Lee McIver – trumpet / flugelhorn / laptop / effects
Ed Goyer – vibraphone / mallet kat / samples
Ed Rodrigues – drums / percussion / samples
Confluence consists of two extended improvised compositions, in which live performances are interwoven with simultaneously triggered layers of samples and effects. The result is a spatially and texturally complex manifestation of a unique sonic world to which melodic and harmonic interplay, and rhythmic invention give form.
Recorded at 192kHz for stereo and 5.0 surround at the Trackdown Scoring Stage in Sydney, this release delivers the full sonic and spatial detail of the original recording, by means of audio downloads in stereo at 48kHz/24 wav, 96kHz/24 and 192kHz/24, and in 5.0 surround at 96kHz/24 and 192kHz/24.
The CD version, originally released in 2017, is also available.
The Song Company are:
Susannah Lawergren – soprano
Anna Fraser – soprano
Hannah Fraser – alto
Richard Black – tenor
Mark Donnelly – baritone
Andrew O’Connor – bass
Antony Pitts – Artistic Director
This new album captures a moment in time in The Song Company’s long history and is also the first chapter in a new series of releases showcasing the sounds and stories from their live performances. Here the evocative acoustics of the Crypt underneath St Mary’s Cathedral in Sydney perfectly reflect the polyphonic glories of Monteverdi’s Missa In illo tempore which gives the album its name.
This album was recorded live by Bob Scott and Ross A’Hern during two concerts and a rehearsal in April 2016 to Pyramix at 192kHz for stereo and 5.0 surround release. The surround mixes are offered here in 96kHz/24bit and 192kHz/24bit FLAC.
Purchase/Listen to EP downloads Purchase as CD
Casey Golden – piano & composition
Bill Williams – double bass
Ed Rodrigues – drums & percussion
Daniel Walsh – additional guitar
Miniature – an extended 24 minute composition in 3 parts by the Casey Golden Trio
Miniature is the first foray by this Sydney based trio into extended composition, and the result is a 24 minute work in three parts, plus an interlude. This format allows for greater development of ideas and more opportunity to augment the band with additional instruments, and so expands the ability to take the listener on a more interesting musical journey.
Original recording and post production was done at 192kHz, and separate mixes made for both stereo and 5.1 surround. DSD versions are offered simply to offer full (192kHz) resolution more efficiently than PCM allows. First released in 2016 as a CD, this digital release provides access to higher resolution and surround versions of the work than before, variations which offer greater sonic and spatial detail.
Available as audio downloads in stereo at 44.1kHz/16 wav, 96kHz/24 and 192kHz/24bit FLAC, and in 5.1 surround at 96kHz/24 and 192kHz/24bit FLAC. This EP is also available on CD.
Gary Daley – piano and piano accordion and samples
Paul Cutlan – alto saxophone, clarinet and bass clarinet
Veronique Serret – violin
Ollie Miller – cello
James Daley – mandolin, zhongruan and vocals
Jess Green – electric and acoustic guitar and vocals
Bruce Reid – lap steel and National steel guitars
Brett Hirst – double bass
Tunji Beier – percussion
Available in stereo as 44.1kHz/16 wav, 96kHz/24 and 192kHz/24 FLAC and in 5.0 as 96kHz/24 and 192kHz/24bit FLAC downloads.
Sanctuary – a meditation on memory, identity, family and the power of regeneration
Sanctuary was recorded for surround in the beautifully atmospheric Cerretti Chapel in Manly, Sydney and is the pinnacle of Mir’s philosophy so far. The album is now available for download in high resolution, 5.0 surround and stereo versions.
Gary explains that, “at its core it is a reflection on my experience of caring for my mother who suffered with Alzheimer’s disease. I witnessed a lifetime of memories slowly disappear from her world. It is a brutal and relentless disease for the sufferer and distressing to witness for those closest to them. My family and I sought to create a world for our mother which brought her comfort and safety. In short a sanctuary.
During my mother’s journey my first grandchild was born. This was a profound and overwhelming experience. One of intense joy which filled me with hope and expectation for the future. Two of life’s extremes were occurring simultaneously and both were at the centre of my life. I also found myself reflecting on many other familial connections and memories from my childhood. These are the experiences which inform the music of Sanctuary”. Gary Daley – 24 February, 2015
Read about the release and collaboration between Mir and Gary here.
