André Previn - After Hours / Ultra HD CD

"Although André Previn had not recorded a regular jazz album in 27 years at this point in time (discounting a pair of Itzhak Perlman sessions featuring Previn's compositions), the great majority of the performances on this trio set with guitarist Joe Pass and bassist Ray Brown are first takes. Previn took time off from his busy schedule in the classical music world to return briefly to jazz, his first love. The results are often magical. Previn, Pass and Brown play together as if they had been touring as a group for years. The pianist is generous with solo space and Pass' solos are sometimes exhilarating. For Previn, it is as if the previous three decades did not occur for he plays in a style little changed from 1960, displaying an Oscar Peterson influence mixed in with touches of Lennie Tristano and Bill Evans' chording, performing ten standards and his own 'One for Bunz.' Highly recommended." - Scott Yanow, allmusic.com

Ultra High Definition 32-Bit Mastering is a proprietary ultra-high-quality mastering system. This leading-edge system has achieved unprecedented sonority and musicality, reproducing as closely as possible the sound of the original master tape! This format employs what is currently the highest attainable resolution bit depth (word length) in the professional audio field, i.e. 32-bit. 32-bit resolution makes possible maximized, undistorted dynamics, and the lowest noise floor, allowing even the quietest musical information to be heard more clearly. This breakthrough results from the development, through years of experience and application of advanced digital technology, of a sophisticated A/D and D/A processing system.

Ultra HD 32-Bit Mastering does not specify a sampling rate; this allows flexibility in meticulously choosing the appropriate bandwidth for a particular recording. The higher the sampling rate -- for example, 192 kHz -- the greater the bandwidth. However, merely employing the greatest bandwidth may not guarantee the ultimate sound. With some recordings, a lower sampling rate -- 96 or 176 kHz -- may offer better musicality and more homogeneous harmonics. This determination requires careful and discerning auditioning and professional judgment. In the end, the human being's hearing and emotions should be the final arbiter, rather than the print-out of testing equipment or technical measurements.