Bizet Carmen & L'Arlesienne 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Virgin Vinyl! High Quality Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The 19th century suites with their collection of favorite songs and instrumental excerpts from operas are the clear forerunners of today's & quot;Best Of & quot; culture. The Carmen Suite was assembled after Bizet's death and brought the operatic masterpiece into the concert hall. The overture is fresh and rousing, the toreador theme marches in proudly and purposefully, followed by the destiny motif in the minor key which burns itself into ones ear and mind. With every bar it becomes obvious that this suite is not so much a series of excerpts but rather the true substance of its creator's musical ideas. & lt;br & gt; & lt;br & gt; All that remained of the five-act play L'Arlesienne after its unsuccessful premiere was Bizet's incidental music, which he himself orchestrated lavishly and premiered with success. Similar to Carmen, popular melodies are treated with the composer's own unique style to make them ageless, and Ernest Ansermet and his orchestra stages them delightfully for all eternity. & lt;br & gt; & lt;br & gt; Ernest Ansermet is the most famous of Switzerland's conductors. For some years Professor of Mathematics at Lausanne University, he left this post to devote himself to music, studying composition under Ernest Bloch. He eventually concentrated on conducting and from 1915 - when he was already a personal friend of Stravinsky - was intermittently engaged with the Diaghilev Ballet. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Orchestra de la Suisse Romande & lt;br & gt; Ernest Ansermet, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Georges Bizet (1838 - 1875) & lt;br & gt; Carmen Suite & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Prelude, Act 1 & lt;br & gt; 2. Prelude, Act 4 (Aragonaise) & lt;br & gt; 3. Prelude, Act 3 (Intermezzo) & lt;br & gt; 4. Prelude, Act 2 (Les Dragons d'Alcala) & lt;br & gt; 5. Scene des Contrebandiers, Act 3 & lt;br & gt; 6. Habenera, Act 1 & lt;br & gt; 7. La Garde Montante, Act 1 & lt;br & gt; 8. Danse Boheme, Act 2 & lt;br & gt; & lt;b & gt;L'Arlessienne Suite & lt;br & gt; Side Two: & lt;/b & gt; & lt;br & gt; 1. Prelude & lt;br & gt; 2. Minuetto & lt;br & gt; 3. Adagietto & lt;br & gt; 4. Carillon & lt;br & gt; 5. Menuet & lt;br & gt; 6. Farandole
Mozart Eine Kleine Nachtmusik 180g LP (Vinyl)
180 Gram Virgin Vinyl! High Quality Pressing! Mozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death. From what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl Münchinger proves that this favourite can be imbued with significance. The historical roots of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, Münchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun. This LP is distinguished by its musical and tonal balance and is one of Deccas best sound recordings. Features: 180 Gram Virgin Vinyl High Quality Pressing Pure Analogue Audiophile MasteringMusicians: Stuttgart Chamber OrchestraKarl Muchinger, conductorSelections: Wolfgang Amadeus Mozart (1756 - 1791)Eine Kleine Nachtmusik 1. Allegro2. Romance (Andante)3. Menuetto and Trio (Allegretto)4. Rondo (Allegro)Divertimento No. 1 in D Major K.136 5. Allegro6. Andante7. PrestoA Musical Joke K522 8. Allegro9. Menuetto - (maestoso) Trio10. Adagio cantabile11. Presto
Joan Sutherland The Art of The Prima Donna 180g 2LP Speakers Corner (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Double Virgin Vinyl! La Stupenda! Elegant, Subtle Colorings and Expressive Nuances! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The & quot;Art of the Prima Donna & quot; stands out like a shining star in the firmament of virtuoso song repertoire and the world of grand opera. And this double LP pays homage to this cult. It is of little importance that the majority of the divas who are praised in the cover text celebrated their success long before the days of the phonograph and that therefore no recordings of them exist. After all, Joan Sutherland with her wonderfully supple and artistically flexible soprano voice is more than compensation, and she gives us an idea of how these works would have sounded in the salons of the 18th and 19th century. & lt;br & gt; & lt;br & gt; Joan Sutherland is wonderfully British in her poised rendering of the opening work, Thomas Arne's coloratura aria The Soldier Tir'd, and in Handel's jubilatory Let the Bright Seraphim. But she earned her honorary title & quot;La Stupenda & quot; by singing Italian repertoire. With utmost ease, agility and remarkable clarity in the top register, her voice gets right to the heart of bel canto. One of the most exquisite and beautiful roles is demonstrated in the demanding aria Casta Diva from Bellini's Norma, here sung in the original key. How lucky we are not to have to imagine how this great singer might have sounded, but can listen to her amazing voice over and over again. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Ms. Sutherlands singing was founded on astonishing technique. Her voice was evenly produced throughout an enormous range, from a low G to effortless flights above high C. She could spin lyrical phrases with elegant legato, subtle colorings and expressive nuances. Her sound was warm, vibrant and resonant, without any forcing. & quot; & lt;/b & gt; - Anthony Tommasini, The New York Times & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; Double LP & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Joan Sutherland & lt;br & gt; Royal Opera House Orchestra & amp; Chorus & lt;br & gt; Francesco Molinari-Pradelli & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Arias from: & lt;br & gt; Thomas Arne & lt;/b & gt; & lt;br & gt; 1. Artaxerxes & lt;br & gt; 2. The Soldier Tir'd & lt;br & gt; & lt;b & gt;Georg Friedrich Handel & lt;/b & gt; & lt;br & gt; 3. Samson & lt;br & gt; 4. Let the Bright Seraphim & lt;br & gt; & lt;b & gt;Vincenzo Bellini & lt;/b & gt; & lt;br & gt; 5. Norma & lt;br & gt; 6. Recit. and Aria Casta Diva & lt;br & gt; 7. I Puritani & lt;br & gt; 8. Polonaise, Son vergin vezzosa / Qui la voce & lt;br & gt; 9. La Sonnambula & lt;br & gt; 10. Recit. and Aria Come per me sereno & lt;br & gt; & lt;b & gt;Gioachino Rossini & lt;/b & gt; & lt;br & gt; 11. Semiramide & lt;br & gt; 12. Bel raggio lusinghier & lt;br & gt; & lt;b & gt;Charles Gounod & lt;/b & gt; & lt;br & gt; 13. Faust & lt;br & gt; 14. Ah! Je ris de me voir si belle & quot;Jewel Song & quot; & lt;br & gt; 15. Romeo et Juliette & lt;br & gt; 16. Je veux vivre dans le reve & quot;Waltz Song & quot; & lt;br & gt; & lt;b & gt;Giuseppe Verdi & lt;/b & gt; & lt;br & gt; 17. Otello & lt;br & gt; 18. Piangea cantando & quot;Willow Song & quot; & lt;br & gt; 19. La Traviata & lt;br & gt; 20. Ah, fors e lui, Sempre libera & lt;br & gt; 21. Rigoletto & lt;br & gt; 22. Recit. and Aria Caro nome & lt;br & gt; & lt;b & gt;Ambroise Thomas & lt;/b & gt; & lt;br & gt; 23. Hamlet & lt;br & gt; 24. A vos jeux & quot;Mad Scene & quot; & lt;br & gt; & lt;b & gt;Leo Delibes & lt;/b & gt; & lt;br & gt; 25. Lakme & lt;br & gt; 26. Ou va la jeune indoue? & quot;Bell Song & quot; & lt;br & gt; & lt;b & gt;Giacomo Meyerbeer & lt;/b & gt; & lt;br & gt; 27. Les Huguenots & lt;br & gt; 28. O beau pays & lt;br & gt; & lt;b & gt;Wolfgang Amadeus Mozart & lt;/b & gt; & lt;br & gt; 29. Die Entfuhrung aus der Serail & lt;br & gt; 30. Martern aller Arten & lt;br & gt; & lt;br & gt; Recorded July and August 1960 in Kingsway Hall, London.
