Vinyl Review: Italian Pleasures – SheffieldLab 16 – Released 1981
Lab 16 – Italian Pleasures – 1981
Vinyl surface noise: 5 (not pops and clicks)
Dynamic Range: 4+
Stereo Imaging: 4+
Image depth/perspective: 4
Overall frequency response: 4
Side One
- Introduction, Theme, Variations And Polonaise, Op. 65
Side Two
- Petit Duo Nocturno, Op. 90, No. 3
- Introduction, Theme Variations And Finale, Op. 64
Recorded: May 21 -24, 1981 at the Sheffield Lab Studios at MGM Culver City, California. Many accolades were attributed to this second recording by Michael Newman on the Sheffield Lab label, from sources such as Stereo Review, Stereophile and Hi-Fi News and Record Review. Each one in their own way acclaiming Michael as a truly outstanding guitarist playing with staggering perfection, being electrifying and unforgettable, especially being a 21 year old who performed this non stop repertoire with virtually no mistakes.
The performance by Michael was played on a 1978 Thomas Humphrey guitar using D’Addario Pro Arte strings.
This was yet another pressing with superbly low vinyl noise and virtually no distracting pops and clicks.
Not being knowledgeable about classical guitarists, this recording to me, was on the same level as Michael Newman, Classical Guitarist – Sheffield Lab 10, his debut album with Sheffield Lab. Both musical presentations were flawless to my ears.
Track one, side one, was a beautiful musical rendition with the Sequoia String Quartet, three violins and a cello, providing a very pleasing musical accompaniment and background to Michael’s impeccable and precise guitar playing.
Both tracks on side two are guitar only with Laura Oltman, a long time friend of Michael’s accompanying him on track one. The second track is a truly magnificent solo performance by Michael. Both guitars sounding full bodied with very clean string tones. The pin point center image of Michael’s guitar was wide open, with exceptional clarity, tremendous presence, and a detailed mid range and top. This provided a performance as close to having Michael in the room with you as is possible, without actually having him there.
The recording was clearly made in a fairly dead studio as ambience is very low with little reverb decay from the surroundings. This isn’t an issue, and more reverberation may have colored the sound too much. The studios decay only becoming apparent during very quiet passages or between tracks as musical pages are turned or things get dropped.
The stereo image is very precise with the violins placed to Michaels right, with the cello, and later the second guitar, placed to his left. Michael’s performance remaining central at all times.
The recording was about as natural as one could wish for, and showed absolutely no signs of compression from the quietest string plucks to the most energetic strumming. The violins were never strident providing a warm natural tone while the cello supported the performance with clean well defined lower registers. While the finger work for the guitar strums and plucks were clearly audible, not in a distracting way, I found it interesting that I was never aware of any finger movement over the strings on the guitar neck.
The recording was perfect in every way, from the flawless musical performance, to the big and totally natural open sound of his guitar, and string quartet that Sheffield managed to capture.
For those classical guitarists among us, and lovers of the classical guitar, this is a great recording and one worth adding to your collection.
Purchase vinyl and CDs from Discogs, and CDs from Sheffield Lab.
