Can he find a copy of Muddy Waters Folk Singer? That would be swell!
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I saw this recommended somewhere in these forums, but canât find that post to say thank you. Iâm quite enjoying this album. British jazz in 1987. Who would have thought it? 
The musicians are new to me and they are very good! The transfer is simply excellent, as expected.
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This album was mentioned a little over 2 weeks ago but damn itâs so good it needs another nod! Maybe my favorite HDTT recording to date! Bravo Dexter Gordon One Flight Up. If you are on the fence get off and buy this one!
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Agree! Itâs a good 'un.
Not directly related to HDTT, but discovered this label, Fonè, and engineer, Guilio Cesare Rocco, who make two masters, one in DSD/Pyramix and one using a tube setup for their SACD and vinyl releases respectively.
Check out at acoustic sounds:
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Ricci has always created two Masters for each recording: an analogue master for Vinyls and a DSD digital master for SuperAudioCDs. For the SACD he used the DSD format, on Pyramix using the dCS A/D and D/A converters DSD. The mastering of the SACD was done by Ricci using the Signoricci entirely analog and valve system.
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For this recording Ricci brought both analog (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracks, 1/2 inch, 30ips modified by David Manley) and digital (Pyramix Recorder, dCS A / D and D / A converters).
The microphones used were Ricciâs original collection of Neumann U47, U48, M49 in addition to the microphone preamp and Signoricci cables. Pairs of Neumann tube microphones from the years 1947 and 1949 (U47, U48 and M49) produce a very natural tone using field effect bi-microphone techniques. These microphones have an important history: they are in fact the original microphones used to record, among others, the Beatles performances in the Abbey Road Studio and by RCA for the âLiving Stereoâ recordings.
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The Fonè recordings are often very good. The recording quality is almost always excellent, but the performances can vary as with any label.
Also, Ricci now has the David Manley analog tape masters for the jazz recordings Manley made. These are excellent.
For Classical on the Fonè label, I can recommend any of the Accardo recordings (solo or in chamber ensemble), the Noseda recordings (because I like how he interprets the music), and the early music recordings. To my tastes, cellist Rocco Filippini proved to be an âacquired tasteâ - I never did take to his recordings on LP and havenât gotten any of the digital reissues. Iâd be happy for someone to tell me I should try him again.
I havenât listened to this album in years, but my recollection is that the LP of Works for Violin of Bernstein, Penderecki was excellent. Iâll have to get this and play it again!
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Thank you. Yes, being a violinist, Iâve been acquainted with SR for many years, but I didnât know the Fonè/Ricci/SR collaboration! I just ordered a few of the SACDs.
Just FYI, downloads from the Fonè catalog are available at NativeDSD.com HERE.
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Thatâs definitely true and put very positively. Iâd say there are interpretations among them which are incredibly bad imo and others which are just perfectly nice. One of the really bad ones imo are the Bach Cello suites by Filippini.
Agree about Filippiniâs Bach Suites. I had it on LP in some hope that it would be good. It certainly wasnât to my tastes. I had yet another Filippini recording which I also didnât care for. And with two strikes, I stopped.
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The number of wonderfully recorded DSD256 are never ending. This is another one from HDTT and like the others, with very engaging music as well!
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And hereâs yet anotherâŚ
But please donât ignore the post-transfer processed tapes. Bal Masque is a Pure DSD256 transfer, but many need a bit of work. There is a reason theyâve been post-transfer processed. These are vintage tapes and quite often some repair is needed simply due to age. The way in which Bob (or John Haley) handles these repairs is about as transparent to the ear as I can imagine.
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And then we have this gem. Post-processed in DXD, and from a commercially released 4-track tape. But still terrifically alive and dynamic! Bob Witrak is simply a magician in what he can extract from a tape.
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Yes, I have that one, and also this one that I enjoy even more!
And Iâm about to get this one. I have all these recordings already in DSD64, but the DSD256 are so much better!!
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We can only hope that HDTT will continue to unearth Duke Ellington recordings. All of these are terrific! 
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I just tried Duke Ellington, âBlues in Orbitâ! If you want to know how good DSD256 can sound, this is the one to beat! Incredible sonics!!
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Between you and that Shill (and I mean that with all due respect), @Rushton, my current list of music to buy is a little too long at the moment.
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While youâre at it, you can add this one to your list as well. It is a fantastic studio recording. The DSD256 version is much fuller bodied analog sounding than my DSD64 version, but the channels are reversed. I do not know which is correct though.
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Recorded by Decca in March 1959 in the Sofiensaal, Vienna, this album has long been one of my most cherished chamber music recordings both in its original London issue and later in the SuperAnalogue 180 gram vinyl reissue. I was so excited to find it a couple years ago in the HDTT catalog in this extraordinarily clear, clean and open transfer. The music is among Beethovenâs best chamber music compositions. It is graceful, suitably complex without strain, and nicely inventive with the use of strings, bassoon, clarinet and horn. It is simply delightful. And the playing is to die for! The members of the Vienna Octet are masters. Here they perform at the height of their well-regarded powers, filled with grace, elegance, and charm. And most suitably spirited where called for.
Download here.
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You mean 2 HDTT versions with different mix or channels reversed? But I guess your DSD64 was no HDTT?
I often experience this between different reissues or reissues and originals. Sometimes the originals are revers, sometimes right, same with reissues, itâs a mess, depending on the tape used. Proâs also seem to be amateurs at times