(New-Age/Fusion/Chamber jazz/Fusion-Jazz-Rock) [LP] [24/96] Shadowfax - Коллекция (3 LP) - 76,82,83, FLAC (tracks+.cue)

01 Shadowfax - The Shape Of A Word.flac
03 Shadowfax - Petite Aubade.flac

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Analyzed folder: /Shadowfax - Watercourse Way (LP)
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DR Peak RMS Filename
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DR12 -0.24 dB -14.87 dB 01 Shadowfax - LADO 1- The Shape Of A Word.wav
DR12 -0.41 dB -14.60 dB 02 Shadowfax - Linear Dance.wav
DR11 -7.68 dB -22.44 dB 03 Shadowfax - Petite Aubade.wav
DR12 -0.17 dB -16.45 dB 04 Shadowfax - LADO 2- Book Of Hours.wav
DR12 -3.51 dB -18.27 dB 05 Shadowfax - Watercourse Way.wav
DR14 -0.88 dB -18.47 dB 06 Shadowfax - Song For My Brother.wav
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Number of files: 6
Official DR value: DR12
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Art Direction – Toni J. Wadler
Drums, Tabla, Bongos [Boobams], Metallophone [Lujon], Percussion – Stuart Nevitt
Electric Bass, Double Bass [String Bass], Cowbell – Phil Maggini
Electric Guitar, Twelve-String Guitar, Classical Guitar, Sitar, Vocals – Greg Stinson*
Engineer – Jeffrey M. Kawalek
Grand Piano, Electric Piano, Synthesizer [Moog, Arp, Oberheim Sequencer], Harpsichord, Keyboards [Chamberlin] – Doug Maluchnik
Illustration, Design – Terry Lamb
Lyricon, Soprano Saxophone, Flute, Recorder, Oboe, Bass Clarinet – Chuck Greenberg
Producer – Larry Fast, Marty Scott

The legendary first pressing of Shadowfax is that I present today. This became legendary because Shadowfax had a silence of about 7 years! When Windham Hill welcomed them reissued this album, but Windham Hill style: new artwork, changes in the original recording … what a mistake! The original cover is a art piece.
I have the reissue on CD, when you hear the LP and to compare the songs altered of the CD (‘Petite Aubade’, ‘Watercourse Way’ and ‘Song for my brother’), will be eliminated instrumentation (this edition brings passages with Mellotron and harpsichord). ‘Watercourse Way’ totally new … by God!
Returning to this album, I find it a masterpiece. There is no denying the influence of different groups that cultivate the Jazz-Rock, Jazz-Fusion and some classical music. Influences like ‘Mahavishnu Orchestra’, ‘Return to Forever’ and ‘Oregon’.
I think it’s an album especially for fans of Shadowfax (and not both), in its most progressive and experimental.
I give it 6 stars of 5.
Fran Solo, MMXII

Marketed By – ABC Records, Inc.
Phonographic Copyright (p) – Passport Records, Inc.
Copyright (c) – Passport Records, Inc.
Recorded At – The House of Music
Mixed At – The House of Music
Mastered At – Sterling Sound
Notes
Recorded and mixed at:
"THE HOUSE OF MUSIC"
West Orange, New Jersey
November 1975
© 1976 Passport Records. Inc. ℗ 1976 Passport Records. Inc.
Barcode and Other Identifiers
Matrix / Runout (Hand-etched side 1): T 1 PPSD-98013-A-1
Matrix / Runout (Hand-etched side 2): T 1 PPSD-98013-B-2
Matrix / Runout (Stamped both sides): Sterling

01 Shadowfax - Angel's Flight.flac
04 Shadowfax - Oriental Eyes.flac

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Analyzed folder: /Shadowfax ‎- Shadowfax (LP)
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DR Peak RMS Filename
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DR13 -2.76 dB -18.30 dB 01 Shadowfax - LADO 1- Angel's Flight.wav
DR16 -0.20 dB -19.08 dB 02 Shadowfax - Vajra.wav
DR14 -2.06 dB -18.13 dB 03 Shadowfax - Wheel Of Dreams.wav
DR17 -0.17 dB -19.95 dB 04 Shadowfax - Oriental Eyes.wav
DR13 -1.11 dB -17.40 dB 05 Shadowfax - LADO 2- Move The Clouds.wav
DR13 -1.37 dB -18.05 dB 06 Shadowfax - A Thousand Teardrops.wav
DR13 -0.17 dB -16.18 dB 07 Shadowfax - Ariki (Hummingbird Spirit).wav
DR15 -3.11 dB -21.17 dB 08 Shadowfax - Marie.wav
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Number of files: 8
Official DR value: DR14
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Acoustic Guitar [6-string, 12-string], Piano – G.E. Stinson
Arranged By [Percussion Ensemble] – Emil Richards
Bass – Phil Maggini
Design – Anne Robinson (2)
Drums, Percussion – Stuart Nevitt
Engineer – Max Reese
Engineer [Assistant] – Pitt Kinsolving, Shep Lonsdale
Engineer, Mixed By – Joe Pollard
Lyricon, Soprano Saxophone – Chuck Greenberg
Photography By – Greg Edmonds
Producer – Chuck Greenberg
Written-By – Chuck Greenberg, G.E. Stinson (tracks: B3)

