Great Recordings, Sonically Speaking - and Why.

....."This is some of the best sounding drum sound I have ever heard on a recording. Very dynamic and not reserved. The sound of the double bass is full, rich and powerful where needed but with no hint of bloat. And the guitar.....It is clear and reverberant. Naturally, not with added reverb. Of course, the vocals are captured beautifully. Carmen is right there in front of you. This recording doesn’t take you to the recording studio. Even better, it brings the recording studio to your listening room. Very few studio recordings do this. The drums to the left, Carmen in the middle in front of the instruments and the bass just to the right of her and the guitar to the right side of the soundstage. The sound is totally three dimensional. You almost feel like you can reach out and touch everyone. The sound is totally open with natural decay and depth. It is stunning. It really is. No hyperbole.".... Review One Mic+  Recording by Joe Whip at Audiophile Style.
Carmen Gomes Inc. https://www.soundliaison.com/index.php/677-up-jumped-the-devil-carmen-gomes-inc

.....These guys and this recording just rocks. Pace, rhythm, tone and soundstage are just off the charts.
The precise placement of all four of the musicians perfectly matches the photos of the sessions.
The balance of all four instruments is darn near perfect. As you can no doubt tell, I am a huge fan of this recording.
It is one of the best in terms of recording quality I have ever heard. Of course, and as always,
your view of the actual music content may vary quite considerably from mine.
Nonetheless, I think we would all agree that this recording sounds sensational....
https://www.soundliaison.com/index.php/515-reinier-voet-ballade-pour-la-nuit
Review One Mic Recording by Joe Whip at Audiophile Style.

This is a typical Sound Liaison release, here captured live in studio 2 at Hilversum's MCO, with recording, mixing and mastering by Frans de Rond.However en route to becoming a DXD (or DSD) master via a Digital Audio Workstation, the initial recording was transferred to a Studer A80 tape machine at 15ips. Why? The answer is that ‘it gives us a bit of what they call 'Mojo'.
Definitely an audiophile recording, then, but with a sense of humour, and the result is spectacular, with a warm, generous ambience you can almost reach out and touch each instrument; Gidon Nunez Vaz' trumpet, Timothy Banchet's piano, Thomas Pol's bass and the drums of the splendidly named Yoran Vroom- lovingly captured. And Denise Jannah's vocals on four of the tracks are simply gorgeous. The end result is a gentle, measured and totally appealing set.

 HIFI NEWS AND RECORD REVIEW

https://www.soundliaison.com/index.php/596-embrace-me-gidon-nunes-vaz-quartet

The Verdict

There are some audio enthusiasts who claim that high-resolution digital recordings offer no audible improvement over conventional Red Book CDs. I could not disagree more, but what about 96 kHz vs. DXD at 352.8 kHz? I found the 96 kHz files to be excellent, but by comparison the 352.8 kHz originals have a bit more air and space in the sound, even with my OPPO player down-sampling them to 176.4 kHz. The DSD comparisons are interesting. I found the DSD files to be a bit “warmer” but I could not help wondering if there’s some sort of euphonic coloration going in the conversion process. At times, I felt that the DSD files had a slightly larger and more precise stereo image. That may seem strange, but I can only report what I heard. It’s possible that my reactions to the warmth and the imaging are due to the simpler analog filtering in DSD playback.Sound Liason’s DXD sampler, The Visual Sound, offers some of the most realistic sounding recordings I’ve heard, in enjoyable selections performed by excellent musicians. Most of the music on this sampler is decidedly laid-back, and audiophiles looking for an in-your-face sonic spectacular will likely miss the point. For engineer Frans de Rond and the excellent musicians heard on these recordings, it’s all about subtlety and refinement. Musically perceptive listeners will appreciate the efforts of all involved in making these fine recordings.
Gary Galo - AudioXpress

https://www.soundliaison.com/index.php/536-sound-liaison-dxd-music-sampler

Many musicians can play jazz and blues, but few can sing the blues with total conviction and emotional authenticity. Dutch singer-songwriter Carmen Gomes is one of those few.With a dozen previous albums in her catalogue, this accomplished singer, songwriter, teacher and vocal coach distills more than two decades of live performance and recording experience into "Don't You Cry", an hour of compelling jazz vocal music.
Gomes’ stylistic technique extends past the conventions of behind-the-beat phrasing. Listen to how she teases out the syllables, as if the lyrics themselves were musical notes, not just words on a page. On "Don't Let Me Be Misunderstood", she prolongs the vowel sounds through several shades of inflection. With her flawless pitch, the effect is entrancing. You might hear echoes of Billie Holliday, but her vocal sound has developed well beyond imitation to distinctive individuality.

The ensemble Carmen Gomes, Inc. is more than a singer and a backing group. Bassist Peter Bjørnild, whose session notes are posted on the Sound Liaison website, produced the record and arranged the songs in collaboration with Gomes, guitarist Folker Tettero and drummer Bert Kamsteeg. Tettero plays an archtop semi-hollow body guitar that has a warm timbre; his stylistic ears are well-tuned to blues idiom, especially the minor-key blues of the mid-1960s. Kamsteeg uses brushes throughout, and keeps superb time without ever overpowering the singer or other players. In bassist Peter Bjørnild, Gomes has found the deep instrumental 'voice' that complements her vocals, the glove that perfectly fits the hand. Their musical partnership is longstanding, and the trust that only years can bring is clearly in evidence.

The decision to record with a single-point stereo microphone came about after the group had already finished a recording session done with conventional multi-mic technique. The late delivery of a Josephson C700S stereo microphone prompted a test recording of a single tune; an afterwards, engineer and label co-owner Frans Rond was so convinced that the sound qualities of that track should be heard on a full recording, he reconvened two more sessions that consisted of the group's working repertoire, done almost entirely in single takes. Those sessions were recorded at MCO Studio 2, Hilversum, The Netherlands, on 26 October and 15 December 2018, in DXD 352.8 kHz. As Bjørnild explains: "With only one mic… mixing was no longer possible. We would have to make the complete sound stage right there by carefully moving each instrument closer or further away, as well as left and right, in relationship to the microphone."

With an engineer of the capabilities of Frans Rond, mixing is no longer needed. The careful placement of the musicians and the control of group balance makes "Don't You Cry" one of the best-sounding "live in the room" audiophile recordings I've heard.

Not surprisingly, site listeners awarded "Don't You Cry" NativeDSD Vocal Album of the Year for 2019. I eagerly await the next release from Carmen Gomes Inc. Mark Werlin
https://www.soundliaison.com/index.php/408-carmen-gomes-inc-dont-you-cry