It would have been a good idea for me to speak about genres too. It's mostly the first; jazz, acoustic, folk and some classical. I would say the recordings are high quality and high DR indeed.
Out of curiosity and lack of knowledge, why would an AB amp be better for this?
As a small extra the best ("subjectively") sounding system I've ever heard (which admitted is not many) was the Linn Keilidhs with the original class A musical fidelity A1. It "felt" really "rich and warm" as compared to my current system. But my system seems to be much better at dynamics and timing, I had the feeling that the Keilidh + A1 got "lost and confused" with quicker and more busy music. Please take the above with a mountain of salt as I know these kinds of descriptions are not very well suited to this forum but it describes my experience well and maybe you can look past the bullsh*t and see something of value.
ALARM BELLS!!!!!
The A1 and Keilidh's was NOT a 'high fidelity' system in the true sense of the term, but a more modern day 'stereogram' with over-rich mid-bass, muffled mids and muted highs (the Keilidh tweeters were a bit 'strong') and an out of control bass, severely rolled off below 100Hz on the vinyl input! MASSIVE distortion (-40s or so) in most A1's as tested at the time (engineered in it seems, knowing the designer's capability).
Had I been the supplying dealer, I'd have showed you what a proper amp could do with these tricky (in passive mode) speakers which were 4 ohms in the bass and mids and around 10 ohms plus up top. Coming at Ninkas knowing many of the UK alternatives as I did back then as well as later Keilidhs driven actively and with live acoustic music as a reference, I'd not have a problem, but as acoustic instruments don't have a smooth soft rich and warm tone, you'd find it very hard to get a 'Hifi' system to emulate that without some eq and maybe a software plug-in or two (passive Keilidhs could have a peak in the low to mid bass I remember which the Ninkas don't have).
The Linn amp just isn't powerful enough to let the music sing when necessary and as I remember the Majik having preamp outs, at the very least a matching LK140 (not so much the LK100 or LK85 in my first hand use of these) would open things up nicely due to the extra power (I'm a huge fan of the Quad 606 family of amps, but I'm muddying the waters a bit here). Of course now, the latest Class D wonder-amps for a few hundred quid from Audiophonics and so on, would be interesting if they can give a reliable 100W+ into a four ohm load.
Anecdote -
I remember one young chap who bought a pair of used Keilidhs to go with his first-gen Rega Brio amp which was underpowered at best even then. He throttled the poor amp hard into the four ohm bass-midrange load and after several fuses blew as a warning, the output stage finally caved in, taking at least two of the four bass units with it. He wasn't pleased, but ignored our prior warnings so had to cough up. I appreciate the Majik amp was more able into tricky loads, but the lack of real power is definitely a thing, especially into speakers like these if the sound isn't to collapse into the boxes. At least I'm certain you have preamp outs on it and as I suggested before, if the mount kits are available and you buy an LK140 to go with it (Lk85 at a pinch), the aktiv cards can be added to make for a simple (for the time) active system, which will refine 'stop-start-mechanical' aspects away into something more realistic sounding (this 'rhythm vs tunes' thing that many popular UK systems of the period and which most of you either deny or simply don't understand, couldn't always combine naturally together I remember).
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The only speakers I can suggest to give you some of that lush ripe quality you miss, are mid period Harbeth C7's (ES3 version is perfect here) and good working Spendor SP2's, although most now suffer cone-surround hardening which removes the lush ripeness they sonically exhibited when new.
