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'A phenomenal experience on a refined hi-fi set.' HiFi
'This album deserves recognition as one of the best vocal albums
released in 2023.'  Positive Feedback USA



'A fantastic virtuosic and sparkling album, transcending all clichés thanks to the qualities of this strong trio and their refreshing approach.'  RootsTime



''...exceptional sound quality, tenderness and melancholy, a small                    masterpiece!''  JazzenZo

     '
"this recording sounds sensational...these guys and this recording just rocks. Pace, rhythm, tone and soundstage are off the charts!"  Audiophile style

 & 

  'remarkably relaxed and intimate.It’s a gratifying listening experience.'                                                                                                                    Jazzflits 

&

                       'A rare find indeed. And a rare treat to hear.

                             Highest recommendation’ R.Paul in P.F

                                                                                 &

'naturalness, depth and warmth unknown this world, a wonderful suite of music,  you have to play this album on a superb sound system.'  Stereophile

Sound Liaison’s DXD Music Sampler

There are some audio enthusiasts who claim that high-resolution digital recordings offer no audible improvement over conventional Red Book CDs. I could not disagree more, but what about 96 kHz vs. DXD at 352.8 kHz? I found the 96 kHz files to be excellent, but by comparison the 352.8 kHz originals have a bit more air and space in the sound, even with my OPPO player down-sampling them to 176.4 kHz. The DSD comparisons are interesting. I found the DSD files to be a bit “warmer” but I could not help wondering if there’s some sort of euphonic coloration going in the conversion process. At times, I felt that the DSD files had a slightly larger and more precise stereo image. That may seem strange, but I can only report what I heard. It’s possible that my reactions to the warmth and the imaging are due to the simpler analog filtering in DSD playback.Sound Liason’s DXD sampler, The Visual Sound, offers some of the most realistic sounding recordings I’ve heard, in enjoyable selections performed by excellent musicians. Most of the music on this sampler is decidedly laid-back, and audiophiles looking for an in-your-face sonic spectacular will likely miss the point. For engineer Frans de Rond and the excellent musicians heard on these recordings, it’s all about subtlety and refinement. Musically perceptive listeners will appreciate the efforts of all involved in making these fine recordings.  Gary Galo - AudioXpress

 

 

Braskiri - Live at MCO

BRASKIRI FLARES BRIGHTLY ABOVE ITS TIMBRES
Bert Lochs and Dirk Balthaus founded Braskiri in 2014. They have had little trouble after that to give their quartet a place in the Dutch jazz landscape. Recently their new album 'Live at MCO' was released and with it Lochs and Balthaus give a new take on their musical concept. One that is to be treasured.
Live at MCO is special because of its genesis. But even more so because of the recording technique. Bert Lochs' eight pieces are recorded with a single - Josephson C700S - microphone, which gives the music "a naturalness, depth and warmth unknown to the world. The recordings were made at ultra-high resolution DXD. In practice this means that if possible you have to play this album on a superb sound system. An 'ordinary' CD player or computer cannot achieve this high-end quality, not to mention a telephone.
Then the genesis. Braskiri had just finished his second CD, The Couch Principle, when Peter Bjornild, producer of Sound Liaison Recordings, asked him to do a high-end concert registration in the legendary Studio 2 of the Muziekcentrum van de Omroep (MCO) in Hilversum. Bert Lochs was not interested in doing the same repertoire over again. But it did mean that he had to write completely new work and had only three months to rehearse it. One month before the recording on April 14, 2019, only the first rehearsal took place.
Bert Lochs also sees a great advantage in the speed with which things had to be realized: "The pieces are permeated with everyday life. It is therefore my most personal album," he says. With the special recording technique of Frans de Rond, specialist in the field of recording with only one microphone, the live performance, the personal touch and the new repertoire, Live At MCO is an album to cherish.
And that automatically brings you to the music. Because that's what it's all about. While you may have your doubts about the high expectations when it comes to the reproduction of the music, this is not the case with concept and performance. Live At MCO is complete. The four musicians of Braskiri have managed to stay off the beaten track. The almost fifty minutes of jazz is a wonderful suite of music , with tension, release and unexpected angles.The musicians' use of space and musical empathy ensures that everyone's individual contribution can fully blossom and that the beautiful improvisations  not only reach for freedom, but reinfo rce the melody at crucial moments. And if that isn't enough:  Bert Loch's  use of  the Electric Valve Instrument (EVI) and tuba player Steffen Granly’s grant sound creates colors that lights up the already colorful picture of these Braskiri compositions.
Braskiri proves itself in abundance as a distinctive ensemble strongly grounded in jazz and other musical styles. With a few instruments, the quartet creates an orchestral sound that is searching for and finding a wonderful intimacy.  R.v/d Heijden Jazznu

 

Andre Heuvelman - After Silence

“True heartfelt emotion, beautiful choice of repertoire, impressive sound quality, clarity, warmth, space and depth. The After Silence album is remarkable.” Stereophile

 

Andre Heuvelman - Crystal Tears

''For those who appreciate small-scale, tranquil arrangements, this album is a must-listen. The program is thoughtfully curated, offering music that is both exquisitely beautiful and deeply intimate. The common thread throughout is clear: these pieces are crafted to evoke strong emotions, with the potential to move a wide audience to tears.
Heuvelman's trumpet performance is particularly striking, imbuing the music with a profound sense of melancholy. This resonates with his mission to connect with a broader audience beyond the traditional classical music venues. However, this approach might not appeal to everyone, particularly some of our regular readers.
The album, recorded with exceptional intimacy at MCO Studio 2 in Hilversum, captures the quiet, calm essence of the music. Such music, often more than its energetic counterparts, has the power to reveal the vulnerable side of the listener. Heuvelman’s selection of pieces leans towards the melancholic, with a deliberate focus on stirring emotions.'' Opus Klassiek

 

Ack van Rooyen & Juraj Stanik - Soft Shoulders

"This is another one of Sound Liaison’s minimally mic’d recordings. Soft Shoulders features flugelhorn player Ack van Rooyen accompanied by pianist Juraj Stanik. In this case, van Rooyen’s Flugelhorn appears in the Right Channel and Stanik’s Piano is in the Left Channel. The album features 10 well known standards played simply with just horn and piano. It is an excellent recording and a fine musical performance."  Audiophile Style

 

3 Hands Clapping - Way Over Yonder

“Renowned guitarist Peter Tiehuis is known not only for his contributions to the Metropole Orchestra but also for his involvement with the enchanting trio; 3 Hands Clapping. This trio has recently graced us with ‘Way Over Yonder’ a captivating and diverse compilation of well-loved classics.
The album takes listeners on a delightful journey, from the tender embrace of Carol King’s  ballad "Way Over Yonder" to the infectious rhythm of the funky "Theme From Baretta" and the velvety jazzy sophistication of George Benson's "Affirmation." 
‘3 Hands Clapping’ has not merely interpreted but reinvented these classics. It's as if they've taken the original compositions and breathed new life into them, placing the songs back onto the canvas of musical innovation.
While the majority of the tracks radiate a tranquil ambiance, the trio's unparalleled creativity and skill, shine through by infusing each song with a touch of magic, elevating these familiar tunes into something truly extraordinary.”   Jazzism

Atzko Kohashi & Eddy Koopman - Sketches of Seasons

Jazz pianist Atzko Kohashi is a continuing source of amazement for me—she is so versatile, so flexible! Here, she partners with percussionist Eddy Koopman to create an album of great nuance and immersive engagement. Riffing off the theme of four seasons, the artists weave a tapestry of sound across the four movements of the album. As always, Atzko Kohashi's touch is delicate, deliberate, carefully calibrated to the emotional content she wishes to convey. Eddy Koopman brings a similar delicacy and intention with his use of bells, brushed gongs and cymbals, and drums of all types. I can't begin to identify all of the instruments he uses to bring out the most subtle accents that emphasize, complement and contrast with Kohashi's piano—it is all a delightful interplay of sounds and timbre, superbly judged and timed. Kohashi's magical touch keeps all moving ahead, weaving the melody and enticing one to follow along.

The recording is filled with detail and color. One clearly hears the stroke on drum skin, the deep resonance of larger drums, the sharp percussive strikes on wood, the reverberation of piano strings above the sound board—it is deliciously close to being live. This is a tour de force in recording quality that captures the full resonance and timbre of an exceptionally wide range of both piano and percussion instruments. It is a listening session that one is not often privileged to experience in the home. And, unlike many efforts at recording percussion, this album is musically satisfying and engaging.