The Dave Brubeck Quartet At Carnegie Hall 180g 2LP (Vinyl)
& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Michael Fremer Rated 8/10 Music, 8/10 Sonics in his July 2013 reviews on www.analogplanet.com! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Double Virgin Vinyl! Superb Melodic Improvisation! Truly Majestic! One of the All Time Great Live Jazz Performances! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Dave Brubeck, designated a & quot;Living Legend & quot; by the Library of Congress, is one of the most popular musicians in both the jazz and classical worlds. With a career that spans over six decades, his experiments in odd time signatures, improvised counterpoint, polyrhythm and polytonality remain hallmarks of innovation. & lt;br & gt; & lt;br & gt; After suffering a near fatal diving accident in 1951, Dave formed the Dave Brubeck Quartet with alto saxophonist Paul Desmond. The legendary Brubeck-Desmond collaboration lasted seventeen years and beyond. The Dave Brubeck quartet's recordings and concert appearances on college campuses in the '50s and early '60s introduced jazz to thousands of young people. The quartet's audiences were not limited to students, however. The group played in jazz clubs in every major city. They repeatedly won top honors in trade magazines and critic's and reader's polls. & lt;br & gt; & lt;br & gt; At Carnegie Hall was recorded at the famed Carnegie Hall in New York City on February 21, 1963. It was described by critic Richard Palmer as & lt;b & gt; & quot;arguably Dave Brubeck's greatest concert & quot; & lt;/b & gt;and a & lt;b & gt; & quot;truly majestic record that should be in every serious collection & quot; & lt;/b & gt;; for Don Mather it is & lt;b & gt; & quot;one of the all time great live jazz performances. & quot; & lt;/b & gt;Ironically, original expectations for the concert were low. Not only was drummer Joe Morello recovering from a case of the flu at the time, but New York had been suffering from a newspaper strike, and the group was worried that the attendance would be sparse. & lt;br & gt; & lt;br & gt; The worries were groundless: the hall was full; the group, whose long history together (the newest member, bassist Wright, had joined four years earlier) had by then made them extraordinarily close-knit, turned in an exciting, sparkling performance. It featured a remarkable level of co-ordination among the members of the group, at the same time as they display a relaxed yet powerful virtuosity. The latter was especially displayed in their numerous extended, yet still melodious, solo improvisations. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The band moves through all their hits and their new instincts gained from traveling abroad for the better part of six years. With cuts like 'Bossa Nova U.S.A' and 'Blue Rondo a la Turk,' the quartet breathed new fire both melodically and tonally into their won material, while other standards such as 'Pennies From Heaven,' were literally harmonically reinvented by the intense counterpoint, double and even triple that went on between Desmond and Brubeck. And that's what this set is a reflection of: the Brubeck band would have loved to be recorded live every night they played. They hated the studio because there was nothing to compete against and no energy but their own to glean from... While Take Five is rightfully a classic in that it changed everything, At Carnegie Hall reveals the band at the epitome of its musical -- harmonic, rhythmic, melodic, improvisational -- strength with near telepathic communication. It swings like a mother and offers an entirely new dimension to the definition of 'melodic improvisation.' & quot; & lt;/b & gt;- Thom Jurek, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The solos by Morello, Desmond and Wright and more importantly the overall quartet flow make this live set a breezy, musical pleasure... [T]he instruments themselves are reasonably well recorded and placed within a suitably reverberant Carnegie Hall environment... Brubeck's piano is very well-recorded... and free of major boxy colorations... [O]f course the Pallas pressing quality is superb. & quot; & lt;/b & gt; - Michael Fremer, analogplanet.com, Music 8/10, Sound 8/10 & lt;br & gt; & lt;br & gt; Recording: February 1963 Carnegie Hall, New York. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; 180g Double VIrgin Vinyl & lt;br & gt; Gatefold Jacket & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; Pressed at Pallas & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;br & gt; & lt;/b & gt;Dave Brubeck, piano & lt;br & gt; Paul Desmond, alto saxophone & lt;br & gt; Eugene Wright, bass & lt;br & gt; Joe Morello, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP1 - Side 1: & lt;br & gt; & lt;/b & gt;1. St. Louis Blues & lt;br & gt; 2. Bossa Nova U.S.A. & lt;br & gt; 3. For All We Know & lt;br & gt; & lt;b & gt;LP1 - Side 2: & lt;br & gt; & lt;/b & gt;1. Pennies From Heaven & lt;br & gt; 2. Southern Scene (Briar Bush) & lt;br & gt; 3. Three To Get Ready & lt;br & gt; & lt;b & gt;LP2 - Side 3: & lt;br & gt; & lt;/b & gt;1. Eleven-Four & lt;br & gt; 2. King For A Day & lt;br & gt; 3. Castilian Drums & lt;br & gt; & lt;b & gt;LP2 - Side 4: & lt;br & gt; & lt;/b & gt;1. It's A Raggy Waltz & lt;br & gt; 2. Blue Rondo A La Turk & lt;br & gt; 3. Take Five
Earth, Wind & Fire That's The Way Of The World 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;2014 Stereophile Magazine Record to Die For! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 486/500! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Virgin Vinyl! One of the Strongest Albums of the 1970s! EWF's Crowning Achievement! Includes & quot;Shining Star & quot;, & quot;Yearnin' Learnin', & quot; & quot;Reasons, & quot; & quot;Happy Feelin', & quot; & quot;See The Light & quot; & amp; More! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; During the 1970s, a new brand of pop music was born one that was steeped in African and African-American styles particularly jazz and R & amp;B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & amp; Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and 70s multicultural spiritualism. & lt;b & gt;I wanted to do something that hadnt been done before, & lt;/b & gt; Maurice explains. & lt;b & gt;Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music
