Dimensions Yuki Arimasa (piano)UNAHQ-2010( UNAMAS J )

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Dimensions Yuki Arimasa

Dimensions

Yuki Arimasa (piano)UNAHQ-2010( UNAMAS J )

HIGHRESAUDIO / HQM STORE

 

[1] Inspirations:Bach Cantata BWV 147
[2] Inspirations:Bach Partita BWV 826 Sarabande Part1
[3] Inspirations:Bach Partita BWV 826 Sarabande Part2
[4] Inspirations:Bach Partita BWV 826 Sarabande Part3
[5] Inspirations:Debussy Homage to Rameau
[6] Inspirations:Beethoven Piano Sonata NO.8 Op13Adagio
[7] Green Sleeves

Dimensions of Piano & Music

Masaaki Fushiki

I have never heard such a sound from recorded media that realizes the image of piano itself almost visible. It is as if the listening touches the instrument through the ears. What makes the sound so real? One of factors I perceive is the purity without least residues in the notes that builds up the form of instrument. Particularly noticeable is the beauty in the extremely fine and subtle decay of envelopes.

The piano played here is Steinway Hamburg D274 model, and its serial number #427700 implies that the instrument came with Arturo Benedetti Michelangeli when he visited Japan. As he went back home before his scheduled final concert, the artist being infamous for such behaviors, the inviter-agent kept hold of his instrument instead and then later offered it to Ohga Hall through some kind of relationship. The pitch is tuned at 440Hz “classically” in the recording as Yuki Arimasa specified.

The music here, the collection of ballades, is actually all derived from well-known themes of classical music, and Yuki Arimasa expands his improvisation as we enjoy the progress crossing the border of classical and jazz music.

Track 1 is from one of the most popular cantatas of J. S. Bach, No. 147 “Herz und Mund und Tat und Leben”, in which the string ensemble ripples the melodic passage along the choral “Jesus bleibet meine Freude”.

yukinotes_english

Track 5 is “Homage à Rameau”, one of three pieces in Debussy’s “Image 1”. Debussy was very much into the methodology of classical and baroque compositions in this period of time. As an implication for it, some of his works were actually titled “Prelude” or “Sarabande”, and Rameau, the French major in 17th century, seemed his particular favor. I tend to find this piece is the core of this album, and Yuki showed much concentration in it as his homage to Debussy.

yukinotes_english3

 

Back to the earlier topic of sound purity, Mick confessed, “it may be perhaps due to the benefit of batteries”. In Ohga Hall in Karuizawa where the recording took place, the entire electric energy was supplied from a couple of portable battery products “Power Yiile Plus” that were brought in specifically for this session. The product is nominally for home use in the emergency power-down occasions or for shifting peak consumption time, while it can sufficiently serve 7-8 hours of the recording session like this. If one would use the same solution in the playing at home, the result might be even more astounding! One more factor to note in addition would be the perfectionistic treatment of all kinds of vibrations around the stage even for each contact of cables and plugs that is now the style of UNAMAS recording sessions.

I listened to this recording first in the 9.1 mix that set a standard in my brain and ears. At a later time, I listened to the 5ch mix (equivalent to the release version) at home. The difference between the two was less of auditorium reverberation in the 5ch resulting a simpler situation acoustically that enhances your facing with the instrument more directly. As you shift your listening environment from high-res, pure 2 channel to 5 channel with surround, and from 5 to even higher 9, the sensational factor in sound listening changes from typical “sound quality” horizon to something else. I characterize it as “the presence of sound or instrument” that consists of the relationship between direct sound and indirect sound. When you hear indirect sound exactly from the same point as direct sound, it won’t stimulate your perception of the realistic instrument. With the 5ch mix, even if the amount of indirect elements stays in the same level overall, their localization spreads in a more spacious field dimensionally which may contribute in realizing the presence from the sound of instrument, and then the 5ch mix would tend to appear smoother and silkier. The recording here places the piano only a few meters away in front of you to capture very precisely and vividly the solid Steinway highs as well as the lows in the deep. In addition, the acoustics does not fail to illustrate the event is taking place in a much larger concert hall space which is subtle yet appreciable.

Mick’s intent here is to establish a stage for listener to relate himself or herself with the instrument beyond simply reproducing the concert hall acoustics, and doing so he managed to offer an ideal listening condition for us. The perception of space and soundstage that I mentioned here may differ depending on each individual playback environment, but the quality will be enjoyed everywhere as its common feature.