High marks to the recording and mastering team. Even higher marks to the musical sensibilities of Atzko Kohashi and Eddy Koopman. Exceptionally well done all around! - Positive Feedback

 " 

Atzko Kohashi & Tony Overwater - A Drum Thing

  "A Drum Thing is more than a thing;  it is a new milestone in the already so colorful career of Tony Overwater and Atzko Kohashi. The time and space, the diversity, the urge, the contemplation all this is beautifully interspersed with the key elements of jazz music.
And it sounds fantastic, undoubtedly due to the recording technique applied, but certainly also because of the confidence with which Atzko Kohashi and Tony Overwater treat their instruments." JazzNu
 
 
Atzko Kohashi & Tony Overwater - Crescent   
" A small masterpiece."  Piano news 
“Crescent' is a wonderful, intimate album by two great musicians.” Jazzenzo. 
“The emotional density … the spirituality …. impressive.”  Stereo.de 
“The music flows quietly yet intensely, full of emotions, straight to the heart.” Musiczoom.Italy
“The duo’s musical empathy, tranquility, and suppleness are a delight to the ear.” Rootstime. Belgium
“Coltrane's music played with suppleness and empathy.”  Volkskrant
“great sensitivity, and perfect communion of spirit, very beautiful and soothing.“ Jazzhalo. Belgium“ "
the acoustics, the tempos, and the interpretations are as delicate as they are tasteful.” Jury of the Edison prize nomination (Dutch Grammy committee)

Atzko Kohashi & Eddy Koopman - Sketches of Seasons
  ''Beautifully recorded. Atzko Kohashi and Sebastiaan Kaptein are working deeply through improvisation. This brings its own unique creative energy. And Atzko Kohashi is her ever-innovating and engaging performer.'' Rush Paul for. P.F.

  ''Still waters run deep...beautifully crafted open pieces, with great attention to sound, color and atmosphere''
Atzko Kohashi - Lujon

Still waters run deep—a saying that certainly applies to pianist Atzko Kohashi's meticulous attention to sound, color, and atmosphere, this Japanese artist consistently crafts beautiful, open compositions....
"Lujon" includes four trio compositions alongside free interpretations of works by Miles Davis, Wayne Shorter, George Gershwin, Baden Powell, Charlie Chaplin ("Smile"), and Henry Mancini ("Lujon"). This diverse repertoire is transformed into atmospheric trio pieces where the musicians engage in constant, equal-footed conversations.
These partly improvised dialogues are open and often subdued, infusing the group's dynamic with a harmonious, almost Zen-like atmosphere.
"Lujon" consists of melancholic, mysterious, and serene trio pieces performed by top-tier musicians whose playing is thoughtful and self-assured. The exchanges between Kohashi, Van der Hoeven, and Kaptein are continuously captivating, with depth, dynamism, and the creation of space at the forefront. As such, "Lujon" is destined for a long and cherished life. Jazzenzo

'' a cohesive and warm ensemble sound ''

Atzko Kohashi - Virgo

The album Virgo emerges from the collaboration between Japanese pianist Atzko Kohashi, double bassist Tony Overwater, and horn player Angelo Verploegen, who performs on flugelhorn in this project. The title Virgo reflects the trio's approach to music: a commitment to purity of sound. This philosophy is deeply rooted in Kohashi’s cultural background. In the album's liner notes, she delves into Japanese Zen Buddhism and its associated aesthetics, where simplicity and spontaneity are key concepts. Using analog recording and performing before a live audience further reinforces these principles.

The album features ten tracks, seven of which are classic jazz compositions. Among them are pieces by Duke Ellington, Steve Swallow, and Pat Metheny, each contributing one track, and Wayne Shorter and Charlie Haden, who each have two. These compositions were carefully selected for their thematic relevance. Notable tracks include new renditions of Ellington’s The Village of the Virgins and Shorter’s Virgo. Kohashi also contributes an original piece, while Tony Overwater adds two compositions of his own. Interestingly, many of the works (by Swallow, Haden, and Overwater) are bass-driven, with the interplay between pianist and bassist forming the foundation of the trio’s sound, which Verploegen enriches with his flugelhorn, adding extra color and support. Together, the three instruments create a cohesive and warm ensemble sound.

The classics receive fresh interpretations, thanks in part to the trio’s small configuration and the unique timbre of the flugelhorn. The musicians' unembellished playing style also contributes to this freshness. The absence of drums results in even more intimate performances. For example, the hymn-like and originally richly orchestrated The Village of the Virgins is stripped down to its essence. Shorter’s Beauty and the Beast is presented in a bare, acoustic version that still retains a full and warm sound. Swallow’s Peau Douce benefits from a beautifully rendered horn part. However, the rendition of Haden’s First Song, featuring only bass and piano, adds little to the original, though it does provide Overwater a chance to shine.

The original pieces blend seamlessly with the classics in terms of atmosphere. Kohashi’s A’s Blues is, contrary to what the title might suggest, an upbeat piece with intriguing phrasing. Overwater’s compositions are varied; Yi Jian is a truly beautiful, contemplative piece for bass and piano, while Ballad for Ché offers Verploegen the freedom for expressive improvisation. A continuation of this collaboration, with even more original compositions, would certainly be a welcome prospect. Jazzenzo

“Superb musicianship and just fantastic sound.” 
''Superb staging depth and over all a sense of being there.''

 Feenbrothers Play Brubeck.

''This recording features Mark van deer Feen on piano, Clemens van der Feen on double bass, Paul van der Feen on saxophone and Matthijs van der Feen on drums. Here, with no vocalist, all four musicians let it fly. Dynamics, tone, timbre and soundstage are all superb. The piano in particular is a highlight for me. This is some of the best recorded piano I have ever heard, capturing to tone of the instrument and the natural decay of the notes. Instrument placement in the sound field is spot on. This is a superb recording all around and is one that I can recommend for all jazz fans. Superb musicianship and just fantastic sound.'' Audiophile Style
 ''The new One mic recording with the Feenbrothers playing Brubeck is incredible.
Superb staging depth and over all a sense of being there.
Highly recommended.'' Head-Fi

 

   ''spectacular...reach out and touch each instrument.'' 
Gidon Nunes Vaz, Embrace Me 
This is a typical Sound Liaison release, here captured live in studio 2 at Hilversum's MCO, with recording, mixing and mastering by Frans De Rond. However en route to becoming a DXD (or DSD) master via a Digital Audio Workstation, the initial recording was transferred to a Studer A80 tape machine at 15ips. Why? The answer is that ‘it gives us a bit of what they call “Mojo”. Definitely an audiophile recording, then, but with a sense of humour, and the result is spectacular, with a warm, generous ambience you can almost reach out and touch each instrument. Gidon Nunez Vaz' trumpet, Timothy Banchet's piano, Thomas Pol's bass and the drums of the splendidly named Yoran Vroom- lovingly captured. And Denise Jannah's vocals on four of the tracks are simply gorgeous. The end result is a gentle, measured and totally appealing set. HifiNews&Record

  "But best of all it sounds so real, making it a joy to listen to – just sink into the performances and relish every moment!"
Gidon Nunes Vaz quartet; Ebb Tide
The second album for Sound Liaison by the quartet led by trumpeter/flugelhorn player Gidon Nunes Vaz follows on from 2020's Embrace Me, and features the very slick ensemble playing well-loved ballads, from Michel Legrand's 'The Summer Knows' to Rodgers & Hart's 'Bewitched'. Recorded by Sound Liaison's Frans de Rond using the as-live, 'straight to DXD' approach, captured with Josephson microphones, this set has a wonderful immediacy. As on the previous album, the ensemble is on fabulous form, Vaz being joined by Timothy Banchet on piano, bassist Cas Jiskoot and Yoràn Vroom on drums. Here they deliver an easy-going yet captivating sound, with every detail of the contribution of each performer easy to hear thanks to the highly informative mix. But best of all it sounds so real, making it a joy to listen to – just sink into the performances and relish every moment! AE     Hifi News & Record Reviews

 '' ...great performance, and excellent ‘one mic’ recording''
Gidon Nunes Vaz Trio - Dream Dancer
''Another great performance, and excellent ‘one mic’ recording by Frans de Rond.Good stuff. Those One Mic Recordings from Sound Liaison, are fabulous. I don’t know of any other recordings that make the impression of having the musicians appear live between my speakers.'' dCS

 ''...Jeremy's renditions of Van Morrison's "Crazy Love" and Leonard Cohen's "Anthem" are truly impressive. -Hifi.nl

Jeremy Olivier - Where the light gets in

For his new album, Jeremy Olivier collaborated with keyboardist Mike Del Ferro, resulting in a collection of ten tracks that made the final cut. It took only two days in the studio to record everything, which is relatively short. This direct recording approach perfectly complements Jeremy's understated musical style, where his voice is as musical as his guitar. Del Ferro’s skilled hands on the keyboard and piano provide a subtle and refined backdrop.