which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners spiritual content. & lt;/b & gt; & lt;br & gt; & lt;br & gt; The inspiration for Shining Star (one of EW & amp;Fs most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the 70s. The track was originally included in the Thats The Way Of The World movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). Shining Star glittered at number one R & amp;B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album Thats The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R & amp;B in the summer of 1975. It also yielded the classic ballad Reasons, an extremely popular radio-aired album track. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;...[I]t was World that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of 'Shining Star' and 'Yearnin' Learnin'' to the gorgeous ballad 'Reasons' and the unforgettable title song, EWF's sixth album sold at least five million units. And some of the tracks that weren't major hits, such as the exuberant 'Happy Feelin'' and the gospel-influenced 'See the Light,' are equally powerful. There are no dull moments on World, one of the strongest albums of the 1970s and EWF's crowning achievement. & quot; & lt;/b & gt;- Alex Henderson, allmusic.com & lt;br & gt; & lt;br & gt; Recording: 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Wittig. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; 180 Gram Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; Gatefold Jacket & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; & lt;/b & gt;1. Shining Star & lt;br & gt; 2. That's The Way Of The World & lt;br & gt; 3. Happy Feelin' & lt;br & gt; 4. All About Love & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; & lt;/b & gt;1. Yearnin', Learnin' & lt;br & gt; 2. Reasons & lt;br & gt; 3. Africano & lt;br & gt; 4. See The Light
Jocelyn B. Smith Pure & Natural Numbered Limited Edition 180g D2D LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Numbered, Limited Edition 180g Vinyl Direct To Disc Mastered at Emil Berliner Studios! & lt;br & gt;Cut By Maarten de Boer and Pressed At Pallas! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The musicians are absolute experts in their field: take first the legendary saxophonist Volker Schlott who was very famous in the Berlin jazz scene of the '70s and '80s when the city still belonged to the German Democratic Republic. And then you have the extremely versatile pianist Bene Apperdanier, who as musical director of such talent-spotting TV programmes as Star Search and Deutschland sucht den Superstar ( & quot;Germany searches for a superstar) possesses a wealth of experience in music. Ame Jansens rocks with his mix of technical brilliance and wild, improvised musical abandonment. Heiko Jung, a real sparkling diamond of the German music industry, makes great use of his experience in the areas of jazz, funk and soul to round up the ensemble as a drummer. And if Heiko is a diamond, then Markus Runzheimer is definitely a bombshell. Quiet and modest, until he reaches for his bass, but then truly explosive beats are let loose with a vengeance. With all these amazingly talented musicians Smith succeeds in becoming totally professional and, thanks to her 'live band' concept, creates a sound that is extraordinarily sophisticated and, more importantly, thereby reveals a true love of art. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; Numbered, Limited Edition & lt;br & gt; Direct To Disc (D2D) & lt;br & gt; 180g Vinyl & lt;br & gt; Recorded and Mastered at Emil Berliner Studios & lt;br & gt; Vinyl cut by Maarten de Boer & lt;br & gt; Pressed at Pallas GmbH & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Jocelyn B. Smith, vocals, piano & lt;br & gt; Volker Schlott, flute, saxophone, accordion & lt;br & gt; Markus Runzheimer, bass & lt;br & gt; Arne Jansen, guitar & lt;br & gt; Bene Aperdannier, keyboards & lt;br & gt; Heiko Jung, drums & lt;br & gt; Nadine Kuhn, backing vocals & lt;br & gt; Stefanie Mikus, backing vocals & lt;br & gt; Marce Sadlowski, backing vocals & lt;br & gt; Johanna Amelie Storck, backing vocals & lt;br & gt; BiBi Vongehr, backing vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. The Liar & lt;br & gt; 2. Choose To Change & lt;br & gt; 3. Blue (Hoochie Coochie Woman) & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Letter & lt;br & gt; 2. Summertime & lt;br & gt; 3. Move On Up & lt;br & gt; & lt;br & gt; Recorded May 2, 2011 at Emil Berliner Studios, Studio 1 by Tim Tautorat and Maarten de Boer.
Lena Horne Lovely and Alive 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! & lt;br & gt; Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Grammy Nominated (1962) & lt;br & gt; Best Solo Vocal Performance, Female & lt;/font & gt; & lt;br & gt; & lt;br & gt; This Grammy-nominated 1962 album features trumpeter Jack Sheldon and arrangements by Marty Paich...and of course the velvety vocals from songstress Lena Horne. & lt;br & gt; & lt;br & gt; Singing actors and actresses do not always cut a good figure on the silver screen; play-acting singers, however, are all the better when they draw attention to themselves with great vocals. As did Lena Horne in the days of the black-and-white film, who, with her sultry, versatile voice, was constantly employed by Hollywood. Although she occasionally ventured into the world of jazz, and made music with Teddy Wilson and Benny Carter, she never forayed into the wide world of improvisation. Her musical home was in the American Songbook, which she approached with a natural and entertaining manner. A good example of this is the first number here the Cole Porter classic & quot;I Concentrate On You & quot;, which swings along to the perfectly recorded big-band sound of the Marty Paich Orchestra. A surprise element is the extensive palette of vocal sound-colouring with which the diva enhances her voice to achieve the drama of a Shirley Bassey or the dusky depths of a Dinah Washington. Each and every number on this Grammy-worthy album has been thought out in great detail and guarantees sophisticated entertainment, and a hint of West Coast jazz is perceptible when Jack Sheldon treats us to the sound of his warm and dark trumpet solos. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Lena Horne, vocals & lt;br & gt; Jack Sheldon, trumpet & lt;br & gt; Marty Paich Orchestra & lt;br & gt; Marty Paich, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. I Concentrate On You & lt;br & gt; 2. I Get the Blues When It Rains & lt;br & gt; 3. I've Grown Accustomed To His Face & lt;br & gt; 4. I Got Rhythm & lt;br & gt; 5. I'm Confessin' (That I Love You) & lt;br & gt; 6. I Want To Be Happy & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 7. I Surrender, Dear & lt;br & gt; 8. I've Found A New Baby & lt;br & gt; 9. I Understand & lt;br & gt; 10. I Let A Song Go Out of My Heart & lt;br & gt; 11. I Ain't Got Nobody (And Nobody Cares For Me) & lt;br & gt; 12. I Only Have Eyes For You