Dimensions

Yuki Arimasa (piano)UNAHQ-2010( UNAMAS J )

HIGHRESAUDIO / HQM STORE

Koki Matsui4 Live at UNAMAS

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Koki Matsui4 Live at UNAMAS

Koki Matsui4 Live at UNAMAS
Koki Matsui4

UNAMAS
2014/05/20
(P) 2014 UNAMS Jazz

 

HQM STORE

iTunes / Amazon.co.jp

[1] Warm (com : Koki Matsui)
[2] My one and only love (Guy Wood)
[3] The way you look night (Jerome Kern)
[4] Blues in sanding (Koki Matsui)
[5] Muddy in the bank (Steve Swallow)
[6] Zec (Thad Joes)


trial listening of the other songs HQM STORE / iTunes / Amazon.co.jp

Posted on 20-05-2014 | Category : UNAMAS JAZZ by HQM STORE, UNAMAS JAZZ by iTunes | | No Comments »

“Afterglow”(Condenser Microphone Ver.) Eriko Shimizu & Strings4 by iTunes

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afterglow/Eriko Shimizu & strings4
“Afterglow”(Condenser Microphone Ver.)
Eriko Shimizu & Strings4

Song Title:

[1] Smoke Get’s In Your Eyes -Jerome Kern-
[2] I’ve Got A Crush On You -George Gersgwin-
[3] Aftergrow ~Zansyo~ -Eriko Shimizu-
[4] Oborozukiyo -Teiichi Okano-
[5] Someone To Light Up My Life -Antonio Carlos Jobim-
[6] I Loves You Porgy -George Gershwin-
[7] A Ray Of Hope -Eriko Shimizu-
[8] Sora -Eriko Shimizu-

Artists:

Eriko Shimizu (Piano)
Shiori Takeda (Vn1)
Atsuki Yoshida (Vn2)
Marina Suzuki (Va)
Kazune Koshikawa (Vc)

Recording Scene

Sanken CO-100K & Audio-Technica AT-4081/AT-4080 from "Afterglow" Eriko Shimizu Acoustic Grove System under the Piano from "Afterglow" Eriko Shimizu

from "Afterglow" Strings4  Shiori Takeda (Vn1) Atsuki Yoshida (Vn2) Marina Suzuki (Va) Kazune Koshikawa (Vc) from "Afterglow" Atsuki Yoshida : Vn2 Shiori Takeda : Vn1  Eriko Shimizu : Com/Pf Marina Suzuki : Va Kazune Koshikawa : Vc Yohichi Tsuchiya : Arr

 

“Afterglow”
Eriko Shimizu & Strings4

Posted on 22-03-2014 | Category : UNAMAS JAZZ by iTunes | | No Comments »

“Afterglow” Eriko Shimizu & Strings4 [RE-MIX as Silky Touch by Ribbon Mic] by iTunes

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Afterglow "RE-MIX as Silky Touch by Ribbon Mic"
 
“Afterglow” [RE-MIX as Silky Touch by Ribbon Mic]
Eriko Shimizu & Strings4

 

Song Title:

[1] Smoke Get’s In Your Eyes -Jerome Kern-
[2] I’ve Got A Crush On You -George Gersgwin-
[3] Aftergrow ~Zansyo~ -Eriko Shimizu-
[4] Oborozukiyo -Teiichi Okano-
[5] Someone To Light Up My Life -Antonio Carlos Jobim-
[6] I Loves You Porgy -George Gershwin-
[7] A Ray Of Hope -Eriko Shimizu-
[8] Sora -Eriko Shimizu-

Artists:

Eriko Shimizu (Piano)
Shiori Takeda (Vn1)
Atsuki Yoshida (Vn2)
Marina Suzuki (Va)
Kazune Koshikawa (Vc)

Recording Scene

Sanken CO-100K & Audio-Technica AT-4081/AT-4080 from "Afterglow" Eriko Shimizu Acoustic Grove System under the Piano from "Afterglow" Eriko Shimizu

from "Afterglow" Strings4  Shiori Takeda (Vn1) Atsuki Yoshida (Vn2) Marina Suzuki (Va) Kazune Koshikawa (Vc) from "Afterglow" Atsuki Yoshida : Vn2 Shiori Takeda : Vn1  Eriko Shimizu : Com/Pf Marina Suzuki : Va Kazune Koshikawa : Vc Yohichi Tsuchiya : Arr

 

“Afterglow” [RE-MIX as Silky Touch by Ribbon Mic]
Eriko Shimizu & Strings4

Posted on 22-03-2014 | Category : UNAMAS JAZZ by iTunes | | No Comments »

