Showing 37–48 of 998 results
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Art Pepper : Art Pepper Meets The Rhythm Section
Art Pepper, alto sax; Red Garland, piano; Paul Chambers, Bass; Philly Joe Jones, drums. Album notes don't always tell the whole story. Contemporary president Les Koenig, who rightly felt that Art had yet to record with musicians who were his equal, wanted to take advantage of Miles Davis's quintet being in L.A. But Pepper hadn't been playing for several months, and his horn was in a state of disrepair. To minimize anxiety, the session was kept secret from Art until the last minute. But Pepper always rose to a challenge: he taped to his dried-out cork, arrived for the date, and proceeded to record an album widely considered the most important of his career. This is an all tube recording from the microphones' to the tape machine.
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Art Pepper Quintet – Smack Up
Art Pepper left a legacy of innumerable appearances on records, but his sessions for Contemporary always seemed to find him in the best company and in the best shape. Here his impassioned alto sax is appropriately applied to the compositions of six saxophonists, among them Benny Carter, Ornette Coleman, and Pepper himself.
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B B King – Singin’ the Blues
King's vocals are exciting, playful and soulful; the horns are jumpin' and the piano honky tonks that thang all the way home. A number of the songs contained on these first recordings went on to become B.B. King classics, performed and re-recorded down through the years, but here are the first fresh, hot-from-the-oven versions of such tunes as "Did You Ever Love A Woman," "Every Day I Have The Blues" and "Sweet Little Angel." This is home cookin' and these are the original recipes.
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B B King : Singing The Blues
This quintessential collector's edition includes one of his finest albums: Singin' the Blues (1957), originally released by the Crown label at the beginning of King's career. The LP it's a superb collection of King's early hits, originally released on the RPM label. In five short years, B.B. King had matured from an artist looking for a style to the premier bluesman of his generation. His modern style that crosses rock & roll and R&B with the jump blues is fully developed here, and his consistency from track to track is remarkable.
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Bach – Suites For Unaccompanied Cello Complete
Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker’s full-bodied sound and technical brilliance are complemented by his finely chiseled interpretation that lends immense expression to Bach’s thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach’s Cello Suites are ‘polyphony for a solo instrument’.
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Bach : Florin Paul, violin – Partitas
Formerly concertmaster of Sergiu Celibidache’s Munich Philharmonic Orchestra, today Florin Paul occupies the same position with Hamburg’s North German Radio Symphony Orchestra.
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Bach : Sonata & Partita
It was Ruth Palmer’s wish to couple Bach’s Sonata in C major with nothing but the Partita in E major. A perfect length for an LP, but too short for a CD. That was when the idea was born to … Continued
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Bach: 6 Solo Cello Suites
As can be easily inferred from his career path, Enrico Mainardi was a cellist whose artistic viewpoint was a grafting of the German school of cello playing influenced by Neue Sachlichkeit to the musical background of his motherland Italy. He recorded the monaural cycle for the Archiv label between April 1950 and October 1955. Mainardi's Bach is leisurely and contemplative. His playing meditates on the auspicious meaning of the work - it is a musical delta of courteous low notes, a magical prayer of an aged monk. This is a masterful performance, and its value is somewhat different from the performances of today. Recording: in mono
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Barb Jungr : Every Grain Of Sand
»The most significant vocal album of the 21st century.« THE WALL STREET JOURNAL »The foremost interpreter of Bob Dylan’s back catalogue...« THE INDEPENDENT »Jungr approaches the Dylan songbook with a rare degree of intelligence, relishing each line in the manner of a true chansonnier.« MOJO »Ms. Jungr, a passionate Dylanologist, can squeeze more juice out of a Dylan song than just about anybody.« THE NEW YORK TIMES
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Bartok – Concerto for Orchestra
For years, the Concerto for Orchestra has been not only the most-played of Bartok's works, but also the most frequently performed among other contemporary scores. Since its original release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured.
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Bartok – Dance Suite for Orchestra, Two Portraits
Bartók composed his Dance Suite as the result of a commission from the city fathers of Budapest to celebrate the 50th anniversary of the union of the two towns Pest and Buda. While on his travels, Bartók liked to collect old folksongs, and he used this opportunity to express the act of fraternity in his music in the manner of a hidden programme. As he himself stated, he made use of Arabian, Hungarian and Romanian influences in the Suite, whose dances are linked together by means of ritornello-like interludes.
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Bartok : Concerto for Orchestra
Each 2LP set comes with a Stoughton Printing tip-on original jacket and an Everest Records branded jacket showing photos of each reissue title. The two LPs are packaged in a protective clear sleeve. Bartok's Concerto for Orchestra derives its name from the approach taken in treating instrument groups within the orchestra in a ‘concertante' or soloist manner throughout the piece. This virtuoso treatment, for example, is notable in the fugato section of the first movement where the brass are highlighted as well as in the second movement where pairs of instruments appear consecutively creating a brilliant passage. Stokowski's interpretation of this popular Bartok composition was recorded at the Houston Civic Center by Bert Whyte and team and originally released in March of 1961.