Paavali Jumppanen Moments in Time Numbered, Limited Edition 180g D2D LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Numbered, Limited Edition! & lt;br & gt;180g Vinyl Direct To Disc Mastered at Emil Berliner Studios! & lt;br & gt;Pressed at Pallas! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Recorded in August 2014, Moments in Time features pianist Paavali Jumppanen performing compositional works from Chopin, Kuusisto, and Boulez. & lt;br & gt; & lt;br & gt; & quot;I wanted to play works from three different eras for my second D2D recording, the first having focused in the 'golden era' of vinyl recording. The media is perfect for capturing the acuteness of live performance, which is perhaps the most important aspect shared by the works by Boulez, Chopin, and my compatriot Kuusisto. The works themselves are very independent from one another. & lt;br & gt; & lt;br & gt; The three compositions on the record represent important columns of my repertoire. No pianist can go around Chopin (and only a few would even wish to do so). Jaakko Kuusisto is one of the many composers of my own generation whose works I have premiered. As a performer I feel a responsibility to help the creation of new music, and that responsibility is a constant source of inspiration. & lt;br & gt; & lt;br & gt; & quot;Having recorded the Boulez Sonatas digitally a decade ago, it was fantastic to revisit the Third Sonata at this moment. For one, I have had the opportunity to live with the work on stage all this time and, also, 2015 marks the 90th birthday of the composer. My wish has been to bring a renewed sense of 'now' to the work known for being complicated to build into a performance. & lt;br & gt; & lt;br & gt; & quot;The selection of works on the record challenges our views on what is modern. The three composers' styles can easily be described as original, but the question of their outlook on musical progress is more ambiguous. Boulez is of course a passionate spokesman of music as a progressive, but the stance of both Chopin and Kuusisto can only be guessed. However, listening to the three different compositions, progress as a concept quickly becomes irrelevant. The three compositions are all driven by sounding ideas that in the end capture moments in time. This idea gave the recording its title. & quot; - Paavali Jumppanen & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; Numbered, Limited Edition & lt;br & gt; 180g Vinyl Direct To Disc & lt;br & gt; Mastered at Emil Berliner Studios & lt;br & gt; Cut by Maarten de Boer & lt;br & gt; Pressed at Pallas GmbH & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Paavali Jumppanen, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;br & gt; Frederic Chopin (1810 - 1849) & lt;br & gt; Barcarolle F Sharp Major, Op. 60 & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Jaako Kuusisto (b.1974) & lt;br & gt; & quot;Jurmo & quot; Op. 31 & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Side B: & lt;br & gt; Pierre Boulez (b.1925) & lt;br & gt; Piano Sonata No. 3 & lt;/b & gt; & lt;br & gt; 1. Formant 2 - Trope (Parenthese - Glose - Commentaire - Texte) & lt;br & gt; 2. Formant 3 - Miroir (Melange - POints 3 - Blocs II - POints 2 - Blocs I - Points 1) & lt;br & gt; & lt;br & gt; Recording: August 7 & amp; 8, 2014 in Meistersaal, Emil Berliner Studios, Berlin, by Stephan Flock
Santana & John McLaughlin Love Devotion Surrender 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; For some, & quot;Love Devotion Surrender & quot; is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of & quot;Love Supreme, & quot; Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition & quot;Naima & quot; is performed in a flowing and inspired manner by the duo on their acoustic guitars. & lt;br & gt; & lt;br & gt; The arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song & quot;Let Us Go Into The House, & quot; they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful. & quot; & lt;/b & gt; -Thom Jurek, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g High Quality Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1 & lt;/b & gt; & lt;br & gt; 1. A Love Supreme & lt;br & gt; 2. Naima & lt;br & gt; 3. The Life Divine & lt;br & gt; & lt;b & gt;Side 2 & lt;/b & gt; & lt;br & gt; 4. Let Us Go into the House of the Lord & lt;br & gt; 5. Meditation
Rudolf Serkin Chamber Music From Marlboro 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The waltz was perhaps the most important thing that the rather level-headed and conservative Johannes Brahms from Hamburg brought back with him from his sojourn in Vienna. In addition to his purely instrumental waltzes for the piano, he also composed the & quot;Liebeslieder Waltzes & quot; uniquely folk like and highly original vocal joyfulness in ¾ time. The lyrics are taken from real life and tell of love, longing, desire, and suffering but also of anger and derision. & lt;br & gt; & lt;br & gt; Just how ideally this music fits in with the workshop atmosphere of the Marlboro Summer Music Festival is fully evident here. The musicians gathered around Rudolf Serkin sing the very finest Brahms joyous, inspired yet completely relaxed and reflect light upon all aspects of earthly existence. An excellent choice to complement these emotions is Schuberts penultimate composition & quot;The Shepherd On The Rock & quot; D 965. This great and far-too-seldom performed lied is based on three poems, which are performed impressively and with brilliant musicality by the soloist Benita Valente. And last but not least, the addition of the clarinet, which functions both as a soloist as well as imitating the voice, lends the work its particular charm. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; Cut By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Rudolf Serkin, piano, director & lt;br & gt; Leon Fleisher, piano & lt;br & gt; Harold Wright, clarinet & lt;br & gt; Benita Valente, soprano & lt;br & gt; Marlena Kleinman, alto & lt;br & gt; Wayne Conner, tenor & lt;br & gt; Martial Singher, bass & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Johannes Brahms & lt;br & gt; Liebeslieder-Walzer, Op. 52 & lt;br & gt; & lt;br & gt; Franz Schubert & lt;br & gt; The Shepard On the Rock Op. 129 & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;br & gt; Recording: August 1960 at Marlboro School of Music, Vermont (USA), by Fred Plaut