Purchase/Listen to Album iTunes
James Greening – trombone, sousaphone and pocket trumpet
Andrew Robson – alto and baritone saxophone
Paul Cutlan – tenor saxophone and clarinet
Fabian Hevia – percussion
Gary Daley – accordion and piano
Hamish Stuart – funky drums
Brett Hirst – acoustic and electric bass
Available in stereo as 44.1kHz/16bit wav and 96khz/24bit FLAC downloads.View full project page
James Greening has composed an evocative suite of music inspired by the pristine beauty of Tasmania. The coastal community on Bass Strait, Tam O’Shanter, provided the ideal environment to compose a diverse suite aspiring to capture the hopes, fears and uncertainties uniquely expressed and yet shared by all. Tam O’Shanter Tales is a journey into the haunting beauty of human struggle. At a point of deadlock James found inspiration in reading The Kite Runner. He later learned of the settlement of Hazaran refugees in Tasmania, triggering him to set the kinetic rhythmic groove of Hazara as the centerpiece of the album. Closing the suite, Early Morning is about hope. That is, from the darkest night, a new dawn emerges. It is dedicated to the mentors and elders of the Australian music scene John Pochee, Mike Nock, Judy Bailey, Sandy Evans, Miroslav Bukovsky, Allan Brown to name a substantial few and the late Jackie Orszaczky, Bernie McGann, Dave Addes and Kim Sanders who have left behind them a spirited legacy of live music performance.
James Greening is one of the most in demand brass players in Australia. His quartet, The World According to James perform at Jazz Festivals and gigs around the country and overseas. They are part of the Musica Viva in Schools program, as well as the Musica Viva country touring program. They have three critically acclaimed CDs under their belt – No Job Too Small, Wayback and Lingua Franca. 2012 marked the 20th anniversary of The World According to James and the launch of a new seven piece ensemble, Greening from Ear to Ear.
Jame’s latest album is recorded, mixed and mastered by Ross A’Hern in 24/96 stereo sound. And is distributed online by Mir Creation.
Produced by James Greening www.jamesgreening.net
Purchase/Listen to Album iTunes
Julian Gough – tenor saxophone
Brendan St Ledger – piano
Brendan Clarke – double bass
Hamish Stuart – drums
Ben Gurton – trombone, guitar, electronics
Available on CD as well as downloads in stereo 44.1kHz/16 wav, 96kHz/24, 192kHz/24bit and 352.8kHz/24(DXD) FLAC, and 5.1 96kHz/24 and 192kHz/24bit FLAC.
CD’s available from Birdland Records, Sydney.
This debut album for Ben Gurton is also the first release for Mir and a demonstration of our commitment to both high resolution recording and surround as standard approaches which enable the capture and delivery of music with a level of realism, subtlety vibrance and spatial dimension not possible until now.
Prelude To A Scene is recorded by some of the most well known and experienced jazz and session musicians in Sydney, Australia. It is led by trombonist and composer Ben Gurton, who has worked behind artists such as The Cinematic Orchestra, Sufjan Stevens, Florence And The Machine and Maria Schneider. This is his first release in a jazz idiom and he has enlisted the help of some of the most influential and admired musicians in Australia; Hamish Stuart on drums, Brendan Clarke on bass, Brendan St Ledger on piano and Julian Gough on saxophone.
The music is inspired by cool jazz, film music and instrumental music from Europe, and is an evocative journey through both composition and improvisation.
The recording technique and technology used perfectly captures the sound of the musicians in one of the most famous recording rooms in Australia; room 1 (270 sq/m), Studio 301. Each piece of music is a live take with all musicians performing together around a main stereo pair of microphones. Spot microphones were placed on each instrument and carefully blended with the main stereo pair to provide an appropriate amount of focus.
Recorded, mixed and mastered in DXD (Digital eXtreme Definition 352kHz/24bit) it is the first album produced in Australia at this resolution. Mastered and converted to the various resolutions by Grammy nominated Morten Lindberg of 2L Records in Norway, the technology of the recording perfectly captures the sound and detail of the music played live in the large, rich space to create a ‘you are there’ experience.