The recording, mixing, and mastering were done using Josephson microphones, Schnerzinger and AudioQuest cables, tweaks, and power filters, and a Merging NADAC converter. The recording was mastered analog on an optimized Studer A80 tape recorder, and the monitors in the recording studio (Zellaton and MBL) and the reference turntable (Döhmann) for the vinyl version were of top-notch quality. On …Where The Light Gets In, Olivier, as mentioned, alternates between covers and his own compositions, with the latter being more influenced by his African roots. Despite this blend, the album remains balanced, and in fact, the variety enhances the flow necessary to keep a singer-songwriter album engaging. Just listen to tracks like "Fly Eagle Fly," followed by "Ntyilo," which is then succeeded by a refreshing, worldly version of The Police's hit "Message In A Bottle."

Jeremy's renditions of "Crazy Love" (Van Morrison) and Leonard Cohen's "Anthem" are truly impressive. The latter, in particular, seems ready for radio play. Personally, I find his vocal interpretation of "Over The Rainbow" (Arlen, Harburg) slightly less inspired, but overall, Jeremy successfully conveys emotion in his tracks.

Olivier's voice is pleasant, open, and subtly warm, which suits the intimate nature often associated with this genre. While he’s sometimes compared to Jason Mraz and Ed Sheeran, I believe he has a distinct sound that sets him apart. His guitar playing is equally pleasing, and his collaboration with Mike del Ferro feels natural and effortless. However, the album’s true highlight lies in its audiophile quality. Both the LP and hybrid SACD versions sound fantastic, with a slightly warm presentation, exquisite dynamic nuances, and a pleasing, organic foundation.

The high-end setup by the team behind the RAR label has undoubtedly contributed to this listening experience—it's pure enjoyment, no matter how you choose to listen. The SACD (BODTG) and LP (Record Industry) each have their own unique characteristics, but neither outshines the other, which is quite an achievement. This release is sure to delight audiophile connoisseurs, as the sound positively captivates the discerning ear. Hifi.nl review

 “It sounds just like a piano is sitting in the room in front of you. ”

Juraj Stanik - I Wonder

"I Wonder" is a solo piano recording. This recording captures the richness of the piano and the natural room reverberation. It sounds just like a piano is sitting in the room in front of you. What more can you really want from a recording? - Audiophile Style

  'lyrical melancholy...beautifully expressive playing ... a match made in heaven.'....  'exceptional synergy and deep connection'

 

Levan Tskhadadze & Izhar Elias - Carrousel

''Carrousel offers several delightful surprises. The first is the unique combination of clarinet and guitar, a pairing for which few original compositions exist. Elias skillfully bridges this gap with transcriptions, such as Verdi/Bassi's and Giampieri/Mertz's Il Carnevale di Venezia.
Another pleasant surprise is the work of Jewish-Georgian composer Ioseb Bardanashvili (1948), who beautifully intertwines Georgian and Spanish influences in his compositions. The album's namesake, Carrousel, by Dutch jazz composer Rembrandt Frerichs, adds a final, delightful touch.
Throughout the album, the guitar and clarinet blend beautifully, showcasing the exceptional synergy and deep connection between these seasoned musicians.'' Hollands Dagblad

''According to the musicians, "diversity" is the key word that ties together this eclectic collection of music by Rossini, Stravinsky, Mertz, Josef Bardanashvili, and Rembrandt Frerichs. Indeed, it is a colorful ensemble, but there is also a common thread that primarily portrays the musicians themselves, uniting their Georgian and Jewish backgrounds in a lyrical melancholy.
This shared sentiment is evident in the beautiful guitar piece Sola, which Bardanashvili composed especially for Elias, and in his Lezikhro, written for the duo, who haven't been performing together for very long. It also resonates in Rossini's Una voce poco fa, the Carnaval of Venice in the version by 19th-century guitar hero Mertz, and the charming Carrousel by Rembrandt Frerichs. But above all, this feeling is captured in the beautifully expressive playing of this unusual duo, who sound in every way like a match made in heaven.'' —Paul Janssen, Luister Magazine

 

      ''...This is silent music…. one is so immersed in Scholten’s musical universe that it is impossible to let go of the deep melancholic atmosphere....'' de Volkskrant'  

Marzio Scholten - Isolophilia

"For his seventh album, guitarist Marzio Scholten has formed a superb trio with ECM recording star Wolfert Brederode on piano and bass icon Ernst Glerum on bass.The trio recorded the album Isolophilia in the legendary Studio 2 at the Dutch Music Centre of Broadcasters. It is a wonderful album. Scholten's compositions are more intimate than ever. His tender guitar sound is beautifully surrounded by Glerum’s counter melodies and Brederode’s impressionistic piano playing. This is silent music, yet it never gets boring due to surprising choices of notes and harmonies. In fact, as the album reaches its conclusion, the gorgeous rendition of the traditional “Sometimes I Feel Like a Motherless Child”, one is so immersed in Scholten’s musical universe that it is impossible to let go of the deep melancholic atmosphere. Scholten here approaches the high level of American guitarist Bill Frisell on his recent work for the progressive label ECM."  Gijsbert Kamer, de Volkskrant'  

''...It’s a gratifying listening experience...remarkably relaxed and intimate album...''

Tim Langedijk & Paul Berner ; Down To The Downtown’
‘Guitarist Tim Langedijk and bassist Paul Berner’s new duo album, Down To The Downtown, is a true treat for enthusiasts. Tim plays two exquisite acoustic Gibsons: a 1954 J-45 and a 1951 Southern Jumbo. Paul brings depth with a double bass from Tirol, circa 1900. The purity of just a guitar and a bass is all you hear, as the nine tracks, a mix of well-known and lesser-known pieces, were recorded without any frills using a single 3-capsule microphone. The result is a remarkably relaxed and intimate album.
Simplicity and clarity were the guiding principles during the recording session. Despite the complexity of some pieces, they sound effortlessly easy on this recording, and the simpler songs come alive, gaining unexpected depth in Tim and Paul’s hands. Throughout the album, the musicians take their time, with no sense of hurry. You can almost picture them sitting in the sun on a typical American porch in the lazy deep South. That’s the kind of atmosphere they create. It’s a delightful listening experience.
Though Tim and Paul were aware of each other’s work, their duo only formed after a chance meeting in their shared hometown of Haarlem, where they discovered they were practically neighbors. This serendipitous encounter led them to the legendary Studio 2 at the Dutch Music Center of Broadcasters (MCO). Renowned bassist Peter Bjørnild co-produced the album with Tim and Paul, while engineer extraordinaire Frans de Rond handled the technical aspects.’
Jazzflits, Hans Invernizzi

 ''...a magnificent dialogue...''...enchanting…''...music that enters like a pleasant spring breeze....'

Michael Moore & Paul Berner - Amulet

'This is about as simple a recording as you’re ever going to hear: two musicians, one microphone and each track performed live, straight to DXD recording – and it’s totally enchanting…all that spontaneity comes over in spades in this set, which has the usual Sound Liaison recording quality, plus that unmistakable sense of two musicians just bouncing off each other, improvising and making the shape of the songs up as they went along. This is as live as it gets, with a real "in the room with the musicians" impression.' —Andrew Everard, Hifi Critic
Never before has Moore's clarinet sounded so caressing and refined. Berner's double bass also seems to breathe more than ever... the softly plucked double bass melts imperceptibly into the tone of the clarinet: music that enters like a pleasant spring breeze... AMULET, in its modest duo setup, has become a great production: a tribute to the power of the American song tradition.” —Cyriel Pluimakers, Jazzenzo

    "When I saw a video of the recording session I was immediately sold. There is one microphone set up. I repeat, 1 microphone.
On a chair Michael Moore has taken a seat, with his clarinet.
Nearby stands the bassist, Paul Berner. Two Americans who have lived in the Netherlands for a long time. They know each other, there is trust, you can see it, you can feel it, in the way in which,
In total relaxation, a magnificent dialogue unfolds, with few notes, but in such a way that every note hits, and much remains unsaid, precisely in the space between the melody and the bass line. You don't have to explain everything, they know that, they have experience.
Moore & Berner have completed an entire album in one day, with songs from their native country. It's about jazz standards, classics from The American Songbook, as it's called. But also pieces that you wouldn't expect to find on it, songs by Joni Mitchell, for example, or 'You Never Walk Alone'. And Moore also contributed a few compositions. But they all get the same treatment. There's something enchanting in them.
Listen for example to the standard 'I never knew', which they transposed to a different key so that Berner can play a cool bass line under it. And 'Answer me my love' is just another song that doesn't lend itself to jazz at all. Yes, until Moore and Berner get involved!" -Lex Bohlmeijer, Passaggio

 ''These duets are the epitome of refinement,''...find out just how well your system images....'