Duke Ellington & His Orchestra Piano In the Background 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Big band fans, take note! These nine numbers belong in every collection. We are talking about the year 1960, and the 17 musicians involved have probably performed this very repertoire every night in a different venue all over the globe. But in the studio it all sounds fresh and new, well practiced but never dull, cool, groovy and intoxicating. The difference to a great number of other Ellington LPs is that here not a single wind soloist stands in the foreground but the whole body of musicians. The arrangements are all new and some of them are even quite unusual, but Sam Woodyard on the drums has everything well under control - sometimes not at all 'Ellington-like'. & lt;br & gt; & lt;br & gt; Snapping the fingers is automatic, and tapping your foot is also not to be frowned on; however this recording demands careful listening! If you have the first version of these numbers in your collection then it would be a good idea to compare them with this recording. The Duke Ellington Orchestra remains young, dynamic and varied thanks to a continually changing ensemble. And the 'Piano Man', as the best 'pause-filling' pianist ironically called himself, sat full of vigour before the 88 keys of the keyboard at the age of 60. & lt;br & gt; & lt;br & gt; Not only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound. & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g High Quality Vinyl & lt;br & gt; Pure Analogue & lt;br & gt; AAA Recording & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Duke Ellington, piano & lt;br & gt; Ray Nance, trumpet & lt;br & gt; Willie Cook, trumpet & lt;br & gt; Andres Meringuito, trumpet & lt;br & gt; Eddy Mullins, trumpet & lt;br & gt; Gerald Wilson, trumpet & lt;br & gt; Lawrence Brown, trombone & lt;br & gt; Britt Woodman, trombone & lt;br & gt; & quot;Booty & quot; Wood, trombone & lt;br & gt; Juan Tizol, trombone & lt;br & gt; Johnny Hodges, saxophone & lt;br & gt; Harry Carney, saxophone & lt;br & gt; Paul Gonzalves, saxophone & lt;br & gt; Jimmy Hamilton, saxophone & lt;br & gt; Russell Procope, saxophone & lt;br & gt; Aaron Bell, bass & lt;br & gt; Sam Woodyard, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. Happy Go Lucky Local & lt;br & gt; 2. What Am I Here For & lt;br & gt; 3. Kinda Dukish / Rockin' In Rhythm & lt;br & gt; 4. Perdido & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. I'm Beginning To See The Light & lt;br & gt; 2. Midriff & lt;br & gt; 3. It Don't Mean A Thing & lt;br & gt; 4. Main Stem & lt;br & gt; 5. Take The & quot;A & quot; Train
Albert King Born Under A Bad Sign 180g LP (Vinyl)
& lt;p & gt; & lt;strong & gt;TAS Super LP List! Special Merit: Informal & lt;/strong & gt; & lt;/p & gt;
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt;
The second studio album from Albert King, Born Under A Bad Sign was released in 1967. King's first album for Stax Records would change the face of American music with the modernization of the blues. & lt;br & gt; & lt;br & gt; It took more than four decades of patient hard work until a discriminating congregation could proclaim Albert King as one of the three kings of the electric blues, alongside B. B. King and Freddie King. Albert had a tough but highly motivated beginning, playing blues on a guitar he had made himself. Later he bought a really good instrument, then came a couple of promising songs, and a series of successful singles made under a contract with Stax Records in Memphis. Finally, late in life, King landed on the sunny side with & quot;Born Under A Bad Sign & quot;. The album became one of the most influential recordings in the history of the blues. Kings music was appreciated by white people too, which smoothed his path out of small clubs and on to big live events. & lt;br & gt; & lt;br & gt; Right from the title song, he travels along familiar tracks in the blues world, occasionally making a detour to hectic, soulful realms ( & quot;Crosscut Saw & quot;) and letting himself be carried away by strident winds ( & quot;Kansas City & quot;). Over and over again, the musicians surprise one with ever new sound colourings, as in the hum and buzz of & quot;Oh, Pretty Woman & quot;, the brusque admonitory & quot;Down Dont Bother Me & quot;, or the swinging fiddling of & quot;The Hunter & quot;. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The Albert King recording of & quot;Born Under A Bad Sign & quot; with Booker T. and the MG's providing the accompaniment, remains one of the most smokingly intense blues recordings of the modern era... & quot; & lt;/b & gt; Soulsville U.S.A., The Story of Stax Records & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g High Quality Vinyl & lt;br & gt; Pure Analogue & lt;br & gt; AAA Recording & lt;br & gt; Pressed at Pallas in Germany & lt;br & gt; Faithful reproductions of original artwork and labels & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Born Under A Bad Sign & lt;br & gt; 2. Crosscut Saw & lt;br & gt; 3. Kansas City & lt;br & gt; 4. Oh, Pretty Woman & lt;br & gt; 5. Down Don't Bother Me & lt;br & gt; 6. The Hunter & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 1. I Almost Lost My Mind & lt;br & gt; 2. Personal Manager & lt;br & gt; 3. Laundromat Blues & lt;br & gt; 4. As The Years Go Passing By & lt;br & gt; 5. The Very Thought Of You & lt;br & gt; & lt;br & gt; Recorded March 1966 - June 1967 at Stax Studios, Memphis, TN.
Shostakovich Concerto for Cello & Symphony No. 1 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! Pressed at Pallas Germany! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; That every beginning has its magic may almost have become forgotten these days, when true world premieres of musical works are almost non-existent. But this special magic still remains in the present recording of Shostakovichs Cello Concerto No. 1, which was first heard with these artists in 1959. Shostakovich dedicated the work to his friend Mstislav Rostropovich who committed the virtuoso solo part to memory in only four days, before the concert took place. The cellist tackles the work dauntlessly right from the beginning and swirls the burlesque staccatos through space. With a lovely sound and quite in accordance with the title of the movement, & quot;Espressivo & quot;, the soloist lets the melody breathe, supported by wonderfully sonorous orchestral writing, answered by calls on the solo horn. & lt;br & gt; & lt;br & gt; The Finale makes itself heard with a robust inflection, which the soloist counters with an imperturbable steadfastness of rhythm that not only demands refinement but also playing in the top regions and double-stopped harmonics. & lt;br & gt; & lt;br & gt; That this recording is indisputably a work of reference is underlined by its coupling with the First Symphony, which is well worth listening to. Shostakovich composed this work as his graduation piece at the Leningrad Conservatory more than 30 years earlier. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g High Quality Vinyl & lt;br & gt; Pure Analogue & lt;br & gt; AAA Recording & lt;br & gt; Made from the original, analogue mastertapes & lt;br & gt; Pressed at Pallas in Germany & lt;br & gt; Faithful reproduction of original artwork and labels & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Mstislav Rostropovich, cello (Concerto for Cello) & lt;br & gt; Philadelphia Orchestra & lt;br & gt; Eugene Ormandy, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Dmitri Shostakovich (1906-1975) & lt;br & gt; Concerto for Cello in E Flat, Op. 107 & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. First Movement & lt;br & gt; 2. Second Movement & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; Symphony No. 1 in F Major, Op. 10 & lt;br & gt; & lt;br & gt; Recorded November 1959 at Broadwood Hotel, Philadelphia.
