travels can be found on other CDs in their original, studio renditions, the versions on this live recording are BETTER than their studio counterparts; even the transcendental "Are You Going With Me" blows away the sterile studio version. I recommend this album to ALL progressive music fans. It's mellower than your modern day prog and nothing like the jazz fusion of the 1970s. Yet, it's equally intense and offers an emotional lift that I've found in few recordings.

This is a special album because Karen is gone and i want to remember her. SACD gives me the best sound ever. A must have in your collection.

Studio engineering is excellent. This high resolution release captures a sound and spirit of an early piece of soul vocal history. This is the version you need in your collection.

Lovely card sleeve presented with SHM SACD. The sound quality is sublime and ooh that wonderful voice. Highly recommend this release and will enjoy listening to it again..

The song selection is excellent, and it shows a mellower side to the genius that is John Coltrane. With the SACD technology this record soars at higher levels than with any other format. With your eyes closed you feel as if you are right in front of the quartet.

The Cream on a superb audio CD, which certainly sounds good for recordings from that era. Clear sound and fantastic guitar work from Clapton, drumming from Baker, and vocals with bass guitar from Bruce. I already had the remastered releases, but I think the SACD adds a little more, even if it's minimal.

The Cream on a superb audio CD, which certainly sounds good for recordings from that era. Clear sound and fantastic guitar work from Clapton, drumming from Baker, and vocals with bass guitar from Bruce. I already had the remastered releases, but I think the SACD adds a little more, even if it's minimal, but the mono tracks are not good sounding.

Karajan’s 1979 Mahler Symphony No. 4 with the Berlin Philharmonic is elegant and finely balanced, avoiding heavy drama in favor of clarity and warmth. The vocals of the finale is sung with purity and charm. The Japanese SHM-SACD offers superb sound — clean, detailed, and with a natural sense of space that brings out the beauty of Mahler’s lighter orchestration. A refined, polished performance in an excellent audiophile transfer.

Bernstein’s 1979 Mahler Symphony No. 9 with the Berliner Philharmonic is deeply emotional. The slow movements are spacious and full of feeling, while the middle movements have energy and bite. Bernstein shapes every phrase with care, bringing out Mahler’s farewell mood without losing flow. The Japanese SHM-SACD transfer is outstanding — warm, rich, and highly detailed, letting the beauty of the performance shine. A moving, powerful interpretation in superb sound.