Michael Moore & Paul Berner - The Gift

“Sound Liaison’s recordings, made using a simple one mic setup and recorded live, have a wonderful immediacy. Here - as a companion piece to the duo’s Amulet set, from the same session-are clarinetist Michael Moore and bassist Paul berner in Hilversums studio 2, with Frans de Rondrecording straight to DXD. The soundstage reveals the musicians positions relative to the single microphone, and the balance seems entirely natural. The way the two feed off each other is entirely enchanting, the vivid sound of the two instruments creating real magic from the simplest of ingredients, from the opening ‘the Sweetest Sound’right the way through to a beautifully poignant ‘You'll Never Walk Alone’.A beautifully uncomplicated recording. This could be an excellent way to find out just how well your system images”. AE Hifi News&Record

'These duets are the epitome of refinement, barring all things extraneous. They leave room only for melody, an aside or two, and the chance to absorb the natural beauty of their instruments.’ —Jim Macnie, Lament for a Straight Line

  album of the year 2022

''...you enjoy it more each time you listen...''

Mike del Ferro - Skylark

Sound Liaison brings us a recording of pianist Mike del Ferro performing a mix of his own compositions with standards by Johnny Mercer and Hoagy Carmichael, Duke Ellington, Bill Evans and Miles Davis, Leonard Bernstein, Antonio Carlos Jobim and Chet Baker. The album is recorded with just two microphones a Josephson C700S and a AEA R88. There is something special about this album that makes you enjoy it more each time you listen. — Brian Moura

 Edison Winner

''Warning! On this album, Margriet Sjoerdsma and the Odelion Orchestra challenge the audience by reinstating listening as a ritual... irresistible and overwhelming!''—Jazz Radar

Odelion - Northern Lights

"You don’t want to miss a single note from this fairytalish musical paradise called ODELION. ODELION is a new Dutch pearl that needs to be discovered!"- OOR Magazine

When you hear the name Margriet Sjoerdsma, you might think of Eva Cassidy, the American singer who gained fame posthumously after her untimely death at 33. Sjoerdsma paid a personal tribute to Cassidy with a tour that included her brother, Dan Cassidy, on violin, and performed successfully at renowned venues such as Paradiso, the Concertgebouw, and the North Sea Jazz Festival.

In 2017, Sjoerdsma returned to the studio with twelve original compositions. She had spent three months in seclusion in a remote cabin in tranquil Sweden, where the songs for the album took shape. This resulted in the album Odelien, named after the cabin and pronounced (in English) as Odelion.

Northern Lights

Odelien evolved into Odelion, which then became the Odelion Orchestra and culminated in the project Northern Lights. The title pays homage to the mystical auroras that are a natural phenomenon in Scandinavia.

Margriet Sjoerdsma had long wanted to create an album with pianist Jeroen van Vliet, incorporating deep brass and string sections. The Odelion Orchestra features the Westside String Trio with violin, viola, and cello, while the brass group, including horn, trombone, and bass trombone, provides a balanced sound with ample bass lines. Sjoerdsma describes the album as a song cycle blending folk, jazz, and pop, wrapped in a chamber music format.

For Northern Lights, six songs from the Odelion album were rearranged, and six new tracks were composed. The album opens gently with piano and vocals on Jeroen van Vliet and Fay Lovsky’s "The Poet," and closes with the solemn "Einzelhymne" by Louk Boudesteijn, reflecting contemporary themes with a story about a young man who waves daily to an old man behind a window.

Between the opening and closing tracks, ten other gems traverse a range of musical experiences—from dramatic ("Two Grown Ups") and uplifting ("Won’t Be Coming Home") to suspenseful, hopeful ("I Wish"), and beyond. Each track is adventurous and thought-provoking, with lyrics that address real-life themes such as forgiveness ("Forgiveness"), mortgages ("Enslaved To The Grave"), and the art of living.

Warning! On this album, Margriet Sjoerdsma and the Odelion Orchestra challenge the audience by reinstating listening as a ritual. Attentive listeners are forewarned that the combination of music and text on this album is both irresistible and overwhelming!—Jazz Radar Eddy Westveer

Paul Berner Band | Road To Memphis

Not the easiest album to find, Road To Memphis by the Paul Berner Band is a wonderful find. It’s a light, contemplative jazz album with bass, sax/clarinet and a pair of guitars. Not noisy.
One thing that really surprised me about this album is how real and immediate the sound is. You are there. And then, at the end of the first track, you hear the applause and it hits you….damn, this was recorded live! Doesn’t disappoint. Has become one of my favorites. Tortuga audio

''...The result is astonishing...''''...fantastic interpretation of Rubber Soul...'' Jazznu
''...These are timeless songs that can be hummed along effortlessly...''
"...A superior Beatles tribute..." Guitarist magazine

Paul Berner Band - This Bird Has Flown

The legendary album Rubber Soul by The Beatles was released in 1965. At that time, Paul Berner was just thirteen years old, and he vividly recalls the profound impact the Beatles’ album had on him. “The Beatles were like older brothers who had answers to my questions,” Berner reflects on the effect Rubber Soul had on him…The result is astonishing. Berner’s quartet offers a completely new take on the Beatles classics. Notably, the vocal lines are omitted, replaced by the guitars of Ed Verhoeff and Peter Tiehuis, each utilizing one channel of the stereo system. Michael Moore on clarinet and alto saxophone provides additional harmonic and melodic depth, while Paul Berner’s double bass forms the foundation on which the music develops. The freedom with which the four musicians approach this classic material allows even sentimental love songs like “Girl” and “Michelle” to acquire a fresh, dynamic layer. On This Bird Has Flown/Say The Word, we once again hear what a blessing Michael Moore is to the Dutch music scene. His boundless craftsmanship knows no barriers; he infuses his personality into every score he encounters. When working without a score, Moore’s unparalleled improvisational skill is evident, enriching the music with a wealth of creativity. This CD is a compelling testament to his talent....From the passionate performances on This Bird Has Flown/Say The Word, it’s clear that Paul Berner has found answers to most, if not all, of life’s questions.—Rinus van der Heijden, Jazznu

The American bassist Paul Berner has created a stunning album inspired by one of the early Beatles records that sparked a revolution in pop music during the 1960s… he has crafted a fantastic interpretation of Rubber Soul. This version shows that even when you strip the songs down completely and then gently rebuild them as jazz pieces, they still hold up remarkably well. Moors Magazin

…..This small ensemble, without drums, allows the four musicians to reinterpret the nine tracks—each a classic in its own right.Paul Berner, usually in a supportive role on the double bass, gets to fully explore the world-famous melodies of Norwegian Wood, Nowhere Man, and In My Life. With Ed Verhoeff on the left and Peter Tiehuis on the right of the speakers, they sometimes create Brian Eno-like soundscapes, offering a refreshing take that successfully reinvents these timeless pieces.Venturing into The Beatles' repertoire is no small feat. Every nuance of Lennon & McCartney's compositions is meticulously etched into the collective musical memory, thanks in part to the ingenious arrangements of producer George Martin, rightfully known as the "fifth Beatle."… Songs like Norwegian Wood, Nowhere Man, Run For Your Life, In My Life, Girl, and Michelle are presented in a recognizable manner. Listen how alternately the singing bass, guitars and clarinet express the intentions of these beautiful melodies, as seen in the tender Michelle, where the guitar and clarinet melodies merge seamlessly.….These are timeless songs that can be hummed along effortlessly.  Jazzenzo, Erno Elsinga

"A superior Beatles tribute."- Guitarist magazine

 

 "RED fully feels and embodies the vibe and spirit of New Orleans. You can hear the rhythmic vibrancy that is “Nola” coming through every phrase." -Terence Blanchard

Red -Nola

‘Red fully feels and embodies the vibe and spirit of New Orleans. Listen to “It Ain’t My Fault”. You can hear the rhythmic vibrancy that is “Nola” coming through every musical phrase. “St James” pays homage to our classic history. Then the swinging nature of “Blues My Naughty Sweetie Gives To Me” shows how the band has a grasp on many aspects of the musical diversity of New Orleans. I really enjoyed listening to Red’s take on “Monkey Puzzle”. A personal favorite of mine. The entire album is filled with great playing.  Loving NOLA from start to finish.’ -Terence Blanchard

                                               

 “.....These guys and this recording just rocks.                                                      Pace, rhythm, tone and soundstage are just off the charts…..this recording sounds sensational....”