Herbie Hancock Flood 180g 2LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Double Vinyl LP! High Quality Pressing! & lt;br & gt; Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; For his 18th album, released in 1975, Hancock is joined by Bennie Maupin, Blackbird McKnight, Paul Jackson, Mike Clark, and Bill Summers. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;In the summer of 1975, the Herbie Hancock Sextet made a hugely successful tour of Japan, which made people aware of a 'new' Hancock. The last LP that the keyboard virtuoso had recorded, & quot;Thrust & quot;, was already one year old, and the film music for the Charles Bronson classic & quot;Death Wish & quot; was received negatively by his fans. At his concerts in Tokyo, Herbie Hancock reached back to his hits: & quot;Maiden Voyage & quot;, & quot;Chameleon & quot;, and the famous, soulful & quot;Watermelon Man & quot; made the fans at his concert hall and open-air appearances go wild with enthusiasm. Forty years later I have the courage to confess that I couldnt have cared less about this music at the time; in Europe there was enough that was new and exciting to see and listen to. However, this re-release in its original format has given me the opportunity to check out whether this music has withstood the test of time. And I must say: it has passed the test! Just listen to Herbie at his best! & quot; & lt;/b & gt; - Dr. Michael Frohne & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; Double LP & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Herbie Hancock, keyboards & lt;br & gt; Bennie Maupin, saxophones, clarinet, flute, percussion & lt;br & gt; Dewayne & quot;Blackbird & quot; McKnight, guitar & lt;br & gt; Paul Jackson, bass & lt;br & gt; Mike Clark, drums & lt;br & gt; Bill Summers, percussion, congas & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP 1 & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Introduction / Maiden Voyage & lt;br & gt; 2. Actual Proof & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 3. Spank-A-Lee & lt;br & gt; 4. Watermelon Man & lt;br & gt; & lt;br & gt; & lt;b & gt;LP 2 & lt;br & gt; Side C: & lt;/b & gt; & lt;br & gt; 1. Butterfly & lt;br & gt; 2. Chameleon & lt;br & gt; & lt;b & gt;Side D: & lt;/b & gt; & lt;br & gt; 1. Hang Up Your Hang Ups & lt;br & gt; & amp;nbsp;
Schubert Complete Trios For Piano, Violin & Cello 180g 2LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Anyone who takes an interest in Schubert's late works will sooner or later come across cliché-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert's two great Piano Trios: he characterized that in E flat Major as effectual, masculine and dramatic, and the sister work in B flat Major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes. That this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound coloring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters. & lt;br & gt; & lt;br & gt; Having taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording from the Beaux Arts Trio. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; Double LP & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Beaux Arts Trio & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Franz Schubert (1797-1828) & lt;/b & gt; & lt;br & gt; 1. Piano Trio in B flat Major & quot;Sonata & quot; & lt;br & gt; 2. Piano Trio in E flat Major, Op. 148 & quot;Notturno & quot; & lt;br & gt; 3. Piano Trio in B flat Major, Op. 99 & lt;br & gt; 4. Piano Trio in E flat Major, Op. 100
Baden Powell Solitude On Guitar 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! Pure Analogue Audiophile Mastering! & lt;br & gt;Twelve Tracks Display The Richness of Baden Powell's Unaccompanied Guitar! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The acoustic guitar shares the same destiny as so many music companies: almost all of them dabble with the six strings at some point, many attempt to play entertaining harmonic roulette with it, but only a few really make the grade. Baden Powell belongs to the small circle of guitarists whose early virtuosity is perfectly combined with a keen sense of harmony. Powell demonstrates this special talent in his slow numbers in particular, in which broken chords are developed like a bud opening out to a blossom. He guides the listener cautiously through his melodies in that he makes a tiny pause before a harmonic change. Full timbre and lightness are not a question of what is written down on the manuscript but result from a powerful performance, as is shown by the totally un-Brazilian, gentle major-minor key version of the childrens song & quot;Kommt Ein Vogel Geflogen & quot;. & lt;br & gt; & lt;br & gt; Naturally, the wonderfully crafted, animated and bouncy bossas flow along easily. As befits the albums title, the guitar is in the limelight here, driven on, held back, and then propelled forward by the rhythm group. The ballad & quot;Se Todos Fossem Iguais A Voce & quot; is strongly recommended to whet your appetite for the bossa & quot;Na Gafieira Do Vidigal & quot;. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Around the time he was recording this LP, Baden married for the fourth time. He'd just finished a long and strenuous European tour and he'd spent a good part of his bread for daily, often hour-long telephone calls to Rio - calls to Marcia. Finally, two days after this record was in the can, the 17-year old Marcia's plane came in for a landing at Paris' Orly Field on a rainy, foggy December day. At the last minute the plane revved its motors and kept going - diverted to London because of weather. Baden stood at the airport, tears running down his face, fifty red roses in his hand, and said & quot;This is the saddest hour of my life. & quot; That evening he was in no condition to play his scheduled concert, even though he knew Marcia would be arriving the next day from London by train...We now have 26 albums by Baden, but on none of them is he so & quot;alone & quot; in the literal and figurative sense of this word. & amp;nbsp; This record is loneliness, it's solitude that is the mood. & amp;nbsp; And it shows the richness of his unaccompanied guitar, which rightfully can be compared - as Don DeMichael has done - with that of a full orchestra. & quot; - & lt;/b & gt;from liner notes by Joachim E. Berendt & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Baden Powell, arranger, guitar, vocals & lt;br & gt; Joaquim Paes Henriques, drums (2,5,7) & lt;br & gt; Eberhard Weber, bass (4,10) & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1 & lt;/b & gt; & lt;br & gt; 1. Introduçao ao poema dos olhos da amada (A Poem on the Eyes of Lovers) & lt;br & gt; 2. Chará & lt;br & gt; 3. Se todos fossem iguais a você (If Everyone Were Like You) & lt;br & gt; 4. Marcia, eu te amo (Marcia, I Love You) & lt;br & gt; 5. Na gafieira do vidigal (The Dancehall of Vidigal) & lt;br & gt; 6. Komnt ein vogel geflogen (A Bird Comes Flying) & lt;br & gt; & lt;b & gt;Side 2 & lt;/b & gt; & lt;br & gt; 7. Fim da linha (End of the line) & lt;br & gt; 8. The shadow of your smile (from the Sandpiper) & lt;br & gt; 9. Brasiliana & lt;br & gt; 10. Bassamba & lt;br & gt; 11. Por causa de voce (Because of You) & lt;br & gt; 12. Solitário (The Lonely One) & lt;br & gt; & lt;br & gt; Recording: December 1971 by Torsten Wintermeir at Studio Walldorf, Germany & lt;br & gt; Production: Joachim Ernst Berendt