SHADOWFAX. Nice name for a progressive rock band. At least that's how they started off. Named after Gandalf's a horse in Tolkien's The Lord Of The Rings. They are often classified as new age, but their first album really wasn't, it was rather quite like a more rocking version of OREGON and had a mixture of hard and soft songs. And really their latter albums weren't completely although they lost some of their harder edge and devoted themselves to more mellow fair.
Three of the founding members actually got together four years earlier in 1972, CHUCK GREENBERG - winds, G.E. STINSON - guitars, and PHIL MAGGINI - bass. DOUG MALUCHNIK joined on keyboards in 1973 and finally STUART NEVITT, who had worked with MALUCHNIK, came along in 1974 for drums/percussion and the ensemble was complete. Their first album, "Watercourse Way", was recorded in 1975 and released in 1976 on the ABC/Passport label. This album may not have been well know among progressive music fans, but with its spectacular cover art and well crafted music, it was a treasured item in the collections of those that knew them at the time. So much so that it was commented on in the CD liner notes of the re-release that fans were always showing up with well worn copies of the album requesting new versions be made available.
The band disappeared for a few years after they debut and then resurfaced on the Windham Hill label in 1982 with a self-titled album of new material. MALUCHNIK was out but they brought in a few extra musicians who contributed additional instrumentation on various songs. In 1983 they released "Shadowdance", which saw them getting a little heavier. JARED STEWART was brought in for full time keyboards along with JAMIL SMADZINSKI, who had contributed to a couple songs on the previous albums, as a violinist for all the tracks. Once again they had several guest musicians on board. They even brought back two pieces from their first Passport albums. Next came "Dreams Of Children", 1984, which is probably the Windham Hill album that comes closest to the heaviness present in of some of the music on "Watercourse Way". DAVID LEWIS replaced their keyboardist from the last album. 1986's "Too Far To Whisper" saw the band returning to a more 'new age' style overall. The core band remained the same, except for the violin seat, filled by CHARLES BISHARAT, and had another set of special guests contributing to various tracks. They moved on to another label and cranked out five more albums.
progarchives.com

Notes
Recorded May–June 1982, Studio America, Pasadena, CA
Barcode and Other Identifiers
Matrix / Runout (Side 1): WH 1022-A SD1 1191 Au 2Emw-2
Matrix / Runout (Side 2): WH 1022-B SH4.. SLM 8264-X 1-1 4Emw4

01 New Electric India.flac
04 Shadowdance.flac

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Analyzed folder: /Shadowfax - Shadowdance (LP)
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DR Peak RMS Filename
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DR18 -0.14 dB -21.10 dB 01 Shadowfax - LADO 1- New Electric India.wav
DR16 -4.21 dB -23.66 dB 02 Shadowfax - Watercourse Way.wav
DR13 -4.43 dB -21.07 dB 03 Shadowfax - Ghost Bird.wav
DR19 -0.22 dB -22.38 dB 04 Shadowfax - Shadowdance.wav
DR16 -0.11 dB -21.08 dB 05 Shadowfax - LADO 2- Brown Rice - Karmapa Chenno.wav
DR14 -5.34 dB -20.85 dB 06 Shadowfax - Distant Voices.wav
DR15 -0.53 dB -20.22 dB 07 Shadowfax - A Song For My Brother.wav
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Number of files: 7
Official DR value: DR16
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Bass – Phil Maggini
Design – Anne Ackerman Robinson
Drums, Percussion, Marimba [Kelon] – Stuart Nevitt
Engineer [Assistant] – Andy D'Addario*, Mike Gilbert*
Engineer [Recording & Mix] – Harry Andronis
Guitar [6 & 12 String] – G.E. Stinson
Lyricon, Saxophone [Tenor], Flute – Chuck Greenberg
Mastered By – Jack Hunt
Photography – Carol Sincora, John Benetti, John F. Cooper
Piano, Synthesizer – Jared Stewart
Producer – Chuck Greenberg
Violin, Violin [Baritone] – Jamii Szmadzinski

Shadowdance confidently strides into the Windham Hill catalog with the showstopping New Electric India, electric guitar and thundering bass resounding. This is a slightly different approach than the bands eponymous label debut which was specifically composed to work within Windham Hill’s established acoustic sound. After the success of the first, the band was clearly given a little more freedom to follow their live sound than they dared on their original Windham Hill release. While Shadowfax has incredible depth texture and flow, Shadowdance brings dynamics and drive to the band’s gorgeous melodic sensibility.
From the opening note of New Electric India through the closing hum of the track Shadowdance, every note carries you through a churning river of sound depositing you at the end both thrilled and relaxed. Indeed, maybe the water analogy comes easily because Shadowdance has been used at the plankton exhibit at the Monterey Bay Aquarium for the last 20 years.
Side Two carries the torch with the Don Cherry-penned track Brown Rice – a standout from the live performances, and closes with the more conventional fusion track A Song for My Brother, a fan favorite.
The sound quality is again extraordinary. Ackerman once again looked to Mobile Fidelity for the mastering and RTI for the pressings. Playing the album on my current vinyl rig was a shocker: the recording is so dynamic and detailed. I’m sure that in part that’s because this album is seared into my memory from countless plays on a Maxell cassette. In 1984-85, I was an exchange student to Yugoslavia, specifically Serbia, and due to space restrictions I could only bring 10 cassettes for my year there. Shadowfax/Shadowdance was the one Windham Hill tape I brought. Truly, for me, this was a “Desert Island Disk.”
Unfortunately, Stuart Nevitt, Chuck Greenberg and Bruce Malament have all passed away.
windhaming.com

Recorded and mixed at Group IV Audio, Hollywood, CA. Additional recording at Fiddler Studio, Hollywood, CA.