Answer: extrodnary sound quality in my experience. DSD recorded, of course. I bought Joe Chamber's URBAN GROOVES a couple of months ago because Gary Bartz played sax on it. I knew it couldn't be all bad if he was on it. I was right and it was even better than I antcipated. Joe, a drummer/vibraphone/marimba player, composed several of the tracks and the rest are covers. They perform tracks by Duke Ellington, Miles you know who, Marcus Miller, and Victor Young. It's a very good album all in all. I thought it might be the best recorded SACD in my collection when I got it. You certainly won't have to worry about the nasty over-pumped levels you so frequently get from "big five" labels! When I found out that Phoebe Snow was singing on Will & Rainbow's HARMONY, I couldn't stop myself from forking over $30 again. Again, I was delighted with the product. I'd never heard of Will Boulware before. I wouldn't of even considered buying the album if Phoebe Snow wasn't on it. I did notice that Steve Gadd was the drummer and he's purr-dy good. I couldn't even begin to count how many albums I own that he drums on...? HARMONY is a jazz album that's a little pop-ish on the edges. That's OK with me. I'm no jazz purist. Phoebe Snow sings on 3 cuts. She sounds particularly at home singing the King/Goffin standard WILL YOU LOVE ME TOMORROW. I got less of a thrill from her cover of the Isley Brothers' FOR THE LOVE OF YOU. I like her other cut, Richard Jones', TROUBLE IN MIND much more. Oh, Michael Brecker plays sax on 2 cuts. I'd give anything a listen that he or his brother played on! Will Boulware seems to be a very competent but not spectacular jazz pianist. He certainly assembled a very good cast for this album. He composed just two of the 10 tracks. He covers stuff by Keith Jarret and Herbie Hancock amongst others. If you subtracted the Phoebe Snow cuts this would stille be a solid jazz album. The guitarist, who I am not familar with, Peter Bernstein is rock solid particularly on Will's composition NEW AND OLD. The icing on the cake is that I now believe this to be my best sounding SACD. Even when I play it on my weakest SACD player, SCD-775, it makes that player shine like it usually does not. The only downside, besides price, to the Eighty-Eight's releases is that they are single-layer. The notes say that part of the album was recorded at Sony's Tokyo Studios. Does anybody know if Sony owns this label? I kind'a suspect that possibility. The discs come in reg-lar jewell cases like Sony does. They are evidently primarily aimed at the Nipponese market. They have the title in Nipponese on one side of the jewell case and they have those little papaer inserts on one side that come with Nipponese media, whatever they're called? Inside, the linear notes are a mixture of Nipponese and Anglish . Besides price and single-layered-ness these are two very fine SACD's. Most of the Eighty-Eight's releases are by folks that I don't know squat about. Superior audio quality seems to be the label's hallmark if these two albums are indicative of the label as a whole. I highly recommend both. BTW, I think both are offered on heavy vinyl too, I know HARMONY is.