Thelonious Monk It's Monk's Time 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Michael Fremer Rated 8/10 Music, 8/10 Sonics! & lt;br & gt; & lt;br & gt;180 Gram Virgin Vinyl! For All Jazz Fans! The High Priest of Be-Bop! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; With its three compositions by Thelonious Monk, one might call this LP from 1964 3 Standards and 3 Monks. The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skillful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monks solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering. & lt;br & gt; & lt;br & gt; Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball most especially if you put this super disc with the promising title & quot;Its Monks Time & quot; on your turntable! & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Although often unrightfully maligned by self-proclaimed & quot;purists, & quot; Thelonious Monk did some brilliant work during his early- to mid-'60s stint for Columbia Records. It's Monk's Time (1964) contains some of the best -- if not arguably the best -- studio sides that the pianist cut during his final years as a recording musician. The album's title turned out to be somewhat prophetic, as Time magazine featured Monk as the cover subject for its February 28, 1964, edition...From four sessions in early 1964, It's Monk's Time gathers four quartet and two solo sides, presenting the pinnacle of what these musicians offered stylistically as well as from the standpoint of presentation. There is sense of mischievous playfulness in Monk's nimble keyboard work, especially notable on the beautifully off-kilter unaccompanied opening to & quot;Lulu's Back in Town, & quot; and the same practically impish quality also drives the solo performance on & quot;Nice Work if You Can Get It. & quot; Both pop standards are prime examples of the bop pioneer's inimitable approach to arranging, and also provide an uncanny insight to his influences. Immediately evident are the styles of stride legends from the well-known Willie & quot;The Lion & quot; Smith and James P. Johnson to the slightly more obscure and decidedly frenetic playing of Cliff Jackson, as well as the ragtime approach of Walter L. Rose. The results are bound together in Monk's arithmetically advanced delivery and harmonic composition. The combo -- especially Rouse -- effectively supports and punctuates the tricky timing of & quot;Stuffy Turkey & quot; and the more aggressive bop of & quot;Brake's Sake. & quot; The latter title also unleashes some tasty interaction between Monk and Rouse, sonically exemplifying their practically single-minded synergy. The concluding cut, & quot;Shuffle Boil, & quot; is one of the lost gems of the artist's later work. It sports an effortless swing over a sophisticated and challenging melodic structure. Bassist Warren steps up to the plate, providing a supple and pulsating bed for both Monk and Rouse as they trade solos. & quot; & lt;/b & gt; - Lindsay Planer, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;This is as close as jazz comes to rock'n'roll in my opinion: it's muscular, straight to the point (within the bounds of Monk's rhythmic madness/genius) and gets the toe tapping and the blood flowing. I don't think jazz offers more fun listening than Monk. & quot; & lt;/b & gt;- Michael Fremer, www.analogplanet.com, Music 8/10, Sound 8/10! & lt;br & gt; & lt;br & gt; Recording: January - March 1964 & lt;br & gt; Production: Teo Macero & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Thelonious Monk, piano & lt;br & gt; Charlie Rouse, tenor saxophone & lt;br & gt; Butch Warren, bass & lt;br & gt; Ben Riley, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. Lulu's Back In Town & lt;br & gt; 2. Memories of You & lt;br & gt; 3. Stuffy Turkey & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. Brake's Sake & lt;br & gt; 2. Nice Work If You Can Get It & lt;br & gt; 3. Shuffle Boil
Carlos Santana & Buddy Miles Carlos Santana & Buddy Miles Live! 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Virgin Vinyl! Guitar Virtuoso + Former Jimi Hendrix Band Of Gypsys Member Perform Live from Hawaii! Includes & quot;Them Changes & quot; & amp; & quot;Evil Ways & quot;! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Delivered with a level of passion and soul equal to the legendary sonic charge of his guitar, the sound of Carlos Santana is one of the world's best-known musical signatures. For more than four decadesfrom Santana's earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San FranciscoCarlos has been the visionary force behind artistry that transcends musical genres and generational, cultural and geographical boundaries. & lt;br & gt; & lt;br & gt; Best known as the drummer in Jimi Hendrixs Band of Gypsys, Buddy Miles also had a lengthy solo career that drew from rock, blues, soul, and funk in varying combinations. & lt;br & gt; & lt;br & gt; After backing John McLaughlin on 1970s Devotion, Miles returned to the role of bandleader and recorded his most popular album, Them Changes, in 1971; it stayed on the charts for more than a year, and the title cut became Miles signature song. From December 1971 to April 1972, Miles toured with Carlos Santana, which produced the CBS-released concert document Carlos Santana & amp; Buddy Miles! Live!; recorded inside an inactive volcano in Hawaii, the album sold very well, climbing into the Top Ten. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ('Evil Ways') and Buddy Miles hits ('Changes'), plus a 25-minute, side-long jam... The album went into the Top Ten and sold a million copies. & quot; & lt;/b & gt; - William Ruhlmann, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; 180 Gram Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; Gatefold Jacket & lt;br & gt; Live Album & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;br & gt; & lt;/b & gt;Carlos Santana, guitar, vocals & lt;br & gt; Buddy Miles, drums, percussion, congas, vocals & lt;br & gt; Neal Schon, guitar & lt;br & gt; Ron Johnson, bass guitar & lt;br & gt; Bob Hogins, organ, electric piano & lt;br & gt; Hadley Caliman, flute, saxophone & lt;br & gt; Luis Gasca, trumpet & lt;br & gt; Greg Errico, drums & lt;br & gt; Richard Clark, drums, percussion, congas & lt;br & gt; Coke Escovedo, drums, percussion, timbales & lt;br & gt; Mingo Lewis, percussion & lt;br & gt; Victor Pantoja, percussion, congas & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; & lt;/b & gt;1. Marbles & lt;br & gt; 2. Lava & lt;br & gt; 3. Evil Ways & lt;br & gt; 4. Faith Interlude & lt;br & gt; 5. Them Changes & lt;br & gt; 6. Free Form Funkafide Filth
Shorty Rogers The Wizard Of Oz And Other Harold Arlen Songs 180g LP (Mono) (Vinyl)
& lt;header & gt;
& lt;p & gt; & lt;strong & gt;Out Of Print! Only 1 copy left! & lt;/strong & gt; & lt;/p & gt;
& lt;/header & gt;