Reinier Voet & Pigalle44 - Ballade Pour La Nuit

    This album is an homage to Django Reinhardt. It features Reinier Voet on lead guitar, Kain van Kooten on violin, Jan Brouwer on rhythm guitar and Jet Stevens on double bass. These guys and this recording just rocks. Pace, rhythm, tone and soundstage are just off the charts. The precise placement of all four of the musicians perfectly matches the photos of the sessions. The balance of all four instruments is darn near perfect. As you can no doubt tell, I am a huge fan of this recording. It is one of the best in terms of recording quality I have ever heard. Of course, and as always, your view of the actual music content may vary quite considerably from mine. Nonetheless, I think we would all agree that this recording sounds sensational.
Joe Whip Audiophile Style

  ''...spontaneous, explorative, complex, occasionally playful, and supremely well recorded...''

Reinier Voet Quartet - Images

''This album is everything I look for in a live jazz album: spontaneous, explorative, complex, occasionally playful, and supremely well recorded. There is nice depth to the interactions of the musicians—nothing superficial, but still engagingly fresh. It is one of those albums that you start playing and don't want to stop. Plus, I find myself always trying to look around the corner to see where they will be taking me next. It is one of Frans de Rond's "Arch" style recordings, meaning that it starts with a single musician in front of a single mike. Then other musicians join in the next tracks and the number of microphones may increase accordingly, then it finishes with that single musician and a single microphone once again. All forming an arch of sonic complexity. But always sounding live, non-processed, and with perfect phase alignment throughout. By no means easy to accomplish! This outcome requires a very skilled balance engineer who listens carefully to the results being achieved. R. Paul in Positive Feedback

'' ...Time for Ballads' is a statement with which he proves that the jazz tradition is timeless, just like the music of Bach, Mozart and Beethoven....''

Rob van Bavel - Time for Ballads - The Maene Sessions

‘Time For Ballads is excellent. Excellent musicianship and that wonderful piano is a real star. I can appreciate the warm left-hand but [for me] it's the treble register that excels. So much more life than the flat, metallic Steinway sound we have been brought up with.’-  Mike Hoyle

'The time has come to celebrate Rob van Bavel as a true master of the Jazz piano.
35 years after launching his career by winning the 2nd prize at the Thelonious Monk competition.
This atmospheric recording, all about the essence, continues to surprise, unpretentiously showcasing the most beautiful music.  J.de Valk  Jazzflits

Pianist Rob van Bavel, a leading figure in Dutch jazz for decades, stands out for his deep understanding of jazz and remarkable craftsmanship. His new album, Time for Ballads, showcases his exceptional talent and knowledge.
On this album, Van Bavel plays the Chris Maene Straight Strung Grand Piano, renowned for its softer, warmer sound with rich overtones, perfectly suited to ballads. The pianist’s exquisite selection includes standards and original compositions. Highlights include a fresh take on Ellington's "In a Sentimental Mood" and a poignant version of Styne and Kahn's "I Guess I'll Hang My Tears Out to Dry." Van Bavel's interpretations are infused with a profound love for authentic jazz.
Van Bavel also explores jazz adaptations of classical pieces, such as Rachmaninoff’s "Elegy" and his own "Your Nocturne," which nods to Chopin. He playfully reimagines "Detour Ahead" as "De Tor Ahead," celebrating a cherished Dutch jazz club. His performances, particularly on Johnny Mandel's "The Shadow of Your Smile" and "Body and Soul," are marked by precise nuance and a deep understanding of melody, with the Maene grand piano truly coming to life under his touch.
The album is further enhanced by excellent support from double bassist Frans van Geest and drummer Marcel Serierse, who provide a perfect foundation for the slow ballads. Time for Ballads is perhaps the most successful album Van Bavel has made: a statement with which he proves that the jazz tradition is timeless, just like the music of Bach, Mozart, and Beethoven.—Cyriel Pluimakers, Jazzenzo

  ''...these musicians can play...immensely satisfying listening experience...''

This album is a nice collaboration between trumpet player Ruud Bruels and saxophonist Simon Rigter (with his quintet) in this traversal of tunes so often played by Louis Armstrong. There is no doubt these musicians can play jazz. Is this Louis? No. But it is a nice tribute to his performances and it is well played. 
But what is particularly special about this album is that, like all the best recorded jazz, it is played and recorded live before an audience (of 80 people in this case). The musicians were placed in front of a stereo pair of microphones with additional spot microphones on each instrument. No headphones on the musicians, they have to hear each other to balance their sound in the room—just as in a live performance, which this is.
The recording is nicely clean and very clear, with excellent capture of the instruments. Recording engineer Frans de Rond gives us yet another immensely satisfying listening experience. The sound junkie in me is happy, happy, happy. R.Paul in P.F.
  ''...exceptional sound quality...tenderness and melancholy... a small masterpiece!...''
Simon Rigter: Growing Up
Simon Rigter’s Growing Up has gained acclaim for its exceptional sound quality, initially released as a high-fidelity download but now also available on Compact Disc. The album offers a profound exploration of ballads, highlighting Rigter’s exceptional skill in this genre. He opens solo with the beautiful “Things We Did Last Summer” and shares intimate duets with guitarist Vincent Koning on “Deep In A Dream” and “‘Tis Autumn.” The variety in ensembles, including pianist Karel Boehlee, double bassist Cas Jiskoot, and drummer Joost van Schaik, adds an adventurous dimension to the album. Rigter offers profound interpretations of Benny Carter’s “People Time” and the Brazilian “Pra Dizer Adeus.”
Rigter views music as an endless quest for essence. “The most important thing is to play spontaneously. Jazz is exceptionally personal music,” Rigter explains. This perspective is evident throughout his work.
A standout moment is his duet with pianist Boehlee on the classic “Angel Eyes,” evoking tenderness and melancholy. Rigter also excels solo on the title track “Growing Up,” a warm composition that seamlessly transitions into Billy Strayhorn’s “Chelsea Bridge.” Rigter’s album is thoughtfully crafted and varied, a definitive example of the saxophone’s gold standard in jazz. It is truly a small masterpiece!
Simon Rigter (1973) grew up in a musical environment. His father, tenor saxophonist Bob Rigter (1934-2017), was a self-taught musician inspired by Lester Young, Zoot Sims, Ben Webster, and Dexter Gordon. Simon followed seamlessly in his father's footsteps.
From a young age, Rigter learned much from pianist Cees Slinger (1929-2007). He studied at the Royal Conservatory in The Hague from 1989 to 1996 under John Ruocco and completed his education in 1997 at the Hilversum Conservatory with Ferdinand Povel. Since then, Rigter has performed with the Dutch Jazz Orchestra, the Jazz Orchestra of the Concertgebouw, and the Rotterdam Jazz Orchestra. He is also a teacher at the Conservatorium van Amsterdam and is involved with Bop2B, Equinox, the Ruud Breuls-Simon Rigter Quintet, Tenor Conclave, and the Boris van der Lek-Simon Rigter Quintet. Jazzenzo
 album of the year 2019
“one of the best-sounding "live in the room" audiophile recordings I've ever heard. It's a one-hour trip from the depths of love's oppression…”
Carmen Gomes Inc. 'Don't You Cry'
Many musicians can play jazz and blues, but few can sing the blues with total conviction and emotional authenticity. Dutch singer-songwriter Carmen Gomes is one of those few. ...
The selection and sequencing of the songs tells the story of a woman’s growing recognition that she must throw off the chains of love—false illusions, fears and insecurities—before she can find a more honest way of loving. From the opening "Unchain My Heart", a 1963 hit for Ray Charles, through two songs associated with the great Nina Simone, "Don't Let Me Be Misunderstood" and Simone's own assertion of female sensuality "Do I Move You", with stops along the way in the Deep South of the songwriter's imagination (Ira and George Gershwin's "Summertime") and the historical reality ("How Long", credited to Leroy Carr, originally written by blueswoman Ida Cox), the listener finally arrives at Gomes' original "As I Do." It's a one-hour trip from the depths of love's oppression to the renewed hope for a relationship between equal partners, cast in the languorous mode of sultry jazz singing and subtle instrumental accompaniment.
Gomes’ stylistic technique extends past the conventions of behind-the-beat phrasing. Listen to how she teases out the syllables, as if the lyrics themselves were musical notes, not just words on a page. On "Don't Let Me Be Misunderstood", she prolongs the vowel sounds through several shades of inflection. With her flawless pitch, the effect is entrancing. You might hear echoes of Billie Holliday, but her vocal sound has developed well beyond imitation to distinctive individuality.

The ensemble Carmen Gomes, Inc. is more than a singer and a backing group. Bassist Peter Bjørnild, whose session notes are posted on the Sound Liaison website, produced the record and arranged the songs in collaboration with Gomes, guitarist Folker Tettero and drummer Bert Kamsteeg. Tettero plays an archtop semi-hollow body guitar that has a warm timbre; his stylistic ears are well-tuned to blues idiom, especially the minor-key blues of the mid-1960s. Kamsteeg uses brushes throughout, and keeps superb time without ever overpowering the singer or other players. In bassist Peter Bjørnild, Gomes has found the deep instrumental 'voice' that complements her vocals, the glove that perfectly fits the hand. Their musical partnership is longstanding, and the trust that only years can bring is clearly in evidence.