“Vol. One” Yuki Arimasa & Tomonao Hara by iTunes

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Vol. One Yuki Arimasa & Tomonao Hara
“Vol. One”
Yuki Arimasa & Tomonao Hara

Song Title:

[1] Near
[2] Foget Me Not
[3] New Life
[4] Hills
[5] Cizwick
[6] The Wheel of The Wind
[7] K.K…
[8] Passing Low Key
[9] Spice
[10] Stumbling Over
[11] Near-2

Artists :

Arimasa Yuki  : piano

Tomonao Hara : trumpet

 

from "Vol.One" Tomonao Hara & Arimasa Yuki trumpet part-score  from "Vol.One"

Tomonao Hara  from "Vol.One" from "Vol. One" Tomonao Hara,Arimasa Yuki

 

“Vol. One”
Yuki Arimasa & Tomonao Hara

Posted on 22-03-2014 | Category : UNAMAS JAZZ by iTunes | | No Comments »

“FOREST” YUKI ARIMASA by Apple iTunes

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Yuki Arimasa Forest 192kHz/24bit/surround
“FOREST”
YUKI ARIMASA

Genres: Jazz, Music
Released: May 01, 2011
℗ 2011 UNAMAS JAZZ
Yuki Arimasa
Born in 1961 in Tokyo, Arimasa started piano lessons at the age of 3, and was inspired by Oscar Peterson at 12 to proceed studying jazz personally. Upon graduation from Tamagawa University (majoring English literature) in 1983, he entered Berklee College of Music to study piano and composition. Winner of Hank Jones Award and Duke Ellington Composer Award while in College. Graduated in 1986 and remained in the college as assistant professor for 8 years. Returned to Japan in 1996 and led the production of “The Bitter Life of Scarecrow” as Leader of the album. Established Jazz Solfege class in Senzoku Gakuen College in 2000 to contribute in educating young artists. Currently runs his own trio and also presents compositions and arrangements to number of projects. The performance at Unamas covers not only his piano trio but also solo and duet pianos. This is the first album of his piano in solo that consists mainly of his original works.

Technical Specifications
Microphone: SANKEN CO-100K CUW-180
BRAUNER PHANTOM CLASSIC
Mic pre-amp: RME OCTMIC-II TLAUDIO A-1
Audio Interface: RME Fireface UC
DAW: Pyramix Native+MacBook Pro
Power-supply Isolation: Soundnite
Studio Acoustic Treatment:Nittobo AGS Sound Diffusing Absorber

 

“FOREST”
YUKI ARIMASA

Posted on 22-03-2014 | Category : UNAMAS JAZZ by HQM STORE, UNAMAS JAZZ by iTunes | | No Comments »

World’s first 192kHz/24bit/Surround Jazz Album “FOREST” Arimasa Yuki

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Vol5e
FOREST
Arimasa Yuki
UNAHQ-1004( UNAMAS Jazz )
Jazz

HIGHRESAUDIO / HQM STORE

Format:

High-Resolution &  Stereo/Surround

FLAC 96kHz/24bit
FLAC 192kHz/24bit
FLAC 96kHz/24bit surround
FLAC 192kHz/24bit surround

MQA

Song Title :

[1] Forest
[2] In the Mist of Spring
[3] Liberty Changes
[4] Spaces
[5] Sutra
[6] Two Autums
[7] Winter Waltz
[8] So I love you – Carroll Coates

Artist :

Arimasa Yuki  (piano)

 

Yuki Arimasa
Born in 1961 in Tokyo. Started piano lessons at the age of 3, and was inspired by Oscar Peterson at 12 to
proceed studying jazz personally. Upon graduation from Tamagawa University (majoring English
literature) in 1983, he entered Berklee College of Music to study piano and composition. Winner of
Hank Jones Award and Duke Ellington Composer Award while in College. Graduated in 1986 and
remained in the college as assistant professor for 8 years. Returned to Japan in 1996 and led the
production of “The Bitter Life of Scarecrow” as Leader of the album. Established Jazz Solfege class in
Senzoku Gakuen College in 2000 to contribute in educating young artists. Currently runs his own trio
and also presents compositions and arrangements to number of projects. The performance at Unamas
covers not only his piano trio but also solo and duet pianos. This is the rst album of his piano in solo that
consists mainly of his original works.

APF CO-100K+BRAUNER from "FOREST" Arimasa Yuki

“FOREST” ArimasaYuki Special Booklet-Eng

 

FOREST
Arimasa Yuki
UNAHQ-1004( UNAMAS Jazz )
Jazz

HIGHRESAUDIO / HQM STORE