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Special Note: Contrary to what the cover artwork implies, this is a Mono Recording. & lt;/b & gt; & lt;br & gt; & lt;br & gt; Shorty Rogers was one of the principal creators of West Coast jazz. He played both the trumpet and flugelhorn, and was in demand for his skills as an arranger. He began as a bugler with the Furriers Post of Jewish War Veterans Boy Scout drum and bugle corps in The Bronx, New York. He played with a number of big bands in the late 1940s, and arranged for Woody Herman, later going to Stan Kenton and His Orchestra. Eventually, he formed a jazz group, The Giants, and recorded a number of albums for RCA Victor. He composed music for the avant-garde UPA cartoons featuring Dr. Seuss (Theodore Geisel) and Stan Freberg, while continuing to arrange and perform many pop and jazz recordings. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;All of trumpeter/arranger Shorty Rogers' recordings from the 1950s (which were quite influential on both arrangers and cool-toned soloists) are well worth searching for... On the first side, Rogers and his Orchestra (which includes such fine soloists as Jimmy Giuffre on clarinet and tenor, valve trombonist Bob Enevoldsen, altoists Bud Shank and Herb Geller, guitarist Barney Kessel and pianist Pete Jolly) perform five familiar songs from Oz, plus 'The Jitterbug,' which did not make it into the final cut. This date is rounded out by fresh versions of five of Arlen's most famous songs, including 'Get Happy,' 'Blues In the Night' and 'That Old Black Magic.' Wonderful music. & quot; & lt;/b & gt; - Scott Yanow, allmusic.com, Rated 4/5 Stars & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; Mono Reissue (Stereo Artwork used) & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Shorty Rogers, trumpet & lt;br & gt; Giants Orchestra & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. We're Off To See The Wizard & lt;br & gt; 2. Over the Rainbow & lt;br & gt; 3. The Jitterbug & lt;br & gt; 4. The Merry Old Land of Oz & lt;br & gt; 5. If I Only Had a Brain & lt;br & gt; 6. Ding Dong! The Witch Is Dead & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 7. My Shining Hour & lt;br & gt; 8. Get Happy & lt;br & gt; 9. Blues In The Night & lt;br & gt; 10. Let's Fall In Love & lt;br & gt; 11. That Old Black Magic
Santana Amigos 180g LP Speakers Corner (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Vinyl! Includes & quot;Let It Shine & quot;! Strains of R & amp;B, Funk & amp; Mexican Folk Music! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Delivered with a level of passion and soul equal to the legendary sonic charge of his guitar, the sound of Carlos Santana is one of the world's best-known musical signatures. For more than four decadesfrom Santana's earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San FranciscoCarlos has been the visionary force behind artistry that transcends musical genres and generational, cultural and geographical boundaries. & lt;br & gt; & lt;br & gt; Long before the category now known as world music was named, Santana's ever-evolving sound was always ahead of its time in its universal appeal, and today registers as ideally in sync with the 21st centurys pan-cultural landscape. And, with a dedication to humanitarian outreach and social activism that parallels his lifelong relationship with music, Carlos Santana is as much an exemplary world citizen as a global music icon. & lt;br & gt; & lt;br & gt; Santana's star arrived in the era-defining late 1960s San Francisco Bay Area music scene with historic shows at the Fillmore and other storied venues. The group emerged onto the global stage with an epic set at the Woodstock festival in 1969, the same year that its self-titled debut LP Santana came out. Introducing Santana's first Top 10 hit, Evil Ways, the disc stayed on Billboards album chart for two years and was soon followed by two more classics and Billboard #1 albums Abraxas and Santana III. & lt;br & gt; & lt;br & gt; Ever since, for more than forty years and almost as many albums later, Santana has sold more than 100 million records and reached more than 100 million fans at concerts worldwide. To date, Santana has won 10 GRAMMY Awards, including a record-tying nine for a single project, 1999s Supernatural (including Album of the Year and Record of the Year for Smooth). In 1998, the group was ushered into the Rock and Roll Hall of Fame, whose website notes, Guitarist Carlos Santana is one of rocks true virtuosos and guiding lights. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R & amp;B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. 'Let It Shine' (number 77), an R & amp;B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status. & quot; & lt;/b & gt; - William Ruhlmann, allmusic.com, Rated 4/5 Stars & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180 Gram Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Carlos Santana, vocals, guitar, percussion & lt;br & gt; David Brown, bass guitar & lt;br & gt; Tom Coster, keyboards, vocals & lt;br & gt; Leon & quot;Ndugu & quot; Chancler, drums, percussion & lt;br & gt; Armando Peraza, percussion, vocals & lt;br & gt; Greg Walker, vocals & lt;br & gt; Ivory Stone, vocals & lt;br & gt; Julia Tillman Waters, vocals & lt;br & gt; Maxine Willard Waters, vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Dance Sister Dance (Baila Mi Hermana) & lt;br & gt; 2. Take Me With You & lt;br & gt; 3. Let Me & lt;br & gt; 4. Gitano & lt;br & gt; 5. Tell Me, Are You Tired & lt;br & gt; 6. Europa (Earth's cry Heavens smile) & lt;br & gt; 7. Let It Shine
Charles Mingus Tijuana Moods 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The album Charlie Mingus feels is his best work, in which he and his men re-create an exciting stay in Mexico's wild and controversial border town. & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; When this LP was released in 1962, it was honored with the maximum number of stars that Downbeat, the most famous of all jazz magazines, could award. And keep in mind the recordings were already five years old! Is there any better proof that the composer and arranger Charlie Mingus was ahead of his time? As a double bassist he was rather less virtuosic than his fellow musicians and not just on these recordings. However, these five numbers earned every single star of the five they were awarded. They illustrate his masterly handling of Mexican folk music and his skill in integrating it into his jazz. The small ensemble of Clarence Shaw, whom Mingus described as a super-improviser on the trumpet, Jimmy Knepper, a technical ace on the trombone, the legendary tenor saxophone player Shafi Hadi, and his longstanding friend Dannie Richmond on the drums all earn the very highest recognition, even though the sextet of 1963/64 once more enhanced their creativity in later years. & lt;br & gt; & lt;br & gt; No record collection is complete without the present highlight. Grab this opportunity to close the gap on your shelf, especially since these recorded jewels have an unusually good sound. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Virgin Vinyl & lt;br & gt; High Quality Pressing & lt;br & gt; Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Charlie Mingus, bass & lt;br & gt; Curtis Porter, alto saxophone & lt;br & gt; Jimmy Knepper, trombone & lt;br & gt; Clarence Shaw, trumpet & lt;br & gt; Bill Triglia, piano & lt;br & gt; Danny Richmond, drums & lt;br & gt; Frankie Dunlop, percussion & lt;br & gt; Ysabel Morel, castinets & lt;br & gt; Lonnie Elder, vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Dizzy Moods & lt;br & gt; 2. Ysabel's Table Dance & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Tijuana Gift Shop & lt;br & gt; 2. Los Mariachis (The Street Musicians) & lt;br & gt; 3. Flamingo & lt;br & gt; & lt;br & gt; Recording: July and August 1957 in RCA Victor's Studio A, New York City, by Bob Simpson