The decision to record with a single-point stereo microphone came about after the group had already finished a recording session done with conventional multi-mic technique. The late delivery of a Josephson C700S stereo microphone prompted a test recording of a single tune; an afterwards, engineer and label co-owner Frans Rond was so convinced that the sound qualities of that track should be heard on a full recording, he reconvened two more sessions that consisted of the group's working repertoire, done almost entirely in single takes. Those sessions were recorded at MCO Studio 2, Hilversum, The Netherlands, on 26 October and 15 December 2018, in DXD 352.8 kHz. As Bjørnild explains: "With only one mic… mixing was no longer possible. We would have to make the complete sound stage right there by carefully moving each instrument closer or further away, as well as left and right, in relationship to the microphone."
With an engineer of the capabilities of Frans Rond, mixing is no longer needed. The careful placement of the musicians and the control of group balance makes "Don't You Cry" one of the best-sounding "live in the room" audiophile recordings I've heard.
Not surprisingly, site listeners awarded "Don't You Cry" NativeDSD Vocal Album of the Year for 2019. I eagerly await the next release from Carmen Gomes Inc.
Mark Werlin
  “This is so well recorded that turning up the volume knob significantly  never makes the music too loud, only more intense.” 
 Carmen Gomes Inc. - Stones In My Passway
“Carmen sings the blues straight from the heart, profoundly, with authenticity and heartfelt sincerity. This is so well recorded that turning up the volume knob significantly never makes the music too loud, only more intense.”  eschewing any unnecessary embellishments….Engineer Frans de Rond has captured the entire setting in a way that allows you to experience the superb interplay of these seasoned musicians. JazzFlits
 “This album deserves recognition as one of the best vocal albums released in 2023. The album is 15 tracks of pure enjoyment—excellent contemporary blues that honors the traditions of the genre and the music of Robert Johnson” Positive Feedback USA
“This is a top album. Delightfully slow and jazzy performed, with her strong, understated singing and masterful phrasing keeping the tension alive. The sound quality reaches audiophile levels. If you like Melody Gardot, Carmen deserves your attention, as her work has comparable international allure.’  Heaven Magazine
 ‘These artists have a vivid imagination and know how to translate it into narrative music, supplemented with cleverly placed soundscapes. It's an extraordinary musical journey and a phenomenal experience on a refined hi-fi set.” HiFi
‘Carmen Gomes Inc. delivers an exceptional and innovative second tribute to Blues Legend Robert Johnson. Gomes’ experienced and emotive voice masterfully captures the essence of the blues on an album with an expansive, immersive sound.’  Hollands Dagblad


   
“A rare find indeed. And a rare treat to hear.  Highest recommendation.” 
Carmen Gomes Inc. Ray!
Sound Liaison's recordings continue to impress me with their very clean, transparent, and precisely localized sound. Recording engineer Frans de Rond's signature is readily apparent in the purity of sound and precise placement of performers that he achieves in this multi-microphone studio recording.
If you've heard his "One Mic" recordings on Sound Liaison, you will know how special his recordings can be. I was a bit hesitant at first knowing this would be a multiple microphone outing. But, he pulls it off superbly in a highly phase coherent, tightly knit, outcome that belies it's multi-mic roots. As with his other recordings, this displays great depth, and almost physically palpable placement of the musicians in the soundstage.
In making this album, Peter Bjørnild (bassist) writes;  "We quickly realized that we did not want to make a tribute album. Rather we would pay our respects to Ray by following the advice Ray gave to Willie Nelson at a recording session: 'Don’t think about how anybody else does it, just do it the way that YOU feel it'. So we took the songs back to their bare essentials, tried to hear them as if they had just been written and in so doing made them our own." 
And a fresh sound they indeed deliver. This is their music, with a nod to the master here and there. Never over-produced, always respecting each other, the musicians find a nice balance of supporting each other, challenging each other, complementing each other, never stepping on one another. 
The song that I most enjoyed on my first listen was "CC Rider" by Ma Rainey and Lena Arant (circa 1924, also known as "See See Rider Blues").
As Bjørnild comments in the liner notes, "Here Tettero’s guitar is the 2nd protagonist in this story of a love affair taking a wrong turn. The guitar is of equal importance to Gomes’ voice, it’s the CC Rider Carmen is singing about. Listen how they keep on challenging each other yet never get in each other's way. That kind of communication and musical empathy is a rare find."
A rare find indeed. And a rare treat to hear.  Highest recommendation.
Rushton Paul, Positive Feedback Creative Forum for the Audio Art
 

  “ ….bluesy and intimate with a sexy voice sweet as dark tupelo honey. This is one of the best and best-sounding jazz vocal albums  in many a day.” 

Carmen Gomes Inc. - Thousand Shades of Blue 
Carmen Gomes has won many awards in the Netherlands and surrounding areas. Like so many new European singers, she sings in English -- excellent English, I might add. She's formed a group called Carmen Gomes Inc., with Folker Tettero on guitar, Peter Bjørnild on double bass, and Marcel van Engelen on drums. Her style is bluesy and intimate with a sexy voice that's sweet as dark tupelo honey, and her interpretations are unerring. The musicians play to her and to each other, and the ensemble is so tight that the four musicians breathe and move as one.
There are some standards on the set that knocked me over with their fresh approach. Any singer can misplace a few accents and rhythms and come up with something that's original, but perhaps also uneasy and a little strange. Not Gomes, who has taken the songs to their bones and then restructured them to suit her style. Thus "Fever" doesn't sound like a cover of Peggy Lee; it sounds like a brand new take on a familiar song. You emerge from hearing it not thinking it's better or lesser than Lee's version, but that it's a valid new interpretation that could have come first.
The same approach works on "Angel Eyes," "You Don't Know What Love Is," and "I'm on Fire." Most of the rest, including the title song, "Oblivion," "Time Will Tell," "Gasoa Blue," and "The Sea," are Gomes originals that fit right in with the standards. The recording achieves exactly what Bjørnild set out as his goal. It can provide the best seat in your listening room. Go to the Sound Liaison site, listen to a few samples, download an album, and see if you don't agree that this intimate effort is one of the best and best-sounding jazz vocal albums to come along in many a day. By the way, the small audience applauds enthusiastically enough after the last chords of a song die away, but the attendees never interrupt or make themselves known while a song is going on. No doubt they were completely mesmerized into silence, as was I.
Be sure to listen to: On "Dock of the Bay," Gomes creates a languid, bluesy version that is a little bit reminiscent of Bobbie Gentry while still coming across as quite original. It'll cast a spell over you. Rad Bennett  Soundstagexperience
   “The sound is totally three dimensional… open with natural decay and depth. You almost feel like you can reach out and touch everyone. ..It is stunning. It really is. No hyperbole.” 
"the whole recording drips with presence and a sense of performance."
 CARMEN GOMES - UP JUMPED THE DEVIL

