A terrific music composition played to the hilt, like the entire set, captured in every nuance by engineer John Scherf….Bravo!

John Scherf’s spare production places the songs in nice aural landscapes, from the gentle piano of “Rich” to the blue swagger of “First Best Friend.

Stranger to My Kinby Neal and Leandra

the clarity and realism of the multichannel recording helps pick out the individual instruments and immerse yourself in the music,

Silky and lyrical…has a nice fresh touch. The spatial separation of the five performers is not exactly one per speaker, but is enough to direct the listener more closely to exactly what each one is contributing to the overall sound, just as the musicians must do in any jazz group.

It is impressive that all of the instruments were captured in the amount of detail that they were. Imagine trying to capture ten separate instruments in just one session and then create a meaningful and great sounding recording with the twelve generated DSD tracks. Studio M in St. Paul accomplished just such a feat with John Scherf who was in charge of recording and who also mixed the album.


Four stars! The recording is wonderfully holographic. Bass drum had slam and resonance, the snare drum socked with grand punch and cymbals had excellent decay and shimmer. The trombone solo of “Epicycle” was at times spookily real, barking and biting with warmth and fire. When the brass blared in the ensemble choruses I could pick out each player’s tone, melodic line, and precise dynamic swings. Piano and vibes interplay was well-sorted, and trumpet had a natural sheen that made me relax into its sound.

One of the best recordings I have heard of drums.

Audio Asylum

We expect many of you will want to use this SACD as a reference for piano sound. These pure DSD recordings reveal not only the instrumentation, but also give the best sense of room sound of any jazz recording we’ve heard.

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