....."This is some of the best sounding drum sound I have ever heard on a recording. Very dynamic and not reserved. The sound of the double bass is full, rich and powerful where needed but with no hint of bloat. And the guitar.....It is clear and reverberant. Naturally, not with added reverb. Of course, the vocals are captured beautifully. Carmen is right there in front of you. This recording doesn’t take you to the recording studio. Even better, it brings the recording studio to your listening room. Very few studio recordings do this. The drums to the left, Carmen in the middle in front of the instruments and the bass just to the right of her and the guitar to the right side of the soundstage. The sound is totally three dimensional. You almost feel like you can reach out and touch everyone. The sound is totally open with natural decay and depth. It is stunning. It really is. No hyperbole.".... Read the whole review at the website of Audiophile Style                 
"Just when you thought you’d heard every possible take on the songbook of Robert Johnson, from true acoustic versions to Clapton’s electric tracks, up jumps singer Carmen Gomes with her own rendition.... Gomes gives her selected tracks an atmospheric, mystical spin, with minimal backing, a simple mic set-up, in Sound Liaison style, and a ‘straight to DXD’ as-live recording approach. Her sultry voice has immediacy and intimacy, the instruments captured with real vitality, and the whole recording drips with presence and a sense of performance. I can imagine this one proving popular on the demo circuit if we ever get back to them – and that would be no bad thing.''  Hifi-News&Record
   "Another gem from Sound Liaison ...The sound is killer.
 Carmen Gomes Sings the Blues
Another gem from Sound Liaison, this recording is Carmen Gomes' take on Harry Belafonte's Belafonte Sings the Blues.
Recorded in DXD, this recording is available in any high Rez flavor you prefer. The sound is killer.    Audiostream.com review
 "Warm, jazzy, covered in a soulful glow, this is where the blues seek its refuge in lesser times." ''...bluesy, intimate style, and a sultry sweet voice...''
Carmen Gomes Inc. -Little Blue
I admit it—I've become a huge fan of Carmen Gomes Inc. Their albums contain just an excellent selection of songs, with excellent instrumental performances, and the ever wonderful voice of Carmen Gomes. Carmen and her partners consistently deliver a delightful blending of blues, rock and song. In Little Blue, Carmen collects a broad range of songs which she says are "songs of my youth that made a lingering impression and original compositions, some written a long time ago; some only recently. They all deal with topics of everyday life that keep my mind occupied: the choices we make, how we define ourselves and how we deal with life in general." 
As with all of her albums, Carmen takes songs down to their basic elements and then rebuilds/restructures to suit her style. Her songs don't sound like covers. They sound original and authentic—a new take on something familiar that gives a new listening experience. Each sounds like a valid new interpretation. With a bluesy, intimate style, and a sultry sweet voice, Carmen strikes brilliantly at the heart of the song; she conveys pure emotion to the listener. Add to this an ensemble that is so tight they could collectively be a single person, and you have performances that consistently hit their mark.
Recorded at M.C.O, Studio 2, Hilversum, The Netherlands, on August 17 & 18, 2014 and April 12, 2015, this is a fine example of Frans de Rond's excellent engineering that captures the performers as if we are in the room with them. Just brilliantly recorded. Rushton Paul
"Gomes' solidarity with fate, her expressive, effortlessly  phrasing and the catchy lyrics, are pleasing to the ear and offer a sense of security in these gloomy times. Warm, jazzy, covered in a soulful glow, this is where the blues seek its refuge in lesser times.  Powerful, melancholic, such as the beautifully slowed down 'Holding back the years', these are the ingredients for "Little Blue." The melancholy feeling is given all the space to develop visually through the open flexible sound of the band. Gomes performs the pieces convincingly as if she carries the song's pain and loneliness as a burden on her shoulders." Jazzenzo
    
 “This isn't audiophile tinkering; it's simply great music with exemplary  production...music that is truly made to be performed...essential listening.“
 CARMEN GOMES INC. – TORN
“The synergy of these musicians playing together is as strong on this recording as if it were a live performance. The music sounds more coherent and less compressed compared to regular recordings. The album "Torn" by Carmen Gomes Inc. exudes an incredibly relaxed atmosphere, beautifully reproduced in my listening room by the band and the refined recording techniques. The instruments, sharing the same acoustic properties, are almost visible, while Gomes herself feels practically tangible on tracks like "You Gotta Move," "I’m Torn," and "The Thrill Is Gone." Her sultry, incredibly talented, and controlled voice is unique, conveying emotion without resorting to flat imitation.
"Torn" is exceptionally easy to listen to, with addictive high-quality dynamics and music that is truly made to be performed, not just well recorded. The tranquility and high level of control exhibited by all four members of Carmen Gomes Inc. over their instruments reflect a level of musicianship often only found in the US, which is a significant compliment. This isn't audiophile tinkering; it's simply great music with exemplary production. Essential listening for anyone who loves bluesy jazz, high-quality recordings, and excellent playback! For the technically interested reader, the equipment used for the recording is listed on the label’s website.”  Eric de Boer. Hifi.NL
 
    "a beautiful live recording"
The Ghost the king and I
 "The connoisseur hears that the trio’s, thoroughly researched vibrant Gershwin tribute transcends limits.  'We Got Rhythm,' is a true celebration." - JazzFlits 
    "...this unique trio recording stands as a remarkable achievement. It's a testament to their collective skill, creativity, and ability to capture the essence of jazz in a way that's both timeless and fresh."  - Dave Kikoski 
   "...A fantastic virtuosic and sparkling album, transcending all clichés thanks to the qualities of this strong trio and their refreshing approach."  - Jan van Leersum, RootsTime 
   "...a beautiful live recording. In 'It Ain't Necessarily So' the guitar's lighthearted solo takes you on a spring walk in the sun, and the last notes remind you not to believe everything in the Bible.  Delightful! …this album deserves a place in every swing collection." -  JazzNu 
 ''....The ten soulful arrangements reveal their splendor in the audiophile quality that Sound Liaison guarantees ...Highlights of the album include the contemplative, slightly melancholic opening track "That's The Way Of The World," the refreshingly arranged "Ain't No Sunshine," and the closing piece "When A Man Loves A Woman," which encapsulates the essence of the entire album...'' 
Witmer Trio Free 
"If it sounds good, it is good." These famous words by Duke Ellington are undoubtedly applicable to the new recordings by the Witmer Trio. It's intentional that the term "recordings" is used here instead of "CD," because while the music is indeed available on CD, the ten soulful arrangements reveal their splendor in the audiophile quality that Sound Liaison guarantees
Jazzenzo already highlighted the album in a feature about this new recording studio. To mark their twenty-fifth anniversary, the three members of the Witmer Trio decided to dedicate an album to the music of their youth. A prime example of "Intimate Soul" is the tasteful arrangement of Marvin Gaye's classic "What's Going On." Pianist Cajan Witmer, who also arranged the pieces, shares the bass lines with double bassist Han Slinger, plays with a delicate touch in the upper registers of the piano, and in his solos, seamlessly blends jazz harmonies with a soulful narrative style. Drummer Maarten Kruijswijk provides a solid foundation throughout and demonstrates on the surprising arrangement of Eddie Floyd's "Knock on Wood" that he's not afraid to inject both light-footed and spirited swing.
The arrangements all showcase great ingenuity. Those familiar with Roberta Flack's original version of "Feel Like Makin' Love" and D'Angelo's classic interpretation will find that in the hands of the Witmer Trio, the piece is no less funky and, through the incorporation of jazz harmonies, gains even more musical depth. The contribution of Vera van der Bie, whose violin—expertly arranged by Cajan Witmer—features on several tracks, adds an extra layer of sensuality to the piece. Her playing also shines on the beautiful "Free" and the intriguing, challenging "Roofgarden," where double bassist Han Slinger also takes a prominent role.
Highlights of the album include the contemplative, slightly melancholic opening track "That's The Way Of The World," the refreshingly arranged "Ain't No Sunshine," and the closing piece "When A Man Loves A Woman," which encapsulates the essence of the entire album.
With so many tribute albums to past musicians being released these days, it’s important to separate the wheat from the chaff. However, listeners of "Free/Intimate Soul" will not find themselves wondering why they aren't just listening to the originals. Instead, this album will likely lead them to revisit the original versions with even greater joy, as the Witmer Trio has clearly demonstrated the enduring vitality of these songs. It’s easy to overwork a song like "Sittin’ On The Dock Of The Bay," but to rejuvenate such a well-worn piece and present it in a fresh, compelling way is an achievement for which the Trio deserves high praise. David Cohen-Jazzenzo
   “Another Wonderful Jazz Recording from Sound Liaison…  I’ll bet it will put a smile on your face.”              
 Witmer Trio - En Azul
Sound Liaison is a Netherlands based partnership, two bass players, Frans de Rond and Peter Bjørnild. They’ve assembled some terrific artists who play great jazz and given them high definition sound.  I raved about their initial recordings on the Sound Stage! Network, and have enjoyed watching their progress in listening to their appealing new albums.
Their newest program is titled En Azul and features the Witmer Trio, Cajan Witmer – piano,Han Slinger – double bass, and Maarten Kruijswijk – drums. The trio has been together for 20 years and all the players sound very comfortable in their skins. Their emphasis is on melody with ornamentation and variation that heightens a sense of melody rather than distracting from it.  And they’ve picked some terrific tunes to work with – Carioca, TheGentle Rain, Moon River, Moonglow, Rhapsody in Blue, Recado, and St. Louis Blues, to mention a few. The playing is delightfully impeccable and the recorded sound nearly so.  The trio sounds like it’s playing in a real space and is nicely spread between speakers with no exaggeration. The piano sound is perfect as is the sound of the many percussion instruments that are so imaginatively employed. The bass is solid; I could use just a tiny bit more focus on the attacks. Sound Liaison recordings are only available as high quality downloads. Many download formats are available including DSD and PCM 24bit/96kHz stereo. If you’re searching for real sounding intimate jazz, give the work of these folks a try. You’ll not be disappointed and it’s so good-natured, I’ll bet it will put a smile on your face.
Rad Bennett

 ‘’superbly well performed and the sound quality is excellent”    
 Witmer Trio: Cuban Fantasy
"The music is engagingly creatively arranged and superbly well performed....The recorded sound quality is excellent....
fully integrated soundstage encompassing four musicians and their instruments....all sounds seamless as one.  
It is this sensitivity to the sound and this attention to detail that makes these Sound Liaison recordings so very good and so very special! 
Rush Paul- Positive Feedback
"Listening to the studio master file 32/352.8. Sensational recording. Warm, intimate, and dare I say it, sensual."
- Audiophilestyle USA
 

  “….Step outside your listening room… you’ll feel as if you’re walking away from the musicians, not from your loudspeakers.”
 Tony Overwater and Bert van den Brink: Impromptu

“Impromptu” vividly captures the sound of an intimate venue at a very special one-time performance. Cue the 4th track on “Impromptu” on your music server, turn up the volume, and step for a moment outside your listening room… you’ll feel as if you’re walking away from the musicians, not from your loudspeakers.
How was this illusion created? Here’s the recipe: take one adventurous audio engineer, add five strategically-placed microphones, sift it all through DSD recording technology, and stir in a large portion of musical magic.
Describing the spontaneity of live recordings, album engineer Frans de Rond writes: “The audience becomes part of the music making and help spur the musicians on to great heights. The musicians feeling the empathy from the audience dare to take chances that one rarely hears in a studio recording.“
When bassist Tony Overwater and pianist Bert Van Den Brink were invited to perform an impromptu set of tunes on the
occasion of the 25th anniversary of the high-end audio shop “Rhapsody”, in Hilversum, the Netherlands, they were definitely
taking chances. The two musicians had never performed together before, and there was no prior rehearsal. An enthusiastic
invited audience packed Rhapsody’s listening room — one wonders how there was enough space to fit in a grand piano.
The stage was set for whatever might happen.
Prior to hearing this album, I was familiar with bassist Tony Overwater through his SACD recordings “O.P.”, a tribute to
the American bass player and composer Oscar Pettiford, and “Jungle Boldie”, an eclectic modern trio project with reeds
player Maarten Ornstein and drummer Wim Kegel. Overwater’s ability to adapt and communicate effectively with pianist
Bert van den Brink, in spite of never having performed together, is a measure of his experience and creative resources.
Half the tunes in this set are well-known standards: “If I Should Lose You”, “I Fall in Love Too Easily”, “Nardis” and
“My Foolish Heart”; the latter two songs are closely associated with pianist Bill Evans. Three improvisations and
Tony Overwater’s composition “De Boot” fill out the set. Van den Brink generally opens with an unaccompanied introduction,
then states the melody of the song, which sets a tone for Overwater’s accompaniment. Each player solos in turn,
having established the tempo and overall mood in which the piece will be presented.
Appropriately enough, considering the name of the audio shop, Bert van den Brink plays in a rhapsodic style, freely
embellishing and orchestrating the songs with decorative arpeggios and dense chords. The familiarity of the standards
provides a framework for reframing the melodies in fresh and unexpected turns of phrase. Overwater accompanies with
restraint and good musical judgment, making for a unified sound that belies the absence of a performing history with
van den Brink. It all works, which might have surprised the musicians and much as it pleased the audience.
Many of the other releases from Sound Liaisons are studio sessions recorded with a single-point stereo microphone,
a rigorous and painstaking approach to production. The label has a goal of establishing a distinctive house sound while
documenting new jazz music from the Netherlands. It’s an exciting venture that has earned critical praise from audio
and jazz enthusiasts, and a place in this listener’s music library.
Review by Mark Werlin of HRAudio.net for NativeDSD
  

     " funky and above all very very musical"
  Tettero Plays Eddie Harris & Les McCan
"Warm and soulful interpretations and a unique sound. You Got it in your Soulless” and “Compared to What” are reinterpreted with fire and soul in Tettero’s distinctive style.5 stars!"- Jazzism
"The bouncy guitar-led jazz of Tettero's Plays Eddie Harris & Les McCann set, is entirely gratifying." Hifi News & Record Review
“The first thing you notice listening to this album is the superior sound quality. That is not to say the music is lacking, on the contrary, the solos are gorgeous and the interpretations are subtle and funky and above all very very musical.” Lust for Life Magazine
  “ I was immediately struck by the exceptional recording quality. Skill and taste prevail throughout this remarkable album. It’s a highly successful project showcasing exceptional talent and artistry.”
Tettero - Don't Explain
The first thing that struck me upon listening to the album was the superb recording quality. Sound Liaison, known for its commitment to high-end audio, lives up to its reputation here. The album sparkles with balance and energy, structured like an arc: it begins with a solo guitar piece, followed by a ballad featuring the full band. As the album progresses, it builds energy with vibrant and original tracks before concluding on a softer note.
Folker opens with a haunting solo rendition of The Beatles' "Lucy in the Sky with Diamonds," showcasing pristine technique with no dull notes or arpeggios falling short. The pedal tones add a unique atmosphere to the piece. In "I Want to Be Happy," the pedal tone technique reappears, with a sustained bass tone throughout the piece that is daring yet successful, transitioning into a lively samba. The interplay between piano and guitar is seamless, enhancing the overall album experience.
The track "Softly as in a Morning Sunrise" defies its title with a gripping piano solo by Charly Zastrau, followed by Folker's raw, blues-infused guitar solo. "Hackensack" presents a thrilling arrangement of the Monk classic with a groove that’s intriguingly complex, almost more angular than Monk's original, yet irresistibly swinging. The track challenges listeners with its meter, which, when counted, turns out to be straightforward 4/4.
"Three Views of a Secret" by Jaco Pastorius evokes nostalgia, and Tettero’s interpretation does justice to this beautiful melody. Drummer Klaas van Donkersgoed propels the piece to a powerful climax. The album closes with the tranquil "Don’t Explain," a respectful rendition of the Billie Holiday classic. Bassist Dave Breidenbach's tasteful accompaniment shines throughout, underscoring his role in supporting the band.
Folker Tettero has assembled a group that complements his style perfectly.Skill and taste prevail throughout this remarkable album. It’s a highly successful project showcasing exceptional talent and artistry. – Jazzflits

"Cloud Song is pure beauty distilled into 51 minutes of listening pleasure."

During the last Duketown Jazz Festival, the Undercurrent Trio, with guest trumpeter Suzan Veneman, gave a remarkable performance. Their set was actually booked at the wrong venue—not in an ideal space for intimate jazz like the Toonzaal, but outdoors in a plaza packed with fans of loud, funky rock jazz. Still, as Undercurrent began to play, the audience listened in rapt attention, and almost no one left.

This was thanks to the sincere, heartfelt music, which wasn’t particularly easy but proved accessible nonetheless. The same quality shines through on the album Cloud Song, recorded six months later. In ten new compositions, all written by Iman Spaargaren, his vision for the Undercurrent Trio reveals its full versatility.

The title track captures this approach beautifully. After a melodious group opening, the Argentine guitarist Celano gradually lets loose, drummer Baggiani—also from Argentina—shifts into a different tempo, and Spaargaren explores freely on tenor sax. This dreamy mood, with its slow, dragging rhythm, flows into the next piece, Buenos Aires Revisited. Spaargaren’s bass clarinet evokes Jimmy Giuffre, while Veneman’s trumpet colors the melodic lines with subtle pastels, bringing the dreamy atmosphere to life. On other pieces, Veneman plays the flugelhorn, floating freely over the chords, as Spaargaren provides an Ellington-like counterpoint.

The compositions possess a subtle beauty—unassuming in their apparent simplicity, yet intriguing in their hidden complexity. The mood gently weaves through the pieces, forming a perfectly cohesive whole. The tones are vivid, then slowly fade, shifting in color and character. Each composition feels like a chapter in a larger story, where the more intense moments gradually find tranquility in beauty. The music frequently nods to the rich history of jazz and is best enjoyed in the order presented. The album wraps up with the bonus track, Kattenbel. Did I hear that right? It’s not listed on the cover, but is that an alto sax—or could it be Paul Desmond himself? Either way, Cloud Song is pure beauty distilled into 51 minutes of listening pleasure.

Tom Beetz, JazzFlitz

  

 ''Anything from Sound Liaison''
Sound Liaison is a small audiophile type record company from the Netherlands.
They differ from many audiophile labels as they produce music that you will want to listen to over and over again for the quality of the music and the performances rather than just for the sound quality. Don't get me wrong, the entire Sound Liaison catalogue, which is very small as they are a new label, features excellent sound. My favorites are Andre Heuvelman's After Silence featuring classical music, Carmen Gomes Inc.'s A Thousand Shades of Blue and Little Blue both of which feature music more in the pop and
standards vein and two jazz recordings, Impromptu featuring Tony Overwater and Bert van den Brink on piano and bass and
The Witner's Trio's En Azul which features some very creative arrangements of some jazz standards.  Audiostream.com